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Dalrymple, Roger. "Language and piety in middle English romance /." Cambridge : D. S. Brewer, 2000. http://catalogue.bnf.fr/ark:/12148/cb389357196.
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Fanton, Giovanni. "Doing Italian as a foreign language : investigating talk about language and culture in three British university classrooms." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1561/.
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The study presented in this thesis focuses on teacher-student talk-in-interaction in three Italian classes for beginners taught by two teachers, one British and one Italian, in two British universities. The aims of the study are to: (1) investigate the views of language and of language teaching/learning that informed the teachers‟ practice; (2) identify the cultural worlds and images of Italian-ness constructed through the classroom talk; (3) examine the different identities the teachers assumed as they discussed language and culture. The research combines ethnographically-informed classroom observation, video-recording of classroom interaction with discourse analysis. It is guided by poststructuralist thinking and by Kramsch‟s (1993:9) vision of language teaching/learning as “social practice that is at the boundary of two or more cultures”. It reveals similarities in the composition of the classes. Both included international students and both teachers drew on the diverse funds of linguistic and cultural knowledge represented in their classes, creating „third places‟ for language teaching/learning. The research also reveals differences between the teachers – in their views of language, their representation of Italian „culture‟ and in the classroom identities they assumed. These differences are explained with reference to the teachers‟ linguistic and cultural backgrounds and their professional biographies.
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Reeve, Daniel James. "Romance and the literature of religious instruction, c.1170-c.1330." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:00ff0d43-6ace-49e2-a80f-cf5b6c9553fc.
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This thesis investigates the relations between romance and texts of religious instruction in England between c.1170–c.1330, taking as its principal textual corpus the exceptionally rich literary traditions of insular French romance and religious writing that subsist during this period. It argues that romance is a mode which engages closely with religious and ethical questions from a very early stage, and demonstrates the discourses of opposition in which both kinds of text participate throughout the period. The thesis offers substantial readings of a number of neglected insular French religious texts of the thirteenth century, including Robert Grosseteste's Chasteau d'Amour, John of Howden's Rossignos, and Robert of Gretham's Miroir, alongside new readings of romances such as Gui de Warewic and Ipomedon. This juxtaposition of romance narrative and religious instruction sheds new light onto both kinds of text: romance emerges as a mode with deep-rooted didactic qualities; insular French religious literature is shown to be intensely concerned with the need to compete with romance’s entertaining appeal in literary culture. This oppositional discourse profoundly affects the form of instructional writing and romance alike. The discussion of the interactions between insular French romance and instructional literature presented here also serves as a new pre-history of Middle English romance. The final chapter of the thesis offers several new readings of texts from the Auchinleck manuscript, including the canonical romance Sir Orfeo and the neglected, puzzling Speculum Gy de Warewyk. These readings demonstrate that fourteenthcentury romance intelligently adapts the material it inherits from Francophone literature to a new cultural situation. In these acts of reformation, Middle English romance reveals itself as a discursive space capable of accommodating a wide range of ethical and ideological affiliations; the complex negotiations between romance and instructional literature in the preceding centuries are an important cultural condition for this widening of possibilities.
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Lalor, Doireann P. "Italian postwar experimentalism in the wake of English-language modernism." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:238508c2-eb42-460a-b8c1-a01d58f15630.
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After World War II in Italy the cultural scene was in need of resuscitation. Artists searched for tools with which to revifify their works. Central to this, for many key figures in the fifties and sixties, was an engagement with English-language Modernism. This phenomenon has been widely recognised, but this thesis is its first sustained analysis. I draw together the receptions of three English-language Modernist authors – T. S. Eliot, Ezra Pound and James Joyce – who, as a triad, were instrumental in the radicalisation of the arts in Italy in the fifties and sixties. I show that their works were elevated as models of an experimental approach to language that was revisited by Italian artists – most notably by poets associated with the Neoavantgarde. The specific Modernist linguistic techniques which were adopted by the Italians that we will consider here are the mingling of languages and styles, the use of citations, and the perversion and manipulation of single words and idioms. The poets considered in most depth to exemplify this phenomenon are Edoardo Sanguineti, who was a major exponent of the Neoavantgarde, and Amelia Rosselli, who was more peripherally and problematically associated with the movement. Both poets desecrated the traditional language of poetry and energised their own poetry with recourse to Modernist techniques which they consciously and deliberately adopted from Eliot, Pound and Joyce. An unpicking of the mechanics of these techniques in Sanguineti's and Rosselli's poetry reveals that their texts necessitate an active mode of reading. This aligns with the intellectual ideas propounded by Walter Benjamin, Roland Barthes and Umberto Eco, all of whom grounded their theories on readership in analyses of the linguistic experiments of Modernism. Sanguineti's and Rosselli's poetry fulfil the characteristics of Eco's “open” work, Barthes' “polysemous” work, and bring about Benjamin's “shock-effect” in the reader. These radical linguistic techniques, appropriated from the Modernists, contribute to each poets' overall poetic projects – they enact Edoardo Sanguineti's anarchic and revolutionary impulses, and stage Amelia Rosselli's thematic conflicts.
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Krishnan, Lakshmi. "Swinburne and the novel." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:68a78556-b51f-4ecd-b53c-99ec8ace5de1.
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This study examines Algernon Charles Swinburne’s work as a critic and creator of prose fiction, arguing that it deserves to play a larger role than it has done hitherto in our understanding of him as a writer. It considers a wide range of Swinburne’s prose, situating it in the intellectual movements of his time, and identifying recurrent themes and interests. Finally, it makes a case for a broader view of Swinburne that includes his literary criticism and imaginative prose. The first chapter discusses Swinburne’s prescient criticism of the Brontës and his suggestion that the novel ought to aspire to the status of high art. The second chapter reviews Swinburne’s assessment of Wilkie Collins, which uses the language of the stage to draw comparisons between sensation fiction and drama. Turning to Swinburne’s continental European influences, the third chapter establishes Baudelaire and Hugo as inspirations for Swinburne’s theory of aesthetic practice, though neither directly shaped his serious prose fiction. Gautier’s Mademoiselle de Maupin, which had a much more direct impact through its promotion of sexual and aesthetic autonomy, is discussed in Chapter Four. The fifth chapter studies Boccaccio and The Decameron as a significant source for Swinburne’s proposed Triameron and its surviving short stories. The sixth and seventh chapters focus on Laclos and Balzac, arguably the greatest influences on Swinburne’s novels. Laclos’s epistolary fiction and Balzac’s cycle of interlocking tales are immensely important for Swinburne’s theory of the novel and for his novels themselves. Chapter Eight is an extended study of Swinburne’s novel A Year’s Letters, which displays innovative epistolary form and incisive character studies. Chapter Nine interrogates Lesbia Brandon as a meditation on the youth of a poet and an avant-garde example of Swinburne’s hybrid, poetic prose.
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Smit, Sarah Johanna. "At home in Fanon: Queer romance and mixed solidarities in contemporary African fiction." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/23021.
