Shakesplish (Paula Banks): Introduction, Schemi e mappe concettuali di Lingua Inglese

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ShakesplishShakesplish

Shakesplish

Shakespeare in Modern English Shakespeare in Modern English

Shakespeare in Modern English

Paula Banks, Introduction

Shakespearean plays are full of words with familiar forms but unknown meaning to us. We need to examine how we experience Shakespeare in ME because we lack the scholarship and the popular accounts of the body of work to properly understand how much we fail to appreciate Shakespeare in today’s language. introduction I

There are two types of books on Shakespeare’s language: linguistically oriented (phonetics, grammar, lexicon) rhetorically (rhetoric: creation of effects via language) oriented (verse, prose, tropes, schemes, wordplay) Some of his language remained the same and some changed drastically, but these studies presume a Renaissance community of readers who shared a similar

• if not identical - linguistic experience, even though they didn’t all have the same reactions. studies III

Second-language acquisition, focus on the cognitive experience involved with learning a foreign language. Errors are not failures but evidences of valid psycholinguistic experiences: “bastard English” is pejorative; we call it SHAKESPLISH.

Works written for/by

actors are concerned with

the delivery and the

reception of the

performance, which must

find a way to access the

real impact of the play

but also respect our own

cultural environment

methodologies IV Translation and transl. theory: we cannot draw boundaries between his languages and ours. Only ME translation can avoid Shakespeare’s exctintion (BASSNET), but one only needs more training to understand him (CRYSTAL). MoE speakers’ approach to language is resistance to the foreign but desire for interlingual differences. This type of translation is a kind of INTRALINGUAL, though, the study of English is not linear and there’s a dual idea of Shakespeare as a model but also a precedent for innovation