scholarly journals The Anatomy of the Revenger: Violence and Dissection on the Early Modern English Stage

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Attila Kiss
Keyword(s):  
Critical Theory ◽  
Early Modern ◽  
Reception History ◽  
Canon Formation ◽  
General Process ◽  
Memento Mori ◽  
Ars Moriendi ◽  
Early Modern English ◽  
History Of ◽  
English Stage

The persistent employment of excessive violence on the early modern English stage was studied by Renaissance scholarship for centuries in diverse but rather formal or historicist ways, and this critical focus received no new impetus until the corporal turn in critical theory after the 1980s. Before the poststructuralist, or, more precisely, the postsemiotic and corposemiotic investigations, critics tended to categorize bodily transgression as part of the general process of deterioration that lead to the decadence and all-enveloping perversity of the Stuart and Caroline stage, or they merely catalogued the metamorphoses of iconographic and emblematic elements of the memento mori, the ars moriendi, the contemptus mundi, the danse macabre or the exemplum horrendum traditions through the imagery of violence, mutilation and corporeal disintegration. The reception history of Shakespeare’s first tragedy exemplifies the general hostility towards extreme violence, an attitude which was established by the technologies of canon formation in the eighteenth and nineteenth century.

scholarly journals Word-entries and Big Data in Lexicons of Early Modern English

2015 ◽  
Vol 37 (4) ◽  
pp. 215-234
Author(s):  
Ian Lancashire
Keyword(s):  
Early Modern ◽  
Text Analysis ◽  
Online Database ◽  
Modern Language ◽  
University Of Toronto ◽  
The Past ◽  
Early Modern English ◽  
History Of ◽  
Survival And Growth ◽  
The University

This brief thirty-year history of Lexicons of Early Modern English, an online database of glossaries and dictionaries of the period, begins in a fourteenth-floor Robarts Library lab of the Centre for Computing and the Humanities at the University of Toronto in 1986. It was first published freely online in 1996 as the Early Modern English Dictionaries Database. Ten years later, in a seventh-floor lab also in the Robarts Library, it came out as LEME, thanks to support from TAPoR (Text Analysis Portal for Research) and the University of Toronto Press and Library. No other modern language has such a resource. The most important reason for the emergence, survival, and growth of LEME is that its contemporary lexicographers understood their language differently from how we, our many advantages notwithstanding, have conceived it over the past two centuries. Cette brève histoire des trente ans du Lexicons of Early Modern English, une base de données en ligne de glossaires et de dictionnaires de l’époque, commence en 1986 dans le laboratoire du Centre for Computing and the Humanities, au quatorzième étage de la bibliothèque Robarts de l’Université de Toronto. Cette base de données a été publiée gratuitement en ligne premièrement en 1996, sous le titre Early Modern English Dictionnaires Database. Dix ans plus tard, elle était publiée sous le sigle LEME, à partir du septième étage de la même bibliothèque Robarts, grâce au soutien du TAPoR (Text Analysis Portal for Research), de la bibliothèque et des presses de l’Université de Toronto. Aucune autre langue vivante ne dispose d’une telle ressource. La principale raison expliquant l’émergence, la survie et la croissance du LEME est que les lexicographes qui font l’objet du LEME comprenaient leur langue très différemment que nous la concevons depuis deux siècles, et ce nonobstant plusieurs de nos avantages.

Constraints on ellipsis alternation: A view from the history of English

2015 ◽  
Vol 27 (2) ◽  
pp. 227-254 ◽  
Author(s):  
Joanna Nykiel
Keyword(s):  
Early Modern ◽  
Language Processing ◽  
Form Processing ◽  
Argument Ellipsis ◽  
Early Modern English ◽  
History Of ◽  
Construction Type ◽  
Semantic Dependencies ◽  
Late Modern

AbstractI offer a diachronic perspective on English ellipsis alternation, or the alternation between inclusion and omission of prepositions from remnants under sluicing and bare argument ellipsis. The relative freedom to omit prepositions from remnants has not been stable in English; this freedom is connected to the strength of semantic dependencies between prepositions and verbs. Remnants without prepositions are first attested, but remain less frequent than remnants with prepositions, as late as Early Modern English and gain in frequency following this period. I demonstrate that three constraints—correlate informativity, structural persistence, and construction type—predict ellipsis alternation in Early and Late Modern English. However, predicting ellipsis alternation in present-day English requires semantic dependencies in addition to the three constraints. The constraints can be subsumed under principles of language processing and production (considerations of accessibility, a tendency to reuse structure, and a conventionalized performance preference for efficiently accessing constituents that form processing domains), permitting a unified processing account of ellipsis alternation with cross-linguistic coverage.

Ekphrasis

2017 ◽  
Author(s):  
Joel Altman
Keyword(s):  
Early Modern ◽  
Usual Sense ◽  
Early Modern Theatre ◽  
Early Modern English ◽  
Wide Range ◽  
Word Painting ◽  
English Stage ◽  
Relationship Of ◽  
The Relationship ◽  
Flexible Capacity

This chapter examines the use of ekphrasis in early modern theatre, with particular emphasis on its effect on the stage and the relationship of ekphrastic speech to the ongoing action in which it is enunciated. It maps the parameters of ekphrasis on the early modern English stage by considering a few examples of the ways in which ekphrasis instantiates early modern theatricality. It also discusses the expressive potential of ekphrastic speech and its transmission to the listener as well as the ironic uses of ekphrasis as a mode of persuasion, whether directed to oneself, an on-stage auditor, off-stage auditors, or all three. It argues that ekphrasis creates nothing less than what it calls ‘the psyche of the play’ and explains how the unusually flexible capacity of the staged word allows it to be used for a wide range of theatrical techniques, including the usual sense of ‘word-painting’. Finally, it looks at William Shakespeare’s deployment of ekphrasis in his work such asHamlet.

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