Paula Blank – författare

The English language in the Renaissance was in many ways a collection of competing Englishes. Paula Blank investigates the representation of alternative vernaculars - the dialects of early modern English - in both linguistic and literary works of the period. Blank argues that Renaissance authors such as Spenser, Shakespeare and Jonson helped to construct the idea of a national language, variously known as 'true' English or 'pure' English or the 'King's English', by distinguishing its dialects - and sometimes by creating those dialects themselves. Broken English reveals how the Renaissance 'invention' of dialect forged modern alliances of language and cultural authority. This book will be of interest to scholars and students of Renaissance studies and Renaissance English literature. It will also make fascinating reading for anyone with an interest in the history of English language.

The English language in the Renaissance was in many ways a collection of competing Englishes. Paula Blank investigates the representation of alternative vernaculars - the dialects of early modern English - in both linguistic and literary works of the period. Blank argues that Renaissance authors such as Spenser, Shakespeare and Jonson helped to construct the idea of a national language, variously known as 'true' English or 'pure' English or the 'King's English', by distinguishing its dialects - and sometimes by creating those dialects themselves. Broken English reveals how the Renaissance 'invention' of dialect forged modern alliances of language and cultural authority. This book will be of interest to scholars and students of Renaissance studies and Renaissance English literature. It will also make fascinating reading for anyone with an interest in the history of English language.

Shakespeare's poems and plays are rich in reference to "measure, number, and weight," which were the key terms of an early modern empirical and quantitative imagination. Shakespeare's investigation of Renaissance measures of reality centers on the consequences of applying principles of measurement to the appraisal of human value. This is especially true of efforts to judge people as better or worse than, or equal to, one another. With special attention to the Sonnets, Measure for Measure, Merchant of Venice, Othello, King Lear, and Hamlet, Paula Blank argues that Shakespeare, in his experiments with measurement, demonstrates the incommensurability of the aims and operations of quantification with human experience.From scales and spans to squares and levels to ratings and rules, Shakespeare's rhetoric of measurement reveals the extent to which language in the Renaissance was itself understood as a set of alternative measures for figuring human worth. In chapters that explore attempts to measure human feeling, weigh human equalities (and inequalities), regulate race relations, and deduce social and economic merit, Blank shows why Shakespeare's measures are so often exposed as "mismeasures"—equivocal, provisional, and as unreliable as the men and women they are designed to assess.

For all that we love and admire Shakespeare, he is not that easy to grasp. He may have written in Elizabethan English, but when we read him, we can't help but understand his words, metaphors, and syntax in relation to our own. Until now, explaining the powers and pleasures of the Bard's language has always meant returning it to its original linguistic and rhetorical contexts. Countless excellent studies situate his unusual gift for words in relation to the resources of the English of his day. They may mention the presumptions of modern readers, but their goal is to correct and invalidate any false impressions. Shakesplish is the first book devoted to our experience as modern readers of Early Modern English. Drawing on translation theory and linguistics, Paula Blank argues that for us, Shakespeare's language is a hybrid English composed of errors in comprehension—and that such errors enable, rather than hinder, some of the pleasures we take in his language. Investigating how and why it strikes us, by turns, as beautiful, funny, sexy, or smart, she shows how, far from being the fossilized remains of an older idiom, Shakespeare's English is also our own.