Speech Act Theory And Shakespeare

Speech Act Theory and Shakespeare delves deeper than linguistic ornamentation to illuminate the complex dynamics of thanking as a significant speech act in Shakespearean plays. The word “thanks” appears nearly 400 times in 37 Shakespearean plays, calling for a careful investigation of its veracity as a speech act in the 16th-century setting. This volume combines linguistic analysis to explore the various uses of thanks, focusing on key thanking scenes across a spectrum of plays, including All’s Well That Ends Well, Romeo and Juliet, The Merchant of Venice, Timon of Athens, The Winter’s Tale, and the Henriad. Shakespeare’s works indicate the act of thanking to be more than a normal part of dialogue; it is an artistic expression fraught with pitfalls similar to those of negative speech acts. The study aims to determine what compels the characters in Shakespeare to offer thanks and evaluates Shakespeare’s accomplishment in imbuing the word “thanks” with performance quality in the theatrical sphere. This work adds to our comprehension of Shakespearean plays and larger conversations on the challenges of language usage in theatrical and cultural settings by examining the convergence of gratitude with power dynamics, political intrigue, and interpersonal relationships, drawing on a multidisciplinary approach that includes pragmatics, philosophy, religion, and psychology.

"Speech Act Theory and Shakespeare delves deeper than linguistic ornamentation to illuminate the complex dynamics of thanking as a significant speech act in Shakespearean plays. The word "thanks" appears nearly 400 times in 37 Shakespearean plays, calling for a careful investigation of its veracity as a speech act in the 16th-century setting. This volume combines linguistic analysis to explore the various uses of thanks, focusing on key thanking scenes across a spectrum of plays, including "All's Well That Ends Well," "Romeo and Juliet," "The Merchant of Venice," "Timon of Athens," "The Winter's Tale," and "Henry." Shakespeare's works indicate the act of thanking to be more than a normal part of dialogue; it is an artistic expression fraught with pitfalls similar to those of negative speech acts. The study aims to determine what compels the characters in Shakespeare to offer thanks and evaluates Shakespeare's accomplishment in imbuing the word "thanks" with performance quality the the theatrical sphere. This work adds to our comprehension of Shakespearean play and larger conversations on the challenges of language usage in theatrical and cultural settings by examining the convergence of gratitude with power dynamics, political intrigue, and interpersonal relationships, drawing on a multidisciplinary approach that includes pragmatics, philosophy, religion, and psychology"--

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1979.

The six case studies presented here fall into three distinct groups. They examine the application of speech act theory to Shakespearean drama, consider 18th-century Congressional debates from the perspective of fallacy theory in informal logic, and focus more narrowly on applications of linguistic pragmatics. Specific topics include types and functions of unpleasant verbal behavior in Shakespeare's Coriolanus and Timon of Athens, promises and their contexts in Coriolanus, efforts to block the Bill of Rights in 1789, collocational coloring and electronic corpora, and contexts of phonologically null objects in object control structures in English and in Finnish. c. Book News Inc.

Did earlier speakers of English use the same speech acts that we use today? Did they use them in the same way? How did they signal speech act values and how did they negotiate them in case of uncertainty? These are some of the questions that are addressed in this volume in innovative case studies that cover a wide range of speech acts from Old English to Present-day English. All the studies offer careful discussions of methodological and theoretical issues as well as detailed descriptions of specific speech acts. The first part of the volume is devoted to directives and commissives, i.e. speech acts such as requests, commands and promises. The second part is devoted to expressives and assertives and deals with speech acts such as greetings, compliments and apologies. The third part, finally, contains technical reports that deal primarily with the problem of extracting speech acts from historical corpora.

The book Power of Slurs in Othello: Speech Acts Explained delves into the complex relationship between language, power dynamics, and societal structures portrayed in Shakespeare's renowned tragedy. Through the lens of Speech Act Theory, this scholarly analysis explores how the use of derogatory language in character dialogues influences their interactions and drives the narrative forward. By meticulously examining these linguistic choices, the text reveals how slurs are wielded to assert authority, manipulate emotions, and perpetuate biases. This study offers a profound examination of how language serves as a tool of power, providing readers with valuable insights into the intricacies of communication and social hierarchies. Essential for those interested in understanding how language shapes interpersonal dynamics and conflicts in both literature and society.

The first handbook to survey and expand the burgeoning field of corpus pragmatics, the intersection of pragmatics and corpus linguistics.

Theatrical Speech Acts: Performing Language explores the significance and impact of words in performance, probing how language functions in theatrical scenarios, what it can achieve under particular conditions, and what kinds of problems may arise as a result. Presenting case studies from around the globe—spanning Argentina, Egypt, Germany, India, Indonesia, Korea, Kenya, Nigeria, Rwanda, Thailand, the UK and the US—the authors explore key issues related to theatrical speech acts, such as (post)colonial language politics; histories, practices and theories of translation for/in performance; as well as practices and processes of embodiment. With scholars from different cultural and disciplinary backgrounds examining theatrical speech acts—their preconditions, their cultural and bodily dimensions as well as their manifold political effects—the book introduces readers to a crucial linguistic dimension of historical and contemporary processes of interweaving performance cultures. Ideal for drama, theater, performance, and translation scholars worldwide, Theatrical Speech Acts opens up a unique perspective on the transformative power of language in performance.

This book makes ample use of approaches to language within linguistics, semiotics, the philosophy of language and sociology, in order to do justice to the subtlety of Shakespeare's verbal artistry. Keir Elam adopts a fresh approach to the language of Shakespeare's comedies, considering it not simply as 'style' but as the principal dramatic and comic substance of the plays. Traditional analysis of the language as 'diction', 'expression' or 'verbal structure' is not adequate to describe the range and importance of linguistic functions in these plays. This book shows that in Shakespearean comedy language, or rather 'discourse', language in use, is always a dynamic, active protagonist of the drama. The author explores the extraordinary gamut of verbal activities or 'language-games' that contribute to the rich rhetorical make-up of the comedies. The historical framework complements the application of critical theory which will assure a readership among students and teachers of Shakespeare as well as those interested in liguistics and semiotics.