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Declamations were composed and orally delivered in the Roman Empire by sophists, or teachers of rhetoric, of whom the Greek-speaking Libanius was one of the most distinguished. Stock Characters Speaking may be thought of as emerging from three developments of recent decades: an explosive interest in late antiquity, a newly sympathetic interest in rhetoric (including ancient declamation), and a desire to bring Libanius’s massive corpus into English and other modern languages. In this book, author Robert J. Penella translates eight of Libanius’s declamations: 29, 30, 34, 35, 37, 45, 46, 47, and, in an appendix, the thirteenth-century Gregory of Cyprus’s response to Declamation 34. Each translation is accompanied by an introduction, in which Penella examines the themes, structure, and the stasis, or key issue, of the declamations. Figures who appear in the translated declamations include a parasite who has lost his patron, a man envious of his rich neighbor, a miser’s son, a poor man willing to die for his city, a rich war-hero accused of aiming at tyranny, and a convict asking for exile. Three of these declamations have appeared in German; otherwise, these translations are the first into a modern language.
This volume invites the reader into the world of pragmatic and discourse studies in Japanese popular culture. Through “character-speak”, the book analyzes quoted speech in light (graphic) novels, the effeminate onee kotoba in talk shows, narrative character in keetai (mobile phone) novels, floating whispers in manga, and fictionalized dialects in television drama series. Explorations into conversational interaction, internal monologue, rhetorical figures, intertextuality, and the semiotic mediation between verbal and visual signs reveal how speakers manipulate language in performing playful “characters” and “characteristics”. Most prominent in the discourse of Japanese popular culture is its “fluid orality”. We find the essential oral nature in and across genres of Japanese popular culture, and observe seamless transitions among styles and speech variations. This fluidity is understood as a feature of polyphonic speech initiated not by the so-called ideal singular speaker, but by a multiple and often shifting interplay of one’s speaking selves performing as various characters. Challenging traditional (Western) linguistic theories founded on the concept of the autonomous speaker, this study ventures into open and embracing pragmatic and discourse studies that inquire into the very nature of our speaking selves.
Language is still a relatively under-researched aspect of the Grand Tour. This book offers a comprehensive introduction enriched by the amusing stories and vivid quotations collected from travellers' writings, providing crucial insights into the rise of modern vernaculars and the standardisation of European languages.
The teaching of English in the United Arab Emirates is based upon the communicative approach and aims to enable EFL students to employ language skills for communication purposes, as appropriate. Personal experience and the author’s colleagues’ observations, however, reveal that a number of EFL university students fail to achieve adequate communicative competence, which, in turn, does not qualify them to exploit the foreign language of English as required by their curricula as well as by today’s world. Central to university education in the United Arab Emirates is critical thinking. It seems reasonable, then, to assume that EFL university students are well-equipped to tackle a reading text and to handle a writing task, demonstrating through such activities an adequate repertoire of critical thinking skills. Personal experience and the author’s colleagues’ observations, however, indicate that this does not apply to a number of EFL university students studying in the country. Seeking an effective remedy, the author argues that utilising literature in the EFL classroom would be beneficial in terms of many essential aspects. Based on a three-year research project conducted at a private university in Dubai involving a number of EFL students, the book concludes with some suggestions with regards to what criteria to adopt when utilising literary texts. The current book, as such, is expected to be of use and interest to: applied linguists (as the study proposes an approach to integrating the teaching of language, literature, communication and critical thinking, with the ultimate goal of promoting communicative competence and enhancing critical thinking on the part of EFL learners); curricula designers (since the study introduces a course for the enhancement of communicative competence and critical thinking); and EFL instructors (because the study offers instructional material which can be adopted or adapted when teaching EFL university students).
This volume examines orality and literacy in the ancient Greek and Roman world through a range of perspectives and in various genres. Four essays on the Homeric epics present recent research into performative aspects of language, cognitive theory and oral composition, a re-evaluation of Parry's oral-formulaic theory, and a new perspective on the poem's transmission. These are complemented by studies of the oral nature of Greek proverbial expressions, and of poetic authority within a fluid oral tradition. Two essays consider the significance of the written word in a predominantly oral culture, in relation to star calendars and to Panathenaic inscriptions. Finally, two chapters consider the ongoing influence of oral tradition in the ancient novel and in Roman declamation. These essays illustrate the importance of considering ancient texts in the context of fluctuating oral and literate influences.
The commedia dell'arte, the improvised Italian theatre that dominated the European stage from 1550 to 1750, is arguably the most famous theatre tradition to emerge from Europe in the early modern period. Its celebrated masks have come to symbolize theatre itself and have become part of the European cultural imagination. Over the past twenty years a revolution in commedia dell'arte scholarship has taken place, generated mainly by a number of distinguished Italian scholars. Their work, in which they have radically separated out the myth from the history of the phenomenon remains, however, largely untranslated into English (or any other language). The present volume gathers together these Italian and English-speaking scholars to synthesize for the first time this research for both specialist and non-specialist readers. The book is structured around key topics that span both the early modern period and the twentieth-century reinvention of the commedia dell'arte.
An exploration of the use of drama as an intertext in the work of the 2nd century Latin author Apuleius, who wrote the only complete extant Latin novel, the Metamorphoses, in which a young man is turned into a donkey by magic. All Latin and Greek is translated into English.
Penumbra Theatre Company was founded in 1976 by Lou Bellamy as a venue for African American voices within the Twin Cities theatre scene and has stood for more than thirty-five years at the intersection of art, culture, politics, and local community engagement. It has helped launch the careers of many internationally respected theatre artists and has been repeatedly recognized for its artistic excellence as the nation’s foremost African American theatre. Penumbra is the first-ever history of this barrier-breaking institution. Based on extensive interviews with actors, directors, playwrights, producers, funders, and critics, Macelle Mahala’s book offers a multifaceted view of the theatre and its evolution. Penumbra follows the company’s emergence from the influential Black Arts and settlement house movements; the pivotal role Penumbra played in the development of August Wilson’s career and, in turn, how Wilson became an avid supporter and advocate throughout his life; the annual production of Black Nativity as a community-building performance; and the difficult economics of African American theatre production and how Penumbra has faced these challenges for nearly four decades. Penumbra is a testament to how a theatre can respond to and thrive within changing political and cultural realities while contributing on a national scale to the African American presence on the American stage. It is a celebration of theatre as a means of social and cultural involvement—both local and national—and ultimately, of Penumbra’s continuing legacy of theatre that is vibrant, diverse, and vital.
This book provides a unique panorama of this challenging area of Greek literature, combining literary perspectives with historical issues and material culture.
Good relationships depend, above all, on our skills in conversation. Harvey Sacks' method, Conversational Analysis, was the springboard for The author's research into psychotherapy as a social activity that depends for its success on the quality of the therapeutic dialogue. The author wrote this book not only for therapists, but for all those who do not understand what psychotherapy is for and are curious to know how it works. The author offers us new tools for all kinds of conversation to work for, rather than against, us.