Titlebook: Shakespeare and Conflict; A European Perspecti Carla Dente (Professor of English),Sara Soncini (R Book 2013 Palgrave Macmillan, a division

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The War of ‘Nothings’ in included. When we want to describe objective reality in which no sound is heard we use the noun .; whereas when we refer to the voluntary act of declining to speak or remaining silent as a consequence of not knowing what to say we have a different verb to describe this non-action (.) and a noun rel

GOUGE

Conflict and Convergence in Shakespeare’s Wordplayusually operate according to a common technical principle: a polysemous feature of linguistic structure, which may be a single word or a larger syntactic scheme, combines two or more apparently unrelated meanings usually with a short-lived humorous effect.. Whereas many of Shakespeare’s puns undenia

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Introductioneare’ provides a truly paradigmatic case of a matrix that has operated across different historical and national contexts as a crucial factor shaping people’s ways of experiencing, conceptualizing and (re-)imagining reality. This pliancy has resulted moreover in the rise of transcultural critical, th

Narrative

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‘IN THE FEARFUL ARMOUR’: Shakespeare, Heiner Müller and the Wallhis play, German history is revisited through the lens of the equally historical engagement of German culture with Shakespeare. This chapter focuses on one of the motifs from the play, that of the prison which also functions as a safe haven. To do so, I concentrate on what is probably Müller’s speci

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Interregnum

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