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Throughout the recent iterations of student activism that have gripped South African universities, Frantz Fanon has been continuously disinterred. But the figure of Fanon often remains both abstract and plural within its articulations - interpretations of his body of work performing sometimes only partial allegiances to the whole. This means that centralising a Fanon within political discourse stands to reproduce the losses implicated in his mythification, rather than to recover new critical imports in his work. In other words, the simplification of Fanonist rhetoric fails to deal with the "un-political" dimensions of Fanon. As such the more troubling of Fanon's work, namely Black Skin, White Masks (1952), is often left un-interrogated, while The Wretched of the Earth (1961) is read like a manifesto for purposive change. Black Skin, White Masks it seems is deemed "not radical enough" because of what appears to be a problematic preoccupation with 'love and understanding.' In the following intervention, I argue that what makes this centrality of 'love and understanding' so unpalatable to radical activists is a misappropriation of Fanon's formulation of desire. This is in part, I believe, one of the flaws of Fanon setting up the dynamic of racialised desire within cisgender, heteronormative models for potential interracial relationships - "The Woman of Colour and the White Man" and "The Man of Colour and the White Woman." Hence, I consider what queering these relationships does to the way in which we read the political dimensions of Black Skin, White Masks, and whether or not this allays the allegory of revolutionary solidarity of the generic teleology of the heteronormative romance. The object of this thesis is to elucidate what possibilities for political solidarity are generated through the queered dynamic of interracial love, explored in the literature of the contemporary African diaspora. New African writers take seriously what Fanon recognised as "The Pitfalls of National Consciousness," by emptying out the category of the nation and engaging with the intersections of a trans-national, trans-gender and trans-racial politics. To demonstrate the ways in which a queer analysis of interracial romance might reimagine a raced identity politics, I analyse novels produced by members of the contemporary African diaspora, whose works deal with mixed race identity. Through my reading of Helen Oyeyemi's The Icarus Girl (2005) and Boy, Snow, Bird (2014), Yewande Omotoso's Bom Boy (2011), and Chris Abani's The Secret History of Las Vegas (2014), I hope to demonstrate that contemporary African literature is concerned with the formation of an identity that estranges the category of blackness from itself through its entanglement with a queer identity politics.
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Walton, Marion Nicole. "Empire, nation, gender and romance : the novels of Cynthia Stockley (1872-1936) and Gertrude Page (1873-1922)." Master's thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/9568.
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Bibliography: leaves 311-345.As the first detailed study of the Southern Rhodesian romantic. novels of Cynthia Stockley (Lilian Julia Webb) and Gertrude Page (Gertrude Dobbin), this dissertation presents biographical information about the two writers as well as an analysis of the historical reception and discursive context of the novels - focusing primarily on the novels as rewritings of the gendered discourses of the British "New Imperialism" and of a nascent Rhodesian nationalism. Their novels reveal ambivalences about and conflicts between feminism and maternalism, heroic and bourgeois versions of the romance genre, and bourgeois imperialism and the representation of feminine sexuality.
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Parker, Eleanor Catherine. "Anglo-Scandinavian literature and the post-conquest period." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:18aa9912-85f6-4cba-b4d6-4f8f7453402f.
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This thesis concerns narratives about Anglo-Scandinavian contact and literary traditions of Scandinavian origin which circulated in England in the post-conquest period. The argument of the thesis is that in the eleventh century, particularly during the reign of Cnut and his sons, literature was produced for a mixed Anglo-Danish audience which drew on shared cultural traditions, and that some elements of this largely oral literature can be traced in later English sources. It is further argued that in certain parts of England, especially the East Midlands, an interest in Anglo-Scandinavian history continued for several centuries after the Viking Age and was manifested in the circulation of literary narratives dealing with Anglo-Scandinavian interaction, invasion and settlement. The first chapter discusses some narratives about the reign of Cnut in later sources, including the Encomium Emmae Reginae, hagiographical texts by Goscelin and Osbern of Canterbury, and the Liber Eliensis; it is argued that they share certain thematic concerns with the literature known to have been produced at Cnut’s court. The second chapter explores the literary reputation of the Danish Earl of Northumbria, Siward, and his son Waltheof in twelfth-century sources from the East Midlands and in thirteenth-century Norwegian and Icelandic histories. The third chapter deals with an episode in the Middle English romance Guy of Warwick in which the hero helps to defeat a Danish invasion of England, and examines the romance’s references to a historical Danish right to rule in England. The final chapter discusses the Middle English romance Havelok the Dane, and argues that the poet of Havelok, aware of the role of Danish settlement in the history of Lincolnshire, makes self-conscious use of stereotypes and literary tropes associated with Danes in order to offer an imaginative reconstruction of the history of Danish settlement in the area.
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Blake, Thomas Hughes Jr. "Royal materials: the object of queens in Late Medieval English romance." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/5717.
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As historicist as it is materialist, my dissertation both reads the fictional queens portrayed in romance against the fraught positioning of historical queens such as Isabella of France, Anne of Bohemia and Margaret of Anjou, and traces the ambivalent function in late medieval English society of objects including the sacring-bell, the Lollard bible and the royal sword. Merging the traditionally historicist field queenship studies with typically postmodern fields like thing theory and sound theory, I investigate how queens in late medieval romances coopt, queer and reconfigure material objects of masculine power. Each chapter examines a literary queen typically dismissed by subject-oriented ontologies as insubstantial. Analyzing romances that include Richard Coer de Lyon, Chaucer's Man of Law's Tale, Malory's Morte D'Arthur and the Marian romance of "The Child Slain by Jews" from the Vernon Manuscript, I argue for the overlooked significance of literary queens as figures whose circulation illuminates the construction of medieval masculinities. Through contact with charged material objects that are pivotal to romance plots, queens query patriarchal materials, exposing their underlying "thingness" and malleability. Whether tracking the disturbing afterlife of a church bell used to exorcise the hero's queen mother in Richard Coer de Lyon, or analyzing links between the "Britoun book" that rescues Chaucer's Custance and Anne of Bohemia's vernacular books, my chapters tell a new story about the foreign queens of late medieval English romances by showing how they blur boundaries between male and female, subject and object, West and East, priest and parish, Christian and Jew, orthodox and heterodox, mother and child.
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Duffin, Charles J. "Accents of tradition and the language of romance : a study in the relationship of popular oral tradition and literary culture in Scotland, 1700-1825." Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/5576/.
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As this study is concerned with the noetic process of a pre-literate, oral tradition in eighteenth century Scotland, we are obliged to address that mental economy through residual artifacts which survive in translation as products of a print driven, literary culture. As such, those artifacts have already been engaged to a literary process and, if they are to be subjected here to a further breach of cultural integrity, it is a minimum requirement that we attempt to respect the intellectual and psychological priorities which energise the traditional word. The central aims of the study are: to establish useful parameters of literary understanding for these residues, to assess the manner of translation through which the original materials were subjected to a literary process and to elucidate the nature of the literary product that they became, as well as that of the literary creativity which they inspired. With this in mind, our attention is directed initially toward the way in which a traditional text generates meaning for a contemporary, literary audience. The application of oral theory to Scottish traditional poetry and song, in chapter one, aims to propose a literary model of a particular tradition at a critical stage in its development. This model seeks to recognise both the conceptual underpinning of that process and the accumulative feedback that occurs when literary styles and politics infuse and regenerate within the process of transmission and translation to become embedded in the 'oral' artifacts of a culture in transition. In chapter two we look, in the editorial conflict between creative and conservative mediators, to identify the aesthetic circumstances of that tradition in a transitional culture so as to elucidate the nature of those artifacts as literary products. As a measure of how these competing forces pressurise traditional sources, we engage with the dynamic of cultural negotiation surrounding the authentication of traditional 'texts'. This focuses our attention on the status of the traditional aesthetic within the existing literary critique and the implications that aesthetic conflict held for original, imaginative writing.
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Bouagada, Habib. "Orientalism in translation: The one thousand and one nights in 18th century France and 19th century England." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/26857.
