cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.1285/i22390359v27p125
title: Shakespeare's hybrid style

description: Starting from the critical commonplace that Shakespeare was not an original writer, this chapter provocatively discusses his working practice characteristic of the theatre industry of his time and aims at showing how his borrowing contributes to his distinctive hybrid style. Shakespeare's technical virtuosity in mixing dramatic modes and emotional responses is discussed in relation to classical comedy (A Comedy of Errors), romantic comedy (Twelfth Night, The Merchant of Venice) and tragedy (Hamlet, King Lear) to show that it is in this unprecedented blending of generic qualities that his innovation and originality lie.
DOI: 10.1285/i22390359v27p139
title: "What news on the Rialto?" Alcune considerazioni sociologico-comunicative su Il mercante di Venezia

description: The chapter examines the sociological content of The Merchant of Venice. It particularly focuses on the behavior of three characters: Antonio, the merchant (to whom the work is dedicated, although he is not the main character), the beautiful and rich Portia (whom Bassanio, Antonio's best friend, intends to marry) and Shylock (the Jewish financier who lends Antonio a large sum, that the merchant will transfer to Bassanio, so that he could present himself to Portia in an appropriate manner according to the customs of the time). Antonio's attitude is an almost incomprehensible state of sadness: Antonio is actually so attached to Bassanio to suffer in advance for his future loneliness (when Bassanio will marry Portia), being beside himself with a feeling of friendship following the classics of the literature. Portia is the most dynamic character of the comedy: she is bound to her father's will, but she smartly succeeds in standing out as a wise sharp woman. Her character shows Shakespeare's interest towards proto-feminist forms of behavior. Conversely, Shylock is a narratively mighty, but tormented, character: mistreated and insulted by Antonio, he considers the merchant's request of loan as a chance for revenge, hoping that he will not be able to pay it back. In this case, Shylock could take his revenge by removing a pound of meat from him. Although his resentment and thirst for revenge make Shylock odious to the spectator and the reader, Shakespeare manages to perform a prodigy introducing, at the same time, a victim of violence and prejudices, and, as such, an emblem of injustice suffered not only by the Jewish people, but by all the oppressed.
DOI: 10.1285/i22390359v27p165
title: Shakespeare, Fletcher e l'imprevedibilità della canzone

description: This chapter explores the way songs are used in relation to female roles by Shakespeare and Fletcher. Contextual interrelated discourses on music and melancholy are highlighted to show how certain problematic assumptions are reflected and also inverted in the plays considered. Contingent and intermedial, songs help definition of female subjectivity through strategies of vicariousness, which open up paths of alternative meaning within Shakespearean 'textuality'.
DOI: 10.1285/i22390359v27p87
title: Diana, una tragedia "shakespeariana". Amore e morte alla Corte d'Inghilterra

description: Diana, Princess of Wales, made history mostly thanks to her status as a global celebrity and as a main character in the gossip papers. This kind of world fame robbed her in life and even after death of the tragic dimension which her short existence fully belongs within. She is a tragic character not just because of the way she died. Like one of Aeschylus' or Sophocles' heroines, Diana claims her own right to happiness regardless of the conventional rules and the reason of State. And even more so because in her case the State is the very family she married into, therefore the tearing between public duty and private expectations cuts across what usually is the most protective environment for any individual, i.e. the family. Therein lies the paradox of royalty, and there also the roots of tragedies, in life and on stage, so strikingly similar at the Court of the first Elizabeth as of the second's. In the works of Shakespeare, the women nearly always pay with their lives the price of their own emancipation. Somehow, this is the same fate that awaited Diana. Even though women's lib swept England already many decades ago, still the "womanly mistakes" turn out to be as intolerable at the Windsor's Court in the Twentieth Century as at the Tudor's in the Sixteenth. After the great moral breaking in the Eighteenth Century of the Georgian rakes and the Blue Stockings, the Victorian age succeeded in the restoration of the old patriarchal power with its family structure. And even a century after, no challenge to the ideology of the Royal Family as a "normal family" could be tolerated. Any lady or princess ready to defy such a stricture had to pay a price. In the end, Diana has got her way but, as in every tragedy, only after her death.
DOI: 10.1285/i22390359v27p97
title: Native speaker standard English versus English as a lingua franca. Where would Shakespeare stand?

