John Florio and Shakespeare: Life and Language
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SAMPLE SYLLABUS Spring 2021–History of Immigration HIST-UA 9186 F01
SAMPLE SYLLABUS Spring 2021–History of Immigration HIST-UA 9186 F01 Class Description: This four credit course explores how the dynamics of migration have shaped identity and citizenship. By providing students with a range of theoretical approaches, the course will address questions of migration, national identity and belonging from a multidisciplinary perspective drawing from (amongst other fields): Sociology, History, Geo-Politics, Gender Studies, Black European Studies, and Cultural Studies. Taking the so called “refugee crisis” as a starting point, the course will pay particular attention to the figure and representation of the “migrant” going from Italian mass migration in the late 19th century to the migrants crossing every day the waters of the Mediterranean in order to reach Fortress Europe. Yet, a course on migration processes undertaken in Italy cannot limit itself to a purely theoretical framework. Migration means movements of people bringing along personal histories, families and cultural backgrounds. Furthermore the presence of migrants, refugees and asylum seekers reaching Europe is having a significant impact on the current social and political agenda of European government, as in the case of Italy. Therefore the course will include a series of fieldtrips aimed at showing students how immigrants, refugees and asylum seekers insert themselves into the labor market and society in Italy. Inclusion, Diversity, Belonging and Equity NYU is committed to building a culture that respects and embraces diversity, inclusion, and equity, -
Geographies of Production and the Contexts of Politics: Dis-Location and New Ecologies of Fear in the Veneto Citta© Diffusa
Environment and Planning D: Society and Space 2006, volume 24, pages 41 ^ 67 DOI:10.1068/d346t Geographies of production and the contexts of politics: dis-location and new ecologies of fear in the Veneto citta© diffusa Luiza Bialasiewicz Department of Geography, University of Durham, South Road, Durham DH1 3LE, England; e-mail: [email protected] Received 3 October 2003; in revised form 27 July 2004 Abstract. Scholars of regionalist mobilisation have focused their attentions largely on the ideal and idealised landscapes that are an integral part of regional mythmaking, noting the ways in which such `representative landscapes' are deployed by regional ideologues to convey belonging and emplace identity. I argue that to understand regionalist mobilisation it is equally important to consider the lived, everyday spaces of the region, spaces within which such regionalist politics are born. In this paper, I focus on the Veneto region in the Italian North East: one of the wealthiest productive areas in Europe but also the site of some of the most reactionary regionalist and localist rhetorics. I explore the links between the transformations in the Veneto's production landscapes over the past decades and the emergence of new political discourses, arguing that it is only through an understanding of the new geographies of production and consumption that structure the Veneto spaceöa space that is increasingly deterritor- ialised and decentred, suspended between its rural past and an unaccomplished urbanisationöthat we can begin to understand fully the region's increasingly exclusionary identity politics, and the ways in which the globalised Veneto citta© diffusa that has made its fortunes on the global market and on global migrants is increasingly reacting against both and finding refuge in hyperlocalised myths of belonging. -
Michelangelo Florio and the Famous Sentence: “Venetiawho Sees Not
Michelangelo Florio and the famous sentence: “Venetia Who sees not Venice cannot esteeme 1 it, but he that sees it, payes well for it” With an introduction of biographical notes on Michelangelo and John Florio [The purpose of this study: this paper will try to demonstrate how the second part of the “sentence” in question had pregnant significance for Michelangelo Florio, in connection with the indignant and irrefutably documented invective that was hurled against Venice by the most famous Italian preacher of the Protestant Reformation, Bernardino Ochino, during Lent of 1542] Wide summary of the 2017 Italian study, with a Documentary Appendix, which contains a letter dated January 23rd, 1552, in Latin, addressed by Michelangelo to W. Cecil (with translation into English and notes by Massimo Oro Nobili); it is absolutely striking to note how concepts and words, written in Latin by Michelangelo (who asked Cecil for mercy for an act of uncleanness), are literally reproduced in English by the Dramatist in Portia‟s fundamental speech on praise of mercy in “The Merchant of Venice”. Summary: Chapter 1. Introduction: some biographical details concerning Michelangelo and John Florio’s life. 1.1 Michelangelo Florio‟s parents. 1.2 Michelangelo Florio‟s origins. 1.3 Michelangelo's birth date, to be determined, in my view, in 1518 - on the basis of the indication provided by Michelangelo himself in his Apologia (p.34 a) - by retroactively calculating 32 years from the date when he “divested” himself of his “Franciscan habit” (on May 6th 1550, according to Michelangelo‟s Apologia, p. 77 a), being such a “divestment” the deeply symbolic act that formally sanctioned the irrevocable discharge of a friar from the Catholic Church - His abjuration, his release from prison and his escape from Rome and Italy, religionis causa. -
