DOCSLIB.ORG

Performing Shakespeare in the Original Pronunciation Appendix 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Performing Shakespeare in the Original Pronunciation Appendix 1 Performing Shakespeare in the Original Pronunciation Appendix 1 David Barrett A submission presented in partial fulfilment of the requirements of the University of South Wales for the degree of Doctor of Philosophy December 2013 - 1 - Contents Evidence in Shakespeare’s Works to illustrate the Transcription Policy 4 Rhyme Evidence in the Poems of Sir Walter Raleigh 9 Workshop 1, Actor’s Booklet, Introduction to the Workshop 19 Workshop Warm-ups 51 Macbeth, Act IV, Scene 1 58 A Midsummer Night’s Dream, Colour-Annotated Script, Example 64 Discoveries made when transcribing material for Workshop 4 66 The Rhythm of Macbeth 76 An Introduction to Shakespearean Pronunciation 114 A Midsummer Night’s Dream Lexical Sets, CAS 179 Metrical Reconstruction Exercise 187 Warm Up Exercise, Shakespeare’s Rhymes 191 A Midsummer Night’s Dream, Rhyme Reconstruction Exercise 194 Sonnet Substitution Exercises 198 Romeo and Juliet, Act II, Scene 2, First Folio, CAS 208 A Midsummer Night’s Dream Extract, CAS 212 Warm Ups for OP 219 Romeo and Juliet, Act II, Scene 2, OP, Part-Phonetic Script 238 Chirologia, Bulwer J, 1644, Illustration of Gestures 241 Notes Given to Actors after Day Two of Workshop 5 242 Workshop 5, Schedules 247 Endnotes 253 - 2 - A Textual Note Unless stated otherwise, all Shakespearean quotes are from: Clark, W.G. and Wright, W.A. (1865) The Works of William Shakespeare (Globe Edition), Cambridge and London: Macmillan. Available at: http://www.opensourceshakespeare.org/views/plays/plays.php (accessed 12.09.2010) Macbeth: The complete works of William Shakespeare [electronic resource] Created by Jeremy Hylton; Operated by The Tech., Cambridge, Massachusetts (From Grady Ward’s Moby Shakespeare). Available at: http://shakespeare.mit.edu/macbeth/index.html (accessed 10.08.2011) The Romeo and Juliet Transcription: based on the First Folio (1623) from the Electronic Text Center, University of Virginia Library. Available at: http://web.archive.org/web/20080504221015/http://etext.lib.virgi nia.edu/toc/modeng/public/ShaRJF.html (accessed 24.06.2010) - 3 - Evidence in Shakespeare’s Works to illustrate the Transcription Policy Evidence of this transcription policy in practice is illustrated by the transcription of As You Like It in Appendix 2. Here follows a comparison of the use of OPR (the regular version) and OPA (the conservative version), according to the transcription policy, in Sonnet 20. For illustrative purposes it has been transcribed in both styles in order to highlight the similarities and differences. This transcription serves as a model for the different modes of speech which might be used in a production. The OPA version might be used to represent rustic, regional, low-born or uneducated characters, or the older generation, and could also be used for comic effect. Sonnet 20 PDE: A woman's face with Nature's own hand painted Hast thou, the master-mistress of my passion; A woman's gentle heart, but not acquainted With shifting change, as is false women's fashion; An eye more bright than theirs, less false in rolling, Gilding the object whereupon it gazeth; A man in hue, all 'hues' in his controlling, Much steals men's eyes and women's souls amazeth. And for a woman wert