description: Sceptics of the utility of studies into ELF (English as Lingua Franca) typically dismiss it as a kind of "Broken English": a "degrammaticalised" code akin to a so-called pidgin. The implication is that ELF variations are only explicable in terms of interlanguages (Selinker 1972) and ELF users are merely L2 learners who fail to achieve full competence and who involuntarily mix elements from their L1 with the target language. In essence, according to this view, ELF users' major failing is their inability to replicate Native Speaker Standard English sufficiently well. By contrast, scholars specialising in ELF emphasise, among other things (such as the rights of ELF users to negotiate their own norms), how the notion of the existence of a single, immutable standard is highly questionable (Seidlhofer 2011). As many descriptive, as opposed to prescriptive, linguists of all persuasions have pointed out, a key feature of any linguistic system is its power to generate new structures and forms and generally to be creative, which if course is a central factor in linguistic change and the evolution of languages in general (Seidlhofer, Widdowson 2009). Indeed, according to Widdowson (2015), the emphasis of ELF is not the variety of a homogenous speech community but of the variations that spontaneously emerge when speakers of different L1s communicate with each other. In this chapter, we will examine the English of William Shakespeare, the "nation's bard" (Hudson 2008) and a figure often appropriated by prescriptionists as an exemplar of the beauty and power of the English language (rigorously in the singular). We analyse Shakespeare's English as an example of a variation of English in order to illustrate how processes such as adaptation and accommodation together with strategies such as translanguaging (García and Li 2014), inherent in ELF, are neither new nor foreign and can be found in native speaker variations of English, even those which enjoy the highest artistic prestige.
DOI: 10.18739/a28s4jp15
title: High eurasion snow and low Arctic ice (Whole Atmosphere Community Climate Model (WACCM) perturbation), 1979-2013
DOI: 10.1285/i22390359v27p179
title: "Never-ending stories": da The Tempest di William Shakespeare alle riletture e riscritture del grande classico nella letteratura caraibica

description: Shakespeare's The Tempest (1611), despite the lightness of tone required by its romance genre, is a complex and many-sided play, an inexhaustible wealth of ideas to be explored and revisited in order to deal with questions which are still relevant and urgent in our contemporary society. The extraordinary number of critical re-readings and rewritings of The Tempest, which re-imagine the authoritative source text either celebrating or contesting it, is a clear sign of its power to engender a fruitful and provocative debate, which has guaranteed its constant "actualization" throughout the centuries. While literary critics have produced memorable pages investigating virtually every aspect of the play, this chapter, moving from an analysis of the romance which emphasises the richness of its suggestions and implications, intends to stimulate a reflection on the driving force exerted by the creative Word of the Bard, which is able to generate a dialogue that crosses sterile and fictitious barriers between worlds and cultures. Interesting expressions of such a debate are the innumerable and varied appropriations and transformations of The Tempest in Caribbean literature, which has turned the rewriting of the classics into a strategy of cultural decolonization, as in the following texts that will be taken into examamination: Aimé Césaire's play Une tempête. D'après La Tempête de Shakespeare. Adaptation pour un théâtre nègre (1969), Edmund Kamau Brathwaite's poem "Caliban" (1969), George Lamming's novel Water With Berries (1971) and his collection of essays The Pleasures of Exile (1960). The closing part of this chapter is devoted to the analysis of Marina Warner's Indigo (1992), a peculiar refashioning of the Shakespearean play overlapping feminist and postcolonial claims, a novel which could be included among the "Caribbean" rewritings, despite the British origins of the author, because of its fundamental preoccupations. Indigo is adopted as a significant example of the productive intertwinings of issues and claims generated by The Tempest, an immortal classic which has activated processes of cross-cultural fertilization transcending spatial and temporal boundaries.
DOI: 10.1285/i22390359v27p211
title: La memoria sarà una nebbia

