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CALIBANCausal Calculi Based on Nets
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(3.2.92-95) According to Caliban, then, destroying Prospero's books would be much more effective than any physical violence to Prospero's person.
In dialogue with these representations of Caliban, Tentacle begins with the subjugation of black bodies, which are killed and removed from future dystopian streets by dispassionate machines, but ends with characters such as Malagueta Walcott.
While the original play categorically marks that Caliban could not speak before the arrival of Prospero to the island, and that Caliban was taught the language of the colonizer, Talatum uses English, Malayalam and Hindi without making an obvious distinction between the languages based on colonization.
Caliban is primitive but sophisticated, bestial but human-like.
"Caliban" resulta ser como un falso dios o un idolo en cuanto oficie como referente exclusivo y excluyente, no obstante sus aportes orientadores en el plano de la materialidad y la utilidad pueden dejar de ser enajenantes y transformarse en emancipadores en caso de dejar de ser exclusivos y excluyentes, si pueden ser complementados en perspectiva de superacion por "Ariel" cuya orientacion despliega y profundiza en la dimension de la espiritualidad del ser humano al ponerlo en el centro como ser supremo--desplazando de ese centro al sacralizado utilitarismo de la orientacion de "Caliban"--y por lo tanto a la humanizacion del ser humano que es emancipacion humana: " Emancipacion es humanizacion, humanizacion desemboca en emancipacion" (Hinkelammert: 2007, p.
The ambiguous and therefore amorphous nature of Caliban's deformity has been a perennial problem in both dramaturgical and critical studies of The Tempest at least since George Steevens's edition of the play (1793), acutely since Alden and Virginia Vaughan's Shakespeare's Caliban: A Cultural History (1993), and enduringly in recent readings by Paul Franssen, Julia Lupton, and Mark Burnett.
More important, three of The Tempest's main characters--the aerie spirit Ariel, the grotesque monster Caliban, and the right Duke of Milan Prospero--not only find an echo in the cultural life of Latin America and the Caribbean, but they also come to personify the political and economic relations between the United States and the rest of the Western Hemisphere.
Praise must also go to Grace Carter, who is an impressive Miranda, and Taitte, who is a great Caliban.
The novel begins when Prospero forces Caliban into his service.
As I argue below, Miranda's erasure of the storm, Caliban's projected dynasty, and Ariel's curtailed dream are all striking because they are forever at the brink of appearing.