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This note reports on the existence of a brief text to be considered in the body of epitaphic verses on Chaucer. In its presentation of English verses as ‘Chausers Epitaphe', however, it is unique amongst all previously reported memorial verses on the poet. The text has been copied by a contemporary hand into Durham, Palace Green Library, Bamburgh Select.8, a copy of the c. 1550 Thynne edition of Chaucer's Workes. This note identifies the annotator as Edmund Southerne, the author of A treatise concerning the right vse and ordering of bees (1593).

John Speed's engraved portrait of Chaucer, made for the 1598 edition of the Workes, relies rhetorically upon a manuscript tradition of Chaucerian portraiture to establish its authenticity. During the seventeenth century and onward, Speed's printed plate exhibited a high degree of mobility, being removed from the editions and reappearing in other Chaucerian books and in later manuscript replicas. This essay tracks the movement of the portrait across the permeable boundaries of print and manuscript, arguing for the role of print culture in its dissemination and as the cause of its eventual reappropriation into hand-drawn and painted forms.

This book provides translations of early German versions of Titus Andronicus and The Taming of the Shrew. The introductory material situates these plays in their German context and discusses the insights they offer into the original English texts. English itinerant players toured in northern Continental Europe from the 1580s. Their repertories initially consisted of plays from the London theatre, but over time the players learnt German, and German players joined the companies, meaning the dramatic texts were adapted and translated into German. There are four plays that can legitimately be considered as versions of Shakespeare's plays. The present volume (volume 2) offers fully-edited translations of two of them: Tito Andronico (Titus Andronicus) and Kunst über alle Künste, ein bös Weib gut zu machen / An Art beyond All Arts, to Make a Bad Wife Good (The Taming of the Shrew). For the other two plays, Der Bestrafte Brudermord / Fratricide Punished (Hamlet) and Romio und Julieta (Romeo and Juliet), see volume 1. These plays are of great interest not only to all Shakespeareans, but also to scholars who are concerned with the broader issues of translation, performance and textual transmission over time. The open access edition of this book is available on www.bloomsburycollections.com. Open access was funded by Swiss National Science Foundation.

This is an edition of "Kunst über alle Künste, ein bös Weib gut zu machen", a seventeenth-century German adaptation of Shakespeare's "The Taming of the Shrew" that appeared in print in 1672. The present edition of the German text constitutes a supplement to the Arden Shakespeare edition "Titus Andronicus and The Taming of the Shrew: Tito Andronico and Kunst über alle Künste, ein bös Weib gut zu machen in Translation", which contains an English translation, with full introduction and commentary, of the play.

This is an edition of Tito Andronico, a seventeenth-century German adaptation of Shakespeare's Titus Andronicus that appeared in print in 1620. The present edition of the German text constitutes a supplement to the Arden Shakespeare edition "Tito Andronico and Kunst über alle Künste, ein bös Weib gut zu machen in Translation", which contains an English translation, with full introduction and commentary, of the play.

By looking at the meaning of artistic creation for Mary Shelley, William Blake and Henry Fuseli, this research argues that, through their works of art, the three artists endeavor to establish a new modern aesthetic, in order to distinguish themselves from what has already been done and propose truly original artworks that would allow them to make a place for themselves amongst the greatest artists. The several chapters of the study – focusing on unity versus diversity, beauty versus ugliness and delight versus horror – manifest that this new aesthetic is constructed around a variety of notions such as assemblage, borrowing, diversity, composite beauty, as well as fear and horror.

Le terme d'écoféminisme tend à se populariser. Mais qu'englobe ce concept? Le point avec Deborah Madsen, professeure ordinaire à l'Université de Genève et spécialiste du domaine.

