The recent collection of articles, The Art of Translation [Masterstvo perevoda], follows publication of two other books on the subject, The Problems of Translation of Creative Writing [Voprosy khudozhestvennogo perevoda] and another work also bearing the title The Art of Translation.

The Theory and Practice of Translation

of his career but also, and more significantly, claiming that here she is providing 'for the first time, a stylistic analysis of one of the American theatre's most fascinating practitioners.' That she has this justification depends, partly at least, on the fact that his plays and productions have commonly been regarded as belonging largely, if not indeed exclusively, to the realm of the popular stage, whereas she seeks to draw them within the orbit of those revolutionary endeavours which in divers European countries sought to establish a new theatrical 'naturalism' both in play composition and in play presentation the avant-garde activities to be found in the work of the Moscow Art Theatre, the Danish Theatre Royal, the French Theatre Libre, and the German Freie Blihne. That her endeavour is indeed fully warranted is demonstrated by the fact that when, for example, the Russian company and its companion organizations visited the United States various critics stressed their belief that its prod uctions 'had nothing new to teach Broadway.' Still more significant is the fact that Stanislavski himself put the seal of his approval on the activities of the American directorplaywright by actually making him an honorary member of the Moscow troupe. No doubt labels in themselves are of little or minor consequence, and no doubt on occasion they can prove misleading: yet it is of importance that we should teach ourselves how properly to interpret and evaluate outstanding achievements such as those manifested by such men as Belasco, and here Mrs Marker's study must be regarded as indeed a most valuable and accomplished textbook, or guidebook, call it which we will (ALLARDYCE NICOLL)

The great war and modern memory

The Past Is a Foreign Country

Mick Short. Exploring the Language of Poems, Plays and Prose. London: Longman, 1996. xvi + 399 pp. Stylistics has been a productive interdiscipline between linguistics and literary studies for around thirty years now. Controversial at first, attacked by the entrenched litcrit establishment, it became more theoretically sophisticated and diverse as it engaged with changes in the dominant models of linguistic theory: a brief liaison with transformational-generative grammar, a longer relationship with the functional grammar of M. A. K. Halliday and his associates, and a very fertile and developmental relationship with the increasingly powerful and insightful discipline of linguistic pragmatics. And as stylistics has responded to changes in linguistic theory, it has also been alert to the teachings of other intellectual movements: Russian Formalism, French Structuralism, Poststructuralism, etc. Original theorists such as Barthes, Bakhtin, Genette, and Foucault have become standard references in contemporary stylistics. An increasing range of topics and a growth of theoretical sophistication has been one aspect of the maturing of stylistics; another, the basic task of consolidating the practice of textual analysis. The original claim for of linguistic stylistics was that it provided a highly illuminating way of doing textual analysis. The original objections to this claim were (a) that a focus on linguistic mechanism paid no attention to literary considerations; and (b) that stylistics involved the use of technical jargon, which was supposedly disagreeable to students. Stylistics has effectively disposed of these criticisms. Most practitioners are happy for their investigations of texts to be framed by traditional literary categories such as point of view, metrical structure, and metaphor; and where the range of literary concepts has been extended by ideas from linguistics and related fields, e.g. foregrounding or the application of pragmatic analysis to dialogue, these extensions are now well established. As far as 'jargon' is concerned, it has long been realized that a little linguistic method goes a long way. Students do not need to learn an extensive technical terminology in order to say something meaningful about a poem or a prose extract. Certain very powerful linguistic-pragmatic concepts, once learned, provide critics and students with an analytic tool which gives rewarding results with simple application: I am thinking of concepts such as transitivity, modality, deixis, implicature, and register. And it is satisfying to record that such methodologies have now been comfortably absorbed into stylistic education for generations of students of literature. The book under review is an excellent instance of successful assimilation of linguistic method into literary studies via the stylistics interface. Its author, Mick Short, is an experienced teacher and writer in the pedagogics of stylistics; he and his colleague Geoffrey Leech at the University of Lancaster have produced a number of highly useful, very practical, books in literary stylistics, notably Leech's A Linguistic Guide to English Poetry (1969) and the coauthored Style in Fiction (1981). All three books are addressed to student readers; all are theoretically and methodologically eclectic (though there is a constant interest in foregrounding); all are rich in textual analysis and exemplification. The three books contribute strongly to the basic original aim of stylistics, to deploy linguistics in textual analysis, and they do so not as mechanical exercises, but always with a keen sense of literary relevance. Exploring the Language of Poems, Plays and Prose is an introduction, for newcomers to stylistics, to how "the language of literary texts acts as the basis for our understanding and responses when we read" (xi). It provides analytic tools which will allow the literature student to come to an understanding of literary processes in the activity of describing and discussing texts: describing texts is an exploration, not only of objective structures of language, but at the same time of our experiences in reading them. …

Exploring the Language of Poems, Plays and Prose

In this paper we want to develop a model for the diachronic analysis of speech acts by tracing one particular speech act through the history of English, viz. insults. Speech acts are fuzzy concepts which show both diachronic and synchronic variation. We therefore propose a notion of a multidimensional pragmatic space in which speech acts can be analyzed in relation to neighboring speech acts. Against this background we discuss both the changing cultural grounding in which insults occur and the changing ways in which they are realized. Our data is drawn from the Old English poem Beowulf and the Finnsburh fragment, from Chaucer’s Canterbury Tales and from Shakespeare’s plays, and from a variety of non-literary sources such as personal letters, court records and an internet discussion group. The scale ranges from everyday communication to ritualized behavior. When written materials of the past periods are analyzed, the bias towards the conventionalized insults is evident. Most early examples are found in literary texts and seem to reflect generic conventions of the time and the culture that gave rise to these literary forms.

