This book makes ample use of approaches to language within linguistics, semiotics, the philosophy of language and sociology, in order to do justice to the subtlety of Shakespeare's verbal artistry. Keir Elam adopts a fresh approach to the language of Shakespeare's comedies, considering it not simply as 'style' but as the principal dramatic and comic substance of the plays. Traditional analysis of the language as 'diction', 'expression' or 'verbal structure' is not adequate to describe the range and importance of linguistic functions in these plays. This book shows that in Shakespearean comedy language, or rather 'discourse', language in use, is always a dynamic, active protagonist of the drama. The author explores the extraordinary gamut of verbal activities or 'language-games' that contribute to the rich rhetorical make-up of the comedies. The historical framework complements the application of critical theory which will assure a readership among students and teachers of Shakespeare as well as those interested in liguistics and semiotics.

The relationship between modern drama and Shakespeare remains intense and fruitful, as Shakespearian themes continue to permeate contemporary plays, films, and other art-forms. Shakespeare/Adaptation/Modern Drama is the first book-length international study to examine the critical and theatrical connections among these fields, including the motivations, methods, and limits of adaptation in modern performance media. Top scholars including Peter Holland, Alexander Leggatt, Brian Parker, and Stanley Wells examine such topics as the relationship between Shakespeare and modern drama in the context of current literary theories and historical accounts of adaptive and appropriative practices. Among the diverse and intriguing examples studied are the authorial self-adaptations of Tom Stoppard and Tennessee Williams, and the generic and political appropriations of Shakespeare's texts in television, musical theatre, and memoir. This illuminating and theoretically astute tribute to Renaissance and modern drama scholar Jill Levenson will stimulate further research on the evolving adaptive and intertextual relationships between influential literary works and periods.

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.

Though formal logic has in recent times been the object of radical and spirited attacks from many and diverse quarters, it continues, and will probably long continue, to be one of the most frequently given courses in colleges and universities here and abroad. Nor need this be surprising when we reflect that the most serious of the charges against formal logic, those against the syllogism, are as old as Aristotle, who seems to have been fully aware of them. But while the realm of logic seems perfectly safe against the attacks from without, there is a good deal of unhappy confusion within. Though the content of almost all logic books follows (even in many of the illustrations) the standard set by Aristotle’s Organon—terms, propositions, syllogisms and allied forms of inference, scientific method, probability and fallacies—there is a bewildering Babel of tongues as to what logic is about. The different schools, the traditional, the linguistic, the psychological, the epistemological, and the mathematical, speak different languages, and each regards the other as not really dealing with logic at all. No task is perhaps so thankless, or invites so much abuse from all quarters, as that of the mediator between hostile points of view. Nor is the traditional distrust of the peacemaker in the intellectual realm difficult to appreciate, since he so often substitutes an unclear and inconsistent amalgam for points of view which at least have the merit of a certain clarity. And yet no task is so essential, especially for the beginner, when it is undertaken with the objective of adjusting and supplementing the claims of the contending parties, and when it is accompanied by a refusal to sacrifice clarity and rigor in thought. In so far as an elementary text permits such a thing, the present text seeks to bring some order into the confusion of tongues concerning the subject matter of logic. But the resolution of the conflicts between various schools which it effects appears in the selection and presentation of material, and not in extensive polemics against any school. The book has been written with the conviction that logic is the autonomous science of the objective though formal conditions of valid inference. At the same time, its authors believe that the aridity which is (not always unjustly) attributed to the study of logic testifies to the unimaginative way logical principles have been taught and misused. The present text aims to combine sound logical doctrine with sound pedagogy, and to provide illustrative material suggestive of the rôle of logic in every department of thought. A text that would find a place for the realistic formalism of Aristotle, the scientific penetration of Peirce, the pedagogical soundness of Dewey, and the mathematical rigor of Russell—this was the ideal constantly present to the authors of this book.

David Schalkwyk offers a sustained reading of Shakespeare's sonnets in relation to his plays. He argues that the language of the sonnets is primarily performative rather than descriptive, and bases this distinction on the philosophy of Ludwig Wittgenstein and J. L. Austin. In a wide-ranging analysis of both the 1609 Quarto of Shakespeare's sonnets and the Petrarchan discourses in a selection of plays, Schalkwyk addresses such issues as embodiment and silencing, interiority and theatricality, inequalities of power, status, gender and desire, both in the published poems and on the stage and in the context of the early modern period. In a provocative discussion of the question of proper names and naming events in the sonnets and plays, the book seeks to reopen the question of the autobiographical nature of Shakespeare's sonnets.

