This book analyses speech-related genres in Early Modern English, providing ideas of what spoken interaction in earlier times might have been like.

This book is a corpus-based study examining thou and you in three speech-related genres from 1560–1760, a crucial period in the history of second person singular pronouns, spanning the time from when you became dominant to when thou became all but obsolete. The study embraces the fields of corpus linguistics, historical pragmatics, and historical sociolinguistics. Using data drawn from the recently released A Corpus of English Dialogues 1560–1760 and manuscript material, the aim is to ascertain which extra-linguistic and linguistic factors highlighted by previous research appear particularly relevant in the selection and relative distribution of thou and you. Previous research on thou and you has tended to concentrate on Drama and/or been primarily qualitative in nature. Depositions in particular have hitherto received very little attention. This book is intended to help fill a gap in the literature by presenting an in-depth qualitative and quantitative analysis of pronoun usage in Trials, Depositions, and, for comparative purposes, Drama Comedy.

This volume provides new insights into the nature of the Early Modern English discourse markers marry, well and why through the analysis of three corpora (A Corpus of English Dialogues, 1560-1760, the Parsed Corpus of Early English Correspondence, and the Penn-Helsinki Parsed Corpus of Early Modern English). By combining both quantitative and qualitative approaches in the study of pragmatic markers, innovative findings are reached about their distribution throughout the period 1500-1760, their attestation in different speech-related text types as well as similarities and differences in their functions. Additionally, this work engages in a sociopragmatic study, based on the sociopragmatically annotated Drama Corpus of almost a quarter of a million words, to enhance our understanding about their use by characters of different social status and gender. This volume therefore constitutes an essential piece of the puzzle in our attempt to gain a full picture of discourse marker use.

This book is a corpus-based study examining thou and you in three speech-related genres from 1560–1760, a crucial period in the history of second person singular pronouns, spanning the time from when you became dominant to when thou became all but obsolete. The study embraces the fields of corpus linguistics, historical pragmatics, and historical sociolinguistics. Using data drawn from the recently released A Corpus of English Dialogues 1560–1760 and manuscript material, the aim is to ascertain which extra-linguistic and linguistic factors highlighted by previous research appear particularly relevant in the selection and relative distribution of thou and you. Previous research on thou and you has tended to concentrate on Drama and/or been primarily qualitative in nature. Depositions in particular have hitherto received very little attention. This book is intended to help fill a gap in the literature by presenting an in-depth qualitative and quantitative analysis of pronoun usage in Trials, Depositions, and, for comparative purposes, Drama Comedy.

This volume provides a comprehensive account of Early Modern English, organized by linguistic level. The volume not only presents detailed outlines of the traditional language levels, it also explores key questions and debates, such as do-periphrasis, the Great Vowel Shift, pronouns and relativization, literary language (including the language of Shakespeare), and sociolinguistics, including contact and standardization.

Early modern printed books are copiously illustrated with charts, diagrams, and other kinds of images that represent systems of thought and ways of doing things. Visual Rhetoric and Early Modern English Literature shows how these images fostered what Elizabeth Eisenstein called brainwork related to concepts of space, truth, art, and nature, and reveals their importance to poetry by Andrew Marvell and John Milton, and Aphra Behn’s Oroonoko. The genres of illustration considered in this book include military strategy and tactics, garden design, instrumentation, Bibles, scientific schema, drawing instruction, natural history, comparative anatomy, and Aesop’s Fables. The argument produces unique insights into the ways in which visual rhetoric affected verbal expression, and the book develops novel methods of using printed images as evidence in the interpretation of the rich, strange, and beautiful literature of early modern England.

In the early-modern period, the English language was practically unknown outside of Britain and Ireland, so the English who wanted to travel and trade with the wider world had to become language-learners. John Gallagher explores who learned foreign languages in this period, how they did so, and what they did with the competence they acquired.

This book makes available in translation a riveting sixteenth-century chronicle of European and North African cultural contacts that is virtually unknown to English-speaking readers. The Topography was written by a Portuguese cleric, Doctor Antonio de Sosa, who was captured by Algerian corsairs in 1577 and held as a Barbary slave for over four years while awaiting ransom. Sosa''s work is a fascinating description of a city at the crossroads of civilizations, with a sophisticated multilingual population of Turks, Arabs, Moriscos, Berbers, Jews, Christian captives, and converts to Islam from across the world.

This volume investigates the early modern understanding of twinship through new readings of plays, informed by discussions of twins appearing in such literature as anatomy tracts, midwifery manuals, monstrous birth broadsides, and chapbooks. The book contextualizes such dramatic representations of twinship, investigating contemporary discussions about twins in medical and popular literature and how such dialogues resonate with the twin characters appearing on the early modern stage. Garofalo demonstrates that, in this period, twin births were viewed as biologically aberrant and, because of this classification, authors frequently attempt to explain the phenomenon in ways which call into question the moral and constitutional standing of both the parents and the twins themselves. In line with current critical studies on pregnancy and the female body, discussions of twin births reveal a distrust of the mother and the processes surrounding twin conception; however, a corresponding suspicion of twins also emerges, which monstrous birth pamphlets exemplify. This book analyzes the representation of twins in early modern drama in light of this information, moving from tragedies through to comedies. This progression demonstrates how the dramatic potential inherent in the early modern understanding of twinship is capitalized on by playwrights, as negative ideas about twins can be seen transitioning into tragic and tragicomic depictions of twinship. However, by building toward a positive, comic representation of twins, the work additionally suggests an alternate interpretation of twinship in this period, which appreciates and celebrates twins because of their difference. The volume will be of interest to those studying Shakespeare and Renaissance Literature in relation to the History of Emotions, the Body, and the Medical Humanities.