Auswahl der wissenschaftlichen Literatur zum Thema „English Dialect drama“
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Zeitschriftenartikel zum Thema "English Dialect drama"
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Simon-Jones, Lindsey Marie. „Neighbor Hob and neighbor Lob“. English Text Construction 6, Nr. 1 (05.04.2013): 40–59. http://dx.doi.org/10.1075/etc.6.1.03sim.
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Drawing on scholars like Paula Blank, Janette Dillon and Tim Machan, this article argues that, in the Tudor university and court plays of Shakespeare’s youth, the stigmatization of non-standard, dialect speakers demonstrates a cultural renegotiation of the contemporary linguistic climate. By defining the English language and the English people not against a foreign Other, but rather against the domestic, servile, and dialect-speaking Other, sixteenth-century playwrights demonstrated the threat of non-standard speaking and advocated the standardization of language through education while effecting cultural change through negative reinforcement. Keywords: Tudor drama; interludes; history of English language; dialect; university grammarians
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Rusu, Iris. „Bridging the Gap between Cultures: The Translation of Cockney and Slang in G. B. Shaw’s “Pygmalion”“. East-West Cultural Passage 21, Nr. 2 (01.12.2021): 105–32. http://dx.doi.org/10.2478/ewcp-2021-0016.
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Abstract This article analyses the main drama translation strategies pertaining to the rendering of dialect and slang from English into Romanian with practical emphasis on “Pygmalion” (1914; 1941) by George Bernard Shaw. Moreover, it aims to review translation techniques and strategies which facilitate the translation of slang and dialect, more precisely Cockney, from English into Romanian. Amongst the strategies discussed here are: the application of a cultural filter and of local adaptation, the use of dialect compilation, pseudo-dialect translation, parallel dialect translation, dialect localization, and standardisation. The second half of this article scrutinises a selection of lines extracted from G. B. Shaw’s “Pygmalion,” comparing and contrasting the existing Romanian translations and suggesting new solutions to rendering culture-specific terms into Romanian.
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Fonseka, Edirisingha Arachchige Gamini. „Sustaining Tradition with Inspiration from Modernity: Countering Elitism in Teaching Shakespearean Drama“. Moderna Språk 107, Nr. 2 (16.12.2013): 90–98. http://dx.doi.org/10.58221/mosp.v107i2.8077.
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The tradition of teaching English Literature in most universities round the world has evolved in such a way that a degree programme in English is not considered complete without a component of Shakespearean drama. Yet the poetics and the noetics of the Shakespeare plays written in a 16th Century dialect have become bitter delicacies for most students, as the comprehension and personalization of Shakespeare texts remain an unresolved challenge. The traditional mechanism of teaching Shakespeare texts involves reading the lines with a glossary, comparing the meanings with influential critical interpretations, reflecting on the implications either diachronically or synchronically, and writing unguided essays on topics related to classroom discussions. Most students fail in these activities as they find it difficult to internalize the meanings conveyed by word and action in relation to the historical settings depicted in the plays. Hardly a stage production of a Shakespeare play takes place in their environments to give them an idea about the actual form of it and therefore they are destined to remain totally segregated from Shakespeare. Unfortunately, this turns Shakespeare scholarship into an elitist pastime, and invites undue controversies from students who feel fenced off from the process. In attempting to develop solutions to the problems of teaching Shakespearean drama faced in this way, so much inspiration can be drawn from the numerous cinematic productions of Shakespeare plays. They present not only approximate models for pronouncing the lines but also lively simulations of the persons and situations concerned. Cultural commodities developed in a spirit of modernity prove effective only if they preserve the essence of tradition. There are numerous films on Shakespeare, very articulate in this sense. Therefore, using a series of exemplars developed on Shakespeare’s Othello, this article demonstrates how inspiration can be drawn from modernity in countering elitism in teaching Shakespeare.
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Delabastita, Dirk, und Ton Hoenselaars. „‘If but as well I other accents borrow, that can my speech diffuse’“. English Text Construction 6, Nr. 1 (05.04.2013): 1–16. http://dx.doi.org/10.1075/etc.6.1.01int.