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The objective of this study is to show how translation contributes to the "Orientalist" project and to the past and present knowledge of the Orient as it has been shaped by different disciplines such as anthropology, history and literature. In order to demonstrate this, I have decided to compare the Arabic text Alf Leyla wa Leyla (The One Thousand and One Nights) with the French translation by Antoine Galland (1704-1706) and the English translation by Sir Richard Burton (1885).
According to Edward Said, the Orientalist project or Orientalism is mainly a French and British cultural enterprise that has produced a wide-ranging wealth of knowledge about an Orient that has been represented as an undifferenciated entity with despotism, splendour, cruelty, or even sensuality being its main attributes.
I have chosen these translations because they come from places with a long Orientalist tradition. In 18th century France, the age of the Belles infideles, Galland is a man of the Enlightenment who appears to be a precursor of Orientalism as embodied in Montesquieu's Lettres persanes and Votaire's zadig. A century later, Burton's The Arabian Nights, backed by a deep knowledge of Islam, is published. Burton is an official in the service of the British Empire---an empire that takes pride in having the highest number of Muslim subjects.
The evolution of Alf Leyla wa Leyla and its translations is followed by an analysis of the shifts applied to the representations of Oriental elements found in it (social and religious practices). These shifts as well as the annotations that refer to Arabo-Islamic culture are related to Galland and Burton's intellectual development and to the socio-historical context of their respective translations.
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Reid, Joshua. "Lyric Augmentation and Fragmentation of the Italian Romance Epic in English Translations." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2861.
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The translation and transmission of the Italian romance epics of Boiardo, Ariosto, and Tasso across linguistic and cultural boundaries also included genre reprocessing. This paper traces how Elizabethan translators and compilers of these texts tended to read epic lyrically, or to read the lyric into (and out of) the epic. For Elizabethan translators of the Italian Romance Epic—Sir John Harington, Edward Fairfax, and Robert Tofte, for example—this transmutation meant amplification or insertion of lyrical material, such as Fairfax’s enhancement of the Petrarchan subtext of the Armida Blazon in Book 4 of Gerusalemme Liberata and Robert Tofte’s injection of his own Petrarchan mistress Alba into Boiardo’s Orlando Innamorato. Another trend, demonstrated by Robert Allott’s English verse anthology Englands Parnassus (1600), involved extracting lyrical fragments from the romance epic that function as stand-alone poems.
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Picardo, Edward Nicholas. "The war and siege : language policy and practice in Gibraltar, 1940-1985." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/1500/.
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My thesis explores language policy and practice in the history of the people of Gibraltar between 1940 and 1985. This period covers the wartime Evacuation and the Spanish border restrictions and closure, and it is also fundamental in the emergence of Gibraltarian identity and democratic rights. My contention is that these developments were facilitated by growing accessibility to the English language. From being largely the preserve of the colonial establishment and the elite, it emerged as pre-eminent in official use, the media and culture, and higher oral registers. This change was hastened by the Evacuation, which increased awareness of the need for English. The Clifford Report of 1944 reformed the whole education system and gave a central role to English. Clifford, Gibraltar’s Colonial Secretary, and indeed educationalists at the Colonial Office, proved themselves far more enlightened than their governing counterparts in Gibraltar. Their reform greatly contributed to political development in the following decades. With the Spanish border closure, the English language and the sense of attachment to Britain gained further consolidation, co-existing with the move away from overt colonialism. In my examination of language behaviour in Gibraltar, including bilingualism and the use of Spanish, interview material supplements written sources.
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Huyssen, Carmen. "Translating nature: A corpus-based study." Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/26378.
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In contemporary nature writing, beauty can indeed be said to be "in the eye of the beholder". English-Canadian and French authors of such texts often perceive and describe their natural surroundings in very individual, though culturally shared, ways.
English-Canadian and French authors have developed quite different approaches to nature writing, and this difference becomes clearly apparent through a contrastive analysis of two corpora: nature writing intended for English-Canadian readers and similar texts addressed to French readers. Through the juxtaposition of these texts, the cultural topoi of each linguistic set are drawn out.
In an environment where forces of globalization are bringing more languages and cultures into contact, an analysis of this type sets forth the "culturemes" that practising translators need to be aware of and respond to. A sample text that takes the findings into account illustrates this.
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Toscano, Angela Rose. "Resemblances: on the re-use of romance in three 18th-century novels." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6512.
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This study examines three 18th-century novels and their connection to the romances of the 17th century, the middle ages, as well as the Greek romances that flourished during the Roman Empire. I argue that the novel and the romance differ, not because the novel possesses some intrinsic formal, structural, or thematic essence wholly and disjunctively different from the romance, but rather because the two forms have been arbitrarily differentiated over a long contentious history for ideological and not categorical reasons. Thus, I define the novel not as a form or a genre, but as a mode and medium—a way and means of expressing story rather than as a structural, shaping category of story. Romance, on the other hand, is a type of story particularly interested in how to deal with difference. It asks: How do I deal with difference without annihilating or exiling it or myself in the process? When the romance gets subsumed into the novel as the dominant mode of prose fiction, it re-inscribes this ethical aspect of the romance’s structure through the use of resembling conventions and tropes.
In analyzing how resemblances are treated in three 18th-century novels—Charlotte Lennox’s The Female Quixote, Sophia Lee’s The Recess, and Eliza Haywood’s Love in Excess—my dissertation focuses on the novel’s re-use of the romance to explore anxieties about difference and sameness, about moral issues related to personhood, and about the tension between the individual and the collective. These texts ask: How do we cope with and incorporate the difference of the other when privilege in rank and perception is assumed by the subjective self? This question informs familiar and social relations of all kinds. It illuminates the 18th century’s scientific assumption that reality can be dissected via objective observation. It influences views of aesthetics, of gender and sexual politics, of creativity and the conflation of originality with novelty and of repetition with derivativeness.
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Fuller, Gary Stephen. "The Virgin's Kiss: Gender, Leprosy, and Romance in the Life of St. Frideswide." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3234.
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The longer thirteenth-century Middle English verse life of Saint Frideswide found in the collection of saints' lives known as the South English Legendary (SEL) narrates an event unique to medieval hagiography. In the poem, a leper asks the virgin saint to kiss him with her "sweet mouth," which she does in spite of her feelings of considerable shame, and the leper is healed. The erotic nature of the leper's request, Frideswide's reluctance to grant it, and her shame throughout the incident represent a significant departure from the twelfth-century Latin texts on which the SEL version of the saint's life is based. In this paper, I provide a deeper critical analysis of the text than has previously been attempted, exploring the SEL version of the leper's healing from medieval perspectives on leprosy, gender, religious authority, and genre. By the thirteenth century, leprosy in hagiographic texts had come to symbolize the abject condition of Christ himself, and saints' lives invariably portrayed their protagonists as eager to embrace and kiss lepers as a means of serving Christ. Frideswide's shame and reluctance to kiss the leper greatly contrast with generic convention and cause her gender to emerge as a defining holy attribute inexplicably demanded by the leper's exigency. The SEL-poet's portrayal of Frideswide's gender as a vital component of her healing power is consistent with medieval conceptions of personhood, from which gender could not be separated. The poet crafts the scene of the leper's healing using conventions not only of hagiography but of romance as well; this hybridization of genres creates tension between sanctity and eroticism in the scene. The poet's depiction of the saint as simultaneously exceptional and human may have been a reaction against the contemporary ecclesiastical landscape, in which female authority and influence were limited. Moreover, the romantic language used by the poet to create tension also makes Frideswide's story more accessible to lay readers by transforming the relationship between supplicant and saint into an interaction between a courtly lover and his lady.
