"This volume should be read by those interested in both theatre and interpretive strategies, semiological and otherwise." -- "Modern Language Notes"In "Languages of the Stage," Patrice Pavis explores the questions of semiology in both classical and contemporary drama, ranging widely over the works of the ancient Greeks, Marivaux, Artaud, Brecht, Brook, Handke, and Wilson.

This book focuses on the various problems in the verbal and nonverbal translation and tranposition of drama from one language and cultural background into another and from the text on to the stage. It covers a range of previously unpublished essays specifically written on translation problems unique to drama, by playwrights and literary translators as well as theorists, scholars and teachers of drama and translation studies

What is special, distinct, modern about modernity? In How the World Became a Stage, William Egginton argues that the experience of modernity is fundamentally spatial rather than subjective and proposes replacing the vocabulary of subjectivity with the concepts of presence and theatricality. Following a Heideggerian injunctive to search for the roots of epochal change not in philosophies so much as in basic skills and practices, he describes the spatiality of modernity on the basis of a close historical analysis of the practices of spectacle from the late Middle Ages to the early modern period, paying particular attention to stage practices in France and Spain. He recounts how the space in which the world is disclosed changed from the full, magically charged space of presence to the empty, fungible, and theatrical space of the stage.

This book constitutes the refereed proceedings of the 4th Asian Symposium on Programming Languages and Systems, APLAS 2006, held in Sydney, Australia in November 2006. The 22 revised full papers presented together with 2 invited talks and 1 tutorial examine foundational and practical issues in programming languages and systems.

For many years, Roger Brown and his colleagues have studied the developing language of pre-school children--the language that ultimately will permit them to understand themselves and the world around them. This longitudinal research project records the conversational performances of three children, studying both semantic and grammatical aspects of their language development. These core findings are related to recent work in psychology and linguistics--and especially to studies of the acquisition of languages other than English, including Finnish, German, Korean, and Samoan. Roger Brown has written the most exhaustive and searching analysis yet undertaken of the early stages of grammatical constructions and the meanings they convey. The five stages of linguistic development Brown establishes are measured not by chronological age-since children vary greatly in the speed at which their speech develops--but by mean length of utterance. This volume treats the first two stages. Stage I is the threshold of syntax, when children begin to combine words to make sentences. These sentences, Brown shows, are always limited to the same small set of semantic relations: nomination, recurrence, disappearance, attribution, possession, agency, and a few others. Stage II is concerned with the modulations of basic structural meanings--modulations for number, time, aspect, specificity--through the gradual acquisition of grammatical morphemes such as inflections, prepositions, articles, and case markers. Fourteen morphemes are studied in depth and it is shown that the order of their acquisition is almost identical across children and is predicted by their relative semantic and grammatical complexity. It is, ultimately, the intent of this work to focus on the nature and development of knowledge: knowledge concerning grammar and the meanings coded by grammar; knowledge inferred from performance, from sentences and the settings in which they are spoken, and from signs of comprehension or incomprehension of sentences.

The automaton, known today as the robot, can be seen as a metaphor for the historical period in which it is explored. Chapters include examinations of Iconoclasm's fear that art might surpass nature, the Cartesian mind/body divide, automata as objects of courtly desire, the uncanny Olympia, and the revolutionary Robots in post-WWI drama.

Code-Choice and Identity Construction on Stage challenges the general assumption that language is only one of the codes employed in a theatrical performance; Sirkku Aaltonen changes the perspective to the audience, foregrounding the chosen language variety as a trigger for their reactions. Theatre is ‘the most public of arts’, closely interwoven with contemporary society, and language is a crucial tool for establishing order. In this book, Aaltonen explores the ways in which chosen languages on stage can lead to rejection or tolerance in diglossic situations, where one language is considered unequal to another. Through a selection of carefully chosen case studies, the socio-political rather than artistic motivation behind code-choice emerges. By identifying common features of these contexts and the implications of theatre in the wider world, this book sheds light on high versus low culture, the role of translation, and the significance of traditional and emerging theatrical conventions. This intriguing study encompassing Ireland, Scotland, Quebec, Finland and Egypt, cleverly employs the perspective of familiarising the foreign and is invaluable reading for those interested in theatre and performance, translation, and the connection between language and society.