The Arden Research Handbook of Shakespeare and Textual Studies is a wide-ranging, authoritative guide to research on Shakespeare and textual studies by an international team of leading scholars. It contains chapters on all the major areas of current research, notably the Shakespeare manuscripts; the printed text and paratext in Shakespeare's early playbooks and poetry books; Shakespeare's place in the early modern book trade; Shakespeare's early readers, users, and collectors; the constitution and evolution of the Shakespeare canon from the sixteenth to the twenty-first century; Shakespeare's editors from the eighteenth to the twenty-first century; and the modern editorial reproduction of Shakespeare. The Handbook also devotes separate chapters to new directions and developments in research in the field, specifically in the areas of digital editing and of authorship attribution methodologies. In addition, the Companion contains various sections that provide non-specialists with practical help: an A-Z of key terms and concepts, a guide to research methods and problems, a chronology of major publications and events, an introduction to resources for study of the field, and a substantial annotated bibliography. The Arden Research Handbook of Shakespeare and Textual Studies is a reference work aimed at advanced undergraduate and graduate students as well as scholars and libraries, a guide to beginning or developing research in the field, an essential companion for all those interested in Shakespeare and textual studies.

List of Figures and Tables Glosses and Abbreviations 1 Introduction Tabea Ihsane 2 The Rise and Fall of Partitive Markers in Some Germanic Varieties Thomas Strobel and Elvira Glaser 3 Bound To Be? Bare and Partitive-Marked Noun Phrases in Romance Languages and the Emergence of Prominence-Conditioned Patterns Hagay Schurr 4 Why "Partitive Articles" Do Not Exist in (Old) Spanish David Paul Gerards and Elisabeth Stark 5 Predicates of Personal Taste and Pancake Sentences in Brazilian Portuguese and French Fabienne Martin, Janayna Carvalho and Artemis Alexiadou 6 Negation, des-Indefinites in French and Bare Nouns across Languages Carmen Dobrovie-Sorin 7 Telicity, Specificity, and Complements with a Plural "Partitive Article" in French Tabea Ihsane 8 A Protocol for Indefinite Determiners in Italian and Italo-Romance Giuliana Giusti 9 "Partitive Articles" in Aosta Valley Francoprovencal-Old Questions and New Data Elisabeth Stark and David Paul Gerards Index

A la faveur du renouveau féministe et des effets toujours plus tangibles de la crise climatique, l'écoféminisme, pensée radicale des années 1970 appelant à la «convergence des luttes» pour l'environnement et les droits des femmes, ressurgit.

This thesis intervenes in a debate over the value of the editorial tradition in the study of early modern English literature. In recent decades, one radical form of the New Textualism has rejected the editorial tradition altogether, arguing that it stifles interpretation and distorts texts. This thesis takes a different tack, considering the value and nature of the editorial tradition itself. It argues that the editorial tradition provides privileged access to the reception of authors and their works, informing our understanding of certain reconfigurations, and sometimes helping to produce them, between their time and our own. Moreover, although as a concept the editorial tradition often tends toward conservation and stability, this thesis argues that in practice it may also sustain emergent conceptions, internal debates, and multiple interpretations. These arguments are developed across four case studies that treat the place of the poems and /Sonnets/ in Shakespeare's authorship; the evolution of the biographical approach to Shakespeare's /Sonnets/; the authorial relationship of Herbert and Donne in seventeenth-century publications, as well as in the context of more recent ‘metaphysical poetry'; and the pairing of Milton's /Paradise Regained/ and /Samson Agonistes/. Ultimately, this thesis suggests that the editorial tradition concerns reconfigurations in the present, as well as the past., La présente thèse intervient dans le débat sur l'intérêt que revêt la tradition éditoriale pour l'étude de la littérature anglaise du début de l'ère moderne. Au cours des dernières décennies, une forme radicale de New Textualism a rejeté la tradition éditoriale dans son ensemble, au motif qu'elle faisait obstacle à l'interprétation des textes et dénaturait ceux-ci. Dans cette thèse, j'aborde le sujet sous un autre angle : je m'intéresse à la tradition éditoriale en soi, à sa nature et à sa valeur. Selon moi, la tradition éditoriale offre un point de vue privilégié sur la réception des auteurs et de leurs œuvres : elle révèle la manière dont ils ont été perçus et, parfois, contribue à de nouvelles conceptions de ceux-ci au fils du temps. En outre, bien que la tradition éditoriale soit associée à la conservation et à la stabilité, je défends l'idée qu'elle pourrait également soutenir des conceptions émergentes, des débats internes et des interprétations multiples dans la pratique. Je développe mes arguments dans le cadre de quatre études de cas qui portent, respectivement, sur 1) l'importance accordée aux poèmes et aux /Sonnets/ dans la figure d'auteur de Shakespeare, 2) l'évolution de l'approche biographique des /Sonnets/ de Shakespeare, 3) la relation entre les figures d'auteur de Herbert et de Donne dans les publications du XVIIe siècle ainsi que, plus récemment, dans le contexte de la poésie métaphysique, et 4) le rassemblement de deux poèmes clés de Milton, /Paradise Regained/ et /Samson Agonistes/. Dans ma conclusion, je fais valoir que ce sont autant les conceptions actuelles que celles du passé que la tradition éditoriale met en lumière.

