Madeleine Doran, Shakespeare's Dramatic Language

2014 ◽  
pp. 407-436
Keyword(s):  
Dramatic Language

scholarly journals Bilingualism (Multilingualism) in the Balkans: Bulgarian and Macedonian Exemplification

2021 ◽  
Author(s):  
Jolanta Sujecka
Keyword(s):  
Nineteenth Century ◽  
Cultural Orientation ◽  
Language And Identity ◽  
The Balkans ◽  
Dramatic Language

Bilingualism (Multilingualism) in the Balkans: Bulgarian and Macedonian ExemplificationThe paper attempts to find a broader language and identity context for the output of Grigor Prličev (1830/31–1893), out of an obligation created by the first Polish translation of his poem Skanderbeg (1862, Σκενδέρμπεης), by Małgorzata Borowska (Colloquia Humanistica 10, 2021). Prličev’s dramatic language and identity choices had their roots in the multilingualism in the Balkans, and a complete change of civilisational and cultural orientation in Balkan cultures during the nineteenth century. The Bulgarian and Macedonian exemplification is preceded by a Serbian illustration with some references to the Greek.Problem bilingwizmu (wielojęzyczności) na Bałkanach. Egzemplifikacja bułgarska i macedońskaNiniejszy artykuł jest w istocie próbą znalezienia szerszego językowo-tożsamościowego kontekstu dla twórczości Grigora Prličeva (1830/31–1893), do czego zobowiązuje pierwszy polski przekład jego drugiego poematu Rzecz o Skanderbegu (1862, Σκενδέρμπεης), którego autorką jest Małgorzata Borowska („Colloquia Humanistica” 10, 2021). Dramatyczne wybory językowo-tożsamościowe Prličeva zakorzenione w wielojęzyczności Bałkanów w XIX wieku, były pochodną całkowitej zmiany orientacji cywilizacyjno-kulturowej w kulturach bałkańskich. Egzemplifikacja bułgarska i macedońska została poprzedzona ilustracją serbską z pewnymi odniesieniami do greckiego kontekstu.

Chopin Among the Pianists in Paris

2017 ◽  
Author(s):  
Sandra P. Rosenblum
Keyword(s):  
Opportunity To Learn ◽  
Early Years ◽  
Bel Canto ◽  
The World ◽  
Grand Opera ◽  
Dramatic Language

This chapter demonstrates how, while in the French capital, Chopin immersed himself in the world of opera and developed friendships with numerous opera stars. The French grand opéra influenced his harmonic and dramatic language, but it was the Italianate bel canto style that nourished his predilection for the singing tone. Yet, however French his disposition, the seeds for all these elements of Chopin's musical aesthetic and pianism were sown in Warsaw, long before he ever sought the wider world. In his early years, Chopin would also have had the opportunity to learn from performances by other first-rate artists, a host of opera stars, and several pianists in Warsaw whose performance styles he is known to have admired.

Finno-Ugrians of Russia: Vanishing Cultural Communities?

2001 ◽  
Vol 29 (1) ◽  
pp. 9-39 ◽  
Author(s):  
Seppo Lallukka
Keyword(s):  
Twentieth Century ◽  
Minority Groups ◽  
Soviet Rule ◽  
Demographic Trends ◽  
Cultural Communities ◽  
Dramatic Language

In 1990 a Mordvin scholar released an alarming forecast about the fate awaiting his people: provided that those adverse demographic trends that had established themselves over the course of the twentieth century continued, the last member of his million-strong nation would disappear by the year 2135. This statement was not the only one of its kind. During the final years of Soviet rule, the recently realized opportunity to speak out about the concerns of the non-Russian groups was being utilized speedily. Journalistic and scholarly reports on the various problems of Russia's minority groups, often painted in highly dramatic language, became common in both regional and central publications.

scholarly journals Mechanisms in Harold Pinter’s The Caretaker

2018 ◽  
Vol 7 (2) ◽  
pp. 69-73
Author(s):  
C. Vairavan
Keyword(s):  
Real Life ◽  
Harold Pinter ◽  
Human Subjectivity ◽  
Traditional Sense ◽  
Dramatic Language

Harold Pinter has explored human subjectivity and the process of its development especially in the domain of language in his play The Caretaker. He has used the dramatic language in the traditional sense. He chose to capture everyday speech and has rendered an authentic reality of life through his overturned use of language. As in real life, he has focused on the vocal elements such as silence, pause, and repetition and has used them in the statements. The paper focuses on these statements and discusses the concepts of psychosis or neurosis of the characters in their conversation with others wittily.

‘To reforme a frame’: The 1602 translation of Il pastor fido and Elizabethan theatrical publishing

2020 ◽  
pp. 018476782093644
Author(s):  
Massimiliano Morini
Keyword(s):  
Popular Book ◽  
History Of ◽  
History Of Translation ◽  
Dramatic Language

In the history of translation, it is often the case that one version of a popular book becomes so well-known that it tends to eclipse the efforts of all previous and subsequent practitioners. Richard Fanshawe’s 1647 translation of Giovanni Battista Guarini’s pastoral play, Il pastor fido, has led scholars to overlook the virtues of an earlier version, attributed to Tailboys Dymock and published in 1602. This article argues that this edition, and the book that introduced it to late-Elizabethan London, should be regarded as an important document in the development of English dramatic language and English theatrical publishing.

Rhetoric as a Dramatic Language in Ben Jonson

1951 ◽  
Vol 12 (1) ◽  
pp. 110-111
Author(s):  
E. W. Talbert
Keyword(s):  
Ben Jonson ◽  
Dramatic Language

Communicating torture. The dramatic language of Harold Pinter

Neophilologus ◽  
1996 ◽  
Vol 80 (2) ◽  
pp. 327-340 ◽  
Author(s):  
Dirk Visser
Keyword(s):  
Harold Pinter ◽  
Dramatic Language
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