Studies on the dual in Mycenaean, in the Homeric poetry and in the Attic Theatre of the 5th century — morphological, dialectal and stylistical variations

The present dissertation focuses on the dual number in Ancient Greek in a diachronical lapse stretching from the Mycenaean age to the Attic Drama and Comedy of the 5th century BC. In the first chapter morphological issues are addressed, chiefly in a comparative perspective. The Indo European evidence on the dual is hence gathered in order to sketch patterns of grammaticalisation and paradigmatisation of specific grams, growing increasingly functional within the Greek domain. In the second chapter syntactical problems are tackled. After a survey of scholarly literature on the Greek dual, we engage in a functional and typological approach, in order to disentangle some biased assessments on the dual, namely its alleged lack of regularity and intermittent agreement. Some recent frameworks in General Linguistics provide useful grounds for casting new light on the subject. Internal Reconstruction, for instance, supports the facultativity of the dual in each and every stage of its development; Typology and the Animacy Hierarcy add precious cross linguistical insight on the behaviour of the dual toward agreement. Glaring differences also arise as to the adoption — or avoidance — of the dual by different authors. Idiolectal varieties prove in fact conditioned by stylistical and register necessity. By means of a comparison among Epics, Tragedy and Comedy it is possible to enhance differences in the evaluation of the dual, which led sometimes to forms of ‘censure’ — thus triggering the onset of competing strategies to express duality. The last two chapters delve into the tantalising variety of the Homeric evidence, first of all in an account of the notorious issue of the Embassy of Iliad IX, and last in a commentary of all significant Homeric duals — mostly represented by archaisms, formulae, and ad hoc coinages.

Adverse effect of noise in the operating theatre on surgical-site infection

The aim of this pilot study was to evaluate the noise level in an operating theatre as a possible surrogate marker for intraoperative behaviour, and to detect any correlation between sound level and subsequent surgical-site infection (SSI).

Strange Relations. Cultural Translation of Noh Theatre in Ezra Pound’s Dance Poems and W. B. Yeats’s At the Hawk’s Well

Drawing on the reception of Noh drama by Ezra Pound and William Butler Yeats, the article analyses both the literary and cultural ‘translations’ of this form of Japanese theatre in their works, focusing on Yeats’s play At the Hawk’s Well (1917). I conceptualize ‘cultural translation’ as the staging of relations that mark a residual cultural difference. Referred to as ‘foreignizing’ in translation theory, this method enables what Erika Fischer-Lichte has termed a ‘liminal experience’ for the audience –– an effect Yeats intended for the performance of his play. It evokes situations in which opposites collapse and new ways of acting or new combinations of symbols can be tried out. Yeats’s play will be used to sketch how an analysis of relations could serve as a general model for the study of cultural transfer as cultural translation in general. Keywords: cultural translation, translation theory, performance, William Butler Yeats, Itō Michio, Ezra Pound, At the Hawk’s Well

Shakspere to Sheridan; a book about the theatre of yesterday and to-day.

Bibliographical footnotes.

The theatre in our times; a survey of the men, materials, and movements in the modern theatre

Mode of access: Internet.

The English theatre. [A collection of 66 pieces, tragedies, comedies, operas and farces correctly given as performed at the Theatres Royal, with remarks]

v. 1-4. Tragedies.--v. 5-9. Comedies.--v. 10-14. Operas, farces, etc.

Will-o'-the-wisp, or, The shot in the dark : a comedy drama in three acts /

"Cast of characters as given at the first production at the National Theatre Comique, Cincinati, Ohio, under the management of Mr. Nat Hyams, Monday, December 18th, 1876."

A guide to theatre reading,

"Works which have appeared since 1932."

Spencer's Boston theatre : a collection of scarce acting tragedies, comedies, dramas, farces and burlettas ...

Contains 192 plays, each with special t.-p. and pagination.

The theory of the theatre, and other principles of dramatic criticism,

Mode of access: Internet.

Harmony : a domestic drama in one act /

First produced at the Grand Theatre, Leeds ... 13th of August, 1879.

Histoire du theatre italien, depuis la decadence de la comedie latine; avec un catalogue des tragedies & comedies italiennes imprimées depuis l'an 1500. jusqu'à l'an 1660. & une dissertation sur la tragedie moderne. Avec des figures qui représentent leurs differens habllemens.

Added title pages, engr.

The Drama.

Published in Chicago, 1911-1918; Mount Morris, Ill., 1919-1931. (Editorial offices: 1911-1917, Chicago; 1917-1919, Washington, D.C.; 1919-1929, Chicago, etc.; 1929-1931, New York)

The German theatre.

v. 1. The stranger. Rolla. Pizarre. By A. von Kotzebue.--v. 2. Don Carlos, by F. Schiller. Count Benyowsky, by A. von Kotzebue.--v. 3. Lovers' vows. Deaf and dumb. Indian exiles. False delicacy. By A. von Kotzebue.--v. 4. Otto of Wittlesbach. Dageobert. By J.M. Babo. Adelaide of Wulfingen, by A. von Kotzebue.--v. 5. The robbers, by F. Schiller. The happy family, by A. von Kotzebue. Conscience, by A.W. Iffland.--v. 6. The ensign by F.L. Schroeder. Count Koenigsmark, by C. von Reitzenstein. Stella, by J.W. von Göethe. Emilia Galotti, by G.E. Lessing.