Shakespeare's
Shakespeare’s The Taming of the Shrew November 2014 These study materials are produced by Bob Jones University for use with the Classic Players production. AN EDUCATIONAL OUTREACH OF BOB JONES UNIVERSITY Philip Eoute as Petruchio and Annette Pait as Kate, Classic Players 2014 The Taming of the Shrew and Comic Tradition The Taming of the Shrew dates from the period of Shakespeare’s named Xantippa, who was Socrates’ wife and the traditional proto- early comedies, perhaps 1593 or 1594. In terms of the influences type of all literary shrews. The colloquy portrays her shrewishness as and sources that shaped the play, Shrew is a typical Elizabethan a defensive response to her husband’s bad character and behavior. comedy, a work that draws from multiple literary and folk traditions. Xantippa’s friend, an older wife named Eulalia, counsels her to Its lively, exuberant tone and expansive structure, for example, amend her own ways in an effort to reform her husband. In general, associate it with medieval English comedy like the mystery plays Shrew shows more kinship with such humanist works than with attributed to the Wakefield Master. the folktale tradition in which wives were, more often than not, beaten into submission. The main plot of Shrew—the story of a husband’s “taming” a shrewish wife—existed in many different oral and printed ver- Kate’s wit and facility with words also distinguish her from the sions in sixteenth-century England and Europe. Writings in the stock shrew from earlier literature. Shakespeare sketches her humanist tradition as well as hundreds of folktales about mastery character with a depth the typical shrew lacks. -
The Role of Italy in Milton's Early Poetic Development
Italia Conquistata: The Role of Italy in Milton’s Early Poetic Development Submitted by Paul Slade to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English in December 2017 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. Abstract My thesis explores the way in which the Italian language and literary culture contributed to John Milton’s early development as a poet (over the period up to 1639 and the composition of Epitaphium Damonis). I begin by investigating the nature of the cultural relationship between England and Italy in the late medieval and early modern periods. I then examine how Milton’s own engagement with the Italian language and its literature evolved in the context of his family background, his personal contacts with the London Italian community and modern language teaching in the early seventeenth century as he grew to become a ‘multilingual’ poet. My study then turns to his first published collection of verse, Poems 1645. Here, I reconsider the Italian elements in Milton’s early poetry, beginning with the six poems he wrote in Italian, identifying their place and significance in the overall structure of the volume, and their status and place within the Italian Petrarchan verse tradition. -
Revisiting John Florio's Translation of Michel De Montaigne's Les
Translata Proficit : Revisiting John Florio’s translation of Michel de Montaigne’s Les Essais Oana-Alis Zaharia "Dimitrie Cantemir" University, Romania ABSTRACT This paper considers John Florio’s famous translation of Montaigne’s Essays as a source of invaluable insight into the Elizabethan practice and theory of translation. In the letter addressed to the reader, Florio strongly advocates the use of translation as a means of advancing knowledge and developing the language and culture of a nation. Echoing the Elizabethan debate between the defenders and detractors of translation, his preface provides precious information on the various Elizabethan understandings of the role of translation. Casting himself in the role of a “foster-father”, Florio foregrounds the idea of translation as rewriting of the original text into a new creation. While most scholars have emphasised solely Florio’s augmentation of Montaigne’s text and his fondness for addition, paraphrase and alliteration, the present paper intends to demonstrate that this dimension of his translation is frequently complemented by Florio’s tendency to render the text closely, even word for word at times. KEYWORDS : John Florio, Montaigne’s Les Essais , Elizabethan practice and theory of translation, rewriting, fondness for words, literal translation. 1. Introduction 1603 is the year that saw the publication of one of the most popular and influential Elizabethan translations – John Florio’s rendering of Michel de Montaigne’s Les Essais – which proved to be an instant success in Elizabethan England. The translation continued to raise interest and circulate extensively for the next half century being republished in 1613 and 1632. Sederi 22 (2012: 115-136) O. -