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Ní Riain, Isobel. „Drama in the Language Lab – Goffman to the Rescue“. Scenario: A Journal of Performative Teaching, Learning, Research VIII, Nr. 2 (01.07.2014): 115–23. http://dx.doi.org/10.33178/scenario.8.2.11.
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Between 2011 and summer 2014 I taught Irish in the Modern Irish Department of University College Cork (UCC). I spent one hour a week with each of my two second year groups in the language lab throughout the academic year. Ostensibly, my task was to teach the students to pronounce Irish according to Munster Irish dialects. It was decided to use Relan Teacher software for this purpose. My main objective was to teach traditional Irish pronunciation and thus to struggle against the tide of the overbearing influence of English language pronunciation which is becoming an increasing threat to traditional spoken Irish. Achieving good pronunciation of Irish language sounds, where there is strong interference from English, is not easy. For many students there is no difference between an English /r/ and an Irish /r/. Irish has a broad and slender /r/ depending on the nearest vowel. Many students do not even acknowledge that Irish has to be pronounced differently and this is a tendency that seems to be gathering momentum. The question I asked at the beginning of my research was how could I cultivate a communication context in which students would start to use sounds they had been rehearsing in ...
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Mansoor, Mohammad S., und Yusra M. Salman. „Linguistic Deviation in Literary Style“. Cihan University-Erbil Journal of Humanities and Social Sciences 4, Nr. 1 (10.02.2020): 7–16. http://dx.doi.org/10.24086/cuejhss.v4n1y2020.pp7-16.
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This paper is an attempt to shed light on linguistic deviation in literary style. Literary language, with its three main genres; poetry, drama and prose, is a situational variety of English that has specific features which belong to the literary and elevated language of the past. Literary language has been assigned a special status since antiquity, and is still used nowadays by some speakers and writers in certain situations and contexts. It has been considered as sublime and distinctive from all other types of language; one which is deviant from ordinary use of language in that it breaks the common norms or standards of language. A basic characteristic of literary style is linguistic deviation which occurs at different levels; lexical, semantic, syntactic, phonological, morphological, graphological, historical, dialectal and register. All these types of deviations are thoroughly investigated and stylistically analyzed in this paper so as to acquaint readers, students of English, researchers, and those interested in the field, with this type of linguistic phenomenon whose data is based on selected samples from major classical works in English literature
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Leonard, Alice. „“Enfranchised” Language in Mulcaster’s Elementarie and Shakespeare’s Henry V“. Revista Alicantina de Estudios Ingleses, Nr. 25 (15.11.2012): 127. http://dx.doi.org/10.14198/raei.2012.25.10.
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This article is a study of early literary theory and practice in Renaissance England, which focuses specifically on Shakespeare’s language use. The end of the sixteenth century in England experienced a linguistic revolution as Latin was gradually replaced by vernacular English. Renaissance rhetoricians such as George Puttenham and Thomas Wilson patriotically argued that English was capable of employing figures of speech to express complex ideas. Yet in this period the vernacular was in a process of formation, demonstrated by Richard Mulcaster’s Elementarie (1582). He argued for the expansion of the lexicon according to “enfranchisement”: the welcoming and naturalizing of foreign words from Latin, Greek, Spanish, French and Italian into English (1582: 172). The Elementarie reveals how language was being shaped in a period of massive linguistic change. This is especially visible in the dynamic creativity of Shakespeare’s linguistically-inventive drama, made possible by the transition from Latin to a protean vernacular. He staged the difference within English itself and its mixing with foreign languages. This is particularly prevalent in Henry V (1599) with the representation of French and regional dialects, where linguistic exchange and semantic negotiation bring linguistic difference to the fore and the lexical parts become all the more plastic. This article seeks to examine what happens when English is set alongside foreign tongues: why they are used, how they are represented, and how they interact. It will argue that this attention to foreign language demonstrates English inviting rather than excluding strange tongues for the health of the linguistic body and the enhancement of expression.
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Muhammad Ahmed Awan und Abdul Khalique. „A Cultural Study of Aagha Hashar Kashmiri's Dramas“. Dareecha-e-Tahqeeq 4, Nr. 3 (05.11.2023): 65–69. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i3.141.