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Worth, Brenda Itzel Liliana. "'Exile-and-return' in medieval vernacular texts of England and Spain 1170-1250." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:a736407a-4f69-46f2-98bb-992b1fb669eb.
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The motif of 'exile-and-return' is found in works from a wide range of periods and linguistic traditions. The standard narrative pattern depicts the return of wrongfully exiled heroes or peoples to their former abode or their establishment of a superior home, which signals a restoration of order. The appeal of the pattern lies in its association with undue loss, rightful recovery and the universal vindication of the protagonist. Though by no means confined to any one period or region, the particular narrative pattern of the exile-and-return motif is prevalent in vernacular texts of England and Spain around 1170–1250. This is the subject of the thesis. The following research engages with scholarship on Anglo-Norman romances and their characteristic use of exile-and-return that sets them apart from continental French romances, by highlighting the widespread employment of this narrative pattern in Spanish poetic works during the same period. The prevalence of the pattern in both literatures is linked to analogous interaction with continental French works, the relationship between the texts and their political contexts, and a common responses to wider ecclesiastical reforms. A broader aim is to draw attention to further, unacknowledged similarities between contemporary texts from these different linguistic traditions, as failure to take into account the wider, multilingual literary contexts of this period leads to incomplete arguments. The methodology is grounded in close reading of four main texts selected for their exemplarity, with some consideration of the historical context and contemporary intertexts: the Romance of Horn, the Cantar de mio Cid, Gui de Warewic and the Poema de Fernán González. A range of intertexts are considered alongside in order to elucidate the particular concerns and distinctive use of exile-and-return in the main works.
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Dempster, Michaux. "Damn Near Perfect." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/45.
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Damn Near Perfect is the first section of the second draft of a novel. It is a romance and a coming-of-age story, about an conservatively raised young man, Reese McEwan. On a Mardi Gras visit to Louisiana, Reese falls in love with Noel Guillory, a bisexual poet finishing her last year at Louisiana State University. Reese also dreams of becoming a woodworker, and wants to serve as an apprentice at his family's furniture workshop; his parents oppose this wish and his relationship with Noel. From an affluent, Protestant background, Reese is a senior at Hampden-Sydney College, one of the last all male colleges in the U.S. He has been raised to take for granted his culture's very traditional, conservative values, and at the opening of the book has met with nothing to dispute these ideas. During the course of the novel, Reese abandons his education and traditional lifestyle. Because of his fascination with Noel and how she lives her life, he tries to become a part of her world, to his and her cost, and possibly to their benefit. Most of the novel is set in Baton Rouge, where Noel is finishing school at LSU, and where Reese goes to pursue her. The year is 1992. This first section is one hundred and four pages long, and covers the time from the beginning of Reese's visit to Louisiana, to when he goes back to school in Virginia. The second section, of about fifty pages or less, will cover his time back at college; until he decides to abandon his pursuit of a college degree and move to Baton Rouge permanently, in order to be with Noel and pursue a new career in woodworking. The final section, about one hundred pages in length, will cover Reese's attempts to build a relationship with Noel, and his frustrations with her much more liberal view of what a dating relationship should be.Damn Near Perfect explores how we decide who we will to grow up to be; what kind of relationship we want, what kind of person makes us happy, and what kind of person, in turn, we can make happy. It is about staking our claims to fulfillment - in love, work, and family, and about what our claims sometimes cost us.
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Wingfield, Emily. "The manuscript and print contexts of older Scots romance." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:fd4ba177-d54f-44f1-ae09-dce6fda39936.
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This thesis is a study of the fifteenth- and sixteenth-century manuscript and print contexts of Older Scots romance. Building on recent developments in Middle English romance scholarship and Older Scots book history, it seeks to contextualise the surviving corpus of Older Scots romances in light of their unique material witnesses and contemporary cultural milieu. Chapters 1 to 8 focus respectively on the following Older Scots romances: the Octosyllabic Alexander, the Buik of King Alexander the Conquerour, Florimond, Lancelot of the Laik, King Orphius and Sir Colling, Golagros and Gawane and Rauf Coilyear, the Scottish Troy Book, and Clariodus. The conclusion assesses and evaluates the most significant and recurring features of these chapters and reveals how they cumulatively deepen our understanding of the book-producing and book-owning culture of fifteenth- and sixteenth-century Scotland. The conclusion also looks forward to new witness- conscious editions of Older Scots romance that endeavour to represent as far as possible a text’s unique and idiosyncratic manuscript and print contexts. In each chapter I examine the set romance’s primary contexts of composition, including authorship, date, and first audience, as well as its secondary publication contexts. A full palaeographical, codicological and bibliographical description of each manuscript and print is provided, with details of when, where and by whom each witness was produced. Information about when and where that witness was read is also given, with details of the owners and readers where known. Significant attention is paid to the use of titles, rubrication and mise-en-page to reveal the trends and bibliographical codes in copying and presentation. Where appropriate, the compilation choices made by scribes and readers are also analysed. Careful assessments of these are shown to aid modern thematic and comparative literary interpretation. Most notably, each chapter of this thesis also provides much-needed new information about fifteenth- and sixteenth-century Scottish literary communities. Several significant and often-overlapping circles of scribes, readers and owners are revealed. The familial, professional and geographical associations between these groups of producers and consumers are traced and consequently new book- publishing and book-owning networks are documented. In further original work, a number of hitherto unknown texts, scribes and readers are also successfully identified.
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Slagle, Judith Bailey. "Romantic Appropriations of History: The Legends of Joanna Baillie and Margaret Holford Hodson." Digital Commons @ East Tennessee State University, 2012. http://amzn.com/1611475090.
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Introduction: The Historical Tradition of Baillie, Scott, Hodson and Southey -- William Wallace : "A Terrible Beauty" -- Exploration and conquest : Columbus, Balboa, and Pizarro -- National and Domestic Heroines : Margaret of Anjou and Lady Griseld Baillie -- Gothic Interactions : The Miscellaneous Legends of Baillie and Hodson.https://dc.etsu.edu/etsu_books/1035/thumbnail.jpg
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Eriksson, Louise. "Why begin when you can commence - Aspects of near-synonymous verbs of Germanic and Romance origin." Thesis, Växjö University, School of Humanities, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1030.
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This essay is a corpus study, the aim of which is to investigate the usage of two near-synonymous verb pairs that descend from Germanic and Romance languages. The four verbs begin, commence, hate, and detest were chosen for the study. The analysis is based on occurrences of the verbs in five subcorpora in the COBUILDDIRECT corpus; two subcorpora consist of British and American books and three subcorpora are composed of British and Australian newspapers. Occurrences were also collected from the novel Wuthering Heights (1847) by Emily Brontë. The primary aims of the essay are to investigate the frequency and occurrence of the verbs in different text types as well as in British and American books, to reveal if the verbs are synonymous and whether they occur with the same collocates. Furthermore, the novel Wuthering Heights gives a diachronic view of the usage of the verbs.
This analysis suggests that a usage of the verbs of Germanic origin is more frequent than the verbs of Romance origin. The Romance verbs are more common in novels and books, but also in the British newspaper The Times. Furthermore, the usage of commence and detest seems to be restricted to certain contexts which are connected to the field of the English language in which the verbs occurred at first. The Germanic verbs are clearly favoured in all kinds of texts investigated, even though Wuthering Heights has a high number of occurrences of commence.
