Academic literature on the topic 'MF Romance'

Corpus as a tool has been introduced in literature and linguistics for many years, allowing linguistic features and authorial style more visible and appreciable to readers. Based on Biber’s MD/MF method and semantic field, this research is interested in linguistic features of science fiction and finds that transitivity is what makes science fiction distinguishable from science articles and novels. The current research is corpus-based, and corpora included in this research consist of Silence Spring (science article), The Time Machine (science fiction), and Jane Eyre (romance novel). This paper takes aims to investigate the 'transitivity' of science fiction by comparing three novels of different types. By means of the MD/MF method, the paper has found that transitivity in science fiction is achieved by TTR, mean word length, and mean sentence length. These findings may direct potential writers to focus on linguistic features worthy of notice, and readers can have a better understanding when they are reading novels.

AbstractIn line with trends observed in other Spanish and Romance-speaking regions, the morphological future tense MF (cantaré) is declining in the Castellón speech community (Spain) in favor of the periphrastic variant PF (voy a cantar) for the expression of future events. The multivariate analysis shows the relevance of some linguistic factors in this process, mainly the degree of proximity of the act of speech, the sentence and epistemic modality, the degree of adverbial specification, the class of verbs and, to a lesser extent, the semantic category of the subject (agency), and the types of clause and text. All in all, MF still enjoys a substantial vitality in this Spanish region unknown in other Hispanic areas and that can be related to a convergence process with Catalan, the other language of the region which shares a single variant for expressing the future, namely, the morphological form. Some additional data obtained from 191 interviews of the Sociolinguistic Corpus of Castellón (CSCS) point out the relevance of social factors related with the density of the bilingual population in the speech community, both at the collective and individual levels. The vernacular profile of this MF, favored and retained for the most autochthones elements of society, also clashes with the sociolinguistic profile of this variant in other Spanish-speaking areas where the process of substitution has been described in many cases as a change for below. In sum, language contact can slow down and alter some linguistic change much more advanced in monolingual communities.

The Marble Faun (MF), besides being a travelogue account of Rome, is a story about sin, guilt, suffering and abuse; it is also a tale about love and friendship. It is a story about the relationships between four different individuals united by their mutual love of art. The more interesting and convincing woman of the two female characters in the novel is unquestionably Miriam. Miriam is a rebel, an artist, and a compassionate and redemptive figure. Nevertheless, her art has been almost totally neglected, probably because most critics maintained that Miriam is an allegorical character lacking moral development or growth, whose function in the romance is limited to bringing about the Model’s murder and enacting the romance’s moral drama. The aim of this paper is to rectify a long and undeserved history of neglect and award Miriam her due status of Hawthorne's sole genuine artist. Keywords: art, Hawthorne’s female artists, The Marble Faun