Misinterpretations of the Taming of the Shrew: Adaptations and Their Emphasis on Gender
La Salle University La Salle University Digital Commons HON499 projects Honors Program Spring 2019 Misinterpretations of The aT ming of the Shrew: Adaptations and Their mphE asis on Gender Brianna Reisenwitz [email protected] Follow this and additional works at: https://digitalcommons.lasalle.edu/honors_projects Part of the English Language and Literature Commons, Other Feminist, Gender, and Sexuality Studies Commons, Other Film and Media Studies Commons, and the Visual Studies Commons Recommended Citation Reisenwitz, Brianna, "Misinterpretations of The aT ming of the Shrew: Adaptations and Their mpE hasis on Gender" (2019). HON499 projects. 24. https://digitalcommons.lasalle.edu/honors_projects/24 This Honors Project is brought to you for free and open access by the Honors Program at La Salle University Digital Commons. It has been accepted for inclusion in HON499 projects by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. Brianna Reisenwitz Dr. Vincent Kling Honors 499 25 April, 2019 Misinterpretations of The Taming of the Shrew: Adaptations and Their Emphasis on Gender Certain elements of Shakespeare’s The Taming of the Shrew lead it to be viewed as a misogynistic play. It focuses on Katherine, a “shrew” who needs to get married so that her younger sister, Bianca, can get married. While she comes from a wealthy family, Katherine is not the typical wife men seek; her sister Bianca has many suitors, and they convince another man, Petruchio, to marry Katherine. After they marry, Katherine gives a long, uncharacteristic retraction speech honoring her husband and preaching why women should be submissive. -
Spinning Shakespeare
Spinning Shakespeare By Don Rubin he Yiddish term is mishagas. Craziness. As in “believing that Shakespeare didn’t write Shakespeare is mishagas. Craziness.” Then they point at you, roll Ttheir eyes in a what-can-you-do-with-him kind of way. “We all know he’s a bit strange. We all know he is mishuga.” Now I begin my paper with this very basic lesson in Yiddish – using a term that has transferred quite widely into common English usage – because it is a term too often applied to the Oxfordian cause or, at the very least, the cause which has led so many to have “reasonable doubt” that William of Stratford was actually the writer of the plays of Shake-speare (with or without a hyphen). When I first came to this issue after reading Mark Anderson’s brilliant biography of Oxford, Shakespeare By Another Name, and followed this by reading as widely as I could in this fascinating area, I couldn’t help but notice that every time I tried to share my new enthusiasm with friends and colleagues I really could see their eyes start to roll and I could hear – whether they were Jewish or not – the word mishagas floating somewhere around them. “Oh my God,” they were thinking piteously, “he is crazy.” Sometimes it was innocent family members and sometimes distinguished scholars. But the fact was all seemed united in labeling me mishugana. Like Queen Victoria, I was not amused. After more than forty years as an academ- ic, a former Chair of a distinguished Department of Theatre at York University in Toronto, and co-founder and former Director of the MA and PhD Programs in Theatre Studies at York, I tended to take my scholarship – especially in theatre areas – rather seriously. -
Representations of Italian Americans in the Early Gilded Age
Differentia: Review of Italian Thought Number 6 Combined Issue 6-7 Spring/Autumn Article 7 1994 From Italophilia to Italophobia: Representations of Italian Americans in the Early Gilded Age John Paul Russo Follow this and additional works at: https://commons.library.stonybrook.edu/differentia Recommended Citation Russo, John Paul (1994) "From Italophilia to Italophobia: Representations of Italian Americans in the Early Gilded Age," Differentia: Review of Italian Thought: Vol. 6 , Article 7. Available at: https://commons.library.stonybrook.edu/differentia/vol6/iss1/7 This document is brought to you for free and open access by Academic Commons. It has been accepted for inclusion in Differentia: Review of Italian Thought by an authorized editor of Academic Commons. For more information, please contact [email protected], [email protected]. From ltalophilia to ltalophobia: Representations of Italian Americans in the Early Gilded Age John Paul Russo "Never before or since has American writing been so absorbed with the Italian as it is during the Gilded Age," writes Richard Brodhead. 1 The larger part of this American fascination expressed the desire for high culture and gentility, or what Brodhead calls the "aesthetic-touristic" attitude towards Italy; it resulted in a flood of travelogues, guidebooks, antiquarian stud ies, historical novels and poems, peaking at the turn of the centu ry and declining sharply after World War I. America's golden age of travel writing lasted from 1880 to 1914, and for many Americans the richest treasure of all was Italy. This essay, however, focuses upon Brodhead's other catego ry, the Italian immigrant as "alien-intruder": travel writing's gold en age corresponded exactly with the period of greatest Italian immigration to the United States. -