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Culture is a collection of national traditions, lifestyles, ethics, literature, arts, dialects, languages, social systems and other factors that are common to the people of a particular region or nation. Culture is the identity of a country, region or nationality. Cultural elements bring any work of art closer to reality. Agha Hashar has also presented the civilization and culture of the sub-continent in his plays, from which his plays are known as the main part of Urdu literature, as if in this way he secured that era. At that time, the Mughal culture was in decline, but its effects on Indian civilization are significant. Agha Hashar's plays reflect the decadent Mughal civilization as well as Western civilization as he adapted English plays into Urdu language by giving them an Indian look. For this reason, there is a special kind of Ganga Jamni in his plays, which can be estimated by studying his plays. Through these plays, he not only preserved the culture and civilization of the subcontinent, but also used the words of different languages in his plays. It is as if these plays are a milestone in the interpretation and publication of Urdu dramatization, by reading them, one is aware of the historical, cultural, intellectual and linguistic consciousness of a certain era.
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Dutton, Janet, und Kathy Rushton. „Drama pedagogy: subverting and remaking learning in the thirdspace“. Australian Journal of Language and Literacy, 24.05.2022. http://dx.doi.org/10.1007/s44020-022-00010-6.
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AbstractThis qualitative, ethnographic research highlights how drama pedagogy using translanguaging-based Readers Theatre supports students learning English as an Additional Language or Dialect (EAL/D) to develop knowledge of language central to their engagement with learning (Authors, 2020). Using socio-spatial theory of Lefebvre (1991) and Soja (Annals of the Association of American Geographers 70:207–225, 1980), we argue that drama pedagogy can shape a creative translanguaging space as reported by Li (Journal of Pragmatics 43:1222–1235, 2011) in which the high-stakes test based pressure to narrow curriculum and pedagogical breadth can be resisted, and classroom spaces remade so that literacy learning is identity-affirming and caters for the diverse needs of students.
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Jason, Ghazwan Abed. „Interaction between Modern Arabic and European Drama and its Role in Removing the Language Pattern Limits With Special Reference to the playwright Saadallah Wanous“. مجلة ابن خلدون للدراسات والأبحاث 3, Nr. 2 (31.01.2023). http://dx.doi.org/10.56989/benkj.v3i2.78.
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It is well known that there is an effects of the same area language accents, dialects, traditions and customs, in the Arab World, because of the same area language effects on them, for example the Egyptian theatre have more effects on other Arabic countries, but there was no more studies on the effects of other cultures and language in Arabic theatre, so this research will cast light on Interaction between Modern Arabic and European Drama and its Role in Removing the Language Pattern Limits. The study aims at investigating the factors behind interaction between Arabic and European theatre, and to study the role of interaction in filling the gap between the formal and slang Arabic. The researcher followed the descriptive, analytic and critical approach. The research come up with many results, the important of which is: the Arabic theatre represented by Saadallah Wannous makes understand that the theatre writings is non-completed, otherwise than it is completed by the wholly presentation, as such the ultimate relation between theoretical writing and the practical, Sa’adallah Wannous need really a political theatre discharge and either partially daily and in the same time, make and enhance audience for changing., Wannous needs an audience theatre towards the working public strata, after studying its situations and life circumstances, he needs for this group to go on breaking of the classical work, so as to jump on experimental continuous way for building a mission theatre. The study recommend that, there should be more focus in studying contrastive studies between Arabic and English in theatre language, also faculty of arts should practically pay attention to teaching comparative drama for their students.
Dissertationen zum Thema "English Dialect drama"
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Black, Gladys Elizabeth. „Educational drama, regional dialect & spoken standard English“. Thesis, University of Ulster, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390152.
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Stewart, Lauren Marie. „Representation of Northern English and Scots in seventeenth century drama“. Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5988.
