Pub Date : 2022-10-01DOI: 10.7311/0860-5734.31.2.02
Veronika Volná, Pavlína Šaldová
Middle English was a period of transition between the free word order of Old English, with functional variation of adjective form and position with respect to the head noun, and the fixed prenominal placement of single attributive adjectives in Modern English. Aided by the PPCME2 of the Penn-Helsinki corpora, this corpus-driven study explores the range of adjectives attested frequently after the head noun, as well as their relative attraction to the position and, sampling the ME period with emphasis on variables in the corpus metadata, compares the frequencies of postnominally placed adjectives in various genres, capturing their declining overall frequency over time. These general tendencies are commented against the background of postpositives in PDE.
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Pub Date : 2022-10-01DOI: 10.7311/0860-5734.31.2.05
Paulina Zagórska
The paper presents a list of sixty-nine forged charters containing English pro- duced following the Norman Conquest of 1066. The list can be considered a supplement to The Production and Use of English Manuscripts 1066–1220 (Da Rold et al. 2010) – a project conducted jointly at the University of Leeds and University of Leicester collecting all known texts containing English, in order to provide an insight and allow research into “transitional”, post-Conquest English. The paper outlines the significance of charters in the Medieval world, and discusses some key issues and misconceptions related to study- ing this period in the history of the English language.
{"title":"Post-Conquest Forged Charters Containing English: A List","authors":"Paulina Zagórska","doi":"10.7311/0860-5734.31.2.05","DOIUrl":"https://doi.org/10.7311/0860-5734.31.2.05","url":null,"abstract":"The paper presents a list of sixty-nine forged charters containing English pro- duced following the Norman Conquest of 1066. The list can be considered a supplement to The Production and Use of English Manuscripts 1066–1220 (Da Rold et al. 2010) – a project conducted jointly at the University of Leeds and University of Leicester collecting all known texts containing English, in order to provide an insight and allow research into “transitional”, post-Conquest English. The paper outlines the significance of charters in the Medieval world, and discusses some key issues and misconceptions related to study- ing this period in the history of the English language.","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45197002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.7311/0860-5734.31.1.03
Matthew Chambers
Modernist author Herbert Read was best known as an art critic, anarchist, and poet, but one of the few works of his which remains in print is his little understood only attempt at fiction: his novel, The Green Child (1935). The novel updates a medieval tale about mysterious green-hued children who suddenly appear in a village, and in Read’s work, the so-called Green Children set off a narrative where, I argue, that individual liberties like freedom of movement and political debates around human rights and refugees are staged and thought through. In reapproaching this semi-fantastical tale, I analyse how Read imagines a form of social utopia and also offers commentary on the mid-20th century refugee crisis.
{"title":"“Freedom – Is It a Crime?”: Herbert Read’s The Green Child and Human Rights in Post-war Britain","authors":"Matthew Chambers","doi":"10.7311/0860-5734.31.1.03","DOIUrl":"https://doi.org/10.7311/0860-5734.31.1.03","url":null,"abstract":"Modernist author Herbert Read was best known as an art critic, anarchist, and poet, but one of the few works of his which remains in print is his little understood only attempt at fiction: his novel, The Green Child (1935). The novel updates a medieval tale about mysterious green-hued children who suddenly appear in a village, and in Read’s work, the so-called Green Children set off a narrative where, I argue, that individual liberties like freedom of movement and political debates around human rights and refugees are staged and thought through. In reapproaching this semi-fantastical tale, I analyse how Read imagines a form of social utopia and also offers commentary on the mid-20th century refugee crisis.","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46651531","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.7311/0860-5734.31.2.07
Viktoria Verde
This paper is a comprehensive literature review of the role of creativity in second language (L2) learning and use. It seeks to provide a theoretical background of the concept of creativity and show its practical relevance in the L2 context. The article begins with the conceptualisations of general creativity and narrows down to the concept of linguistic creativity and its instances in L2 use. Next, it presents the empirical research findings that point to an important role and benefits of creativity in L2 learning and use. The paper closes with pedagogical implications and methodological guidelines on enhancing creativity in the L2 classroom.
