Angelika Zirker - Böcker

There has been a growing awareness that ambiguity is not just a necessary evil of the language system resulting, for instance, from its need for economy or, by contrast, a blessing that allows writers to involve readers in endless games of assigning meaning to a literary text. The present volume contributes to overcoming this alternative by focusing on strategies of ambiguity (and the strategic avoidance of ambiguity) both at the production and the reception end of communication. The authors examine ways in which speakers and hearers may use ambiguous words, structures, references, and situations to pursue communicative ends. For example, the question is asked what it actually means when a listener strategically perceives ambiguity, which may happen both synchronically (e.g. in conversations) as well as diachronically (e.g. when strategically ambiguating biblical texts in order to make them applicable to moral lessons). Another example is the question of whether ambiguity awareness increases the strategic use of ambiguity in prosody. Moreover, the authors enquire not only into the effects of ambiguous meanings but also into the strategic use of ambiguity as such, for example, as a response to censorship or as a means of provoking irritation. This volume brings together several contributions from linguistics, literary studies, rhetoric, psychology, and theology, and it aims to provide a systematic approach to the strategic production and perception of ambiguity in a variety of texts and contexts.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

There has been a growing awareness that ambiguity is not just a necessary evil of the language system resulting, for instance, from its need for economy or, by contrast, a blessing that allows writers to involve readers in endless games of assigning meaning to a literary text. The present volume contributes to overcoming this alternative by focusing on strategies of ambiguity (and the strategic avoidance of ambiguity) both at the production and the reception end of communication. The authors examine ways in which speakers and hearers may use ambiguous words, structures, references, and situations to pursue communicative ends. For example, the question is asked what it actually means when a listener strategically perceives ambiguity, which may happen both synchronically (e.g. in conversations) as well as diachronically (e.g. when strategically ambiguating biblical texts in order to make them applicable to moral lessons). Another example is the question of whether ambiguity awareness increases the strategic use of ambiguity in prosody. Moreover, the authors enquire not only into the effects of ambiguous meanings but also into the strategic use of ambiguity as such, for example, as a response to censorship or as a means of provoking irritation. This volume brings together several contributions from linguistics, literary studies, rhetoric, psychology, and theology, and it aims to provide a systematic approach to the strategic production and perception of ambiguity in a variety of texts and contexts.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

This wide-ranging collection reflects on the various motivations that caused the Folio to come into being in 1623, 7 years after Shakespeare’s death, and on how the now iconic book has been continually reimagined after its initial publication to the present day.In honour of its original publication, Shakespeare’s First Folio 1623-2023: Text and Afterlives brings together a remarkable set of ground-breaking essays by an international group of scholars. From the beginning, the publication that came to be called the ‘First Folio’ was defined by the tension between the book as text and the book as a material object. In this volume, the individual contributions move between these two meaningsin that they consider precursors to the First Folio in the form of reader-assembled volumes; the poetic identity of Shakespeare; and how misfortunes and successes in the early modern printing house shaped Shakespeare’s text.Chapters examine the unpredictable and often surprising subsequent histories of the book that has even been given a sacred status and become the basis of Shakespeare’s unique position in the history of literature. They consider: the afterlife of the text, in relation to the reception of Shakespeare’s First Folio in Spain; its presence in and influence on James Joyce’s Ulysses; the role that Meisei University of Japan’s Shakespeare Collection has played in the education and research of the institution; and what the collection of 82 copies at the Folger Shakespeare Library in Washington, DC, tells us about the ongoing role of these books within the study of Shakespeare and the early modern period.

This wide-ranging collection reflects on the various motivations that caused the Folio to come into being in 1623, 7 years after Shakespeare’s death, and on how the now iconic book has been continually reimagined after its initial publication to the present day.In honour of its original publication, Shakespeare’s First Folio 1623-2023: Text and Afterlives brings together a remarkable set of ground-breaking essays by an international group of scholars. From the beginning, the publication that came to be called the ‘First Folio’ was defined by the tension between the book as text and the book as a material object. In this volume, the individual contributions move between these two meaningsin that they consider precursors to the First Folio in the form of reader-assembled volumes; the poetic identity of Shakespeare; and how misfortunes and successes in the early modern printing house shaped Shakespeare’s text.Chapters examine the unpredictable and often surprising subsequent histories of the book that has even been given a sacred status and become the basis of Shakespeare’s unique position in the history of literature. They consider: the afterlife of the text, in relation to the reception of Shakespeare’s First Folio in Spain; its presence in and influence on James Joyce’s Ulysses; the role that Meisei University of Japan’s Shakespeare Collection has played in the education and research of the institution; and what the collection of 82 copies at the Folger Shakespeare Library in Washington, DC, tells us about the ongoing role of these books within the study of Shakespeare and the early modern period.

