Language and the Comedia

Language and the Comedia

Author: Catherine Larson

Publisher: Bucknell University Press

Published: 1991

Total Pages: 196

ISBN-13: 9780838751800

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This study illustrates how a focus on language, which is manifest in so much of contemporary literary theory, can help to open some of the canonical texts of Spanish Golden Age theater to new readings.


The Divine Comedy

The Divine Comedy

Author: Dante Alighieri

Publisher:

Published: 2018-10

Total Pages: 448

ISBN-13: 9781719836340

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When you want to read in both Italian and English, though, there's a great option: bilingual books! Reading bilingual books and inferring the vocabulary and grammar is a far superior method of language learning than traditional memorization. It is also much less painful. The Divine Comedy (Italian: Divina Commedia) is a long narrative poem by Dante Alighieri, begun c. 1308 and completed in 1320, a year before his death in 1321. It is widely considered to be the preeminent work in Italian literature and one of the greatest works of world literature. The poem's imaginative vision of the afterlife is representative of the medieval world-view as it had developed in the Western Church by the 14th century. It helped establish the Tuscan language, in which it is written, as the standardized Italian language. It is divided into three parts: Inferno, Purgatorio, and Paradiso. Durante degli Alighieri, commonly known as Dante Alighieri or simply Dante (1265 - 1321), was a major Italian poet of the Late Middle Ages. His Divine Comedy, originally called Comedìa (modern Italian: Commedia) and later christened Divina by Giovanni Boccaccio, is widely considered the most important poem of the Middle Ages and the greatest literary work in the Italian language.


The Comedia in English

The Comedia in English

Author: Susan Paun De García

Publisher: Tamesis Books

Published: 2008

Total Pages: 328

ISBN-13: 9781855661691

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"The bringing of Spanish seventeenth-century verse plays to the contemporary English-speaking stage involves a number of fundamental questions. Are verse translations preferable to prose, and if so, what kind of verse? To what degree should translations aim to be 'faithful'? Which kinds of plays 'work', and which do not? Which values and customs of the past present no difficulties for contemporary audiences, and which need to be decoded in performance?Which kinds of staging are suitable, and which are not? To what degree, if any, should one aim for 'authenticity' in staging? In this volume, a group of translators, directors, and scholars explores these and related questions."--Jacket


Language and the Comedia

Language and the Comedia

Author: Catherine Larson

Publisher:

Published: 1991-07-01

Total Pages: 181

ISBN-13: 9781611480658

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This study illustrates how a focus on language, which is manifest in so much of contemporary literary theory, can help to open some of the canonical texts of Spanish Golden Age theater to new readings.


Terence and the Language of Roman Comedy

Terence and the Language of Roman Comedy

Author: Evangelos Karakasis

Publisher: Cambridge University Press

Published: 2005-05-16

Total Pages: 325

ISBN-13: 113944445X

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This book offers a comprehensive examination of the language of Roman comedy in general and that of Terence in particular. The study explores Terence's use of language to differentiate his characters and his language in relation to the language of the comic fragments of the palliata, the togata and the atellana. Linguistic categories in the Terentian corpus explored include colloquialisms, archaisms, hellenisms and idiolectal features. Terence is shown to give his old men an old-fashioned and verbose tone, while low characters are represented as using colloquial diction. An examination of Eunuchus' language shows it to be closer to the Plautine linguistic tradition. The book also provides a thorough linguistic/stylistic commentary on all the fragments of the palliata, the togata and the atellana. It shows that Terence, except in the case of his Eunuchus, consciously distances himself from the linguistic/stylistic tradition of Plautus followed by all other comic poets.


The Language of Greek Comedy

The Language of Greek Comedy

Author: Andreas Willi

Publisher: Oxford University Press, USA

Published: 2002-10-03

Total Pages: 354

ISBN-13: 0199245479

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The contributions to this volume illustrate how the linguistic study of Greek comedy can deepen our knowledge of the intricate connections between the dramatic texts and their literary and socio-cultural environment. Topics discussed include the relationship of comedy and iambus, the world of Doric comedy in Sicily, figures of speech and obscene vocabulary in Aristophanes, comic elements in tragedy, language and cultural identity in fifth-century Athens, linguistic characterizationin Middle Comedy, the textual transmission of New Comedy, and the interaction of language and dramatic technique in Menander. Research in these topics and in related areas is reviewed in an extensive bibliographical essay.While the main focus is on comedy, the diversity of the approaches adopted (including narratology, pragmatics, lexicology, dialectology, sociolinguistics, and textual criticism) ensures that much of the work applies to different genres and is relevant also to linguists and literary scholars.


Linguistic Interaction in Roman Comedy

Linguistic Interaction in Roman Comedy

Author: Peter Barrios-Lech

Publisher: Cambridge University Press

Published: 2016-05-26

Total Pages: 407

ISBN-13: 1316592170

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This book presents a comprehensive account of features of Latin that emerge from dialogue: commands and requests, command softeners and strengtheners, statement hedges, interruptions, attention-getters, greetings and closings. In analyzing these features, Peter Barrios-Lech employs a quantitative method and draws on all the data from Roman comedy and the fragments of Latin drama. In the first three parts, on commands and requests, particles, attention-getters and interruptions, the driving questions are firstly - what leads the speaker to choose one form over another? And secondly - how do the playwrights use these features to characterize on the linguistic level? Part IV analyzes dialogues among equals and slave speech, and employs data-driven analyses to show how speakers enact roles and construct relationships with each other through conversation. The book will be important to all scholars of Latin, and especially to scholars of Roman drama.