{"title":"Creativity in Second Language Learning and Use: Theoretical Foundations and Practical Implications. A Literature Review","authors":"Viktoria Verde","doi":"10.7311/0860-5734.31.2.07","DOIUrl":"https://doi.org/10.7311/0860-5734.31.2.07","url":null,"abstract":"This paper is a comprehensive literature review of the role of creativity in second language (L2) learning and use. It seeks to provide a theoretical background of the concept of creativity and show its practical relevance in the L2 context. The article begins with the conceptualisations of general creativity and narrows down to the concept of linguistic creativity and its instances in L2 use. Next, it presents the empirical research findings that point to an important role and benefits of creativity in L2 learning and use. The paper closes with pedagogical implications and methodological guidelines on enhancing creativity in the L2 classroom.","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46576267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As best evidences of our narrative identity language-games, autobiographies unveil the illusive power of language in purporting a unitary self. Drawing upon Ludwig Wittgenstein’s no-reference view of “I” and studying its use as a necessary formal tie in autobiographical memory, it is contended that sense of self through time is constituted in narrating and being narrated in memories. It is argued that Vladimir Nabokov’s Speak, Memory illustrates the lack of reference of the first-person pronoun in autobiographical memory, its formal and inventive emergence, and its diversity in narrative compositions. As the title hints, the self does not speak in memory; it is spoken in autobiographical lan- guage-games of composition.
{"title":"Who Speaks in Memory? Self-Reference, Life-Story, and the Autobiography-Game in Vladimir Nabokov’s Speak, Memory","authors":"Z. Ramin, Sara Nazockdast","doi":"10.7311/5734.31.1.05","DOIUrl":"https://doi.org/10.7311/5734.31.1.05","url":null,"abstract":"As best evidences of our narrative identity language-games, autobiographies unveil the illusive power of language in purporting a unitary self. Drawing upon Ludwig Wittgenstein’s no-reference view of “I” and studying its use as a necessary formal tie in autobiographical memory, it is contended that sense of self through time is constituted in narrating and being narrated in memories. It is argued that Vladimir Nabokov’s Speak, Memory illustrates the lack of reference of the first-person pronoun in autobiographical memory, its formal and inventive emergence, and its diversity in narrative compositions. As the title hints, the self does not speak in memory; it is spoken in autobiographical lan- guage-games of composition.","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46584627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.7311/0860-5734.31.2.01
Lise Hamelin, Dominique Legallois
In English the NP1 V NP2 construction typically involves arguments that are construed as Agent and Patient, or Subject and Object. It is associated with the notion of transitivity and analyzed accordingly, even when it exhibits only the syntactic properties of transitivity but not its semantic characteristics. This phenomenon is well-known and has been accounted for by linguists (Lakoff 1977; Hopper and Thompson 1980, among others) as a result of the absence of some prototypical transitive features in the utterance. This paper aims at demonstrating that the NP1 V NP2 structure has a semantic value and conveys a general abstract sense, of which prototypical transitivity represents only one particular realization whose occurrence is determined by the semantic and aspectual properties of the context. It will be argued that the sense of this construction can be explained through concepts that are not usually used in the description of transitive utterances, namely conjunction and disjunction. In some examples, the subject enters a relation of conjunction or disjunction with the object. In others, it is the other way round.
