Caliban


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Caliban,

in astronomy, one of the natural satellites, or moons, of UranusUranus
, in astronomy, 7th planet from the sun, at a mean distance of 1.78 billion mi (2.87 billion km), with an orbit lying between those of Saturn and Neptune; its period of revolution is slightly more than 84 years.
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.

Caliban

(kal -ă-ban) See Uranus's satellites.

Caliban

[′kal·ə‚ban]
(astronomy)
A small satellite of Uranus in a retrograde orbit with a mean distance of 4,475,000 miles (7,200,000 kilometers), eccentricity of 0.081, and sidereal period of 1.59 years.

Caliban

his name is anagram of cannibal. [Br. Lit.: The Tempest]

Caliban

misshapen “missing link.” [Br. Lit.: The Tempest]

Caliban

A declarative annotation language for controlling the partitioning and placement of the evaluation of expressions in a distributed functional language. Designed by Paul Kelly <phjk@doc.ic.ac.uk>, Imperial College.

["Functional Programming for Loosely-coupled Multiprocessors", P. Kelly, Pitman/MIT Press, 1989].
References in periodicals archive ?
Solo por eso, aquel ensayo de Rodo merece pasara la historia, aun cuando su prosa permanezca mas vinculada al siglo XIX que al XX y pueda cuestionarse su interpretacion de los personajes shakesperianos y su homologacion erronea del imperialismo norteamericano con Caliban.
In the unfolding of Caliban's self-reported cognitive processes there is, again, a similar sense of reciprocity between these imagined conceptual categories of "self" and "other"--he is an 'T' who is also at times a "he," and Setebos is a "he" whom Caliban conceptualizes, to some extent at least, as a kind of "me.
Roberto Fernandez Retamar en su ensayo Caliban exalta la lucha por la liberacion e interpreta la cultura americana a traves de la resignificacion de los personajes del texto de Shakespeare, especialmente de Caliban, personaje o concepto metafora que simboliza la desobediencia, la resistencia, la Revolucion, la plaga roja que se rebela "contra Prospero personaje conceptual de los Estados Unidos"(492).
Caliban cried when he described the music he sometimes hears, suggesting perhaps a glimmer of hope even in man's beastliness.
No obstante esta referencia explicita a Shakespeare, una lectura atenta del discurso de Prospero permite establecer una segunda relacion intertextual --esta vez no explicitada tan directamente-- con una pieza dramatica menor, titulada Caliban.
I see this at work in Conte de l'amour bifrons, for example, where you express a "nostalgia for the absolute," and in Le Complexe de Caliban, where you claim that one only writes from a position of loss.
Unlike the original Cesaire's version favors a black Caliban as protagonist, facing off against his white colonial master Prospero, with a mulatto Ariel playing an ambivalent intermediary role.
The book's title is the familiar phrase uttered by Caliban while assuring the frightened Stephano and Trinculo that the sounds they hear are only "noyses, / Sounds, and sweet aires, that giue delight and hurt not" (The Tempest 3.
Working from the perspective of decolonial feminism, this essay critiques works that view Caliban in Shakespeare's The Tempest (1611) as a symbol of resistance to eurocentrism, as represented in the character of Prospero.
Caliban too repents and asks for Prospero to forgive him.
In fact, the funniest scenes feature a drunken Charles, and include an extremely entertaining scene with Caliban, aka Zephryn Taitte, and Trinculo, played by James Hornsby.