This study analyses concepts and representations of the soul in the poetry of William Shakespeare and John Donne. It shows how the soul becomes a linking element between the genres of poetry and drama, and how poetry becomes dramatic whenever the soul is at its focus. This double movement can be observed in Shakespeare’s The Rape of Lucrece and Donne’s Holy Sonnets: in these texts, the connection between interiority and performance, psychology and religious self-care can be found, which is central to the understanding of early modern drama and its characteristic development of the soliloquy. The study thus offers a new reading of the poems by Shakespeare and Donne by analysing them, in different ways, as staged dialogues within the soul. It contributes to research on the soliloquy as much as on concepts of inwardness during the early modern period. The book is aimed at readers studying early modern literature and culture.

Wordplay can be seen as a genuine interface phenomenon. It can be found both in everyday communication and in literary texts, and it can fulfil a range of functions – it may be entertaining and comical, it may be used to conceal taboo, and it may influence the way in which the speaker’s character is perceived. Moreover, wordplay also reflects on language and communication: it reveals surprising alternative readings, and emphasizes the phonetic similarity of linguistic signs that also points towards relations on the level of content. Wordplay unravels characteristics of literary language in everyday communication and opens up the possibility to analyze literary texts from a linguistic perspective. The first two volumes of the series The Dynamics of Wordplay therefore aim at bringing together contributions from linguistics and literary studies, focusing on theoretical issues such as basic techniques of wordplay, and its relationship to genres and discourse traditions. These issues are complemented by a series of case studies on the use of wordplay in individual authors and specific historical contexts. The contributions offer a fresh look on the multifaceted dynamics of wordplay in different communicative settings.

Wordplay can be seen as a genuine interface phenomenon. It can be found both in everyday communication and in literary texts, and it can fulfil a range of functions – it may be entertaining and comical, it may be used to conceal taboo, and it may influence the way in which the speaker’s character is perceived. Moreover, wordplay also reflects on language and communication: it reveals surprising alternative readings, and emphasizes the phonetic similarity of linguistic signs that also points towards relations on the level of content. Wordplay unravels characteristics of literary language in everyday communication and opens up the possibility to analyze literary texts from a linguistic perspective. The first two volumes of the series The Dynamics of Wordplay therefore aim at bringing together contributions from linguistics and literary studies, focusing on theoretical issues such as basic techniques of wordplay, and its relationship to genres and discourse traditions. These issues are complemented by a series of case studies on the use of wordplay in individual authors and specific historical contexts. The contributions offer a fresh look on the multifaceted dynamics of wordplay in different communicative settings.

In conjunction with the first volume of the series, this collection of essays analyzes techniques and basic traditions of wordplay in various communicative situations and offers new perspectives on the dynamics of wordplay as an interface phenomenon.

Until recently, collaborative efforts between formal linguistics and literary studies have been relatively sparse; this book is an attempt to bridge this gap and add to the hitherto small pool of studies that combine the two disciplines.Our study concentrates on Emily Dickinson’s poetry, since it displays a highly uncommon and therefore challenging use of language. We argue this to be part of her poetic strategy and consider Dickinson an intuitive linguist: her apparent non-compliance with linguistic rules is a productive exploration of linguistic expression to reveal the flexibility and potential of grammar, leading to complex processes of interpretation. Our study includes a number of in-depth analyses of individual poems, which combine formal linguistic methods and literary scholarship and focus on specific aspects such as ambiguity, reference, and presuppositions. One of our findings concerns the dynamic interpretation of lyrical texts in which the pragmatic step of establishing what a poem means for the reader is postponed to text level.We provide readers with a tool-box of methods for the formal linguistic analysis not just of Emily Dickinson’s poetry but of linguistically complex literary texts in general.