thou first created; Till Nature, as she wrought thee, fell a-doting, - 4 - And by addition me of thee defeated, By adding one thing to my purpose nothing. But since she prick'd thee out for women's pleasure, Mine be thy love and thy love's use their treasure. Sonnet 20 OPR: 1 A woman's fɛ:ce with Nɛ:təɹ's o:wn hand pɛ:nted 2 Hast thəʊ, the mǎsteɹ-mistress of mɪ pasjən; 3 A woman's gentle hǎɹt, bγt nǒt akɛ:nted 4 With shiftin’ chɛ:nge, as is fǎlse women's fashjən; 5 An əɪ mo:ɹe brəɪght than thɛ:ɹs, less fǎlse in ro:llin’, 6 Gildin’ the ǒbject hwɛ:ɹeupǒn it gɛ:zeth; 7 A man in hue, ɒ:ll 'hues' in his contro:llin’, 8 Mγch ste:ls men's əɪs an’ women's so:ls amɛ:zeth. 9 An’ fo:ɹ a woman wəɹt thəʊ fəɹst crɪɛ:ted; 10 Till Nɛ:təɹ, as she wrɒ:ght thee, fell a-do:tin’, 11 An’ bəɪ addisjən me ə thee defe:ted, 12 Bɪ addin’ o:ne thing to mɪ pʊɹpose no:t’in’. 13 But since she prick'd thee əʊt fəɹ women's pleazəɹ, 14 Məɪne bɪ thɪ lγve an’ thəɪ lγve's use thɛ:ɹ treazəɹ. Sonnet 20 OPA: 1 A wo:man's fɛ:ce with Nɛ:təɹ’s o:wn ‘and pɛ:nted 2 ‘ast thəʊ, the mǎsteɹ-mistress of mɪ pasɪən; - 5 - 3 A wo:man's gentle ‘ǎɹt, bγt nǒt akɛ:nted 4 With shiftin’ chɒ:nge, as is fɒ:lse wo:men's fashɪən; 5 An i: mo:ɹe brəɪght (or brɪght) than thɛ:ɹs, less fɒ:lse in ro:lling,1 6 Gildin’ the ǒbject (ǒbjec’) hwɛ:ɹeupǒn it gɛ:zeth; 7 A man in hue, ɒ:ll 'hues' in ‘is contro:lling, 8 Mγch ste:ls men's i:s an’ wo:men's so:ls amɛ:zeth. 9 An’ fo:ɹ a wo:man wɛɹt thəʊ fɪɹst crɪɛ:ted; 10 Till Nɛ:təɹ, as shɪ wrɒ:ght the: , fell a-do:ting, 11 An’ bəɪ addisjən me: of the: defe:ted, 12 Bɪ adding o:ne thing to mɪ pʊɹpose no:t’ing. 13 But since shɪ prick'd the: əʊt fəɹ wo:men's pleazəɹ, 14 Məɪne bɪ thɪ lu:ve an’ thəɪ lu:ve's use thɛ:ɹ treazəɹ. ‘Acquainted’ in line 3 shows the feature common in words of French or Latin origin in syllables beginning ‘qu’, where the ‘w’ sound is omitted, as in ‘banket’ for ‘banquet’. In line 4 the word ‘change’ in OPA shows the use of late ME au ( [ɒ:] ) to represent ǎ before a nasal consonant such as ‘m’ or ‘n’, probably already a conservative pronunciation in Shakespeare’s day. The OPR version uses the [ɛ:] vowel which was common in the seventeenth century. The [ɒ:] vowel is also used on ‘false’ but an archaic variant with [ɛ:] could be used as an alternative. This variant may also be seen in unusual pronunciations of ‘half’ as [hɛ:f], given by the orthoepists Coote, Coles and Poole. The last syllable of ‘fashion in OPR shows the unusual use of [ʃ] followed by [j]. Evidence of this is given by both 1 Or simply ‘ro:llin’’ - 6 - Bullokar (1580) and Gil. In line 5 the Northern variant [i:] for eye is used, which has a possible use in comedic scenes. The use of [ç] for ‘gh’ in line 5 helps to give the pronunciation an archaic sound. In this case the vowel could also be short but a form is used here where the vowel is lengthened and diphthongised but ‘gh’ [ç] is sounded. This sounding of the ‘gh’ continued well into the seventeenth century and was favoured by Sherwood (1632) in the word ‘light’ even as late as 1632. The version with the diphthong and ‘gh’ was less common but is a possibility and is described by Gil (1621). In this case a glide following ǐ may have caused lengthening in late ME. This would then have been subject to the same diphthongisation as ī, resulting in [əɪç]. This form is chosen for the archaic version, rather than the variant with the short vowel, as it is more