Question: In which year did Aimé Césaire publish her work, which was a response to Shakespeare's play "The Tempest?"

full_context: Document 1: Ariel (The Tempest): Ariel is a spirit who appears in William Shakespeare's play "The Tempest". Ariel is bound to serve the magician Prospero, who rescued him from the tree in which he was imprisoned by Sycorax, the witch who previously inhabited the island. Prospero greets disobedience with a reminder that he saved Ariel from Sycorax's spell, and with promises to grant Ariel his freedom. Ariel is Prospero's eyes and ears throughout the play, using his magical abilities to cause the tempest in Act One which gives the play its name, and to foil other characters' plots to bring down his master.
Document 2: Discourse on Colonialism: Discourse on Colonialism (French: Discours sur le colonialisme ) is an essay by Aimé Césaire, a poet and politician from Martinique who helped found the "négritude" movement in Francophone literature. Césaire first published the essay in 1950 in Paris with Editions Réclame, a small publisher associated with the French Communist Party (PCF). Five years later, he then edited and republished it with the anticolonial publisher "Présence Africaine" (Paris and Dakar). The 1955 edition is the one with the widest circulation today, and it serves as a foundational text of postcolonial literature that discusses what Césaire described as the appalling affair of the European civilizing mission. Rather than elevating the non-Western world, the colonizers de-civilize the colonized.
Document 3: Black Orpheus (magazine): Black Orpheus was a Nigeria-based literary journal founded in 1957 by German expatriate editor and scholar Ulli Beier that has been described as "a powerful catalyst for artistic awakening throughout West Africa". Its name derived from a 1948 essay by Jean-Paul Sartre, "Orphée Noir", published as a preface to "Anthologie de la nouvelle poésie nègre et malgache", edited by Léopold Sédar Senghor. Beier wrote in an editorial statement ("Black Orpheus" 1) about the fact that "it is still possible for a Nigerian child to leave a secondary school with a thorough knowledge of English literature, but without even having heard of Léopold Sédar Senghor or Aimé Césaire", so "Black Orpheus" became a platform for Francophone as well as Anglophone writers. In 1961, Beier also founded the Mbari Club, a cultural centre for African writers, which was closely connected with "Black Orpheus". The magazine ceased publication in 1975.
Document 4: Une Saison au Congo: Une saison au Congo is a 1966 theatre play by Aimé Césaire.
Document 5: L'Étudiant noir: L'Étudiant noir, Journal Mensuel de l’Association des Étudiants Martiniquais en France (translated roughly as "The Black Student: Monthly Journal of the Martinican Student Association in France") is a journal created by Aimé Césaire in 1935 in Paris. It contains the first poems written by Léon Damas and some of Leopold Sedar Senghor's first articles, both of whom were student association members at the time. Only two issues of the journal were ever published, March 1935 and May–June 1935. The most notable article was written by Aimé Césaire, titled "Conscience raciale et révolution sociale" ("Racial Consciousness and social revolution") in the May–June 1935 issue, which was the first work to explore the concept of négritude.
Document 6: The Tempest (Hebald): The Tempest, also known as The Tempest (Prospero and Miranda), or simply Prospero and Miranda, is an outdoor bronze sculpture depicting Prospero from William Shakespeare's "The Tempest" by Milton Hebald, installed outside Delacorte Theater in Manhattan's Central Park, in the U.S. state of New York. The work, which was gifted by George T. Delacorte, Jr. and unveiled in 1966, is a companion piece to "Romeo and Juliet" (1977).
Document 7: Aimé Césaire (Paris Métro): Aimé Césaire is an under-construction station on line 12 of the Paris Métro. The station is located on the Place Henri-Rol-Tanguy at Aubervilliers and slated to open in 2019.