Contemporary journalistic chronicles, or crónicas as they are known in the Spanish-speaking world, are a liminal, hybrid genre which navigates between literature and journalism, fact and fiction, the craft of the reportage and the formal freedom of the novel. Over the last decade, and particularly since the start of the so-called 'long summer of migration' in 2015, this under researched form of writing has become a dominant mode for reporting and (re)telling migration movements, an issue often reduced by mainstream media to storyless numbers and cold statistics. This dissertation examines the formal aspects of two chronicles, Valeria Luiselli's Tell Me How It Ends and Behrouz Boochani's No Friend but the Mountains, which respectively relate, and more importantly re-write, the so-called 'children immigration crisis' declared by the Obama administration in 2014, and the 'Stop the Boats' policy of the Australian goverment in 2013. The dissertation closely follows the '5W and the H' structure from journalism reporting.

In addition to deficits in pragmatics, children with autism spectrum disorders (ASD) have weaknesses in complex syntax and working memory (WM). These two deficits may be closely related. Previous work investigated the effects of WM training in developmental language disorders and showed significant improvement in both WM and syntax. The current study tests the impact of 12 h of WM training across 8 weeks in 30 children with ASD, aged 5 to 11. Results showed direct improvements on untrained WM tasks, as well as transfer effects to syntax and processing speed. Stronger WM led to better syntactic abilities. While they must be replicated, these exciting results provide impetus for further studies of WM interventions. Supplementary Information The online version contains supplementary material available at 10.1007/s10803-021-05295-z.

This essay argues for the value of approaching printed dedications and addresses to readers through a comparative lens. For printed drama in particular, the presence of readerly paratexts has been a means of charting the genre’s literary ascent. The essay presents a bibliometric survey of the two paratexts in plays printed between 1559 and 1642, and compares their rates of occurrence in plays from the professional theatres with those from nonprofessional contexts. Contrary to the critical commonplace that the establishment of early modern literary culture saw the decline of patronage and the rise of the figure of the reader, the rates of publication of dedications and addresses to readers suggest the opposite. The essay documents a striking absence of attention to readers in the preliminaries of playbooks and finds that the dedication was the more popular form of prefatory address for both professional and nonprofessional plays, although professional plays initially favoured addresses to readers. After suggesting ways of accounting for these trends and considering their implications, the essay concludes with a discussion of dramatic prefaces which self-reflexively invoke the ‘custom’ of having a printed preface. The essay argues that this rhetorical convention shows authors and stationers weighing the merits of prefatory matter and negotiating the attendant question of literary worth as they sought to position their plays favourably in the print marketplace.

