The Pragmatics Of Modals In Shakespeare

Modals and related phenomena are without doubt one of the most complicated issues in the grammar of language. This study provides a reappraisal of the modals in Shakespeare's language from the pragmatic viewpoint, both micropragmatic and macropragmatic. The material selected for analysis are modals SHALL, SHOULD, WILL, WOULD, and their contracted forms. Micropragmatic aspects such as speech acts seem relatively easily accessible to historical researchers; however, this study moves further into the macropragmatic dimensions of language use than the earlier ones and covers politeness, dialogue, and discourse analysis.

This book provides a historical insight into the use and meanings of modal verbs in the language of the Early Modern English period. It investigates how William Shakespeare and Christopher Marlowe employ these verbs in their tragedies and history plays dating back to the end of the 16th century. Comparative analyses add to the clarity of the book and fill a gap in the research on Marlovian language, which so far has been under-investigated in contrast to the language of William Shakespeare. The findings offered here shed light on the history of modal verbs and constitute a valuable contribution to contemporary Early Modern English studies. As such, the book represents an important resource for students, teachers, and researchers involved in the study of Early Modern English language and language change.

Why do we continue to experience many of Shakespeare's dramatic characters as real people with personal histories, individual personalities, and psychological depth? What is it that makes Falstaff seem to jump off the page, and what gives Hamlet his complexity? Shakespearean Character: Language in Performance examines how the extraordinary lifelikeness of some of Shakespeare's most enigmatic and self-conscious characters is produced through language. Using theories drawn from linguistic pragmatics, this book claims that our impression of characters as real people is an effect arising from characters' pragmatic use of language in combination with the historical and textual meanings that Shakespeare conveys to his audience by dramatic and meta-dramatic means. Challenging the notion of interiority attributed to Shakespeare's characters by many contemporary critics, theatre professionals, and audiences, the book demonstrates that dramatic characters possess anteriority which gives us the impression that they exist outside of- and prior to- the play-texts as real people. Jelena Marelj's study examines five linguistically self-conscious characters drawn from the genres of history, tragedy and comedy, which continue to be subjects of extensive critical debate: Falstaff, Cleopatra, Henry V, Katherine from The Taming of the Shrew, and Hamlet. She shows that by inferring Shakespeare's intentions through his characters' verbal exchanges and the discourses of the play, the audience becomes emotionally involved with or repulsed by characters and it is this emotional response that makes these characters strikingly memorable and intimately human. Shakespearean Character will equip readers for further work on the genealogy of Shakespearean character, including minor characters, stock characters, and allegorical characters.

This volume provides a comprehensive account of Early Modern English, organized by linguistic level. The volume not only presents detailed outlines of the traditional language levels, it also explores key questions and debates, such as do-periphrasis, the Great Vowel Shift, pronouns and relativization, literary language (including the language of Shakespeare), and sociolinguistics, including contact and standardization.

This new volume in the Shakespeare: The Critical Tradition series increases our knowledge of how Antony and Cleopatra has been received and understood by critics, editors and general readers. The volume provides, in separate sections, both critical opinions about the play across the centuries and an evaluation of their positions within and their impact on the reception of the play. The chronological arrangement of the text-excerpts engages the readers in a direct and unbiased dialogue, and the introduction offers a critical evaluation from a current stance, including modern theories and methods. This volume makes a major contribution to our understanding of the play and of the traditions of Shakespearean criticism surrounding it as they have developed from century to century.

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