On the topic of synonymy, begin and commence have been found to be further apart from each other than hate and detest. This is due to the fact that begin and commence are constructed grammatically different, as well as a restriction in contextual usage of commence. Despite this, commence is used more freely in American books than in British books. The synonymy of hate and detest is connected to the fact that detest expresses a stronger feeling than hate, which makes the two verbs near-synonymous but also gradable. The verbs in the two pairs also collocate with different words, which underlines that they are not real synonyms. These findings support the claim that one should not call the verb pairs synonyms but near-synonyms, and that one has to be careful when choosing a verb.
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Rosales, Lauren N. ""Dismissed outright": creating a space for contemporary genre fiction within neo-Victorian studies." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6259.
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Neo-Victorian studies is a burgeoning subfield which seeks to examine contemporary representations of the Victorian period. For the last decade, neo-Victorian scholars have offered up definitions of what makes a text “neo-Victorian”; often, this has been via a description of what the neo-Victorian is not. The ‘ruling’ definition—i.e., the definition most consistently repeated—hails from the introduction to Neo-Victorianism: The Victorians in the Twenty-First Century by Ann Heilmann and Mark Llewellyn: “the Neo-Victorian is more than historical fiction set in the nineteenth century. […] texts (literary, filmic, audio/visual) must in some respect be self-consciously engaged with the act of (re)interpretation, (re)discovery and (re)vision concerning the Victorians” (4). This short delineation significantly comes at the expense of historical fiction, which is a move repeated throughout neo-Victorian efforts to define itself. Neo-Victorian studies has largely concerned itself with literary novels, operating with a heavy anxiety that ‘other’ fiction set in the nineteenth century is escapist and nostalgic in the sense that it simply perpetuates problematic past systems of oppression while evoking the fashionable aesthetic trappings of the Victorian. My dissertation argues that contemporary genre fiction, long derided as ‘simply’ escapist in nature, can also be neo-Victorian. In each of my chapters I analyze texts from a specific genre—steampunk, popular romance, detective fiction, and Sherlock Holmes pastiche—in order to offer a basis for investigating genre fiction with a neo-Victorian lens. I analyze the depiction of corsets and feminist protagonists in three steampunk novels, explore the exhibition of unlikely romantic heroines and Romany romantic heroes in Lisa Kleypas’ historical romance series about the Hathaway family, examine representations of class and gender as well as germane social issues in Anne Perry’s William Monk detective series, and highlight the feminist potential of Carole Nelson Douglas’ series of Sherlock Holmes pastiche featuring Irene Adler. Each chapter considers the Victorian period as represented alongside Victorian novels and literary periodicals in order to demonstrate the shape of these neo-Victorian revisions and make the case the genre fiction can be self-conscious despite its lack of metafictional content.
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Brereton, Mary Catherine. "Philosophic historiography in the eighteenth century in Britain and France." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:e134dabe-301d-4e81-a282-8c2204499fbb.
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The subject of this thesis is the by now traditional grouping of certain innovative works of historiography produced in eighteenth-century Britain and France; namely the historical works of Voltaire, and the historical writings of the philosophes; and, in Britain, the histories of Hume, Robertson, and Gibbon. This thesis gives a historical and expository analysis of the individual strategies of literary self-fashioning and generic appropriation which underlie this impression of resemblance. It particularly demonstrates that the major characteristics of the contemporary vision of philosophic historiography – the idea of a European history of manners or l’esprit humain, and the insistence on the rejection of the practices of the érudits – which have become incorporated within scholarly definitions of ‘Enlightenment historiography’, are well-established generic tropes, adapted and affected in France as in Britain, by authors of diverse ambitions. The invitation to assume inauthentic connections contained within the practice of philosophic historiography is shown to be embraced by Gibbon, in a notable literary challenge to the paradigms of intellectual history. This study contrasts the textual evidence of these authors’ experience of literary, personal, and political challenges regarding the definition of their role as public, intellectual writers, to the acquired image of an ideal of ‘Enlightenment writing’. It considers the Frenchness of philosophie, and the potential Britishness of Hume, Robertson, and Gibbon. As part of its wider analysis of the practice of intellectual writing with a historical focus, its scope includes the writings of British clerics and writers on religion; of French academicians; and of the late philosophe Volney, and Shelley his interpreter. The major conclusion of this thesis is that eighteenth-century British and French history writing does not support any synthesis of an Enlightenment historical philosophy, narrative, or method; while it is suggested that one of the costs of the construct of ‘Enlightenment’, has been the illusion of familiarity with eighteenth-century intellectual culture, in France as well as Britain.
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Spooner, Kaleigh Jean. ""History Real or Feigned": Tolkien, Scott, and Poetry's Place in Fashioning History." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6476.
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Most critics of The Lord of the Rings correlate Tolkien's work to ancient texts, like Beowulf, the Elder Edda, and medieval romances. While the connection between these traditional materials and Tolkien is valid, it neglects a key feature of Tolkien's work and one of the author's desires, which was to fashion a sort of history that felt as real as any other old story. Moreover, it glosses over the rather obvious point that Tolkien is writing a novel, or at any rate a long work of prose fiction that owes a good deal to the novel tradition. Therefore, through careful attention to the formal textures of Tolkien's work, melding together both genre criticism and formal analysis (and with a sound understanding of literary history), I argue that Tolkien's work follows a more modern vein and aligns with the nineteenth-century historical novel, the genre pioneered by Sir Walter Scott. The projects of Tolkien and Scott parallel one another in many respects that deserve critical attention. This essay begins the discussion by addressing just one, somewhat surprising, point of comparison: the writers' use of poetry. I observe that Tolkien and Scott utilized poetry in similar ways, and I parse the poems into three distinct categories: low culture poems, high culture poems, and poems which straddle the divide between the two. All of this demonstrates how each piece of poetry, written in an antique style, saturates the texts with historic atmosphere and depth. This lends a sense of authenticity and realism to Scott's works, and later it buttresses Tolkien's attempts to foster "the dust of history" and create an illusion of authenticity and realism for Middle Earth's (imaginary) past.
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Smith-Laing, Tim. "Variorum vitae : Theseus and the arts of mythography in Medieval and early modern Europe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0f4305c6-3c62-4f89-a3b2-d8204893fdfb.
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This thesis offers an approach to the history of mythographical discourse through the figure of Theseus and his appearances in texts from England, Italy and France. Analysing a range of poetic, historical, and allegorical works that feature Theseus alongside their classical and contemporary intertexts, it is a study of the conceptions of Greco-Roman mythology prevalent in European literature from 1300-1600. Focusing on mythology’s pervasive presence as a background to medieval and early modern literary and intellectual culture, it draws attention to the fragmentary, fluid and polymorphous nature of mythology in relation to its use for different purposes in a wide range of texts. The first impact of this study is to draw attention to the distinction between mythology and mythography, as a means of focusing on the full range of interpretative processes associated with the ancient myths in their textual forms. Returning attention to the processes by which writers and readers came to know the Greco-Roman myths, it widens the commonly accepted critical definition of ‘mythography’ to include any writing of or on mythology, while restricting ‘mythology’ to its abstract sense, meaning a traditional collection of tales that exceeds any one text. This distinction allows the analyses of the study’s primary texts to display the full range of interpretative processes and possibilities involved in rewriting mythology, and to outline a spectrum of linked but distinctive mythographical genres that define those possibilities. Breaking down into two parts of three chapters each, the thesis examines Theseus’ appearances across these mythographical genres, first in the period from 1300 to the birth of print, and then from the birth of print up to 1600. Taking as its primary texts works by Giovanni Boccaccio, Geoffrey Chaucer, John Lydgate and William Shakespeare along with their classical intertexts, it situates each of them in regard to their multiple defining contexts. Paying close attention to the European traditions of commentary, translation and response to classical sources, it shows mythographical discourse as a vibrant aspect of medieval and early modern literary culture, equally embedded in classical traditions and contemporary traditions that transcended national and linguistic boundaries.