description: Technological memory abolishes the passage of time. The elements co-exist but they do so in a fragmented and incoherent way. This might seem like an ecstasy of memory but in reality it is an alienating condition. The endless reproduction of texts, of images, the inexpressive repetition of stories, cancel out the human who distinguishes one fact from another, one story from another. The digital age has tampered with and altered the ways in which the memory processes are developed. The internet stores everything, keeps track of every fact that it records, of every piece of data. Technological tools replace human memory. They take away the function of constituting the trunk for the grafting onto it of new learning, of connoting knowledge with elements intimately linked to one's personality. Probably, in this age, history has also become the outcome of an insecure memory. But a man without memory has no roots from which to develop a project for the future. A project of the future develops only in a condition of hope. This is how it is for a man and for a people. Therefore, we have an urgency of memory because we have an urgency of hope, as beings, as a society, as a community of destiny.
DOI: 10.1285/i22390359v27p221
title: An embodied stylistics approach to acting interpreters' exploration of Shakespeare's verse drama. A case-study analysis

description: This chapter explores the nature of poetry as a dramatic use of language, showing the relevance of Experientialist theories in Cognitive Linguistics to the empirical experience of acting Shakespeare's verse out. The assumption is that an overt and collectively-shared embodiment of meanings, accomplished through the use of creative writing and drama techniques, can enhance the interpreters' awareness of the formal and metaphorical characteristics of this poetic text. This also entails the interpreters' rediscovery of the 'embodied' nature of their own 'schemata' (or background experience) at the source of their emotional and conceptual responses to the poetic language of Shakespearean characters. Interpreters are therefore defined as acting interpreters when they act poetry out in a real space, appropriate it into their own schematic identities as they embody and authenticate its meanings, and then analyze its effects on themselves and on the other acting interpreters inter-acting with them. Embodied Stylistics is therefore meant not as the analysis of the text as such but, instead, as the analysis of the acting interpreters' responses to the poetic patterns of the text. This theoretical argument becomes actualized in the experience of 'poetic meaning embodiment' reported by the case-study subjects as 'acting interpreters' (some of them acclaimed British actors and stage directors) and an embodied-stylistic analysis will be carried out precisely on the ethnographic data collected during their creative-writing and poetic-drama workshops.
DOI: 10.1285/i22390359v27p263
title: Riformulazioni e reinterpretazioni transmediali di Romeo and Juliet

description: This chapter examines a selected corpus of multisemiotic reformulations of Romeo and Juliet, which is subject to multimodal processes of re-narration and re-interpretation that are meant to make Shakespeare's tragedy more accessible to different types of implied receivers, according to their age, gender and familiarity with the media hosting the retextualizations. Three case studies shall be explored: a short clip produced for the British Council and available on the Internet in the context of the Shakespeare Lives! festival; an online video game commissioned by 'Shakespeare Country' in order to promote Warwickshire county to international tourists as well as to introduce children and younger receivers to the basic story of Romeo and Juliet; an amateur video game that resorts to discourse hybridization between the original text, intralinguistic simplification and the style of 'Japanese role-play games' in order to foster an interactive re-enactment of the play. By means of multimodal analyses of the selected corpus of extracts, this chapter will enquire into the cognitive-functional nature of the 'transmedial reformulations' under discussion, revealing the influence of the authors' expectations concerning implied receivers on the verbal and multimodal aspects of target versions, and the pragmatic inferences that senders wish to prompt in viewers and players through the associations between register features, lexical and structural dimensions, and non-verbal characteristics.
DOI: 10.1285/i22390359v27p285
title: "The little O". Signifying Nothing in Shakespeare