How can poetry help us live our lives? From Shakespeare's time to the present, poets have faced the questions of love, discovery, centering, parting, forgiveness, and our common, mortal destination. They have much to say to us, and they say it well. This is a book for the general reader who seeks solace and inspiration in the words poets have left us.

A review of the computational linguistics tools WordSmith Tools (Version 8) and AntConc (Version 3.5.8).

The purpose of this research is to acknowledge a variety spoken among the Italian American community as well as to give it its due place in the corollary of varieties in the North American continent. Moreover, as less and less people speak this variety in its original form, it is important to preserve it, at least theoretically. Last but not least, this study aims at understanding which are the linguistic phenomena that led to the evolution but also the involution of this variety.

Ecofeminism is an analytical method that engages the intersecting dominations of women and nature. Of these two key terms, the definition of “women” is most controversial, reflecting the historical dynamic between second and third wave feminisms. The complex range of eco-feminist theories diverge most clearly on the issue of gender essentialism: for example, spiritual “Earth Mother” eco-feminism in contrast with materialist or postmodern eco-feminism. In this presentation, I will begin by reviewing the components of eco-feminist theory, then highlighting the primary differences – and conflicts – among a range of approaches to women and nature, before elaborating these differences in relation to Carol Adams's work with the concept of carnophallogocentrism. The prefix “carn” (flesh), added by Jacques Derrida to his concept of phallogocentrism, which refers to the organizing function of masculinity (symbolized by the phallus) in the construction of discursive meaning (logos), stresses the sacrificial consumption of the other-than-human, animal or woman, to which Carol Adams gestures in the title of her book "Neither Man Nor Beast" (1994). The second part of the session will be devoted to the analysis of specific advertising images using Adams's method.

Following Gilles Deleuze's model of the baroque, this paper examines the figure of “the fold” as an aesthetic category relevant to modern art and literature. In particular, it proposes the fold as a means of reading Finnegans Wake. Joyce's work is read as an attempt to capture the being of language prior to its unfolding and codification in the discourses of knowledge and other subjectivizing forces.

Every edition of Shakespeare's works imprints a canon. Defined materially, the boundary between canon and apocrypha might seem as open and shut as the book itself. This chapter complicates that distinction by drawing on eighteenth-century editions of Shakespeare's plays and poems, and more recent editions of his works. It argues that the poems in the early eighteenth century do not fit squarely into Shakespeare's 'canon' or 'apocrypha', but were instead variously and sometimes contradictorily treated by publishers, editors, and book buyers. A key example is the editor Charles Gildon who, in his edition of the poetic Works, offered unprecedented editorial guidance to Shakespeare's oeuvre, but elsewhere consistently elevated the plays while neglecting the poems. To navigate such engagement by Gildon and others, this chapter conceptualizes 'elective', 'integrated', and 'selective' canons. In the present day, these canons persist alongside recent interest in an 'attributed' canon, that is, works that are (probably) not by Shakespeare, but which readers may have believed to have been so. With Shakespeare alongside 'Shakespeare', the boundaries between canon and apocrypha blur within editions, as well as across them.

American exceptionalism, the idea that the US nation was created by God's will to be a model to the world, works in large part through the territorial narrative of “Manifest Destiny,” which claims a divine mission to occupy the entire American continent. Of course, this narrative must disavow the violence with which the settler nation occupies the land on which are constructed the social, political, and cultural institutions of the US. Whether the bloodshed of the War of Independence, the brutality of “King Philip's” (Metacomet's) War of the 1670s, the violence of the so-called “Indian Wars” that coincided with the relentless westward expansion of the US throughout the nineteenth century, or the ongoing conflict between Indigenous nations and the settler nation that is the US, this history of devastation is disavowed by the rhetoric of American exceptionalism. But beneath this narrativized history there lies a trail of dead human bodies, lifeless bones, that refuse the disavowal of their stories. The history of settler violence in the US is signified by the human remains – both Indigenous and settler – that are the primary product of this violent process of colonial “nation-building.” What sets apart the corpses of settlers and Natives who died in the same conflict? Most fundamentally, the answer to this question lies in the disposal of the corporeal remains that endure to tell the story of their deaths. While the heroic remains of US soldiers are feted and memorialized, the remains of Indigenous people are shipped to hospitals, museums, research collections – all institutions within the structure of the US federal government. Indigenous human remains become wards of the state, hostages to the claim of Manifest Destiny. The poems in Heid Erdrich's "National Monuments" challenge the exceptionalist history of America, relocating the US national narrative in the discursive environment of Anishinaabe storying.

