Appunti English Language Plescia Shakespeare - Lingua inglese magistrale

Analysis of the Essay

If the essay is good, you’ll just answer to the theoretical questions: standardisation, Shrewlanguage enrichment, general question on the in an essay form Introduction to the scene rather than to the entire work, few pieces of information about the work and then tell more about the scene NO general information which can be found anywhere Ex. Make a case Caterina is ironic. Relationships men and women, etc. IN YOUR OWN WORDS, be critic! You are building an argument, why the passage is interesting, why it has been chosen.

Define the three factors:

• Audience
• Medium: theatre, page, movie, song, intersemiotic translation
• Myself as a translator. Who is my audience? What kind of position am I assuming? Am I more interested in the form, the content or both?

Main effort of a philological translation: make the text accessible for Italian readers

Commentary: notions of the course, good text analysis, resources used to solve these problems (e.g. Florio dictionary)

Sense about what kind of sources you

used to solve problems.
Compromise between very contemporary language and the language of that period.
Difficult words, expressions, etc. And I worked to find some solutions.
Describing the arrival on Petruccio, as an insult to his bride he arrives in bad clothes and an old horse. To make the passage funny, Shakespeare makes a list of the illnesses the horse has, they are illnesses only a vet knows, in translation those have to be found but also add some funny words in order to make people laugh.
E.g. I decided to translate with the second person singular in Italian; ignore the t-v distinction in the text.
Translate Caterina.
What do you adapt and what do you leave?
Domesticate the text (or not), you want your audience to believe this is in Italy, these are two Italian people talking, Italian greetings.
Shakespeare makes some mistakes in the Italian words he uses, he doesn't know Italian very well.
Florio's didactic dialogues.
Do you correct or leave the mistakes?
Believable, to be happening in Italy.Italy if you want to OR you don't want to pretend it happened in Italy and you want to be faithful Shakespeare wants his audience to know that it could happen in England at that time, although he set the story in Italy, the English names are wanted. San Gennaro, Sant'Antonio da Padova, etc. NOT Saint George. Italian people: evoking Saint George which is the quintessential saint of England, not of Italy! Translation studies: position of the translator 1506/11/201912) Sapienza > banca dati > Jstor OR MLA Notes, academic writing, quote and write sources 1 Note for quoting: you have to tell where that material can be found; SOMEONE ELSE'S WORDS, quotation marks, otherwise it is plagiarism (see) 2 Note to back up a claim I have made with some evidence; Oxford's dictionary.. Shakespeare did not invent this word, I give you a note to give some evidence to SUPPORT up my claim 3 argumentative/expansive note, I'm not really giving bibliography, I am EXPANDING my main argument.Non ho tempo di farlo nel mio saggio. Più lungo dei primi due appunti. Organizzalo come un articolo di giornale. Puoi iniziare con una citazione, un'idea speciale, una domanda, un piccolo aneddoto. NON un'introduzione sull'intero lavoro, ma una contestualizzazione, un'introduzione al passaggio che hai scelto. Lunghezza massima di 7 pagine (5-7). Cambia paragrafo quando cambi idea, sezioni. Introduzione (perché hai scelto quel passaggio, contestualizza quel passaggio, informazioni di base su quel passaggio, alcuni punti sugli studiosi che hanno interpretato quel passaggio prima di te). Traduzione. Corpo principale, sviluppo dell'argomento (sottotitoli se vuoi; ho tradotto in questo modo perché la mia posizione è questa: volevo fare una traduzione straniante/domesticante; traduzione media per la pagina, il palcoscenico, la musica, il film, ecc.). QUAL È IL TUO ARGOMENTO? (conclusioni). Paragrafo conclusivo che riassume le decisioni che hai dovuto prendere come traduttore, mostrando di sapere che non si tratta solo di un esercizio linguistico di equivalenza, si perde sempre.

Chapter 8: A History of the English Language

It outlined the period that preceded Early Modern English; we talked about variation, linguistic prestige and linguistic identity, main themes that are relevant in the period we're talking about.

Keep this chapter in mind when you study Crystal's book on the way that Shakespeare English actually looks. Crystal follows the same idea developed by Hope: Shakespeare's contribution is not quantitative and less interesting than the idea that he was prefunding a depth contribution.