description: This chapter analyses some of the ways in which the crucial concept of Nothingness weaves its way throughout Shakespeare's work, and those in which the various meanings of the word "nothing" are systematically investigated and set off against one another. The tragedies Hamlet and King Lear come in for especially close attention, although a number of other Shakespearean works are also considered. Particular emphasis is placed on the idea that something might arise out of nothing, and on the implications for Shakespeare's writing of the new mathematics based on the symbol zero that had been introduced relatively recently into England. The opposition between Being and Nothingness – or more precisely between the different ways these can be conceived in relation to one another – is in a number of plays subject to processes of poetic negotiation as Shakespeare illustrates the various ways in which things can issue from nothing even as they inexorably return to nothing. "Nothing" becomes a profoundly paradoxical concept in Shakespeare's drama, as it is shown to possess aspects that are potentially generative – though not necessarily in a positive sense – as well as destructive.
DOI: 10.21227/4nae-az67
title: Coronavirus (COVID-19) Tweets Dataset

description: This dataset includes CSV files that contain IDs and sentiment scores of the tweets related to the COVID-19 pandemic. The tweets have been collected by an on-going project deployed at https://live.rlamsal.com.np. The model monitors the real-time Twitter feed for coronavirus-related tweets using 54 different keywords that are commonly used while referencing the pandemic. This dataset has been wholly re-designed on March 20, 2020, to comply with the content redistribution policy set by Twitter. Below is the quick overview of this dataset.— Number of tweets : 355,779,362 tweets
DOI: 10.1285/i22390359v27p307
title: Eteroglossia e prospettiva nella ricostruzione degli eventi storici. Le strategie degli Historical Plays di Shakespeare e della stampa odierna

description: In the Elizabethan period, historical plays were a very popular form of representation in English theatres. Shakespeare wrote several historical plays and seven of them are based on the history of England and, in particular, on the lives of some English kings who lived between 1377 and 1485. Of particular interest for the present analysis, particularly from a linguistic perspective, are two of his last plays, Henry IV and Henry V, which can be interpreted according to the Bakhtian notion of 'heteroglossia' (1981). The different social voices, linguistic registers, as well as the different and contrasting emotions which are revealed in the alternating dialogues and monologues, constitute the main feature of the historical reconstruction carried out by Shakespeare. These strategies allow the author to create a new and original perspective on the narrated events. Nowadays, the daily reconstruction of historical events is carried out by newspapers, which select national and international events turning them into 'news'. The analysis described in this chapter aims to identify whether and how heteroglossia is at the basis of contemporary historical reconstructions, as in Shakespeare's plays, and if these accounts are influenced by a change of perspective due to the cultural context in which they are produced. With this in mind, two corpora of British and Italian newspaper articles (from The Independent, The Guardian, Il Corriere della Sera, and La Repubblica) have been assembled. The most frequent linguistic elements have been analysed, along with their grammatical categories and the semantic fields that they can be grouped into. Results suggest that news language is a socially and culturally connotated event which, through different social voices, is able to create a multiplicity of social perspectives, thus revealing many similarities with the way Shakespeare used heteroglossia to describe historical events.
DOI: 10.1285/i22390359v27p323
title: Da The Tempest di Shakespeare al discorso europeo sulle migrazioni. Un'analisi critica comparativa

description: The present chapter aims at comparing the modern voyages of migrants especially from Africa towards Europe, to Shakespeare's work The Tempest, by focusing on some parallel lines of enquiry. Specifically, the focus is placed on the perception that the relation of Prospero in Shakespeare's work to the native inhabitant of the island, Caliban, may be compared in its complexity to the image of the European Union as the political institution imposing the legal instruments to manage modern migrations across the Mediterranean. Such a relationship is investigated here from a lingua-cultural perspective, pointing out the challenges that the encounter between the two different backgrounds of the participants may create in terms of communication and cultural exchange.
DOI: 10.1285/i22390359v27p331
title: Serpenti, eroi e rose di maggio. La danza cosmica di femminile e maschile in Shakespeare