La création artistique engage le corps et ses mouvements. Par la danse, la poésie, le cinéma, la musique, la peinture, l'artiste organise et rythme notre perception du monde. Cet ouvrage propose des réflexions sur la dynamique complexe des gestes de l'art, du Moyen Âge à l'époque contemporaine.

This is an edition of Romio und Julieta, a seventeenth-century German adaptation of Romeo and Juliet. The present edition of the German text constitutes a supplement to the Arden Shakespeare edition "Hamlet and Romeo and Juliet : Der Bestrafte Brudermord and Romio und Julieta", which contains an English translation, with full introduction and commentary, of the play.

Direct objects of any kind in Tunisian Arabic can be either unmarked or appear preceded by the particle 'fi'. The dissertation describes and analyzes this property of the language in a Generative framework. After a thorough description of the contexts in which the insertion of ‘fi' takes place, the thesis argues in favor of a semantic/syntactic analysis of the phenomenon which attributes to the particle ‘fi' the role of a case licensing prepositions whose insertion takes place in order to prevent a violation of the Case filter. Such a Case salvaging operation is illustrated to take place in contexts whereby uniform temporal binding throughout the event structure is prevented due to the presence of an intervening element endowed with an aspectual property. The analysis highlights the existence of a relation between the Case of a direct object and the temporal constituency of the event it partakes.

To write of digital indigeneity or digital Natives is to confront the fact that, as Anishinaabe/Métis games designer Elizabeth LaPensée described in a cryptic but resonant tweet: “The Internet has been colonized” (2017 n.pag.). Popularized in the title of Marc Prensky's influential 2001 paper on educational reform, the term “digital Native” is defined by the OED as “A person born or brought up during the age of digital technology and so familiar with computers and the Internet from an early age.” Similarly, artifacts that are created with digital tools and so originate in a digital environment, having no analog equivalent, are called “born-digital” objects. The discursive colonialist violence of cyberspace as a territory inhabited by “indigenous” artifacts and “digital Natives” preempts efforts to discuss the digital creativity of actual Indigenous artists and communities. The digital then is a discursive realm where the profound conflicts generated by settler-colonialism continue to be played out. Indigenous digital interventions pose counter-discourses that oppose the violence of colonialist stereotypes, claiming digital storying as an extension of a form of expression and communication that Indigenous peoples have been using long before the advent of contemporary electronic technology. Indigenizing the digital medium constitutes a powerful message that Natives are not primitive, pre-technological, and “vanishing.” Living Indigenous cultures endure, witnessed by digital creations that work to preserve and disseminate tribal languages in genres of digital storying that perform traditional customs, beliefs, traditions, and values. Indigenous digital storying is a claim to rhetorical sovereignty that articulates Native self-determination through specific ways of knowing and being. Tribal epistemologies express a unique relationship with the world, a relation of interconnection that is performatively enacted in digital genres. This chapter offers close analyses of two dominant “digital Native” forms of storying that use the capabilities of virtual media in conjunction with traditional literary genres to instantiate Indigenous cosmologies: digital film-poems, videopoems, or “poemeos” exemplified by Heid Erdrich's Anishinaabe storying; and Elizabeth LaPensée's Anishinaabe/Métis storying through Indigenously-determined digital narrative or videogames.

