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To read The Tempest through the lens of the Tempest-themed art of the two aforementioned Southern artists, then, is to examine a region grappling with a long history of slavery, racial segregation, and institutional and personal racism just at a point as we witness a surge in white nationalism throughout the United States and Europe.

5 Often read as engaged with the European colonial enterprise in the New World, The Tempest’s exploration of race and enslavement continues to compel readers and playgoers to think through issues of privilege and the blind-spots – neglect, willful ignorance, and exploitation – on which such privilege thrives. and Ian Smith have found discussing Shakespeare alongside recent police shootings of unarmed black men, women, and children in the United States allows us to question white privilege inherent in contemporary life and as scholars, learners, and teachers in our critical and professional practices in academia. 4 The same holds true for criticism: Arthur L. 3 As Ayanna Thompson and Laura Turchi have emphasized, Shakespeare’s plays are ‘not singular and stable, but multiple and fluid’, experienced differently in different contexts. 2 Such literary allusions in art are not merely tributes, but rather, as Peter Erickson asserts, reimaginings, reworkings of the old Shakespearean material to grapple with present concerns. 1 Twenty years later, another New Orleans-based artist photographs the paintings a decade after that, the same photographer names two more of his photographs ‘Caliban, Number One’ and ‘Caliban, Number Two’. An early twentieth-century painter in New Orleans chooses to depict scenes from William Shakespeare’s The Tempest.

Set up endnote student loyola new orleans