在英语中，NP1 V NP2结构通常包括被解释为施者和受者，或主体和客体的论点。它与及物性概念联系在一起，并相应地进行分析，即使它只显示及物性的句法特性而不显示其语义特征。这种现象是众所周知的，并已被语言学家解释过(Lakoff 1977;Hopper and Thompson, 1980等)，因为话语中缺乏一些原型及物特征。本文旨在证明NP1 V NP2结构具有语义价值，并传达了一种一般的抽象意义，其中原型及物性仅代表一种特定的实现，其发生取决于上下文的语义和方面属性。我们认为，这种结构的意义可以通过通常不用于及物话语描述的概念来解释，即连接和析取。在一些例子中，主语与宾语形成连接或分离的关系。在另一些国家，情况正好相反。
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Pub Date : 2022-10-01DOI: 10.7311/0860-5734.31.1.04
B. Valverde, Ana Valverde González
Drawing upon mass communication theories, with special emphasis on Jean Baudrillard’s theory of simulacra and simulacrum, we will examine distortion of infor- mation practices in George Orwell’s 1984 (1949) and in the American TV miniseries The Loudest Voice (2019). Even though there is nearly a century between both works, socio-politically speaking, the control of information dissemination is equally important in both narrative products: in the maintaining of the status quo in an authoritarian sys- tem in 1984 and in the process of undermining the current US democratic system in The Loudest Voice. With this, we will argue that these literary and audiovisual texts are key for citizens to develop critical thinking skills and to question their worldviews, or, in Or- well’s own words, to exercise an uncommon common sense, which entails independence of thought and integrity of mind.
{"title":"Reality as a Palimpsest: Information Disorder Practices in George Orwell’s 1984 and The Loudest Voice","authors":"B. Valverde, Ana Valverde González","doi":"10.7311/0860-5734.31.1.04","DOIUrl":"https://doi.org/10.7311/0860-5734.31.1.04","url":null,"abstract":"Drawing upon mass communication theories, with special emphasis on Jean Baudrillard’s theory of simulacra and simulacrum, we will examine distortion of infor- mation practices in George Orwell’s 1984 (1949) and in the American TV miniseries The Loudest Voice (2019). Even though there is nearly a century between both works, socio-politically speaking, the control of information dissemination is equally important in both narrative products: in the maintaining of the status quo in an authoritarian sys- tem in 1984 and in the process of undermining the current US democratic system in The Loudest Voice. With this, we will argue that these literary and audiovisual texts are key for citizens to develop critical thinking skills and to question their worldviews, or, in Or- well’s own words, to exercise an uncommon common sense, which entails independence of thought and integrity of mind.","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41848226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.7311/0860-5734.31.1.01
J. Matyjaszczyk
The aim of the article is to pinpoint how 16th-century biblical drama tried to appropriate its genre and medium to carry the reformist message and in what sense the project turned out to be a self-defeating one. The analysis of selected plays from reformed biblical cycles (The Chester Mystery Cycle, play iv; and “The Norwich Grocers’ Play”) and newly composed drama (John Bale’s plays, Lewis Wager’s Life and Repentaunce of Marie Magdalene, the anonymous “History of Jacob and Esau”), supported with an over- view of the criticism on the matter, reveals some common tensions in the dramatic texts which may have had their roots in the reformist need to eliminate any room for doubt that a theatrical performance could leave. The conclusion is that, in its attempts at striking the right balance between dramatizing and overt sermonizing, engaging and distancing, as well as providing an immersive experience and discouraging it, post-Reformation Scrip- ture-based drama oscillated between being more effective as a performance or as a carrier of the doctrinal message, with the resulting tendency to subvert either the former or the latter.