This essay is composed of two distinct but related parts. The first considers how the title of Joyce's first novel invites analogies with the tradition of the “self-portrait as a young man” in the history of painting, notably in the work of Dürer, Rembrandt, and Van Dyck, each of whom made a series of youthful self-portraits. These analogies are considered on both formal and theoretical levels. The second part of the essay considers the history of portraits of Joyce made by other artists. Although such portraits are as varied as Joyce's writings, they can be loosely divided into two categories. On one hand are those which establish Joyce's image as that of an eminent man of letters. On the other hand are those which transform Joyce's image into a figure of the avant-garde, where literature and the visual arts are understood as being part of a common project. The stories of how these latter works came to be made give evidence of Joyce's engagement with contemporary visual art as being like his own work in its formal experimentation. Both kinds of portrait, traditional and avant-garde, reflect Joyce's construction of his own image, as well as the manner in which the artistic modes of the twentieth century evolve along with those of Joyce's work.

Through narratological analyses of Margaret Atwood's MaddAddam trilogy, this project challenges the ingrained epistemologies and ontologies of humanism and anthropocentrism and offers a zoecentric alternative: the “individual” is always-already hybrid. Beginning with a post-structural and post-humanist theoretical framework, Part I explores how Atwood constructs hybrid Bildungsromans in Crake and Flood by aligning narratively significant moments of inter-species interaction with substantial shifts of the binary narrative structure. Both novels end, however, on unresolved binary options. Part II introduces Anishinaabe epistemologies and ontologies of interconnectivity, using the philosophy of mino-bimaadiziwin alongside aspects of Anishinaabemowin and narrative forms, in order to conduct an Indigenous-centric reading of MaddAddam. I argue that the trilogy both depicts and performs a zoecentric epistemological/ontological shift in the development of the characters, the narrative structure, and the trilogy as a whole, forming a homology with contemporary theoretical, biological, and genetic understandings of individuals and species today as inherent multiplicities.

Cette thèse porte sur une étude quantitative qui avait pour objectif d'explorer les attitudes et la motivation des étudiants envers l'anglais langue étrangère dans le contexte multilingue de Genève. Dans ce but, la recherche a adopté une approche basée sur les aspects identitaires de l'apprentissage des langues (les L2 selves), en s'interrogeant sur la pertinence et l'utilité de ces derniers dans le contexte genevois. Cette perspective a apporté des résultats inattendus et a mené à des questions importantes dans l'enseignement des langues, concernant notamment l'identité, les représentations sociales et les valeurs économiques associées aux langues étrangères. Basé sur des données quantitatives obtenues d'une enquête numérique, le projet met l'accent également sur l'influence motivationnelle des contextes multiples avec lesquels les étudiants interagissent. La thèse argumente pour une perspective dynamique et contextuelle de l'apprentissage de langues qu'elle définit en termes de création d'une identité langagière. Cette approche, inspirée par des développements récents dans le domaine de la motivation, semble essentielle pour une interprétation complète des résultats. Ceux-ci, en effet, démontrent que des éléments sociaux et économiques, liés aux « sphères » contextuelles locales ainsi que globales auxquelles les étudiants participent, se reflètent dans leurs attitudes langagières et dans leur concept de soi. Les différences significatives entre participants suisses et étrangers et entre étudiants de différentes facultés de l'Université de Genève soulignent ces constats. Ces conclusions attestent l'importance des L2 selves, qui permettent de bien comprendre non seulement l'apprentissage des langues dans ses contextes différents et continuellement en interaction dynamique mais également l'apprenant, en tant qu'individu qui interagit activement avec son environnement. Ainsi, les résultats de cette recherche sont indicatifs du potentiel des approches théoriques tenant compte de ces dynamismes ainsi que des nouvelles méthodologies de la recherche en motivation qui seraient mieux adaptées. Enfin, ils offrent des retombées didactiques importantes pour l'enseignement et l'apprentissage d'une langue « mondiale » dans un contexte plurilingue.

