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Title:
"The Soundscape of Ophelias Zimmer / Ophelia's Room"
Author:
Montironi, Maria Elisa.
Type:
Journal Article
Year:
2020
Publication Information:
Linguae &: Rivista di lingue e culture moderne 19, no. 1 (2020): 133–54.
Annotation:

Argues that Ophelias Zimmer (q.v.) offers "feminist reading of Hamlet through a soundscape capable of denouncing the patriarchy," which goes beyond verbal interpretation. Includes interview with Max Pappenheim, sound designer for Ophelias Zimmer.  English summary, 133.

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Title:
"Danza, lingua e potere: (s)cortesia ne La dodicesima notte di Shakespeare. Dance, Language, and Power: (Im)politeness in Shakespeare's Twelfth Night]"
Author:
Ciambella, Fabio.
Type:
Journal Article
Year:
2020
Publication Information:
Linguae &: Rivista di lingue e culture moderne 19, no. 2 (2020): 13–33.
Annotation:

Applies "conversation analysis and cognitifived linguistics" to Twelfth Night to show the power dynamics of dance and politeness. English summary, 13.

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Title:
"'An Infinite and Endless Liar': Paroles as as a Case Study of the Pragmatics of Lying in Shakespeare"
Author:
Beville, Aoife.
Type:
Journal Article
Year:
2021
Publication Information:
Linguae &: Rivista di lingue e culture moderne 20, no. 2 (2021): 79–102.
Annotation:

Taking a pragmatics approach to All's Well that Ends Well, shows how Paroles is unsuccessful as a liar and moves towards "Off-Record Verbal Deception (ORVD)" over the course of the play. English summary, 79.

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Title:
"'The office becomes a woman best': Alchemy, Women, and Healing in The Winter's Tale"
Author:
Zamparo, Martina.
Type:
Journal Article
Year:
2019
Publication Information:
Lingue e Linguaggi 30 (2019): 307–36..
Annotation:

Offers an alchemical and allegorical reading of Winter's Tale where Hermione represents "the feminine aspect of matter"; Leontes represents "rex chymicus...raw matter that has been transmuted into gold"; Perdita embodies the "fruit of the chemical wedding between the royal couple"; and Paulina "functions as a personification of the art of alchemy and, as a dramatist, directs the events." English summary, 307.

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Title:
"El reflejo de Giraldi Cinthio en la Inglaterra de Shakespeare [Giraldi Cinthio's Reflection in Shakespeare's England]"
Author:
Romero Pintor, Irene.
Type:
Journal Article
Year:
2018
Publication Information:
Lingue e Linguaggi 27 (2018): 391–410.
Annotation:

Suggests that Shakespeare's adaptations from Cinthio in Othello and Measure for Measure emphasize character and emotion. English summary, 391.

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Title:
"Serpenti, eroi e rose di maggio. La danza cosmica di femminile e maschile in Shakespeare [Serpents, Heroes, and May Roses: Shakespeare's Cosmic Dance of Feminine and Masculine]"
Author:
Riem, Antonella.
Type:
Journal Article
Year:
2018
Publication Information:
Lingue e Linguaggi 27 (2018): 331–65.
Annotation:

Focusing on Lady Macbeth, Cleopatra, Ophelia, the titular Merry Wives of Windsor and Anne Page, and the lovers from Midsummer Night's Dream, explores Shakespeare's representation of women in relation to dominance and partnership. English summary, 331.

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Title:
"Eteroglossia e prospettiva nella ricostruzione degli eventi storici. Le strategie degli Historical Plays di Shakespeare e della stampa odierna [Heteroglossia and Perspective in the Reconstruction of Historical Events: The Strategies of Shakespeare's History Plays and the Contemporary Press]"
Author:
Manca, Elena.
Type:
Journal Article
Year:
2018
Publication Information:
Lingue e Linguaggi 27 (2018): 307–21.
Annotation:

Compares Bakhtinian heteroglossia in 1 & 2 Henry IV and Henry V with twenty-first century British newspaper reporting, pointing out that the use of multiple linguistic registers offers different interpretations of historical events. English summary, 307.

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Title:
"'The little O': Signifying Nothing in Shakespeare"
Author:
Lucking, David Ian Clive.
Type:
Journal Article
Year:
2018
Publication Information:
Lingue e Linguaggi 27 (2018): 285–305.
Annotation:

Analyzes "Nothing" as "paradoxical concept" in Shakespeare's plays, particularly Hamlet and King Lear, where it can be generative and destructive. Shows how "O" can mean "'naught' or 'cipher'"; "O" and nothing can signify "nothing, and at the same time ... all there is." English summary, 285. 

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