description: Drawing from Riane Eisler's Cultural Transformation Theory, this article focuses on some representative feminine figures in Shakespeare's plays as manifestations of what the anthropologist Riane Eisler defines as the partnership paradigm as opposed to the dominator one. The chapter shows some relevant analogies between the Elizabethan world picture with its 'order and degree' and Eisler's dominator model, and how Shakespeare challenges and subverts the ruling cultural paradigm of his time through the representations of 'otherness' in some women characters who clearly embody the partnership model. In partnership society, roles are not imposed through fear and violence but shared within a loving and caring community, more oriented towards what Krippendorff (2014) calls the “reign of freedom”. Here, each person self-regulates and modulates the limits of his/her individualism by respecting also the common good and happiness of all. While the male hero of the tragedy fails in his extreme individualism, this partnership community, found especially in the comedy, is women-oriented and shows how one can 'govern' with grace, irony, imagination, and wisdom, thus teaching how peoples of different colours and personalities can participate in the creative and ever-changing art of living in a true community. Female figures who show strong traits connected them to a partnership dimension are present also in the tragedy as a foil or an alternative to patriarchal rule.
DOI: 10.1285/i22390359v27p367
title: Da Shylock alla 'génération beure' alla 'culture banlieue'. Identità lacerate, emarginazione e incomunicabilità tra conflitti e cliché

description: The main antagonist of the play The Merchant of Venice, Shylock is one of Shakespeare's most famous yet controversial characters, an incarnation of the stereotype of the zealous, cruel Jew while at the same time being a tragic outsider figure who is censured by society. From this perspective, Shylock embodies the paradigm of otherness, the foreign immigrant, someone 'different' who provokes fear and distrust. The phenomenon of migration has greatly impacted the French context, the latter being our object of interest in this paper. It is here that, in the 1980s, the 'Beur generation' gained national visibility. The word beur denominates a generation of young people, the children of North African immigrants, who were born or raised in France but do not feel deeply French. They claim a space for themselves, enjoying citizenship rights, yet without renouncing their own specificities. Their torn identities are expressed in 'Beur literature', which focuses on these individuals condemned to a state of inclusion/exclusion, a permanent 'in-between' status. Writing represents a literary, political and identity act, an authentic account as well as a denunciation of the problematic issues of exile, discrimination and difficulties of adaptation. During the '90s, the notion of 'Beur culture' gave way to 'suburban culture' (culture banlieue), an expression used to label unfavorable, borderline groups excluded from the center of the city and attributed insulting, discriminatory nicknames. In summary, even more than 400 years later, Shylock can be considered a modern-day character and a symbol of human beings with all their conflicts and complexities. By conveying themes of incommunicability, marginalization and racism, Shakespeare's plays maintain their universality even in present times, where the detrimental rhetoric of "us against them" may still prevail, and where demonizing or directing hate towards groups of people considered inferior or less human than others continues to exist.
DOI: 10.1285/i22390359v27p391
title: El reflejo de Giraldi Cinthio en la Inglaterra de Shakespeare

description: Without any kind of doubt Shakespeare found in Giraldi Cinthio's Ecatommiti useful scripts, which his genius has explored powerfully in his Othello and Measure for Measure. For this last work, Shakespeare could also have used Giraldi's tragedy Epitia. The question is if Shakespeare knew enough Italian to read these texts in the original or if he was helped by the literate community of Italian refugees in London. Through a close study of the Novelle as well as the tragedy Epitia, the nexus between Giraldi and Shakespeare comes in full light. We will mainly focus our attention on Shakespeare's deep insight into the psychology of the characters –mostly hinted in Giraldi's works– and his gorgeous use of language.