William Shakespeare (1564–1616) – as far as we know – wrote thirty-seven plays over a time period of twenty-three years (Hoenselaars 2012:xv–xxii), one could wonder if traces of the changing verb...Show moreWilliam Shakespeare (1564–1616) – as far as we know – wrote thirty-seven plays over a time period of twenty-three years (Hoenselaars 2012:xv–xxii), one could wonder if traces of the changing verb-morphology of the Early Modern English Period (1500–1700) should be found in his writing (Crystal 2004:3). One example of this changing verb morphology is that, during this period, the third-person singular present tense inflection -th fell out of general use and the -s inflection became a part of Standard English (Nevalainen 2006:89). This thesis discusses if Shakespeare’s verb morphology represents this morphological shift. To answer this question, this thesis analysed the verb morphology of third-person singular present tense verbs in three of Shakespeare’s plays, more specifically comedies, one from the beginning of his career, one from the middle and one from end, i.e. The Two Gentlemen of Verona (1589–1593) , Twelfth Night (1601–1602) and The Two Noble Kinsmen (1613–1615). This analysis has presented results that prove that the use of the -th inflection by Shakespeare in his plays decreased throughout his career.Show less
This thesis explore's Shakespeare's use of the second person singular pronouns 'you' and 'thou' in his Sonnets (1609). It focuses on the influence of addressees, rhyme, and invocation on...Show moreThis thesis explore's Shakespeare's use of the second person singular pronouns 'you' and 'thou' in his Sonnets (1609). It focuses on the influence of addressees, rhyme, and invocation on Shakespeare's choice in pronoun, using literary and linguistic theories. It concludes that the identity of the addressee was of most influence on Shakespeare's choice in pronoun, whereas rhyme was of little influence. Invoked identities, such as Time, a Muse or the Soul, are predominantly addressed using 'thou'.Show less
In a time where illness could often not be explained from a medical perspective, those who fell ill sought to find the meaning of their suffering elsewhere. Today, many illnesses, ailments and...Show moreIn a time where illness could often not be explained from a medical perspective, those who fell ill sought to find the meaning of their suffering elsewhere. Today, many illnesses, ailments and pains can be explained in medical terms, but biomedicine does not seem to allow many, if any, other narratives to coexist with the restitution narrative. Illness as a lived experience goes beyond the purely medical and clinical terms that define it, illness is more than an occasion to practise medicine; it is an occasion to practise humanity and perhaps this is what best defines the field of medical humanities and what becomes clear in John Donne’s and Timothy Roger’s illness narratives.Show less
The use of 'you' and 'thou' in Early Modern English texts compared to their use in spoken language of the time has been subject of debate for many years, but no consensus has yet been reached....Show moreThe use of 'you' and 'thou' in Early Modern English texts compared to their use in spoken language of the time has been subject of debate for many years, but no consensus has yet been reached. Several case studies and comprehensive studies of various text types have been performed, but hardly any of the previous studies compared different text types with each other. By combining statistical analysis with a detailed interpretation of Shakespeare’s The Tempest and comparing the results to those found in sixteenth century court records and letters, a new attempt has been made to uncover a general model for the use of 'you' and 'thou' in spoken language of the Early Modern English period.Show less
