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The Language of Incognito in Late Seventeenth-Century Diplomacy

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Lemée E.

Legatio: The Journal for Renaissance and Early Modern Diplomatic Studies

2020

issue 4

Incognito was, by the end of the seventeenth century, a well-established and widely used practice in the European courts. In addition to its various convenience and financial uses, incognito could also have specifically diplomatic uses, acting as a unique and highly useful tool in negotiations, and it is this particular aspect of incognito this article aims to explore. Firstly, I will point out that, by suspending the standard rules governing social interactions, diplomatic incognito was first and foremost a way to free language and discourses from ceremonial restraints, which could very well be the sole and simple aim. The use of incognito did more however than simply facilitate diplomatic communications: it initiated, aside from the words spoken by the negotiators, another kind of dialogue, made of gestures and symbols, which I will endeavour to study. The last part of this article will be dedicated to the way this unique language made available using incognito could be used by early modern European states and their representatives to alter the balance of power and to level the diplomatic field in their favour.

Translation and performance cultures: Spanish drama and Restoration England

75%

Braga Riera J.

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

2021

vol. 24

issue 1

101-118

From 1660 onwards, Restoration dramatists drew on seventeenth-century Spanish theatre in search of new plots and characters that might appeal to London audiences. Despite the socio-historical differences between two distinct theatrical traditions, practitioners managed to turn the foreign plays into actable English texts. By comparing a corpus of classical Spanish plays and their versions in Restoration England, this paper aims to provide some insight into the translation strategies employed. In this sense, two performance- -oriented mechanisms can be distinguished. On the one hand, many elements in the source texts were naturalised to meet the demands of the target culture, as perceived not only in the treatment of rhythm, versification and rhetorical devices but also in action, act-division and characterisation. This domesticating method is also noticeable in how the central motifs of the comedia, i.e. comicality (stage and linguistic), honour and love, were approached. On the other hand, some aspects in the originals (storylines, names and certain stylistic features) were maintained, manifestly showing the Spanishness of the play-text. A contrastive study leads to significant conclusions on the success of these tailor-made, accommodating formulas, and raises questions about the extent to which the translators reach the status of authors by leaving a visible mark on their creations.

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1 Legatio: The Journal for Renaissance and Early Modern Diplomatic Studies

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

1 Braga Riera J.

1 Lemée E.

1 2021

1 2020

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The Language of Incognito in Late Seventeenth-Century Diplomacy

Translation and performance cultures: Spanish drama and Restoration England