Shakespeare And The French Borders Of English

This study emerges from an interdisciplinary conversation about the theory of translation and the role of foreign language in fiction and society. By analyzing Shakespeare's treatment of France, Saenger interrogates the cognitive borders of England - a border that was more dependent on languages and ideas than it was on governments and shorelines.

This study emerges from an interdisciplinary conversation about the theory of translation and the role of foreign language in fiction and society. By analyzing Shakespeare's treatment of France, Saenger interrogates the cognitive borders of England - a border that was more dependent on languages and ideas than it was on governments and shorelines.

The Arden Shakespeare Dictionary on Shakespeare and National Identity makes a timely and valuable contribution to the discipline. National identity in the early modern period is a central topic of scholarly investigation; it is also a dominant topic in classroom instruction and discussion. More than any other early modern playwright, Shakespeare (especially his history plays) is at the heart of recent critical investigations into a host of relevant topics: borders, history, identity, land, memory, nation, place and space. This Dictionary works through Shakespeare's plays and the cultural moment in which they were produced to provide a rich and informative account of such topics. An ideal reference work for upper level students and scholars and an essential resource for any literary library.

The Oxford Handbook of Shakespeare and Embodiment brings together 40 of the most important scholars and intellectuals writing on the subject today. Extending the purview of feminist criticism, it offers an intersectional paradigm for considering representations of gender in the context of race, ethnicity, sexuality, disability, and religion. In addition to sophisticated textual analysis drawing on the methods of historicism, psychoanalysis, queer theory, and posthumanism, a team of international experts discuss Shakespeare's life, contemporary editing practices, and performance of his plays on stage, on screen, and in the classroom. This theoretically sophisticated yet elegantly written Handbook includes an editor's Introduction that provides a comprehensive overview of current debates.

Seminar paper from the year 2012 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Würzburg (Neuphilologisches Institut), course: Shakespeare’s History Plays, language: English, abstract: 1. Introduction “Normans, but bastard Normans, Norman bastards!” (Shakespeare, Arden 3.5.10) This exclamation of the Duke of Britain when he thinks of the English invader King Henry and his approaching army is a testimony of the cordial dislike of the French towards their English enemy. Within Henry V there are many more instances of the French being prejudiced against the English but also vice versa. However, the quotation above does not only contain a token of the French aversion against their opponent in the Hundred Years War – the setting of this history play by William Shakespeare – but also alludes to the fact that the two nations are somehow interwoven – a circumstance that will be dealt with later on. Within this paper on Shakespeare’s Henry V, I will take a closer look at the ways in which the two nations describe themselves and are described by others, as well as at the textual evidence that sheds light on some of the national prejudices that the English and the French have against each other. Finally, I will search for those points in the play that indicate a sort of closeness between the two parties. Concerning the choice of words, it has to be mentioned that, for the sake of simplicity, the terms England and the corresponding adjective English shall be synonymous with the totality of England, Scotland, Wales and Ireland, the four peoples that are fighting together under King Henry against the French.

Shakespeare and the Italian Renaissance investigates the works of Shakespeare and his fellow dramatists from within the context of the European Renaissance and, more specifically, from within the context of Italian cultural, dramatic, and literary traditions, with reference to the impact and influence of classical, coeval, and contemporary culture. In contrast to previous studies, the critical perspectives pursued in this volume’s tripartite organization take into account a wider European intertextual dimension and, above all, an ideological interpretation of the 'aesthetics' or 'politics' of intertextuality. Contributors perceive the presence of the Italian world in early modern England not as a traditional treasure trove of influence and imitation, but as a potential cultural force, consonant with complex processes of appropriation, transformation, and ideological opposition through a continuous dialectical interchange of compliance and subversion.

