By Beatrix Busse
ISBN-10: 9027253935
ISBN-13: 9789027253934
ISBN-10: 9027293139
ISBN-13: 9789027293138
This examine investigates the services, meanings, and kinds of kinds of tackle in Shakespeare’s dramatic paintings. New different types of Shakespearean vocatives are constructed and the grammar of vocatives is investigated in, above, and under the clause, following morpho-syntactic, semantic, lexicographical, pragmatic, social and contextual standards. Going past the normal paradigm of strength and harmony and with recourse to Shakespearean drama as either textual content and function, the learn sees vocatives as foregrounded experiential, interpersonal and textual markers. Shakespeare’s vocatives construe, either quantitatively and qualitatively, habitus and id. They illustrate relationships or messages. They mirror Early smooth, Shakespearean, and intra- or inter-textual contexts. Theoretically and methodologically, the research is interdisciplinary. It attracts on methods from (historical) pragmatics, stylistics, Hallidayean grammar, corpus linguistics, cognitive linguistics, socio-historical linguistics, sociology, and theatre semiotics. This research contributes, hence, not just to Shakespeare stories, but additionally to literary linguistics and literary feedback.
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Additional info for Vocative Constructions in the Language of Shakespeare
Sample text
Yet, Chapter 1. This study the paradigm is also somewhat one-dimensional, because the existent social structure at Shakespeare’s time cannot serve as a sole means of interpreting the use of vocatives in the plays. What is missing is an analysis that investigates vocatives in more than two plays on both a macro- and micro-analytical level. , and cultural studies on a quantitative and qualitative basis. Emphasis should also be placed on the social dimensions of Shakespeare’s vocatives and on the postmodern idea of language and meaning being construed by the analyst as well as the social and the contextual.
33), or “Ah,” in “Ah, you kite” (Ant. 88). From a grammatical point of view, these interjections cannot be seen as explicit morphological indicators of the vocative, but they represent a first “morphological” criterion for a definition of vocatives. Even though this claim explicitly refrains from observing the functional dimensions of o and ah as “for example markers of sexual desire” or “markers of grief ” (Leimberg 1991: 79), from a purely grammatical point of view, o and ah have a compensatory effect for the non-existence of any clear morphological directive.
See U. Busse (2002: 45) for quantitative and generic changes of the use of the second-person pronouns in Shakespeare. 11 12 Vocative Constructions in the Language of Shakespeare fied language system that provides a full meaning potential by including both syntax and lexis (Halliday 1961: 247, 267). ), the study of linguistic form has by and large favoured a separation between syntactic and lexical description (Tucker 1996: 533). 28 This study also proposes a new definition of the Shakespearean vocative and novel clusters.