In revealing patterns of you/thou use in Shakespeare's plays, this study highlights striking and significant shifts from one to the other. Penelope Freedman demonstrates that understanding of the implications of you/thou use in early modern English has been bedevilled by overconcern with issues of power and status, and her careful research, analysing all the plays, reveals how a fuller understanding of Shakespeare's usage can provide a key to unlock puzzles of motive and character, and a glass to clarify relationships and emotions. The work focuses particularly on dialogue between men and women, and sheds new light on male and female language use. The scholarship presented in this volume is augmented with tables and a glossary of linguistic terms.

This book reconsiders the evidence for what we know (or think we know) about early modern performance conditions. This study encourages a new recognition and treatment of certain aspects of the plays as evidence – and demonstrates the significance of the implications of that new information. This book is also an assessment of the competing narratives about the processes involved in early modern performance: about the status of manuscript playbooks, about the parts that players memorized, about the functions of the bookkeeper, about casting, about prompting, and about rehearsal practices. Leslie Thomson investigates the bases for the interdependent beliefs that an early modern player relied only on his part to prepare for a performance, that rehearsal was minimal, and that a bookkeeper compensated for these circumstances by prompting any player who was "out of his part." By focusing on often ignored (or downplayed) requirements and challenges of early modern play texts, Thomson provides evidence for answers that will foster a more nuanced and thorough understanding of original performance practices. That will, in turn, influence how we read, study, and edit the plays. This exploration will be of great interest to theatre and performance researchers, graduate students, teachers of early modern drama at the undergraduate and graduate levels, performers, directors, editors.

King Lear has ruled for many years. As age overtakes him, he divides his kingdom amongst his children. Misjudging their loyalty, he soon finds himself stripped of all the trappings of state, wealth and power that had defined him. Arden Performance Editions are ideal for anyone engaging with a Shakespeare play in performance. With clear facing-page notes giving definitions of words, easily accessible information about key textual variants, lineation, metrical ambiguities and pronunciation, each edition has been developed to open the play's possibilities and meanings to actors and students. Designed to be used and to be useful, each edition has plenty of space for personal annotations and the well-spaced text is easy to read and to navigate. Each edition offers: - Short, clear definitions of words - Information about key textual variants - Notes on pronunciation of difficult names and unfamiliar words - An easy to read layout with space to write your own notes - A short introduction to the play

Brayton Polka takes both a textual and theoretical approach to seven plays of Shakespeare: Macbeth, Othello, Twelfth Night, All's Well That Ends Well, Julius Caesar, Troilus and Cressida, and Hamlet. He calls upon the Bible and the ideas of major European thinkers, above all, Kierkegaard and Spinoza, to argue that the concept of interpretation, underlying both Shakespeare's plays and our own lives, is the golden rule of the Bible: the command to love your neighbor as yourself.

William Shakespeare’s The Rape of Lucrece and John Donne’s Holy Sonnets are read against the background of concepts of the soul during the early modern period. This approach provides new insights into concepts of interiority and performance as well as a new understanding of the soliloquy in both poetry and drama.

Token focuses on English linguistics in a broad sense, taking in both diachronic and synchronic work, grammatical as well as lexical studies. That being said, the journal favors empirical research. All submissions are double-blind peer reviewed. Token is the original medium of publication for all articles that the journal prints.

What can developments in contemporary linguistics and language theory reveal about Shakespeare's language in the plays? Shakespeare's Common Language demonstrates how methods borrowed from language criticism can illuminate the surprising expressive force of Shakespeare's common words. With chapters focused on different approaches based in language theory, the book analyses language change in Coriolanus; discourse analysis in Troilus and Cressida; pragmatics in Richard II; and various aspects of grammar in As You Like It. In mapping the tools of linguistics and language theory onto the study of literature, and employing finely-grained close readings of dialogue, Shakespeare's Common Language frames a methodology that offers a fresh approach to reading dramatic language.

A volume in honour of Angela Locatelli The book explores the significance of literary translation and interpretation, in the widest sense of terms, as multiple processes of meaning and cultural transfer, by investigating how and why literature can be considered as a repository and a disseminator of knowledge and values. Featuring essays by a number of scholars focusing on a wide range of literary and critical texts of different nations and cultures and encompassing the last three centuries, this book intends to offer a contribution to the study of translation and interpretation as literary processes of cultural and epistemic dissemination of knowledge from both a theoretical and a practical perspective.

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