Language is the central concern of this book. Colonization, poetry and Shakespeare – and the Renaissance itself – provide the examples. I concentrate on text in context, close reading, interpretation, interpoetics and translation with particular instances and works, examining matters of interpoetics in Renaissance poetry and prose, including epic, and the Hugo translation of Shakespeare in France and trying to bring together analysis that shows how important language is in the age of European expansion and in the Renaissance. I provide close analysis of aspects of colonization, front matter (paratext) in poetry and prose, and Shakespeare that deserve more attention. The main themes and objectives of this book are an exploration of language in European colonial texts of the “New World,” paratexts or front matter, Renaissance poetry and Shakespeare through close reading, including interpoetics (liminality), translation and key words.

Languages have become more mobile than ever before, producing translations, transplantations, and cohabitations of all kinds. The early modern period also witnessed profound linguistic transformation, but in very different ways. Interlinguicity, Internationality, and Shakespeare undoes the illusion that Shakespeare wrote in what we now think of as English. In a series of essays approaching Shakespeare from unique and thought-provoking perspectives, contributors from history, performance criticism, and comparative literature look at "interlinguicity," the condition of being between languages, and "internationality," the condition of being between countries. Each essay focuses on local issues, such as community identification in the Netherlands of Shakespeare’s time and the appropriation of Shakespeare in German literature in the nineteenth century, to suggest that Shakespeare never wrote "in" English because English was not then, nor is it now, an intact, knowable system. Many languages existed in sixteenth-century London, and English did not have clear limits. Interlinguicity, Internationality, and Shakespeare helps to explain the hybridity that Shakespeare embraced in all his writing. Contributors include Paula Blank (College of William and Mary), Lauren Coker (Saint Louis University), Brian Gingrich (Princeton University), Alexa Huang (George Washington University), James Loehlin (University of Texas at Austin), Scott Newstok (Rhodes College), Patricia Parker (Stanford University), Elizabeth Pentland (York University), Philip Schwyzer (University of Exeter), Gary Waite (University of New Brunswick), and Robert N. Watson (University of California, Los Angeles)

Seminar paper from the year 2012 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Wurzburg (Neuphilologisches Institut), course: Shakespeare's History Plays, language: English, abstract: 1. Introduction "Normans, but bastard Normans, Norman bastards " (Shakespeare, Arden 3.5.10) This exclamation of the Duke of Britain when he thinks of the English invader King Henry and his approaching army is a testimony of the cordial dislike of the French towards their English enemy. Within Henry V there are many more instances of the French being prejudiced against the English but also vice versa. However, the quotation above does not only contain a token of the French aversion against their opponent in the Hundred Years War - the setting of this history play by William Shakespeare - but also alludes to the fact that the two nations are somehow interwoven - a circumstance that will be dealt with later on. Within this paper on Shakespeare's Henry V, I will take a closer look at the ways in which the two nations describe themselves and are described by others, as well as at the textual evidence that sheds light on some of the national prejudices that the English and the French have against each other. Finally, I will search for those points in the play that indicate a sort of closeness between the two parties. Concerning the choice of words, it has to be mentioned that, for the sake of simplicity, the terms England and the corresponding adjective English shall be synonymous with the totality of England, Scotland, Wales and Ireland, the four peoples that are fighting together under King Henry against the French.

No literary tradition in early modern Europe was as obsessed with the interaction between the native tongue and its dialectal variants, or with ‘foreign’ languages and the phenomenon of ‘translation’, as English Renaissance drama. Originally published as a themed issue of English Text Construction 6:1 (2013), this carefully balanced collection of essays, now enhanced with a new Afterword, decisively demonstrates that Shakespeare and his colleagues were far more than just ‘English’ authors and that their very ‘Englishness’ can only be properly understood in a broader international and multilingual context. Showing a healthy disrespect for customary disciplinary borderlines, Multilingualism in the Drama of Shakespeare and his Contemporaries brings together a wide range of scholarly traditions and vastly different types of expertise. While several papers venture into previously uncharted territory, others critically revisit some of the loci classici of early modern theatrical multilingualism such as Shakespeare’s Henry V.