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학술저널
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한국셰익스피어학회 Shakespeare Review Shakespeare Review Vol.40 No.4
발행연도
2004.12
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1,003 - 1,025 (23page)

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This paper is in line with much-laboured postcolonial discourses of the territorial possession of the island. My reading is focused on the Prospero's antithetical servants, Ariel and Caliban, in the context of the Spanish colonial expansion in the sixteenth century, which paved the way for later English colonial practices. The British imperialism was in its earliest infancy at the time of the play's composition. My discussion is divided into three themes: the island's identity, its territorial ownership, and its history and future.
The island's identity has parallels with the concepts of the play as an early modern version of Aeneid, an allegory of the Mediterranean, and the image of the New World empires. That Shakespeare did not give any clue to contemporary historical specificity allows for a variety of interpretations of the island's identity. The island is a conceptual region, as is shown in the metaphor of Gonzalo's apple: the reader can seed the sea with apples so that other islands can grow and multiply. The apple metaphor lends itself to the possibility of various discourses in the light of early modern, as well as postcolonial, theories of international law.
The island's territorial ownership is rooted in the question of 'who first saw or discovered the island?' The principle of first possession is dispossessed by the rule of current possession and the right of conquest. Ariel's ownership right was taken away by Sycorax, and in turn Caliban's right by Prospero. This leads to the notion that Ariel has the equal and even anterior rights to the island.
The island's history has the relevance of the dichotomy between the friendly Arawak and the hostile Carib in the original Caribbean natives. This division offers a new way of reading the conflicting rights of Ariel and Caliban, and colonial construction of their antagonism as good and bad servant. The island's future is also open from the perspective of its original inhabitants. The consistent evidence of bloodshed or attack following the decolonization of the Third World since the 1960s is one of the issues that the play symbolizes to us. The play's ending mirrors the shadows cast by the course of current history, and envisions the controversial antagonism between good and bad people in former Yugoslavia and Iraq in. the present.

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