This chapter is strongly narrative and kind of marked by a linguistic method, it's beginning to be outdated. It's telling the history of English as English is the protagonist of a story, the knight on a quest, where standardization is the quest.

always good, a positive force in this kind of narration and the knight English is galloping towards standardization and it is interrupted by a series of chaotic events, such as the Norman conquest or the non-European invasions. In this kind of narration, there are some interruptions/obstacles to the girl. 16È un po' distorta because we know that English became a global language. It's easy to tell the story in these terms because we know how it ends. Loss of dialects and of various languages in favour of English thEarly modern period started before 1500, the middle of the 15th century because of a number of situations, sociological, historical and economical. We like to think that the literary language is the most powerful drive for language, but it really isn't, the forces that drive the language are of a more historical nature. Renaissance > big period of expansion of English, one way of expansion is borrowing. 13/11/2019. What is the shape of Shakespeare's?

Shakespeare’s mastery is not only due to the number of words he presumably invented.¹

Quote from David Crystal’s book: Distinction between difficulty of language and difficulty of thought. Do we really need to translate/paraphrase Shakespeare then?

We know that Early Modern English is mainly similar to current English. So, since no major structural shift has happened, it is perfectly understandable. Only 5-10% of Shakespeare’s grammar actually causes problems. Then, we should just be more Shakespearean fluent (like a foreign language but be careful: translation is important too when learning a foreign language!).

Crystal wants people to be able to understand Shakespeare by reading him.

The Canterbury Tales is one of the first printed books in England. People didn’t suddenly change the way they wrote or talked in 1476 when the printing press was brought to England. (Printing press → external factor)

Printing press is influent, but we have to take account of the

¹ Quote from David Crystal’s book

fact that only about 20% of the population could read.

Beginning of Early Modern: problematise according to the kind of factors

External: the changing world, new geographical explorations, the changing in communications and commerce and the arrival of the printing press in England made possible the arrival of a new linguistic era.

Internal: still some structural changes about to be completed, the Great Vowel Shift is still finishing out (end of the century).

What do we mean exactly when we say that the major structural shifts had been completed or are about to be completed?

Inflection and morphology are mostly lost, English is an analytic language. Positions become very important.

Why didn't the Saxon genitive die while other inflections did?

Thee/thou

Concrete → abstract

Specific → generalisation

Third person survived. At some point, both -eth and -s varieties were possible, the second one was more used. If Shakespeare uses it, that IS significant.

Variations in common language are

generally just options, but in literary language they ARE relevant.

Sound/articulation gives a different effect.

Inkhorn terms: long, polysyllabic words

Early Modern English borrows a lot of terms. A lot of Italian words with their endings changed, Italy was the leader in everything: money (Medici), science (Galilei).

However, some people, purists, are against these practices of borrowing. It's funny because there is nothing pure in Anglo-Saxon.

No language is an island → we cannot keep any language pure

Tudors → concerned with purity

A lot of scholars (such as Suzan Basnett) criticize the actors' overrepresentation of Shakespeare's plays with gestures, for example, because the Elizabethan theatre was a theatre of the life, not exaggerated.

Poor theatre, where everything is rendered through words.

Early modern grammar is quite modern, descriptive rather than prescriptive.

This does not mean that linguistic anxieties haven't started yet, they have begun to emerge, and

they are perceived as a sort of disorder, a lot of books and works testify a desire for uniformity.
18(amendment,Books usually with long subtitles etc.).The spelling reforms failed miserably; spelling was regularised in the XVIII century.
However, it testifies a linguistic anxiety beginning to emerge around this chaotic situation English is living.
Control of language, styling one's speech → against spontaneity
Language was considered mostly as speech because very few people could read and write. The ability of controlling language was seen as a monstrous level.
The way you style your language will set you apart or make you a part of a community.
18/11/201914)The Shape of Shakespeare's Language
Variability and instability. Linguistic variation – tolerated more easily
New views of Early Modern period as even less homogeneous than imagined
Against the supposed purity of the language, translators won, language cannot be pure, in order to keep a language 'pure', one

should stop all communication with any other people in the world.“…languages have never really been as separate as we often understand them to be, and in fact the normal condition of people, texts and social space is one of‘interlinguicity’, which we take to denote a condition where multiple languages continuously cohabit systems of meaning.”

“Shakespeare was clearly eager to integrate, in varying degrees, neologisms, Latin, French, Italian, Spanish and Welsh into his plays. In doing this he was entirely typical of other dramatists of his time, and in fact of London as a whole”

Interlinguicity, Internationality, and Shakespeare
Saenger, Michael, (Kindle 239-240).
MQUP

Ridicule and marginalise people who speak different languages.