Remember kaleidoscopes? Those curious tubes with an array of mirrors and colorful beads inside? As a kid, I would while away sunny weekends straining my eye against the viewing aperture, hypnotized by the endless combination of shapes, patterns, and colors.
The resulting kaleidoscope patterns make fantastic desktop backgrounds and wallpapers too. The city’s fortifications are shown to have not only functioned as inseparable parts of its military history, but also to have shaped the everyday life experiences of its diversified ethno-linguistic populace, and to have commanded Famagusta’s changing tyche or fortune.This tutorial is a lot of fun, transforming photographs into kaleidoscopic wonders, often with surprising results. This paper interprets the defensive structures of Famagusta both as barriers that fragmented the city and its surrounding area into distinct territories, and as a network of interconnected spaces that gave the city its unified character and urban form.
The chain of sociopolitical events that shaped Famagusta’s history under the subsequent rules of Genoa (1373-1464) and Venice (1489-1571) necessitated substantial modifications to the physical disposition of the city’s waterfront castle, walls, fifteen towers and three gates. The fortifications of Famagusta, the largest port of Renaissance Cyprus, initially rose between 13 on orders from the Lusignan, the island’s ruling French family, and following Papal indulgences for their hastened completion. Instead, his "French English" contributes an example along the continuum of English, both then and now. If 'Hamlet' is a translational act, then Shakespeare’s "Englishness" can be somewhat decentralised. Furthermore, the Renaissance printing industry is testament to the ways in which dialectical aspects of English were not limited to Shakespeare’s work. English worked – and perhaps still works – as a language between languages “based on a system of double derivation…at once Germanic and Romance” (George Watson, ‘Shakespeare and the Norman Conquest’, 617). In light of Ardis Butterfield’s extensive work on Chaucer’s multiple vernaculars, this paper conceptualises Shakespeare’s English as a French dialect of the language.
Only a hundred or so years earlier, Anglo-Norman was still a widely-spoken dialect on English soil. Putting aside any questions about an ‘ur-Hamlet’, the Shakespearean "translation" of this tale exists in multiple iterations that appear to respond to a second francophone source: the 'Essais' of Michel de Montaigne.
This is most likely to have reached Shakespeare via a French translation of a Latin collection of tales by a Danish academic: 'Les Histoires Tragiques' by François de Belleforest. Beneath the question of this play’s three texts and their chronology is a question of origin, which is made more interesting in light of the play’s narrative source, the Amleth myth. This paper considers Shakespeare’s use of non-Anglophone sources and dialect within 'Hamlet'. Presented as part of 'Playing With Source Materials: Alterations and Shakespeare's Creative Fabric' at the NeMLA 'Global Spaces, Local Landscapes, and Imagined Worlds' conference, Omni William Penn Hotel, Pittsburgh, PA, April 12, 2018. Please contact me if you wish to read any of this work directly.
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