In Both Europe and the US, the Topic of Immigration Is Highly
Class code HIST--UA 9186 Name: Prof. Kathryn Lum Instructor Details NYU Home Email Address: [email protected] Office Hours: 13:00-15:00 Thursday Villa Ulivi Office Location: Office # 7 Villa Ulivi Office Extension: 055 5007 317 Semester: Spring 2015 Class Details Full Title of Course: The History of Immigration in the US and Italy from the 1880´s onwards Meeting Days and Times: 15:00-17:45 Thursday Classroom Location: Colletta 1 There are no prerequisites for this course Prerequisites In both Europe and the US, the topic of immigration is highly politicized, Class Description and frequently occupies the center of national and regional debates on identity, citizenship and belonging. On both sides of the Atlantic, the contours of multiculturalism and the question of irregular migration present thorny issues for academics and policy makers. This course will provide a general comparative (US/Europe) introduction to the history of migration, from the late 1880´s to the present day in order to help students develop a basic historical framework that will allow them to more deeply understand contemporary migration policy and debates surrounding integration and multiculturalism. The experiences of a number of European countries will be looked at in depth: the UK, France, Italy, and Germany. Throughout the course, we will be exploring deeper questions of national identity and belonging, both historically and cross-nationally. We will begin by looking at mass Italian migration to the US in the late 19th and early Twentieth Centuries, discussing how the first waves of Italian migrants were categorized and racialized and how they were inserted into the existing racial order in the US. -
ANDREI BELOBORODOV and ITALY Russia's Silver
ANDREI BELOBORODOV AND ITALY Andrej Shishkin Russia's Silver Age was greatly indebted to the wave of Italophilia which affected the works of the most diverse writers, including Dmi- trii Merezhkovskii, Viacheslav Ivanov, Mikhail Kuzmin, Maksimilian Voloshin, Nikolai Berdiaev, Vasilii Rozanov, Anna Akhmatova, Osip Mandel'shtam, Boris Zaitsev, and Pavel Muratov. Encounters with the Italian "Elysium" served both as the inspiration for art and as the symbol of physical death and spiritual immortality. 1 Viacheslav Iva- nov was speaking for many of his contemporaries when he declared: "Love for Italy is an indicator of cultural Ioftiness. One can judge the character of an age by the way it loves Italy and what it chooses to love in her".2 This was the context from which emerged Andrei Beloborodov (1886-1965), one of the most originai Russian artists to have devoted his work to Italy. For various reasons Beloborodov's legacy has remained neglected and forgotten until quite recently.Now he is beginning to be recognized as a major contributor to the com- plex relationship between Italy and Russian culture. 3 I "I find the idea of a trip to Italy quite possible," wrote Kuzmin in his diary on 31 December 1934, foreseeing his impending death; M. Kuzmin, Dnevnik 1934 g. (St Petersburg 1998) 145. As Gleb Morev notes, the idea of the sacred end of a Iife-path is here linked to the image of the entrante to paradise and immortality; Gleb Morev, "Kazus Kuzmina," lhid. 23-24. 2Russko-italianskii arkhiv , Trento 1997, 503. See allo P. Deotto, /n viaggio per ralizzare un sogno. -
The Storyof the Taming of the Shrew
The Story of The Taming of the Shrew hoy, mateys! Our version of William Shakespeare’s The Taming of the Shrew is set in the age of Pirates, in the islands of the West Indies. Petruchio A Lucentio, a wealthy student, arrives in Cocomo, along with his trusty servant, Tranio, when they see Baptista Minola with his two daughters, the beautiful Bianca and disagreeable Katharina. Close be- hind are Bianca suitors, Gremio and Hortensio. Baptista announces that no one may marry Bianca until a husband has been found for Katharina, and suggests that the suitors provide school teachers for his daughters, as that will win favor. Hortensio and Gremio decide they must work together to find a husband for Katharina so they will be free to compete for Bianca’s hand. Lucentio, who has been watching all of this, has fallen in love at first sight with Bianca. Tranio suggests that Lucentio disguise himself as a schoolmaster and become her tutor. Tranio will pretend to be Lucentio. etruchio, a young and reckless adventurer, arrives in Cocomo with his servant Grumio. P A misunderstanding leads the two old friends into a squabble, which is quickly settled by Hortensio. Petruchio informs Hortensio he has come to Cocomo to “wive and thrive” and Hortensio tells Petruchio about Katharina: she is “intolerably curst” but her dowry will be enormous. Petruchio demands to see Katharina immediately, and agrees to introduce a disguised Hortensio as a tutor for the girls, so he can get closer to Bianca. At Baptista’s house, Katharina is torturing her sister, demanding to know which suitor she prefers.