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Early Modern English (c. 1500-‐1700) is a difficult period for dialectological study. A dearth of textual evidence means that no comprehensive account of regional variation for this period can be attempted, and the field has therefore tended to be somewhat neglected. However, some evidence of regional varieties of English is provided by dialect representation in Early Modern drama. The dialogue of certain English and Scottish characters (and of those who impersonate them) is often marked linguistically as different from other characters: morphosyntactic forms, lexical items, and phonological features shown through variant spellings suggest dialectal usage in contrast to Standard English. This evidence, I argue, forms a legitimate basis on which to build at least a partial account of regional variation. The 47 plays analysed in this thesis were all written and/or printed between 1598 and 1705, and all feature examples of either Northern English or Scots dialect representation. From these examples we can build up a picture of some of the main phonological, morphosyntactic, and lexical elements of the seventeenth century dialects spoken in Scotland and northern England. Moreover, this literary evidence can help clarify and contextualise earlier scholarly work on the topic. The content of the plays themselves, along with the dialect representations, also provide sociocultural and sociolinguistic information about the perception of Scots and northerners and of the attitudes towards them across the country. In Chapter 1 I outline my methodology and provide a review of relevant literature, particularly focusing on other studies of dialect representation in drama. Chapter 2 gives an overview of the historical context for my linguistic data in seventeenth century Britain, including discussions of theatrical history in both England and Scotland, and of population movement and dialect contact. The Scottish dialect evidence is presented in Chapters 3 to 6. In Chapter 3, I give a chronological list of 33 plays featuring Scots dialect representation. In order to contextualise the plays, I provide background information about the author, printing, and performance history; a brief summary of the plot and a description of the dialect speaker; my assessment of the dialect representation; and if pertinent, commentary by other critics. I present and analyse the data from dramatic depictions of Scots, focusing on lexical items (Chapter 4), morphosyntactic features (Chapter 5), and phonological features as indicated by variant spellings (Chapter 6). I compare the literary data with linguistic reference works, including modern and historical dialect atlases, dictionaries, and dialect surveys. I also consult additional Early Modern sources and other reference works. The next four chapters focus on representations of dialects of northern England. These chapters follow the same format as the chapters on Scottish dialect: Chapter 7 contains a discussion of 15 seventeenth-‐century plays featuring representations of Northern English. Chapters 8, 9, and 10 mirror the structure of Chapters 4, 5, and 6, respectively, discussing lexical forms, and morphosyntactic and phonological features in representations of Northern English. I offer my conclusions in Chapter 11. With my detailed analysis of the data, I demonstrate that representations of regional usage in seventeenth century drama cannot be dismissed as stereotyped examples of a stage dialect, and that these literary data are worthy of being analysed linguistically. Although the quantity of dialect representation differs from one play to the next, and the quality covers a broad spectrum of linguistic accuracy, it nevertheless provides important information about non-‐standard dialects of northern England and Scotland in the seventeenth century.
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Kingston, Talya Anne. „The dramaturgy of dialect an examination of the sociolinguistic problems faced when producing contemporary British plays in the United States /“. Connect to this title online, 2008. http://scholarworks.umass.edu/theses/105/.
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Sproat, Ethan McKay. „Dialectic, Perspective, and Drama“. Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2441.pdf.
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Doyle, Anne-Marie. „Shakespeare and the genre of comedy“. Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/177.
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Traditionally in the field of aesthetics the genres of tragedy and comedy have been depicted in antithetical opposition to one another. Setting out from the hypothesis that antitheses are aspects of a deeper unity where one informs the construction of the other’s image this thesis questions the hierarchy of genre through a form of ludic postmodernism that interrogates aesthetics in the same way as comedy interrogates ethics and the law of genre. Tracing the chain of signification as laid out by Derrida between theatre as pharmakon and the thaumaturgical influence of the pharmakeus or dramatist, early modern comedy can be identified as re-enacting Renaissance versions of the rite of the pharmakos, where a scapegoat for the ills attendant upon society is chosen and exorcised. Recognisable pharmakoi are scapegoat figures such as Shakespeare’s Shylock, Malvolio, Falstaff and Parolles but the city comedies of this period also depict prostitutes and the unmarried as necessary comic sacrifices for the reordering of society. Throughout this thesis an attempt has been made to position Shakespeare’s comic drama in the specific historical location of early modern London by not only placing his plays in the company of his contemporaries but by forging a strong theoretical engagement with questions of law in relation to issues of genre. The connection Shakespearean comedy makes with the laws of early modern England is highly visible in The Merchant of Venice, Measure for Measure and The Taming of the Shrew and the laws which they scrutinise are peculiar to the regulation of gendered interaction, namely marital union and the power and authority imposed upon both men and women in patriarchal society. Thus, a pivotal section on marriage is required to pinion the argument that the libidinized economy of the early modern stage perpetuates the principle of an excluded middle, comic u-topia, or Derridean ‘non-place’, where implicit contradictions are made explicit. The conclusion that comic denouements are disappointing in their resolution of seemingly insurmountable dilemmas can therefore be reappraised as the outcome of a dialectical movement, where the possibility of alternatives is presented and assessed. Advancing Hegel’s theory that the whole of history is dialectic comedy can therefore be identified as the way in which a society sees itself, dramatically representing the hopes and fears of an entire community.