Rome was tantamount to its ruins, a dismembered body, to the eyes of those – Italians and foreigners – who visited the city in the years prior to or encompassing the lengthy span of the Renaissance. Drawing on the double movement of archaeological exploration and creative reconstruction entailed in the humanist endeavour to ‘resurrect’ the past, ‘ruins’ are seen as taking precedence over ‘myth’, in Shakespeare’s Rome. They are assigned the role of a heuristic model, and discovered in all their epistemic relevance in Shakespeare’s dramatic vision of history and his negotiation of modernity. This is the first book of its kind to address Shakespeare’s relationship with Rome’s authoritative myth, archaeologically, by taking as a point of departure a chronological reversal, namely the vision of the ‘eternal’ city as a ruinous scenario and hence the ways in which such a layered, ‘silent’, and aporetic scenario allows for an archaeo-anatomical approach to Shakespeare’s Roman works.

Charles S. Peirce (1839-1914), bekannt als Logiker, Philosoph, Mathematiker und Physiker, zählt zu den wichtigsten Denkern der modernen Wissenschaftsgeschichte. In der späten und wichtigsten Phase seines Schaffens (1891-1909) hat er programmatische Aufsätze sowie ausgewählte Vorlesungen explizit als eine Reihe für die Zeitschrift "The Monist" konzipiert, Beiträge, von denen bislang nur Ausschnitte und stark revidierte Fassungen veröffentlicht worden sind. Die erstmalige und vollständige Veröffentlichung der "Monist"-Texte in diesem Band beabsichtigt eine zeitgemäße Annäherung an das höchst heterogene Werk von Peirce. Sie ist der Versuch, Peirces Gedanken der internationalen wissenschaftlichen Öffentlichkeit originalgetreu zu präsentieren. Zentrales Ziel der "Monist"-Reihe bildet die Begründung einer Methode der Semiotik. Die Abhandlungen präsentieren Erklärungen zu Universalgesetzmäßigkeiten wie Gefühle, Wille und Kognition, zu Differenzen zwischen auf Erfahrung basiertem und imaginiertem Wissen, aber auch zur Definition der Aufmerksamkeit als einer symbolischen Tätigkeit. Neben ihrer wissenschaftlichen Relevanz in der philosophischen, bildwissenschaftlichen und kulturwissenschaftlichen Forschung, in der Kognitionswissenschaft und Logik besitzen die von Peirce diskutierten Themen auch eine hohe Aktualität für die zeitgenössischen Naturwissenschaften.

The impetus for this Approaches to Teaching volume on The Taming of the Shrew grew from the editors' desire to discover why a play notorious for its controversial exploration of conflicts between men and women and the challenges of marriage is enduringly popular in the classroom, in the performing arts, and in scholarship. The result is a volume that offers practical advice to teachers on editions and teaching resources in part 1, "Materials," while illuminating how the play's subtle and complex arguments regarding not just marriage but a host of other subjects--modes of early modern education, the uses of clever rhetoric, intergenerational and class politics, the power of theater--are being brought to life in college classrooms. The essays in part 2, "Approaches," are written by English and theater instructors who have taught in a variety of academic settings and cover topics including early modern homilies and music, Hollywood versions of The Taming of the Shrew, and student performances.

Originally published in 1930, this well-known text by the late British philosopher Abraham Wolf offers the student a practical, consistent, and comprehensive approach to logic which remains unique in its field. Dr. Wolf here deals systematically with the two main types of reasoning - formal logic and inductive logic - and their various applications. All the main elements of logic - such as inference, syllogism, dilemmas, evidence, deductive and inductive methods, and probability - are subsumed under these general headings. Professor Wolf strongly emphasizes the fact that logic cannot be mastered without some practical application; at the end of this volume, therefore, he includes a section of exercises based on each chapter. His unusally interesting appendix examines such matters as symbolic as logic, fallacies, the law of contradiction, modal propositions, the existential import of categorical propositions, predictables, and categories.