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Sea Changes

Patrick Parrinder, 27 February 1992

Indigo, or Mapping the Waters 
by Marina Warner.
Chatto, 402 pp., £14.99, February 1992, 9780701135317
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Shakespeare’s Caliban: A Cultural History 
by Alden Vaughan and Virginia Mason Vaughan.
Cambridge, 290 pp., £35, January 1992, 0 521 40305 7
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... wrote in 1898, of the ‘aboriginal savage of the New World’? This is the principal theme of the Vaughans’ learned and sceptical cultural history of Shakespeare’s Caliban, a book which traces both the construction of the various American readings of The Tempest (readings owing as much to Latin America and the Caribbean as to the United States), and their ...

Boundary Books

Margaret Meek, 21 February 1980

Kate Crackernuts 
by Katharine Briggs.
Kestrel, 224 pp., £2.95, September 1980, 0 7226 5557 6
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Socialisation through Children’s Literature: The Soviet Example 
by Felicity Ann O’Dell.
Cambridge, 278 pp., £14, January 1979, 9780521219686
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Divide and Rule 
by Jan Mark.
Kestrel, 248 pp., £3.50, October 1980, 0 7226 5620 3
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... Dick, first published in 1955, and Kate Crackernuts, which Kestrel have reclaimed from the 1963 Alden Press edition. Dr Briggs’s scholarly reputation rests on The Fairies in Tradition and Literature and the four volumes of the Dictionary of British Folk Tales in the English Language. A Sampler of British Folk Tales teaches the difference between ...

Cooking it up

Rupert Christiansen, 19 January 1989

Maria: Callas Remembered 
by Nadia Stancioff.
Sidgwick, 264 pp., £13.95, April 1988, 0 283 99645 5
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Callas at Juilliard: The Master Classes 
by John Ardoin.
Robson, 300 pp., £16.95, April 1988, 0 86051 504 4
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Callas as they saw her 
edited by David Lowe.
Robson, 264 pp., £6.95, April 1988, 9780860514961
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The Great Caruso 
by Michael Scott.
Hamish Hamilton, 322 pp., £16.95, June 1988, 0 241 11954 5
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Chaliapin 
by Victor Borovsky.
Hamish Hamilton, 630 pp., £25, April 1988, 0 241 12254 6
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... or on its musical realisation, or even on the performers, but on what Ruth Berghaus or David Alden or Andrei Serban is saying about it. Or rather what images they are inflicting upon it – for the production of opera is primarily a matter of what something is made to look like. Singers rarely have any authentic acting ability and the wiser producers ...

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