Ethical veganism as an historic philosophy represents a complex intersection of rights discourses that translates into lived practices of care and sustainability based on equal respect for other-than-human animals, the natural environment, and women. This intersectionality promotes anti-speciesism, anti-racism, anti-vivisection, anti-militarism, anti-poverty (especially food scarcity), anti-capitalism, anti-colonialism, anti-extractivism, and the rights of labor, women, LGBTQ+, environment, and other-than-human animals. Vegan feminists, for example, note the shared discursive feminization of “animals” and “Nature” as exploitable resources within hetero-patriarchal anthropocentrism. Communicating this intersectionality through activism is a challenge met, in part, through contemporary digital technology including social impact video-games. This presentation examines the design of vegan games created by PETA (People for the Ethical Treatment of Animals) through Ian Bogost's concept of “procedural rhetoric”: the process of “learning by doing” that is prescribed by the rules that control player behavior within the game system. When the procedural rhetoric of the game medium is not consistent with the activist message, conflictual relations emerge that have implications for the rhetorical "animalization" of women and the discursive "feminization" of animals. In contrast, a positive example of an intersectional video-game (though one that is not promoted as "vegan") is offered by the Iñupiaq puzzle-platformer "Never Alone" (2014).

This is an edition of Der Bestrafte Brudermord, a seventeenth-century German adaptation of Hamlet that did not appear in print until 1781. The present edition of the German text constitutes a supplement to the Arden Shakespeare edition "Hamlet and Romeo and Juliet : Der Bestrafte Brudermord and Romio und Julieta", which contains an English translation, with full introduction and commentary, of the play.

This book is a translation of German versions of both Hamlet and Romeo and Juliet. The introductions to each play place these versions of Shakespeare's plays in the German context, and offer insights into what we can learn about the original texts from these translations. English itinerant players toured in northern continental Europe from the 1580s. Their repertories initially consisted of plays from the London theatre, but over time the players learnt German, and German players joined the companies, as a result of which the dramatic texts were adapted and translated into German. A number of German plays now extant have a direct connection to Shakespeare. Four of them are so close in plot, character constellation and at times even language to their English originals that they can legitimately be considered versions of Shakespeare's plays. This volume offers fully edited translations of two such texts: Der Bestrafte Brudermord / Fratricide Punished (Hamlet) and Romio und Julieta (Romeo and Juliet). With full scholarly apparatus, these texts are of seminal interest to all scholars of Shakespeare's texts, and their transmission over time in print, translation and performance.

Bel-vedére; or The Garden of the Muses is an early modern printed commonplace book containing an anthology of nearly 4,500 short verse quotations arranged under topical headings. The book first appeared in 1600 and a second edition was published in 1610. It is of exceptional importance for the early historical reception of early modern authors such as William Shakespeare, Edmund Spenser, and Christopher Marlowe (whose verse it includes); for the late Elizabethan practice of commonplacing; for the rising status of English literature (including dramatic literature); and for early modern English canon formation. Until now the book has never been properly edited. This edition provides the first full analysis of the contents of Bel-vedére, presenting the text for today's readers and filling an important gap in the study of early modern English literature.

Most studies on the distribution of the null complementizers in English assume that overt that clauses and null that clauses have the identical underlying structure, where the overt/null COMP represents a C head (Stowell 1981, a.o.). This predicts that both overt and null that clauses show (nearly) the same syntactic distribution, contrary to fact. This paper explores a new outlook of overt and null complementizers in clausal complements of both non-factive and factive predicates in English, building on the assumptions that (i) feature specification on C differs from language to language and (ii ) languages also differ as to lexicalizing a subset of these features on C. Adopting Rizzi's (1997) split CP structure with two C heads, Force and Finiteness, we suggest that null that clauses are FinPs, whereas overt that clauses have an extra functional layer above FinP, lexicalizing either the Force head under non-factive predicates or the light demonstrative head d under factive predicates. These three different underlying structures also successfully account for different syntactic patterns found between overt and null that clauses in various contexts.