easily understood by a modern audience. Shakespeare is unlikely to have sounded ‘gh’; his usage shows plenty of evidence of silent ‘gh’, as in ‘write:bright’ (Sonnet 21, 9-11), ‘white:light’ (Loves Labour’s Lost, II,1), ‘night:quite’ (Othello, V,1). Line 5 shows an example of final ‘g’ being sounded, which was common practice in the 16C and, therefore, used here as a conservative form. At that time [n] followed by ‘g’ was an allophone of [ŋ] and remained so just as long as the final ‘g’ was pronounced. Line 11 in OPA shows the unraised vowel [e:] in ‘me’ and ‘thee’. By Shakespeare’s time the vowel would have been [i:] but it is possible that some speakers of the older generation might still have used this. In both versions the long vowel and - 7 - medial ‘t’ on ‘nothing’ are needed to make the rhyme with ‘a-doting’ and the common practice is followed of dropping the final ‘g’ in the OPR version. In the OPA version the words ‘wert’ and ‘first’ on line 9 are given conservative pronunciations which were normal before ‘er’ and ‘ir’ coalesced. One aim in devising the orthography for the transcription was not to mark any words where the pronunciation is the same as in PDE. Occasionally there is a temptation to show preference for a weak stress in a word like ‘but’ so inevitably there will be a few extraneous symbols. In blank and rhyming verse the transcription shows one interpretation of the scansion. However, the actors should be free to re-interpret the verse and add their own colouring to the prose. In order to do so it is necessary for the performer to acquire a degree of understanding of the mechanics of the pronunciation. It is important to stress that this transcription policy sets down a possible sound map for Shakespearean pronunciation. It does not prescribe an absolute phonetic value for each sound but recommends a phoneme, within which there is a measure of tolerance and opportunity for diversity. This allows the actors to accommodate their own regional varieties of speech to the OP in order to achieve individuality.
Load more

Recommended publications
  • As Guest Some Pages Are Restricted
    ri t 1 Copy gb , 92 2 ’ Gerald B Breztigam Pri nte d in the ! S A . VIC]! THE WONDER HORSE or 1 92 1 4 922 Two - - 1 1 Unbeaten as a Year Old , Winning Straight Stake Races Winner of Kentucky Derby in His First Start as a Three-Year-Old The Greatest Race Horse Story Ever Written Rep ri nted by " " BILL HEISLER, Pu blis he r By Sp ecial Permimion of the Author T a b l e o f Co n te n ts Page An Appreciation 5 Dedication 6 A Tribute to a Horse 8 Morvich—the Wonder Horse Part I—Colthood 1 4 Part II—Undefeated 2 5 Part — 36 Part IV Victory 47 A n A p p r e c i a ti o n t m The Author wishes o thank Mr . Benja in o f Block, owner Morvich , and Mr . Frederick for Burlew, his trainer, their many courtesies . His thanks also are extended to The New York Globe , in which first appeared the first three of of for parts the Story Morvich , not only permission to republish but also fo r the splendid manner in which the story originally was pre To . McC w . a sented and displayed R H , ’ O eill . N Walter St Denis , Dan Lyons and ’ n Sevier, members of The Globe s staff, tha ks are herewith given for advice and suggestion in the preparation of the material . And to Mr . William T . Amis , lover of horses , the Author i extends h s heartiest thanks for the Introduction .