{"title":"Struggles with Dramatic Form in 16th-Century English Biblical Plays","authors":"J. Matyjaszczyk","doi":"10.7311/0860-5734.31.1.01","DOIUrl":"https://doi.org/10.7311/0860-5734.31.1.01","url":null,"abstract":"The aim of the article is to pinpoint how 16th-century biblical drama tried to appropriate its genre and medium to carry the reformist message and in what sense the project turned out to be a self-defeating one. The analysis of selected plays from reformed biblical cycles (The Chester Mystery Cycle, play iv; and “The Norwich Grocers’ Play”) and newly composed drama (John Bale’s plays, Lewis Wager’s Life and Repentaunce of Marie Magdalene, the anonymous “History of Jacob and Esau”), supported with an over- view of the criticism on the matter, reveals some common tensions in the dramatic texts which may have had their roots in the reformist need to eliminate any room for doubt that a theatrical performance could leave. The conclusion is that, in its attempts at striking the right balance between dramatizing and overt sermonizing, engaging and distancing, as well as providing an immersive experience and discouraging it, post-Reformation Scrip- ture-based drama oscillated between being more effective as a performance or as a carrier of the doctrinal message, with the resulting tendency to subvert either the former or the latter.","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46187434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.7311/0860-5734.31.2.03
C. Castillo
This is an account of English modals that invokes their exceptional morpho-syntactic tense properties as original preterite-present verbs in order to explain their becoming T elements. Within the framework of minimalist theory, I argue that modal verbs in OE and ME (up to approx. 1470) have an exceptional syntactic status that con- sists in that they merge directly under v, whereas strong verbs merge as a stem-by-default prior to v, and weak verbs merge as a root with a vowel-by-default also prior to v. Modals necessarily differ from both strong verbs and weak verbs in their τ–licensing, whereas they share with the latter (with both strong verbs and weak verbs) φ–licensing. A specific Probe of T is in charge of the latter for all verbs in the language. Modals pass on to merge directly under T when v ceases to be a locus of interpretable τ–features. A symptom that v loses such a capacity is the loss of the Pret.1/Pret.2 ablaut distinction.
{"title":"The Status of English Modals Prior to Their Recategorization as T and the Trigger for Their Recategorization","authors":"C. Castillo","doi":"10.7311/0860-5734.31.2.03","DOIUrl":"https://doi.org/10.7311/0860-5734.31.2.03","url":null,"abstract":"This is an account of English modals that invokes their exceptional morpho-syntactic tense properties as original preterite-present verbs in order to explain their becoming T elements. Within the framework of minimalist theory, I argue that modal verbs in OE and ME (up to approx. 1470) have an exceptional syntactic status that con- sists in that they merge directly under v, whereas strong verbs merge as a stem-by-default prior to v, and weak verbs merge as a root with a vowel-by-default also prior to v. Modals necessarily differ from both strong verbs and weak verbs in their τ–licensing, whereas they share with the latter (with both strong verbs and weak verbs) φ–licensing. A specific Probe of T is in charge of the latter for all verbs in the language. Modals pass on to merge directly under T when v ceases to be a locus of interpretable τ–features. A symptom that v loses such a capacity is the loss of the Pret.1/Pret.2 ablaut distinction.","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44774334","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.7311/0860-5734.31.1.07
Andrea Sofía Regueira Martín
In the past decades, the transition to adulthood in post-industrial countries has become longer, giving rise to emerging adulthood, a new life stage between adolescence and adulthood (Arnett and Taber 1994, Arnett 2000, 2004). Cinema has reflected this change, with a growing number of narratives exploring the challenges of this life stage. Through a comparative analysis of Say Anything (Cameron Crowe, 1989) and High Fidelity (Stephen Frears, 2000), this article seeks to establish the emerging adult film as a youth film subgenre of its own by outlining some of the generic conventions that make it different from teenage films.
{"title":"From the Teen Film to the Emerging Adult Film: The Road to Adulthood in Say Anything (1989) and High Fidelity (2000)","authors":"Andrea Sofía Regueira Martín","doi":"10.7311/0860-5734.31.1.07","DOIUrl":"https://doi.org/10.7311/0860-5734.31.1.07","url":null,"abstract":"In the past decades, the transition to adulthood in post-industrial countries has become longer, giving rise to emerging adulthood, a new life stage between adolescence and adulthood (Arnett and Taber 1994, Arnett 2000, 2004). Cinema has reflected this change, with a growing number of narratives exploring the challenges of this life stage. Through a comparative analysis of Say Anything (Cameron Crowe, 1989) and High Fidelity (Stephen Frears, 2000), this article seeks to establish the emerging adult film as a youth film subgenre of its own by outlining some of the generic conventions that make it different from teenage films.","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43370641","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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