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Gonzalez, Shelly S. "Anti-Romance: How William Shakespeare’s “King Lear” Informed John Keats’s “Lamia”." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1169.
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The purpose of this thesis is to analyze John Keats’s “Lamia” and his style of Anti-Romance as informed by William Shakespeare’s own experimentation with Romance and Anti-Romance in “King Lear.”
In order to fulfill the purpose of my thesis, I explore both the Romance and the Anti-Romance genres and develop a definition of the latter that is more particular to “King Lear” and “Lamia.” I also look at the source material for both “King Lear” and “Lamia” to see how Shakespeare and Keats were handling the originally Romantic material. Both Shakespeare and Keats altered the original material by subverting the traditional elements of Romance.
In conclusion, the thesis suggests that Shakespeare’s Anti-Romance, “King Lear,” and his general reworking of the Romance genre within that play informed Keats’s own experimentation with and deviation from the traditional Romance genre, particularly in “Lamia.”
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Munoz, Victoria Marie. "A Tempestuous Romance: Chivalry, Literature, and Anglo-Spanish Politics, 1578-1624." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1479905568694913.
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Cassell, Cara MaryJo. "The "Infernal World": Imagination in Charlotte Brontë's Four Novels." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/english_diss/14.
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If you knew my thoughts; the dreams that absorb me; and the fiery imagination that at times eats me up and makes me feel Society as it is, wretchedly insipid you would pity and I dare say despise me. (C. Brontë, 10 May 1836) Before Charlotte Brontë wrote her first novel for publication, she admitted her mixed feelings about imagination. Brontë’s letter shows that she feared both pity and condemnation. She struggled to attend to the imaginative world that brought her pleasure and to fulfill her duties in the real world so as to avoid its contempt. Brontë’s early correspondence attests to her engrossment with the Angrian world she created in childhood. She referred to this world as the “infernal world” and to imagination as “fiery,” showing the intensity and potential destructiveness of creativity. Society did not draw Brontë the way that the imagined world did, and in each of Brontë’s four mature novels, she recreated the tricky navigation between the desirable imagined world and the necessary real world. Each protagonist resolves the struggle differently, with some protagonists achieving more success in society than others. The introduction of this dissertation provides critical and biographical background on Brontë’s juxtaposition of imagination/desire and reason/duty. Sandra Gilbert and Susan Gubar’s The Madwoman in the Attic supplies the basis for understanding the ways that the protagonists express imagination, and John Kucich’s Repression in Victorian Fiction defines the purposefulness of repression. The four middle chapters examine imagination’s manifestations and purposes for the protagonists. The final chapter discusses how the tension caused by the competing desires to express and repress imagination distinguishes Brontë’s style.
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Mattord, Carola Louise. "Lay Writers and the Politics of Theology in Medieval England From the Twelfth to Fifteenth Centuries." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/44.
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This dissertation is a critical analysis of identity in literature within the historical context of the theopolitical climate in England between the twelfth and fifteenth centuries. The narratives under consideration are the Lais of Marie de France, The Canterbury Tales, and The Book of Margery Kempe. A focus on the business of theology and the Church’s political influence on identity will highlight these lay writers’ artistic shaping of theopolitical ideas into literature. Conducting a literary analysis on the application of theopolitical ideas by these lay writers encourages movement beyond the traditional exegetical interpretation of their narratives and furthers our determination of lay intellectual attitudes toward theology and its political purposes in the development of identity and society.
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Woods, Ashley-Ann Dorn. "Adolescent Transformation In the Short Stories of Carson McCullers." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1196.
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Carson McCullers's neglected short stories "Sucker", "Like That", and "The Haunted Boy" depict stark adolescent crises. Her character analyses dramatize important elements of many theories of adolescent psychology. Each of these stories depicts what happens when something goes horribly wrong in the course of an already difficult stage of life. In "Sucker" two different stages of adolescent development collide. Pete and Sucker go through different psychological adjustments. The two boys discover the difficulties of adolescent romance, hero-worship, peer group formation and exclusion, and power reversal. The narrator in "Like That" struggles with her Peter-Pan complex as she witnesses her sister go through an adolescent romance. She despises - and fears - the changes that adolescence and adulthood bring to her life and her family. "The Haunted Boy" explores the struggles of Hugh as he deals with issues of adult imitation, lack of a strong male role model, peer loyalty, and emotional repression.
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Beasley, Garland. "Judging the Rational and the Dead: Ann Radcliffe and Feminist Theology." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/188.
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“Judging the Rational and the Dead: Ann Radcliffe and Feminist Theology” argues Radcliffe’s first three novels, The Castles of Athlin and Dunbayne (1789), A Sicilian Romance (1790), and The Romance of the Forest (1791), show a progression of feminist theology informed by the late eighteenth-century British religious movement of Rational Dissent. The thesis attempts to complicate and extend Radcliffe scholarship by moving away from fractured critical discourses and into more cohesive readings of Radcliffe that include feminist and theological interpretations of her work. Of particular interest to the project are Radcliffe’s views on the circumscribed nature of women’s existence within British notions of church and state. The thesis does more than attempt to note Radcliffe’s objections to the circumscribed nature of women in British society; it also seeks to explore the potential solutions offered by a feminist theology that rejects establishment religious hierarchies in favor of a more Unitarian system.
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Armstrong, Robert A. "Gleanings in French Fields: A Formal Approach to the Translation of French Poetry." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587646850156205.
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Falbo, Vincent. "English language & third generation programming language pedagogical practice analysis /." Online version of thesis, 2008. http://hdl.handle.net/1850/7879.
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Beauchamp, Hanna O. (Hanna Olga). "Languages in Contact: Polish and English." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc500811/.
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The purpose of this study was to examine the Polish language of immigrants who came to the United States during or after World War II and to test two related hypotheses: 1. Speakers of Polish use a number of lexical intrusions. 2. Lexical intrusions differ in scope depending on whether those speakers had immigrated with minimal education or they received at least 12 years of schooling prior to their immigration. The study was conducted in the Dallas-Fort Worth area in January and February of 1990. The sample consisted of 16 informants whose interviews were recorded and analyzed in terms of lexical borrowings, cultural branches, and parts of speech. Findings supported the two hypotheses.
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Heinonen, Elisabeth. "Writing in English as a Second Language." Thesis, Linköping University, Department of Educational Science (IUV), 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-834.
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The aim of this essay was to extend my knowledge of teaching writing and children's attitudes towards writing in English. I chose to focus my study on grade six, as I had the opportunity to work with two different classes in Linköping and Södertälje. I assigned them a free writing task as well as a questinnaire. In the literture study I intended to extend my knowledge of the process of writing in a second language.
Throught the course of my research I have come to understand how important it is to choose subjects which inspire all pupils to write. They should also have the opportunity to choose subjects which interests them. It is the content which is important not the layout or spelling.
In my study I have found that pupils take writing in English seriously. However, I have also found that without an encouraging teacher, it is hard to engage pupils in writing. One could say that it is the teacher who directs the writing process. Moreover, the pupils need to be motivated and interested to write well. This includes having varied lessons and considering the pupils'explicit needs.
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Caissie, Roland. "English verb phrase grammar prototypes for speakers of other languages : a cognitive approach to facilitate second language English composition /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9351.
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Workman, Jameson Samuel. "Chaucerian metapoetics and the philosophy of poetry." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:8cf424fd-124c-4cb0-9143-e436c5e3c2da.