    [Show full text]
  • HORSES, KENTUCKY DERBY (1875-2019) Kentucky Derby
    HORSES, KENTUCKY DERBY (1875-2019) Kentucky Derby Winners, Alphabetically (1875-2019) HORSE YEAR HORSE YEAR Affirmed 1978 Kauai King 1966 Agile 1905 Kingman 1891 Alan-a-Dale 1902 Lawrin 1938 Always Dreaming 2017 Leonatus 1883 Alysheba 1987 Lieut. Gibson 1900 American Pharoah 2015 Lil E. Tee 1992 Animal Kingdom 2011 Lookout 1893 Apollo (g) 1882 Lord Murphy 1879 Aristides 1875 Lucky Debonair 1965 Assault 1946 Macbeth II (g) 1888 Azra 1892 Majestic Prince 1969 Baden-Baden 1877 Manuel 1899 Barbaro 2006 Meridian 1911 Behave Yourself 1921 Middleground 1950 Ben Ali 1886 Mine That Bird 2009 Ben Brush 1896 Monarchos 2001 Big Brown 2008 Montrose 1887 Black Gold 1924 Morvich 1922 Bold Forbes 1976 Needles 1956 Bold Venture 1936 Northern Dancer-CAN 1964 Brokers Tip 1933 Nyquist 2016 Bubbling Over 1926 Old Rosebud (g) 1914 Buchanan 1884 Omaha 1935 Burgoo King 1932 Omar Khayyam-GB 1917 California Chrome 2014 Orb 2013 Cannonade 1974 Paul Jones (g) 1920 Canonero II 1971 Pensive 1944 Carry Back 1961 Pink Star 1907 Cavalcade 1934 Plaudit 1898 Chant 1894 Pleasant Colony 1981 Charismatic 1999 Ponder 1949 Chateaugay 1963 Proud Clarion 1967 Citation 1948 Real Quiet 1998 Clyde Van Dusen (g) 1929 Regret (f) 1915 Count Fleet 1943 Reigh Count 1928 Count Turf 1951 Riley 1890 Country House 2019 Riva Ridge 1972 Dark Star 1953 Sea Hero 1993 Day Star 1878 Seattle Slew 1977 Decidedly 1962 Secretariat 1973 Determine 1954 Shut Out 1942 Donau 1910 Silver Charm 1997 Donerail 1913 Sir Barton 1919 Dust Commander 1970 Sir Huon 1906 Elwood 1904 Smarty Jones 2004 Exterminator
    [Show full text]
  • Language and the Internet
    This page intentionally left blank Language and the Internet David Crystal investigates the nature of the impact which the Internet is making on language. There is already a widespread popular mythology that the Internet is going to be bad for the future of language – that technospeak will rule, standards be lost, and creativity diminished as globalization imposes sameness. The argument of this book is the reverse: that the Internet is in fact enabling a dramatic expansion to take place in the range and variety of language, and is providing unprecedented opportunities for personal creativity. The Internet has now been around long enough for us to ‘take a view’ about the way in which it is being shaped by and is shaping language and languages, and there is no one better placed than David Crystal to take that view. His book is written to be accessible to anyone who has used the Internet and who has an interest in language issues. DAVID CRYSTAL is one of the world’s foremost authorities on language, and as editor of the Cambridge Encyclopedia database he has used the Internet for research purposes from its earliest manifestations. His work for a high technology company involved him in the development of an information classification system with several Internet applications, and he has extensive professional experience of Web issues. Professor Crystal is author of the hugely successful Cambridge Encyclopedia of Language (1987; second edition 1997), Cambridge Encyclopedia of the English Language (1995), English as a Global Language (1997), and Language Death (2000). An internationally renowned writer, journal editor, lecturer and broadcaster, he received an OBE in 1995 for his services to the English language.
    [Show full text]
  • Vocalic Phonology in New Testament Manuscripts
    VOCALIC PHONOLOGY IN NEW TESTAMENT MANUSCRIPTS by DOUGLAS LLOYD ANDERSON (Under the direction of Jared Klein) ABSTRACT This thesis investigates the development of iotacism and the merger of ! and " in Roman and Byzantine manuscripts of the New Testament. Chapter two uses onomastic variation in the manuscripts of Luke to demonstrate that the confusion of # and $ did not become prevalent until the seventh or eighth century. Furthermore, the variations % ~ # and % ~ $ did not manifest themselves until the ninth century, and then only adjacent to resonants. Chapter three treats the unexpected rarity of the confusion of o and " in certain second through fifth century New Testament manuscripts, postulating a merger of o and " in the second century CE in the communities producing the New Testament. Finally, chapter four discusses the chronology of these vocalic mergers to show that the Greek of the New Testament more closely parallels Attic inscriptions than Egyptian papyri. INDEX WORDS: Phonology, New Testament, Luke, Greek language, Bilingual interference, Iotacism, Vowel quantity, Koine, Dialect VOCALIC PHONOLOGY IN NEW TESTAMENT MANUSCRIPTS by DOUGLAS LLOYD ANDERSON B.A., Emory University, 2003 A Thesis Submitted to the Graduate Faculty of the University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2007 © 2007 Douglas Anderson All Rights Reserved VOCALIC PHONOLOGY IN NEW TESTAMENT MANUSCRIPTS by DOUGLAS LLOYD ANDERSON Major Professor: Jared Klein Committee: Erika Hermanowicz Richard
    [Show full text]
  • Formant Dynamics of Spanish Vocalic Sequences in Related Speakers: a Forensic-Voice-Comparison Investigation