Bücher zum Thema "English Dialect drama"
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Black, Gladys Elizabeth. Educational drama, regional dialect and spoken standard English. [S.l: The Author], 1997.
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Wauschkuhn, Doris. Literarischer Dialekt und seine Funktion zur Begründung einer dramatischen Tradition im Werk von John Millington Synge und Eugene OʼNeill. Trier: Wissenschaftlicher Verlag Trier, 1993.
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Shakespeare, William. Macbeth: Modern English version side-by-side with full original text. Woodbury, N.Y: Barron's, 1985.
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Shakespeare, William. The tragedy of Macbeth: A facing-pages translation into contemporary English. Los Angeles: Lorenz Educational Publishers, 1995.
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Shakespeare, William. Macbeth: Englisch/Deutsch. [Germany]: Bremer Shakespeare Company, 1989.
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Shakespeare, William. Macbeth: A facing-page edition : the original text and a translation into modern English. Whiting, Vt: Shakespeare-For-Today Trust, 1990.
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1950-, Müller Klaus Peter, und Glaap Albert-Reiner, Hrsg. Dramatic voices from England, Canada and New Zealand: Feschrift für Albert-Reiner Glaap. Berlin: Cornelsen, 1989.
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Shakespeare, William. Macbeth. [Mahwah, N.J.]: Troll Communications, 2001.
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Shakespeare, William. Macbeth: Complete and unabridged. London: Macmillan, 1986.
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Shakespeare, William. Macbeth: Trago die. [Berlin]: Schaubu hne am Lehniner Platz, 1988.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "English Dialect drama"
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Hunter, G. K. „Introduction“. In English Drama 1586-1642, 1–6. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198122135.003.0001.
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Abstract This is a book not about Shakespeare the solitary genius but rather about the world that constituted his life as a writer-the world of the public dramatists, actors, audiences, playhouses, impresarios, who provided him with the basic definition of his metier. It was from these that he learnt how to encode his own daily experience and that of his audience inside available forms of expression; they presented examples of what to follow and what to avoid, defined the rivals he had to outshine if his company (and his income) were to survive. A comprehensive explanation of what was involved in living in that situation is, of course, inaccessible to us; historians like to invoke the great events of the time in terms of their now-perceived consequences, but at the actual rime these could not be given any generalized or objective meaning outside the local languages that were being invented (cu”ente calamo) and communicated inside the communities that the writer drew on and served. So it can be no part of a literary investigation to ‘explain’ the life of the past, but only to propose an unstable dialectic between our own inescapable modernity and the languages of the locally experienced and documented past-one in which Shakespeare was known in the terms of ‘our fellow’, with his ‘right happy and copious industry’,2 as a working dramatist among working dramatists, though endowed with a marvellous vein of ‘honey-tongued’ eloquence.
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Oppitz-Trotman, George. „Servants“. In The Origins of English Revenge Tragedy, 126–63. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474441711.003.0005.
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Servants in early modern drama have increasingly been investigated less as objects of domination than as subjects capable of affective and ethical relations with their masters. Both sorts of interpretation depend upon the assumption that actual early modern servants are straightforwardly represented in drama of the time. Observing that common players were themselves patronised and liveried servants, and that the theatre itself appeared as a form of mercenary service, this chapter shows how procedures of dramatic figuration implicate identification of the servant in a complex dialectic of discernment. With roots in various sorts of contemporary social anxiety, such difficulties are at their most intense in revenge tragedy. In many places reading revenge plays involves confronting their ability to undo the social concepts used to grasp their historical content.