91 research outputs found
âThese sixe parts of follyâ: Robert Arminâs moralizing anatomy of foolsâ jests
Robert Arminâs Foole upon Foole was published in 1600, i.e. when Armin had been a member of the Chamberlainâs Men for only about a year, under the pseudonym âClonnico de Curtanio Snuffâ (Snuff, the clown of the Curtain). A revision of the pamphlet was issued in 1608, with the authorâs real name and a new title â A Nest of Ninnies â, but in this version Armin added a pseudo-philosophical frame consisting of a dialogue between Lady World and Sotto, while reproducing the tales connected to the previous six natural fools presented in Foole upon Foole. On the one hand the epigraph on the title page (âStultorum plena sunt omniaâ) seems to connect this new version of Arminâs work to the Erasmian tradition of The Praise of Folly, but on the other the frame and some speeches exchanged in the sections which precede and follow the tales, appear to look back to the allegorical world of the morality plays. The paper analyzes the idea of folly which underpins Arminâs two âSpecula stultorumâ, and evaluates how the writer describes the fools he presents, especially from a physical and physiognomic point of view
The Pragmatics of Dialogical Asides in Shakespeare
Neither the Folio nor the various quartos of Shakespeare plays contain the stage direction âasideâ, which was added to the texts starting from the first editors in the eighteenth century. Modern editions continue to signal this particular theatrical convention to readers, and scholars have defined various categories for it. Among these categories (monological, ad spectatores, and dialogical) this article examines the dialogical aside and the pragmatic strategies it involves, when dialogue becomes hidden, so to say, and particularly guarded (and wary), so as not to be discovered by other onstage bystanders. In this case the noun aside takes on its full meaning: due to a theatrical convention (valid especially in Elizabethan and Restoration drama, but absolutely rejected by the so-called fourth-wall theatre), a character in a multiparty talk chooses only one or more characters as their addressee, thus creating a dialogically privileged group and isolating the remaining bystanders. The article discusses some cases from The Tempest, Henry VI Part 3, and Antony and Cleopatra
Kenneth Branaghâs As You Like It: Plural Conflicts on- and off-screen
Kenneth Branaghâs latest Shakespearean film, As You Like It (2006), has not so far encountered much critical interest. Even the âCommunityâ site of HBO Films is poor of comments (there are actually only two: one extolling the director for putting «his whole soul into his movies», the other lamenting the unavoidable cuts to the play text, up to the basic question «where is the rest of Rosalind?». A third and more critical comment showing some of the inconsistencies of the movie can be read via a link. The criticsâ silence may be attributable on the one side to the filmâs process of physical and cultural dĂ©paysement (with the action taking place in late nineteenth-century Japan), and on the other to Branaghâs tendency to choose a âworldwide Shakespeareâ stance (in the casting, for example, where Orlando and Oliver are two black actors). Besides that, since As You Like It as a âromantic comedyâ hides conflict underneath the cover of a love story with an âand they all lived happily ever afterâ ending, what strikes spectators is the violence surfacing in the film (from the very beginning when Duke Senior is usurped after a Ninja warriorsâ attack).[Segue nel testo ...]* Presentato dal Dipartimento di Letterature Moderne e Scienze Filologico-Linguistiche
Reading Aloud in Britain in the Second Half of the Eighteenth Century: Theories and Beyond
Thomas Sheridan, actor, theatre manager and elocutionist, had been dead for eleven years, when The Reader or Reciter was published, targeting those who had already followed Mr. Sheridanâs instructions about elocution and reading, but who still found themselves âdeficient of that attractive power to engage the attention, and afford gratification to [themselves] and those who are [their] hearersâ. The occasions for reading aloud evidently were still quite numerous if the anonymous author(s) of The Reader thought of publishing this Do-It-Yourself guide to shared reading. The article investigates the late eighteenth-century cultural milieu within which a booklet of this type was produced, mainly the elocution movement and its principal exponents, i.e. Sheridan himself and John Walker, and their theoretical production. Then a series of books are analysed, printed towards the end of the century in order to guide those people who wanted to practice reading aloud on the various occasions offered by genteel British society, in order to attain efficacious and pleasurable standards in their performances. The issue of the difference, if any, between communal reading and theatre is also taken into consideratio
Reading Aloud in Britain in the Second Half of the Eighteenth Century: Theories and Beyond
Thomas Sheridan, actor, theatre manager and elocutionist, had been dead for eleven years, when The Reader or Reciter was published, targeting those who had already followed Mr. Sheridanâs instructions about elocution and reading, but who still found themselves âdeficient of that attractive power to engage the attention, and afford gratification to [themselves] and those who are [their] hearersâ. The occasions for reading aloud evidently were still quite numerous if the anonymous author(s) of The Reader thought of publishing this Do-It-Yourself guide to shared reading. The article investigates the late eighteenth-century cultural milieu within which a booklet of this type was produced, mainly the elocution movement and its principal exponents, i.e. Sheridan himself and John Walker, and their theoretical production. Then a series of books are analysed, printed towards the end of the century in order to guide those people who wanted to practice reading aloud on the various occasions offered by genteel British society, in order to attain efficacious and pleasurable standards in their performances. The issue of the difference, if any, between communal reading and theatre is also taken into consideratio
TestualitĂ parodica e liminalitĂ della donna in âThe British Museum is Falling Downâ di David Lodge
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