    Journal of Phonetics 75 (2019) 1–26 Contents lists available at ScienceDirect Journal of Phonetics journal homepage: www.elsevier.com/locate/Phonetics Research Article Formant dynamics of Spanish vocalic sequences in related speakers: A forensic-voice-comparison investigation Eugenia San Segundo*, Junjie Yang Department of Criminal Science and Technology, Shanxi Police College, No. 799, North-west Section, Qing Dong Road, Qingxu County, Taiyuan, Shanxi, China article info abstract Article history: This study investigates the dynamic acoustic properties of 19 vocalic sequences of Standard Peninsular Spanish, Received 30 August 2018 showing their potential for forensic voice comparison. Parametric curves (polynomials and discrete cosine trans- Received in revised form 28 March 2019 form) were fitted to the formant trajectories of the 19 Spanish vocalic sequences of 54 male speakers, comprising Accepted 1 April 2019 monozygotic (MZ) and dizygotic (DZ) twin pairs, non-twin brothers and unrelated speakers. Using the curve-fitting estimated coefficients as input to a multivariate-kernel-density formula, cross-validated likelihood ratios were cal- Keywords: culated to express the probability of obtaining the observed difference between two speech samples under the Formant dynamics hypothesis that the samples were produced by the same speaker and under the hypothesis that they were pro- Vocalic sequences duced by a different speaker. The results show that the best-performing system is one that fuses the 19 vocalic Diphthongs sequences with a geometric-mean fusion method. When challenging the system with related speakers, the results Twins show that MZ twin pairs affect performance but, more importantly, that non-twin sibling pairs can deteriorate per- Spanish formance too.
    [Show full text]
  • Language Death David Crystal Frontmatter More Information
    Cambridge University Press 0521653215 - Language Death David Crystal Frontmatter More information Language death The rapid endangerment and death of many minority languages across the world is a matter of widespread concern, not only among linguists and anthropologists but among all concerned with issues of cultural identity in an increasingly globalized culture. A leading commentator and popular writer on language issues, David Crystal asks the fundamental question, ‘Why is language death so important?’, reviews the reasons for the current crisis and investigates what is being done to reduce its impact. By some counts, only 600 of the 6,000 or so languages in the world are ‘safe’ from the threat of extinction. On some reckonings, the world will, by the end of the twenty-first century, be dominated by a small number of major languages. Language death provides a stimulating and accessible account of this crisis, brimming with salutary and thought-provoking facts and figures about a phenomenon which – like the large-scale destruction of the environment – is both peculiarly modern and increasingly global. The book contains not only intelligent argument, but moving descriptions of the decline and demise of particular languages, and practical advice for anyone interested in pursuing the subject further. is one of the world’s foremost authorities on language. He is author of the hugely successful Cambridge encyclopedia of language (1987; second edition 1997), Cambridge encyclopedia of the English language (1995) and English as a global language (1997). An internationally renowned writer, journal editor, lecturer, and broadcaster, Professor Crystal received an OBE in 1995 for his services to the study and teaching of language.
    [Show full text]
  • Kentucky Derby Winners Vs. Kentucky Derby Winners
    KENTUCKY DERBY WINNERS VS. KENTUCKY DERBY WINNERS Winners of the Kentucky Derby have faced each other 43 times. The races have occurred 17 times in New York, nine in California, nine in Maryland, six in Kentucky, one in Illinois and one in Canada. Derby winners have run 1-2 on 12 occasions. The older Derby winner has prevailed 24 times. Three Kentucky Derby winners have been pitted against one another twice, including a 1-2-3 finish in the 1918 Bowie Handicap at Pimlico by George Smith, Omar Khayyam and Exterminator. Exterminator raced against Derby winners 15 times and finished ahead of his rose-bearing rivals nine times. His chief competitor was Paul Jones, who he beat in seven of 10 races while carrying more weight in each affair. Date Track Race Distance Derby Winner (Age, Weight) Finish Derby Winner (Age, Weight) Finish Nov. 2, 1991 Churchill Downs Breeders’ Cup Classic 1 ¼ M Unbridled (4, 126) 3rd Strike the Gold (3, 122) 5th June 26, 1988 Hollywood Park Hollywood Gold Cup H. 1 ¼ M Alysheba (4,126) 2nd Ferdinand (5, 125) 3rd April 17, 1988 Santa Anita San Bernardino H. 1 1/8 M Alysheba (4, 127) 1st Ferdinand (5, 127) 2nd March 6, 1988 Santa Anita Santa Anita H. 1 ¼ M Alysheba (4, 126) 1st Ferdinand (5, 127) 2nd Nov. 21, 1987 Hollywood Park Breeders’ Cup Classic 1 ¼ M Ferdinand (4, 126) 1st Alysheba (3, 122) 2nd Oct. 6, 1979 Belmont Park Jockey Club Gold Cup 1 ½ M Affirmed (4, 126) 1st Spectacular Bid (3, 121) 2nd Oct. 14, 1978 Belmont Park Jockey Club Gold Cup 1 ½ M Seattle Slew (4, 126) 2nd Affirmed (3, 121) 5th Sept.