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This thesis places Chaucer within the tradition of philosophical poetry that begins in Plato and extends through classical and medieval Latin culture. In this Platonic tradition, poetry is a self-reflexive epistemological practice that interrogates the conditions of art in general. As such, poetry as metapoetics takes itself as its own object of inquiry in order to reinforce and generate its own definitions without regard to extrinsic considerations. It attempts to create a poetic-knowledge proper instead of one that is dependant on other modes for meaning. The particular manner in which this is expressed is according to the idea of the loss of the Golden Age. In the Augustinian context of Chaucer’s poetry, language, in its literal and historical signifying functions is an effect of the noetic fall and a deformation of an earlier symbolism. The Chaucerian poems this thesis considers concern themselves with the solution to a historical literary lament for language’s fall, a solution that suggests that the instability in language can be overcome with reference to what has been lost in language. The chapters are organized to reflect the medieval Neoplatonic ascensus. The first chapter concerns the Pardoner’s Old Man and his relationship to the literary history of Tithonus in which the renewing of youth is ironically promoted in order to perpetually delay eternity and make the current world co-eternal to the coming world. In the Miller’s Tale, more aggressive narrative strategies deploy the machinery of atheism in order to make a god-less universe the sufficient grounds for the transformation of a fallen and contingent world into the only world whatsoever. The Manciple’s Tale’s opposite strategy leaves the world intact in its current state and instead makes divine beings human. Phoebus expatriates to earth and attempts to co-mingle it with heaven in order to unify art and history into a single monistic experience. Finally, the Nun’s Priest’s Tale acts as ars poetica for the entire Chaucerian Performance and undercuts the naturalistic strategies of the first three poems by a long experiment in the philosophical conflict between art and history. By imagining art and history as epistemologically antagonistic it attempts to subdue in a definitive manner poetic strategies that would imagine human history as the necessary knowledge-condition for poetic language.
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Öhlander, Andersson Lina. "English Language Learning : Student's Perception on Their Own Language Learning." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-14371.
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This is a qualitative study, which aims at looking closer into how eight students look upon their own English perceiving skills. A qualitative interview method was used to interview eight students in upper secondary school. The participants were four girls and four boys. The result from the interviews have been presented under three different headings, which are as follows: Motivation, Classroom and Acquisition. A lot of studies have been done on the subject of language learning and it has resulted in many theories, and the ones that seemed relevant for this study have been brought up and connected to the answers the students gave. Most of the students felt motivated to learn English and the main reason was their future job plans. In the classroom, the participants thought that the teacher's behaviour and attitude towards the English subject was the most important factor to motivate them. The interview results showed that the student's thought that the best way to learn English was through media, foremost by speaking and writing with their friends on the computer. Those answers can be connected to something that the Russian psychologist Lev S. Vygotskij presents with the socio-cultural theory, were he promotes the idea that the best way to learn a new language is to interact with other people.
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Habibovic, Asima. "Taboo language : Teenagers' understanding of and attitudes to English taboo language." Thesis, Högskolan Kristianstad, Sektionen för Lärarutbildning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-7731.
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Yuen, Dick-yan Dennis. "A comparison of oral and written composition in L1 Chinese and L2 English in an L2 English medium school." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14036435.
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Enarsson, Anna. "New Blends in the English Language." Thesis, Karlstad University, Faculty of Arts and Education, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-674.
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Titel: New Blends in the English Language
Författare: Anna Enarsson
Antal sidor: 29
Abstract: The aim of this essay was to identify new blends that have entered the English language. Firstly six different word-formation processes, including blending, was described. Those were compounding, clipping, backformation, acronyming, derivation and blending. The investigation was done by using a list of blends from Wikipedia. The words were looked up in the Longman dictionary of 2005 and in a dictionary online. A google search and a corpus investigation were also conducted. The investigation suggested that most of the blends were made by clipping and the second most common form was clipping and overlapping. Blends with only overlapping was unusual and accounted for only three percent. The investigation also suggested that the most common way to create blends by clipping was to use the first part of the first word and the last part of the second word. The blends were not only investigated according to their structure but also according to the domains they occur in. This part of the investigation suggested that the blends were most frequent in the technical domain, but also in the domain of society
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Chan, Siu-wing. "When the Cantonese "b" is the English /p/ stop-consonant voicing strategies across languages /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42841458.
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Gubbels, Katherine Gertrude. ""An uncouth love": queering processes in medieval and early modern romances." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/509.
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Most scholars of the romance genre can think of any number of examples in which the tale's hero or heroine finds him- or herself caught up in a rather comic episode resulting from either mistaken identity, cross-dressing, or the "mis-directed" sexual liaisons resulting there-from. At times it seems as if everyone is doomed to stumble across at least a brief period of gendered or sexual confusion as a result of these tropes, a momentary digression into the realm of queer transgression. My project builds off the work of medieval scholar, Tison Pugh, and contends that the protagonist must undergo this brief, contained period of sexual and/or gendered transgression as a kind of requirement or steppingstone necessary in order to eventually achieve his or her goal, most often in these cases, acceptance within the chivalric court and/or heteronormative coupling. In this way, these texts demarcate sexual and gender transgression as not only essential to, but also a very part of, a larger heteronormative paradigm. The presence of these queer transgressions, is not separate, nor oppositional to the overarching heteronormative, chivalric plot, but rather an indispensable part of it. In this way, the tales seem to allow for a temporary suspension of prototypical norms as a means to ultimately reinforce and re-inscribe these exact hierarchies.
My project thus not only illustrates another way of reading the genre of romance, but also examines the notion of a medieval or early modern "queer" subjectivity. I use the work of a number of medieval- and early modern- sexuality scholars (Carolyn Dinshaw, Karma Lochrie, and Valerie Traub, to name a few) to examine four canonical texts (Sir Gawain and the Green Knight, Malory's "The Tale of Sir Gareth," Spenser's The Faerie Queene, and Sidney's The Old Arcadia), and consider to what extent the queer episodes presented therein actually subvert or conform to the larger heteronormative paradigms of that particular culture. There are many examples of medieval and early modern texts in which temporary, controlled transgression is not only endorsed, but encouraged as a means of diffusing rebellious desire, a "getting it out of the system," if you will. The extent to which such controlled transgressions remain contained, however, is debatable. In allowing a period of controlled transgression, one admits that the very act of deviancy and its containment are intrinsically important to the larger power structure. Although these tales present queer transgressions as demons to be exorcised, this exorcism, this period of release, is ultimately part of the larger quest goal; rather than oppositional to the heteronormative ideal, these queer transgressions are an important component of such a model, interwoven and essential to the overall quest.
This topic also engages with a number of issues related to queer and feminist theories, most specifically those posited by Eve Sedgwick and Judith Butler. For example, when a character switches from his previous normative role to the period of controlled transgression described here, he surely does not abandon his position within the normative sphere entirely, nor does he adopt his new deviant role completely. Rather, his state is that of in-betweeness. During this period he is both Self and Other, pursuing quests in an attempt to be assimilated into heteronormative structures of the chivalric ideal, but also temporarily assuming the "queer," marginalized subject position. Such characters do not move from heteronormative to queer and back again, but rather occupy a space in which they are both heteronormative and queer. Therefore, their time of "controlled transgression" essentially shakes the foundation of binary-based identification as a whole. That is, since such characters occupy a kind of hybrid space between heteronormative and queer roles, they serve as proof that the binaries of Self and Other are not binaries at all, but rather points on a continuum. I argue that even if the "transgression" embraced by these characters is temporary and within a "controlled" environment, it is nonetheless subversive as the mere presence of a character who is both Self and Other threatens to break down this system of hierarchies as a whole.
