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Address pronouns revisited: a case of theatre and translation pragmatics

100%

Graziano A.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2021

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vol. 24

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issue 1

119-135

EN

After an overview of the general scholarship both on the uses of the second person singular pronouns in Early Modern English (EME) and on the contrast between English and the so-called "T/V" languages (such as Italian) in terms of translation issues, this article focuses on Restoration comedy. Some observations on modern Italian translations (even in the absence of explicit indications by the translators) lead to a case study drawn from a personal experience as the translator of Aphra Behn's Sir Patient Fancy, which will serve to illustrate the performative force exerted by address pronouns on the stage and the impact on both academic and dramaturgical renderings of comedic texts.

2

"With old plays you have so long been cloyed": James Shirley's influence on Aphra Behn

86%

Grant T.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2021

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vol. 24

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issue 1

43-60

EN

This article emphasises the unrecognised popularity of the Caroline playwright James Shirley's drama on the Restoration stage, demonstrating that – after Fletcher – Shirley, Shakespeare and Jonson pegged pretty level in the 1660s when it came to revivals. Aphra Behn's use of Shirley's The Lady of Pleasure (printed 1637) in her later play, The Lucky Chance (performed 1686), raises questions about why neither it, nor Shirley's popular The Bird in a Cage (printed 1633) were revived in the Restoration. Behn must have been reading Shirley in the 1680s since there are direct verbal echoes in her play, arguing for a direct engagement with earlier drama. Scholars repeatedly connect The Bird in a Cage to Behn because Shirley's playlet leaves room for a lesbian desire which reverberates also within Behn's poetry and other drama. Shirley and Behn also share an interest in the politics of transactional sex, themes that run through both Shirley plays and also in so much of Behn's writing. The Lucky Chance follows both Shirley plays in showing the negotiations necessary for women to remain both independent and virtuous in a system stacked against them.

3

The “Noble Savage”: Aristocracy, Slavery, Restoration Culture and Aphra Behn’s Oroonoko, or The Royal Slave

72%

Uściński P.

Anglica. An International Journal of English Studies

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2017

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issue 26/1

43-54

XX

Evoking as historical and intertextual context the Restoration of English monarchy and the attendant political and cultural projects, chiefl y royalist, legitimizing and advocating the stability of power in the period, the paper discusses Aphra Behn’s novel Oroonoko, or The Royal Slave by looking at its literary representation of the African prince as a “noble savage” – a trope that may be found also in John Dryden’s and Jonathan Swift’s work. The paper pays due attention to the politics of Behn’s novel in terms of its ambiguous treatment of race, slavery and colonialism, and evokes the concepts of “iterability” and “Third Space” in order to engage in a deconstructive reading of the novel’s royalist project of cultural investment in such notions as nobility, hierarchy and order.

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2 Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

1 Anglica. An International Journal of English Studies

2 2021

1 2017

1 Grant T.

1 Graziano A.

1 Uściński P.

Address pronouns revisited: a case of theatre and translation pragmatics

"With old plays you have so long been cloyed": James Shirley's influence on Aphra Behn

The “Noble Savage”: Aristocracy, Slavery, Restoration Culture and Aphra Behn’s Oroonoko, or The Royal Slave