    [Show full text]
  • Social Science
    Shakespeare: A critical analysis Shakespeare: Original pronunciation Narrator The Globe Theatre, which opened in 1994, very near to its former site, specialises in original productions of Shakespeare. But it wasn’t until 2004 that a play was performed in the original pronunciation, known as OP. The play was Romeo and Juliet. David Crystal, Honorary Professor of Linguistics, University of Wales Well, The Globe is known for its original practises. This is why it is here, to try and recreate the theatre as it was in 1600 and thereabouts. And when they started it off, they decided to do original costume, original music, with original instruments, original movement around the stage, and so on. But they never did original pronunciation, because they thought, quite wrongly, but understandably, they thought nobody would understand it. But it was very, very successful occasion, the seats were packed for that weekend, everybody loved it. And it was such a success that The Globe then decided to a second production the following year, a production of Troilus and Cressida. It transports you back through the centuries. It’s a very magical, almost hair-raising experience, especially in this space, to hear that accent, a space that’s, sort of, as close as we can get to a 400 year old theatre, and then an accent that’s as close as we can get to a 400 year old accent, with a 400 year old play. If anything, it rounds the experience of going to see a Shakespeare play out. Any period in the history of the English language can be studied from the point of view of how it was pronounced at the time.
    [Show full text]
  • The Rhaeto-Romance Languages
    Romance Linguistics Editorial Statement Routledge publish the Romance Linguistics series under the editorship of Martin Harris (University of Essex) and Nigel Vincent (University of Manchester). Romance Philogy and General Linguistics have followed sometimes converging sometimes diverging paths over the last century and a half. With the present series we wish to recognise and promote the mutual interaction of the two disciplines. The focus is deliberately wide, seeking to encompass not only work in the phonetics, phonology, morphology, syntax, and lexis of the Romance languages, but also studies in the history of Romance linguistics and linguistic thought in the Romance cultural area. Some of the volumes will be devoted to particular aspects of individual languages, some will be comparative in nature; some will adopt a synchronic and some a diachronic slant; some will concentrate on linguistic structures, and some will investigate the sociocultural dimensions of language and language use in the Romance-speaking territories. Yet all will endorse the view that a General Linguistics that ignores the always rich and often unique data of Romance is as impoverished as a Romance Philogy that turns its back on the insights of linguistics theory. Other books in the Romance Linguistics series include: Structures and Transformations Christopher J. Pountain Studies in the Romance Verb eds Nigel Vincent and Martin Harris Weakening Processes in the History of Spanish Consonants Raymond Harris-N orthall Spanish Word Formation M.F. Lang Tense and Text
    [Show full text]
  • Developments of the Lateral in Occitan Dialects and Their Romance and Cross-Linguistic Context Daniela Müller
    Developments of the lateral in occitan dialects and their romance and cross-linguistic context Daniela Müller To cite this version: Daniela Müller. Developments of the lateral in occitan dialects and their romance and cross- linguistic context. Linguistics. Université Toulouse le Mirail - Toulouse II, 2011. English. NNT : 2011TOU20122. tel-00674530 HAL Id: tel-00674530 https://tel.archives-ouvertes.fr/tel-00674530 Submitted on 27 Feb 2012 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. en vue de l’obtention du DOCTORATDEL’UNIVERSITÉDETOULOUSE délivré par l’université de toulouse 2 - le mirail discipline: sciences du langage zur erlangung der doktorwürde DERNEUPHILOLOGISCHENFAKULTÄT DERRUPRECHT-KARLS-UNIVERSITÄTHEIDELBERG présentée et soutenue par vorgelegt von DANIELAMÜLLER DEVELOPMENTS OF THE LATERAL IN OCCITAN DIALECTS ANDTHEIRROMANCEANDCROSS-LINGUISTICCONTEXT JURY Jonathan Harrington (Professor, Ludwig-Maximilians-Universität München) Francesc Xavier Lamuela (Catedràtic, Universitat de Girona) Jean-Léonard Léonard (Maître de conférences HDR, Paris