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Wong, Shiu-yu Winnie. "Agrumentative writing in L1 Chinese and L2 English : a study of secondary six students in Hong Kong /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14709351.
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Phelps, Paul Chandler. "'Wounded Harts' : metaphor and desire in the epic-romances of Tasso, Sidney, and Spenser." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:6314229f-2797-4727-91c8-64265a16f6b3.
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If we consider the representation of the body in the epic-romances of Torquato Tasso, Philip Sidney, and Edmund Spenser, certain instances of wounding and laceration emerge as crucial turning points in the development of their respective narratives: Clorinda’s redemptive mutilation, Parthenia’s blood-drenched pallor, Amavia’s disquieting suicide, Venus’s insatiable orifice, Amoret’s “perfect hole.” This thesis affords a detailed comparative study of such passages, contending that the wound assumed a critical metaphoric dimension in sixteenth-century epic-romance literature, particularly in relation to the perceived association between body condition and erotic desire. Along with its function as a marker of martial valor and somatic sacredness, the wound, I argue, increasingly is designated in these epic-romances as an interiorizing apparatus, one liable to accrue at any instance into a surplus of unanticipated meaning. As such, the wound becomes an emblem in these texts of what I call the phenomenology of desire—the equation of consummation and loss—as well as the aesthetic and metaphoric mechanism by which these writers seek to overcome it. The four chapters of this thesis constitute individual but cumulative points of response to the problem of thinking about desire as a type of wound. For Tasso, a wound poses a challenge to physical, psychological, and spiritual integrity, but its remarkable capacity for aestheticization also allows Tasso to envision it as a synthesizer of sacred and erotic affects. For Sidney, the prospect that a wound could define a body as courageous or pathetic, as sacred or corrupt, became both politically and socially troubling, and the New Arcadia, I argue, proleptically attempts to defend Sidney against interpretations of wounds that register them as manifestations of corrupt desire. For Spenser, body fracture and erotic wounding are analogic (indeed, almost indistinguishable), and The Faerie Queene investigates the prospect that confusing these analogies can become an empowering, even revelatory experience. In each of these epic-romances, a wound serves both a literal and a figurative function and, in this way, is established as the foremost image by which these writers imagine strength and mutilation, affect and heroism, epic and romance as being inextricably bound.
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Chang, Kwai-yan. "Will the English language become the single world language in the 21st century?" Click to view the E-thesis via HKUTO, 2001. http://sunzi.lib.hku.hk/hkuto/record/B42575709.
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Gilles, Fabrice. "Valorisation des analogies lexicales entre l'anglais et les langues romanes : étude prospective pour un dispositif plurilingue d'apprentissage du FLE dans le domaine de la santé." Thesis, Université Grenoble Alpes (ComUE), 2017. http://www.theses.fr/2017GREAL011/document.
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Cette étude lexicologique prospective s'inscrit dans la didactique des L3. L’objectif est d’élaborer un interlexique anglais-espagnol-français-italien-portugais composé des adjectifs, noms et verbes anglais fréquents dans les écrits scientifiques de la santé, et de leurs équivalents de traduction analogues en espagnol, français, italien et portugais. Deux mots sont analogues s’ils ont le même sens et une forme similaire.Les rapports entre les concepts d'analogie, de similarité et d'identité sont examinés, les types d'analogies intralinguistiques et interlinguistiques illustrés et les principales analogies et dissemblances entre l’anglais, le français et les langues romanes exposées. L'existence de celles-ci est justifiée par les origines indoeuropéennes et surtout d'intenses contacts de langues. Après avoir rappelé l’importance de l’analogie dans l’apprentissage, nous montrons le lien entre notre recherche et deux types d’approches didactiques des langues : l'intercompréhension, qui développe la compréhension de langues voisines, et les approches sur corpus qui permettent de mieux connaitre et faire connaitre la phraséologie scientifique.Les 2000 lemmes anglais les plus fréquents ont été extraits du corpus scientifique anglais de ScienText, leurs 2208 acceptions fréquentes délimitées sur la base du profil combinatoire et triées en deux catégories sémantiques : lexique de spécialité et lexique scientifique transdisciplinaire. Les lemmes anglais ont été traduits dans les quatre langues romanes, et la similarité mesurée en fonction de la sous-chaine maximale commune (SMC).L’interlexique contient 47 % des acceptions fréquentes. Par couples de langues, l’analogie est encore plus élevée : anglais – français, 66 %, anglais-italien, 65 %, anglais-espagnol, 63 %, anglais-portugais, 58 %. Ce lexique analogue pourrait donc servir comme base de transfert dans des activités de FLE L3 pour des professionnels de la santé, et l’anglais L2 semble être une passerelle possible vers les langues romanes. Des activités plurilingues sont construites sur des concordances extraites des corpus multilingues alignés EMEA et Europarl. Un questionnement métalinguistique en anglais sensibilise à des traits (morpho)syntaxiques du français ; les analogies des deux langues sont systématiquement mises en relief, et dans les cas d'opacité, celles des autres langues romanes avec l’anglaisThis prospective lexicological investigation belongs to the field of L3 French didactics. The purpose is to elaborate a French-Italian-Portuguese-Spanish interlexicon out of the frequent adjectives, nouns and verbs of the healthcare scientific writings, and their analogue translation equivalents in French, Italian, Portuguese and Spanish. Two words are analogue if they have the same meaning and a similar form.Related concepts of analogy, similarity and identity are discussed, types of intralinguistic and cross-linguistic analogies reviewed, and the main analogies and differences between English, French and Romance languages detailed. Their many analogies are justified by Indo-European origins and mostly by intense language contacts. Once the importance of analogy in learning procedures has been highlighted, we show how this research and two types of didactic approaches connect together: intercomprehension, which develops comprehension skills in neighbor languages, and corpus approaches which enable to get a closer insight into scientific phraseology.The 2000 most frequent English lemmas were extracted from the ScienText English scientific corpus, their 2208 frequent acceptions explored from their combinatory profile and sorted out in two semantic categories: healthcare subject-specific vocabulary and science specific trans-disciplinary vocabulary. The English lemmas were translated into the four Romance languages, and similarity measurements were carried out with the longest common substring method.The interlexicon contains 47% of the frequent acceptions. Analogy is even higher by language pairs: English – French, 66%, English – Italian, 65%, English - Spanish, 63%, English – Portuguese, 58%. Consequently, this analogue vocabulary could form a transfer basis in learning activities of L3 French for health care providers, and L2 English seems to be a possible bridge language toward Romance languages. Plurilingual activities are built on concordances extracted from multilingual aligned corpora (EMEA, Europarl). Metalinguistic questions in English point out (morpho)syntactic features of French; the analogies between both languages are systematically enhanced, and in case of lexical opacity, those between English and the other Romance languages
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Gordon, Leslie S. "Factors affecting English speakers' perception of L2 Spanish vowels." Connect to Electronic Thesis (ProQuest) Connect to Electronic Thesis (CONTENTdm), 2008. http://worldcat.org/oclc/436442802/viewonline.
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Mohamed, Mohamed Abdulla. "Ellipsis : a contrastive study of Swahili and English discourse /." Access Digital Full Text version, 1986. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10620175.
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Martínez, Ramón Antonio. "Spanglish is spoken here making sense of Spanish-English code-switching and language ideologies in a sixth-grade English language arts classroom /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1971760601&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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