Diachronic speech act analysis: Insults from flyting to flaming

None of the extant approaches to Early Modern English you and thou can satisfactorily account for all types of pronominal shift present in Shakespeare's plays. The difficulty often lies in swift changes of pronoun performed by one speaker while addressing the same hearer, sometimes in the course of the same dramatic scene or even within the same conversational turn. In this article, some landmarks in the study of the pronouns of address — Brown and Gilman (1960), McIntosh (1963), Wales (1983) — are briefly discussed before concentrating on some of the problems posed by Celia's and Rosalind's shifts of pronominal choice in As you like it. McIntosh's analysis of you and thou in this play is questioned, and the shortcomings of approaches in terms of the norm/deviation or marked/unmarked dichotomies lead to the conclusion that the pronouns of address in Early Modern English must have fulfilled other functions beside those of conveying ‘expressive’ or ‘attitudinal’ overtones. Finally, it is suggested that you ...

Pronouns of Address and Social Negotiation in as You Like it

Introduction: Shakespeare and commemoration Coppelia Kahn and Clara Calvo 1. David Garrick: saints, temples and jubilees Peter Holland 2. Commemorating Shakespeare in performance: Betterton and Irving Richard Schoch 3. Relic, pageant, sunken wrack: Shakespeare in 1816 Adrian Poole 4. Remembrance of things past: Shakespeare 1851, 1951, 2012 Graham Holderness 5. Remembering Shakespeare in India: colonial and postcolonial memory Supriya Chaudhuri 6. Shakespeare at the Vatican, 1964 Marta Cerezo 7. Commemorating Shakespeare in America, 1864 Douglas M. Lanier 8. Shakespeare's rising: Ireland and the 1916 Tercentenary Andrew Murphy 9. Goblin's market: commemoration, anti-semitism and the invention of 'global Shakespeare' in 1916 Gordon McMullan 10. Performing commemoration in wartime: Shakespeare galas in London, 1916-19 Ailsa Grant Ferguson 11. Lest we forget: Shakespeare tercentenary commemoration in Sydney and London, 1916 Philip Mead 12. Brought up to date: Shakespeare in cartoons Clara Calvo 13. Sculpted Shakespeare Ton Hoenselaars 14. Gardening with Shakespeare Nicola J. Watson 15. Anne Hathaway's Cottage: myth, tourism, diplomacy Katherine West Scheil Bibliography Index.

Celebrating Shakespeare: Commemoration and Cultural Memory

Fighting over Shakespeare: Commemorating the 1916 Tercentenary in Wartime

This study undertakes an examination of fool-master discourse in Shakespeare with the help of discourse stylistics, an approach to the study of literary texts which combines findings from the fields of discourse analysis, conversation analysis and pragmatics. The analysis aims to show how the relations of power which exist between dramatic characters are manifested by the linguistic organization of the dialogue as interactive process.

Fool-master discourse in Shakespeare is analysed from three different perspectives: the use of the pronouns of address (you/thou); the organization of the discourse as a whole; and the politeness strategies used by fools and their employers in face-to-face interaction. With regard to the pronouns of address, it is shown that neither a structural model nor a sociolinguistic one are sufficient per se to satisfactorily explain the constant shift of pronoun which occurs in Early Modern English dramatic texts. It is suggested that a model of analysis rooted in discourse analysis and pragmatics ought to be developed. Burton's framework is used to study the conversational structure of fool-master discourse, and to show how the power relations obtaining between dramatic characters are manifested by the internal organization of dramatic dialogue. Politeness phenomena in fool-master discourse are studied following Brown and Levinson's model and it is shown that both the fools and their employers orient to face in interaction.

Finally, this study of power relations in fool-master discourse shows that, contrary to much current critical opinion, the fools in Shakespeare are not licensed jesters who enjoy unlimited freedom of speech. Feste, Lavatch and Lear's Fool need to resort to complex linguistic strategies if they want to make their criticisms and, at the same time, avoid being punished.

Power relations and fool-master discourse in Shakespeare : a discourse stylistics approach to dramatic dialogue

Acknowledgements. Using this book. 1. Miniature Poems: Reading the Elizabethan Sonnet as a Jewel 2. What's Syntax Got to do with Poetry?: On Puritan Mind-Style and Romantic World-View 3. Women's Poetry: Same or Different? 4. Death on Stage: Learning to Die in a Revenge Tragedy 5. Sheridan's School for Marriage: The Effect of Education and the Nature of Comedy 6. Degenerate Apemen or Heroic Dreamers?: On Cultural Stereotypes and Synges's The Playboy of the Western World 7. Talking About the Weather: Emma and the Social Web of Dialogue 8. Of Elephants, Serpents and Fairy Palaces: Simile and Metaphor in Dickens' Hard Times 9. Laughter in Patriarchy and Colonialism: Lexical Repetition and Jean Rhys' Wide Sargasso Sea 10. Point of View and its Effects: Resisting Brian Moore's Lies of Silence Glossary. Index.

Clara Calvo

Papers

Pronouns of Address and Social Negotiation in as You Like it

Celebrating Shakespeare: Commemoration and Cultural Memory

Fighting over Shakespeare: Commemorating the 1916 Tercentenary in Wartime

Power relations and fool-master discourse in Shakespeare : a discourse stylistics approach to dramatic dialogue

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