Armado or the Other speaking the Native’s Language: Racialising the Spaniard in Love’s Labour’s Lost
In Love’s Labour’s Lost, Armado is the only foreigner – a resident alien – living among the native people. From his own point of view, he speaks the Other’s language throughout the play because English is not his first language. Characters on stage laugh at his linguistic mistakes, use of archaisms,...
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| Wydane w: | URI:https://journals.openedition.org/asf, |
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| Format: | Article ou chapitre numérique |
| Język: | Anglais |
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Arrêt sur scène / Scene Focus
2022
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| Hasła przedmiotowe: | |
| Dostęp online: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:asf_719 |
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openedition |
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openedition-oai:revues.org:asf_719 https://doi.org/10.4000/asf.719 urn:doi:10.4000/asf.719 en https://journals.openedition.org/asf/719 2022-12-01T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/a4an https://creativecommons.org/licenses/by-sa/4.0/ Armado or the Other speaking the Native’s Language: Racialising the Spaniard in Love’s Labour’s Lost Arrêt sur scène / Scene Focus IRCL (UMR 5186) CNRS/Université Paul-Valéry Montpellier 3 info:eu-repo/semantics/reference/issn/2268-977X URI:https://journals.openedition.org/asf Galland, Nora langues autre Armado Shakespeare espagnol identité Peines d’amour perdues languages Love’s Labour’s Lost Armado Shakespeare Other Spanish identity In Love’s Labour’s Lost, Armado is the only foreigner – a resident alien – living among the native people. From his own point of view, he speaks the Other’s language throughout the play because English is not his first language. Characters on stage laugh at his linguistic mistakes, use of archaisms, neologisms, unintelligible prose and invite the audience to mock him as well. Armado is turned into ridicule for speaking an incongruous kind of English that bewilders and entertains the native speakers. He is racialised through his use of English marked by barbarisms. As a non-native speaker, Armado alienates the English language by marking it with his Spanishness – in his mouth, English is turned into a bombastic, fantastical, pretentious, and hermetic language. Moreover, Armado is also typecast as the braggart soldier or the Italian stock character of Il Capitano from the Commedia Dell’Arte. Shakespeare draws on the representation of the Spaniard from the Italian dramatic tradition. This paper aims at examining the extent to which we can speak of ethnic or racist humour concerning the way Armado is marginalised as the butt of the joke in the play. The issue at stake is to explore the articulation of language and national identity through the character of Armado. Dans Peines d’amour perdues, Armado est le seul étranger et il vit parmi les natifs. De son point de vue, il parle la langue de l’autre tout au long de la pièce dans la mesure où l’anglais n’est pas sa première langue. Sur scène, les personnages se moquent de ses erreurs linguistiques, ses archaïsmes, ses néologismes, sa prose inintelligible, et invitent le public à se moquer de lui également. Armado est tourné en ridicule car il parle un anglais incongru qui désarçonne et divertit les locuteurs natifs. Il est racisé à travers son usage de l’anglais, marqué par des barbarismes. En tant que locuteur non-natif, Armado aliène la langue anglaise en la marquant de son identité espagnole ; dans sa bouche, l’anglais devient une langue grandiloquente, fantastique, prétentieuse et hermétique. Armado est catégorisé comme le soldat fanfaron ou le type italien du Capitano, de la Commedia Dell’Arte. Shakespeare s’inspire de la tradition théâtrale italienne dans sa composition du personnage de l’Espagnol. Cet article se propose d’examiner dans quelle mesure il est possible de parler d’humour raciste ou ethnique quant à la marginalisation d’Armado comme dindon de la farce dans la pièce. Il s’agit d’explorer l’articulation du langage et de l’identité nationale à travers le personnage d’Armado. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
langues autre Armado Shakespeare espagnol identité Peines d’amour perdues languages Love’s Labour’s Lost Armado Shakespeare Other Spanish identity |
| spellingShingle |
langues autre Armado Shakespeare espagnol identité Peines d’amour perdues languages Love’s Labour’s Lost Armado Shakespeare Other Spanish identity Galland, Nora Armado or the Other speaking the Native’s Language: Racialising the Spaniard in Love’s Labour’s Lost |
| description |
In Love’s Labour’s Lost, Armado is the only foreigner – a resident alien – living among the native people. From his own point of view, he speaks the Other’s language throughout the play because English is not his first language. Characters on stage laugh at his linguistic mistakes, use of archaisms, neologisms, unintelligible prose and invite the audience to mock him as well. Armado is turned into ridicule for speaking an incongruous kind of English that bewilders and entertains the native speakers. He is racialised through his use of English marked by barbarisms. As a non-native speaker, Armado alienates the English language by marking it with his Spanishness – in his mouth, English is turned into a bombastic, fantastical, pretentious, and hermetic language. Moreover, Armado is also typecast as the braggart soldier or the Italian stock character of Il Capitano from the Commedia Dell’Arte. Shakespeare draws on the representation of the Spaniard from the Italian dramatic tradition. This paper aims at examining the extent to which we can speak of ethnic or racist humour concerning the way Armado is marginalised as the butt of the joke in the play. The issue at stake is to explore the articulation of language and national identity through the character of Armado. |
| author |
Galland, Nora |
| author_facet |
Galland, Nora |
| author_sort |
Galland, Nora |
| title |
Armado or the Other speaking the Native’s Language: Racialising the Spaniard in Love’s Labour’s Lost |
| title_short |
Armado or the Other speaking the Native’s Language: Racialising the Spaniard in Love’s Labour’s Lost |
| title_full |
Armado or the Other speaking the Native’s Language: Racialising the Spaniard in Love’s Labour’s Lost |
| title_fullStr |
Armado or the Other speaking the Native’s Language: Racialising the Spaniard in Love’s Labour’s Lost |
| title_full_unstemmed |
Armado or the Other speaking the Native’s Language: Racialising the Spaniard in Love’s Labour’s Lost |
| title_sort |
armado or the other speaking the native’s language: racialising the spaniard in love’s labour’s lost |
| publisher |
Arrêt sur scène / Scene Focus |
| publishDate |
2022 |
| container_title |
URI:https://journals.openedition.org/asf |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/asf.719 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/asf/719 |
| _version_ |
1877293002116825088 |