Document 8: The Tempest (1979 film): The Tempest is a 1979 film adaptation of William Shakespeare's play of the same name. Directed by Derek Jarman, with Heathcote Williams as Prospero, it also stars Toyah Willcox, Jack Birkett and Helen Wellington-Lloyd from Jarman's previous feature, "Jubilee" (1977), as well as his long-time cohort Karl Johnson.
Document 9: Une Tempête: Une Tempête ("A tempest") is a 1969 play by Aimé Césaire. It is an adaptation of Shakespeare's "The Tempest" from a postcolonial perspective. The play was first performed at the Festival d'Hammamet in Tunisia under the direction of Jean-Marie Serreau. It later played in Avignon and Paris. Césaire uses all of the characters from Shakespeare's version, but he specifies that Prospero is a white master, while Ariel is a mulatto and Caliban is a black slave. These characters are the focus of the play as Césaire foregrounds issues of race, power, and decolonization.
Document 10: Aimé Césaire: Aimé Fernand David Césaire (26 June 1913 – 17 April 2008) was a Francophone and French poet, author and politician from Martinique. He was "one of the founders of the négritude movement in Francophone literature". He wrote such works as "Une Tempête", a response to Shakespeare's play "The Tempest", and "Discours sur le colonialisme" ("Discourse on Colonialism"), an essay describing the strife between the colonizers and the colonized. His works have been translated into many languages.
Document 11: Creole Renaissance: The Creole Renaissance is a movement which established Creole as legitimate literary language, started in large part by authors like Felix Morisseau-Leroy, who struggled successfully to make Haitian Creole the literary, educational, and official language of Haiti. This grew, in part, out of the Negritude and Haitian Indigenism movements and the Harlem Renaissance.
Document 12: The Tempest: The Tempest is a play by William Shakespeare, believed to have been written in 1610–11, and thought by many critics to be the last play that Shakespeare wrote alone. It is set on a remote island, where the sorcerer Prospero, rightful Duke of Milan, plots to restore his daughter Miranda to her rightful place using illusion and skillful manipulation. He conjures up a storm, the eponymous tempest, to cause his usurping brother Antonio and the complicit King Alonso of Naples to believe they are shipwrecked and marooned on the island. There, his machinations bring about the revelation of Antonio's lowly nature, the redemption of the King, and the marriage of Miranda to Alonso's son, Ferdinand.
Document 13: Martinique Aimé Césaire International Airport: Martinique Aimé Césaire International Airport, French: "Aéroport International Martinique Aimé Césaire" (IATA: FDF, ICAO: TFFF) , is the international airport of Martinique in the French West Indies. Located in Le Lamentin, a suburb of the capital Fort-de-France, it was opened in 1950 and renamed in 2007, after author and politician Aimé Césaire.
Document 14: Oruno Lara: Oruno Lara (1879-1924) was a Guadeloupean poet, author and historian born in Guadeloupe not to be confused with his grandson Dr. Oruno D. Lara, also a historian. Head of Pointe-à-Pitre's Guadeloupe Littéraire journal, he arrived in France in 1914 with hopes of further developing his project of a literary and political journal. He was soon engulfed in the first World War until 1919 and following traumas caused by the inhalation of gases used during the war, he was inspired to become a historian. Upon his return from war, he published a history of Guadeloupe, a text which was used to teach several generations of Guadeloupean school children. In 1919, he founded the monthly Le Monde Colonial (The Colonial World) which echoed W.E.B. Dubois' and the first Pan-African Congress' denunciations of the racism inherent to European colonialism. In 1923 he wrote the novel "Question de Couleurs: Blanches et Noirs, Roman de Moeurs" ( i.e. "An issue of Colors: Whites and Blacks, a Novel")
Document 15: The Sea and the Mirror: The Sea and the Mirror: A Commentary on Shakespeare's "The Tempest", is a long poem by W.H. Auden, written 1942–44, and first published in 1944. Auden regarded the work as “my "Ars Poetica," in the same way I believe "The Tempest" to have been Shakespeare’s.”
ground_truth: 1969