The Alfred Dreyfus affair is the central political event of Proust's A la recherche du temps perdu, just as the history of Charles Stewart Parnell, including the Special Commission hearings of 1888, haunts the pages of Joyce's work. For both writers, the respective cases serve as a kind of ironic measure by which different persons are defined according to their prises de position. Given the role of forgery in both cases, another consequence for the literary works in question has to do with the ambiguous nature of the letter and its unforeseeable consequences. Both Proust and Joyce produce fictional letters in their works which serve as analogies to the doubtful documents produced in court. Moreover, in these works, the function of the author as an implicit presence retreats progressively in the face of the enigmatic autonomy of the text, as if to acknowledge that the text has taken on a life of its own.

This paper argues that reading Margaret Atwood's post-apocalyptic novel, MaddAddam, through the theoretical lens of the Anishinaabe philosophy of Mino-Bimaadiziwin, or “the way of the good life,” highlights the complex means by which the novel is entirely composed upon the idea and necessity of interconnectivity, using it as a structuring device, a central thematic, and a means of plot resolution (Rheault 140). Critics have approached the novel (and the trilogy) from a variety of Euro-American philosophies, but with little input from Indigenous philosophies; in contrast, this paper argues that Mino-Bimaadiziwin clarifies MaddAddam's inventive use of discontinuous narrative, time, and multi-voiced discourse, as well as the novel's reliance on inter-species interconnectivity to resolve the plot. Subsequently, MaddAddam offers a sustained critique of, and alternative to, ingrained Euro-American ontologies of rigid binaries, linear time, and human exceptionalism. At the same time, the theoretical framework of Mino-Bimaadiziwin provides a concrete, comprehensive, and underrepresented approach to engage the issue of interconnectivity in the novel. As a result, this paper aims to participate in the necessary and valuable act of decolonizing academic ontologies by emphasizing the importance and need for Indigenous philosophies and ontologies in critical theory.

An extended review of Adam Dahl's book, Empire of the People: Settler Colonialism and the Foundations of Modern Democratic Thought (University Press of Kansas, 2018), focused on his discussion of the central contradiction of US settler colonialism: that settler political sovereignty, grounded in the right to self-government based on labor devoted to the “improvement” of expropriated Native land, requires the disavowal of the violence of dispossession and also the denial of Indigenous land rights based not on political reasoning but inherited racialized cultural prejudices.

Une interview sur le passé et l'avenir de l'écoféminisme dans la perspective de la Grève des femmes et des récentes marches pour le climat.

This essay offers a critical, historical, and authorial analysis of the intersection of gender and secrecy in William Shakespeare's /Lucrece/. The author of this essay locates within the poem a traditional view in which females are either transparent and virtuous, or duplicitous and promiscuous, with little possibility for greater moral complexity. This dichotomous view emerges in the voices of the narrator and of Lucrece, who considers herself incapable of emotional opacity, and acts in response to her self-perceived transparency. It also marks the editorial response to the poem – in the seventeenth century, as shown by Sasha Roberts, and in the eighteenth, as shown here. The analysis covers little or never explored eighteenth-century responses in print to Shakespeare's poem, including /Tarquin and Lucrece, or, The Rape: A Poem/ (1768), part of the public uproar over a real-life rape scandal in 1767-1768. Apart from the main narrator of the poem, /Lucrece/ also contains a distinct authorial voice that comments freely on human nature. This brief but broad commentary indiscriminately endows moral complexity, irrespective of gender, thus suggesting that in Shakespeare's /Lucrece/ there are the means both for entrenching traditional notions of secrecy and gender and for undermining them.