1,721,011 research outputs found
Roberta Mullini, Più del bronzo: Voci della poesia inglese della Grande Guerra
Full text linkRoberta Mullini, Più del bronzo: Voci della poesia inglese della Grande Guerra (Günzburg, Oakmond Publishing, 2018, 123 pp. ISBN 978-3-96207-070-0, ISBN kindle: 978-3-96207-071-7)
di Cristina Paravan
Introduction
Full text linkThe article, by Roberta Mullini from p. 11 to p. 23, discusses British Renaissance theories of laughter and comedy and how they were implemented in early modern theatre
La centralità dell’a parte. Di una certa didascalia nei drammi shakespeariani (Roberta Mullini, Parlare per non farsi sentire. L’a parte dei drammi di Shakespeare, Roma, Bulzoni, 2018, 145 pp. ISBN 978-88-6897-114-4) di Paolo Caponi
Full text linkLa centralità dell’a parte. Di una certa didascalia nei drammi shakespeariani (Roberta Mullini, Parlare per non farsi sentire. L’a parte dei drammi di Shakespeare, Roma, Bulzoni, 2018, 145 pp. ISBN 978-88-6897-114-4)di Paolo Capon
a. Advertising in Shakespearean plays and in Shakespeare's times
No full textThe author anchors the exploration in a discussion of the oral and visual strategies used to advertise goods in the early modern period. Her analysis draws
on diverse examples that range from Autolycus’s merchandise in The Winter’s Tale to the First Folio as the earliest modern use of Shakespeare
in advertising
'You nickname virtue.“Vice” you should have spoke’. The Humouristic and Offensive Potential of Nicknames in Shakespeare’s Plays
No full textHumour in Shakespeare’s Arcadia. Selected Papers from the “Shakespeare and his Contemporaries” Graduate Conference. Florence, 23 April 2015 / edited by Roberta Mullini and Maria Elisa Montironi – Firenze: The British Institute of Florence, 2017.International audienc
Il Vice nel dramma inglese del Cinquecento, ovvero un’ambigua allegoria del male
No full textThe article studies the character of the Vice as an ambiguous presence in the moral plots of Tudor interludes. After summarising the main aspects of the Vice’s onstage role, the author highlights the trajectory of its moral weight from being the antagonist of good and mankind’s main tempter towards evil, to becoming the punisher of characters who are already corrupt. The Vice’s close relationship with the audience is also studied, because this is the paramount instrument to fascinate both its victims and spectators. To investigate these facets of the Vice the article touches Mankind, Impatient Poverty, Enough is as Good as a Feast, Cambises, Mundus et Infans, Like Will to Like, Apius and Virginia, and The Tyde Taryeth No Man
“My” David Lodge: Recollections Punctuated by Coincidences
No full textOn the occasion of David Lodge’s death, in this invited short memoir Roberta Mullini, former professor of English literature at the University of Urbino, traces the history of her personal literary relationship with David Lodge through reading, teaching and writing about his novels. An appendix with comments about Lodge by some former students of hers concludes the article
Reading Aloud in Britain in the Second Half of the Eighteenth Century: Theories and Beyond
Full text linkThomas Sheridan, actor, theatre manager and elocutionist, had been dead for eleven years, when The Reader or Reciter was published, targeting those who had already followed Mr. Sheridan’s instructions about elocution and reading, but who still found themselves ‘deficient of that attractive power to engage the attention, and afford gratification to [themselves] and those who are [their] hearers’. The occasions for reading aloud evidently were still quite numerous if the anonymous author(s) of The Reader thought of publishing this Do-It-Yourself guide to shared reading.
This article investigates the late eighteenth-century cultural milieu within which a booklet of this type was produced, mainly the elocution movement and its principal exponents, i.e. Sheridan himself and John Walker, and their theoretical production. Then a series of books are analysed, printed towards the end of the century in order to guide those people who wanted to practice reading aloud on the various occasions offered by genteel British society, in order to attain efficacious and pleasurable standards in their performances. The issue of the difference, if any, between communal reading and theatre is also taken into consideration
Shakespeare and the Words of Early Modern Physic: Between Academic and Popular Medicine. A Lexicographical Approach to the Plays
Full text linkThe article aims at showing how Shakespeare relied on the medical vocabulary shared by his coeval society, which had, for centuries, been witnessing the continuous process of vernacularization of ancient and medieval scientific texts. After outlining the state of early modern medicine, the author presents and discusses the results of her search for relevant medical terms in nine plays by Shakespeare. In order to do this, a wide range of medical treatises has been analysed (either directly or through specific corpora such as Medieval English Medical Texts, MEMT 2005, and Early Modern English Medical Texts, EMEMT 2010), so as to verify the ancestry or the novelty of Shakespearean medical words. In addition to this, the author has also built a corpus of word types derived from seventeenth-century quack doctors’ handbills, with the purpose of creating a word list of medical terms connected to popular rather than university medicine, comparable with the list drawn out of the Shakespearean plays. The results most stressed in the article concern Shakespeare’s use of medical terminology already well known to his contemporary society (thus confuting the Oxfordian thesis about the impossibility for William Shakespeare the actor to master so many medical words) and the playwright’s skill in transforming – rather than inventing – old popular terms. The article is accompanied by five tables that collect the results of the various lexicographical searches
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