    [Show full text]
  • English Language at a Level
    English Language at A Level Studying English Language at A Level will be very different to what you will have done at GCSE, however, you will still use similar academic skills such as: analysis, application of linguistic terminology and essay writing. To prepare yourself, there are lots of helpful, interesting and fun things that you can do. Podcasts: • Listen to Radio 4’s ‘Word of Mouth’ podcasts available for free to download from the BBC Sounds app (which is also free!) or from the Radio 4 website. Michael Rosen, an English poet and author, hosts the show which features topics related to language such as: Lying (and how to tell when someone is), The First Language, The Language of Comics and even Biscuit Names! https://www.bbc.co.uk/programmes/b006qtnz/episodes/player?page =2 • Listen to a podcast called ‘The Battle for English’ by lexicographer, Susie Dent (from Dictionary Corner on Countdown) https://www.bbc.co.uk/programmes/m000gkv4 YouTube: • Watch videos about language and linguistics by David Crystal, a writer, lecturer, and broadcaster who has written over 100 books about language including: ‘Rediscover Grammar’, ‘Making Sense of Grammar’ (which are very accessible for A Level students). • Watch Ted Talks about language and linguistics on topics from ‘Why language is humanity's greatest invention’ to ‘ancient language forms’: https://www.ted.com/topics/language Blogs and websites: All of these blogs and websites are focused on the English language: its history, its functions and its ever-changing identity. Reading anything that takes your interest is a great place to start: • https://linguisticus.wordpress.com • https://grammararium.wordpress.com • https://aggslanguage.wordpress.com • https://blog.inkyfool.com/ • http://david-crystal.blogspot.co.uk • http://www.dictionary.com/ Books: • David Crystal: Cambridge Encyclopaedia of the English Language/Rediscover Grammar/ Making sense of Grammar.
    [Show full text]
  • The Conscience of Macbeth
    /7Q THE CONSCIENCE OF MACBETH THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By James Ai Edwards, B. A. Denton, Texas May, 1963 _ . TABLE OF CONTENTS Chapter Page I. THE STRUCTURE OF MACBETH'S CONSCIENCE * * 1 II. MACBETH'S EFFORT TO ADJUST TO HIS CONSCIENCE . 22 III. THE STATE OF MACBETH'S MIND . 32 IV. THE DEPRAVITY OF MACBETH'S SOUL . * 47 V. MACBETH'S FEAR . 67 VI. MACBETH'S SELF-IMMERSION IN BLOOD . 0 79 VII. MACBETH'S TRAGIC MORAL FREEDOM .. .0 87 VIII. CONCLUSION . ,*. 0 99 BI BIOGRAPHYp 0 . 0 . 102 iii w ."Noomimm CHAPTER I THE STRUCTURE OF MACBETH'S CONSCIENCE Whatever are the other merits of Macbeth, it must be classed as one of the most penetrating studies of conscience in literature. Shakespeare does not attempt to describe in the drama how the ordinary criminal would react to evil, but how Shakespeare himself would have felt if he had fallen into crime. 1 The ramifications of this conflict between the con- science of a man of genius and the supernatural forces of wickedness, therefore, assume immense dimensions. "Macbeth leaves on most readers a profound impression of the misery of a guilty conscience and the retribution of crime . But what Shakespeare perhaps felt even more deeply, when he wrote this play, was the incalculability of evil--that in meddling with it human beings do they know not what."2 This drama displays an evil not to be accounted for simply in terms of the protagonist's will or his causal relationships to evil.
    [Show full text]