Pub Date : 2018-09-17DOI: 10.7311/0860-5734.27.3.06
D. Coates
This essay interrogates two articles by the Canadian historian Jeff Keshen and the Australian historian Mark Sheftall, which assert that the representations of soldiers in the First World War (Anzacs in Australia, members of the Canadian Expeditionary Forces, the CEF), are comparable. I argue, however, that in reaching their conclusions, these historians have either overlooked or insufficiently considered a number of crucial factors, such as the influence the Australian historian/war correspondent C. E. W. Bean had on the reception of Anzacs, whom he venerated and turned into larger-than-life men who liked fighting and were good at it; the significance of the “convict stain” in Australia; and the omission of women writers’ contributions to the “getting of nationhood” in each country. It further addresses why Canadians have not embraced Vimy (a military victory) as their defining moment in the same way as Australians celebrate the landing at Anzac Cove (a military disaster), from which they continue to derive their sense of national identity. In essence, this essay advances that differences between the two nations’ representations of soldiers far outweigh any similarities.
{"title":"Happy is the Land that Needs No Heroes","authors":"D. Coates","doi":"10.7311/0860-5734.27.3.06","DOIUrl":"https://doi.org/10.7311/0860-5734.27.3.06","url":null,"abstract":"This essay interrogates two articles by the Canadian historian Jeff Keshen and the Australian historian Mark Sheftall, which assert that the representations of soldiers in the First World War (Anzacs in Australia, members of the Canadian Expeditionary Forces, the CEF), are comparable. I argue, however, that in reaching their conclusions, these historians have either overlooked or insufficiently considered a number of crucial factors, such as the influence the Australian historian/war correspondent C. E. W. Bean had on the reception of Anzacs, whom he venerated and turned into larger-than-life men who liked fighting and were good at it; the significance of the “convict stain” in Australia; and the omission of women writers’ contributions to the “getting of nationhood” in each country. It further addresses why Canadians have not embraced Vimy (a military victory) as their defining moment in the same way as Australians celebrate the landing at Anzac Cove (a military disaster), from which they continue to derive their sense of national identity. In essence, this essay advances that differences between the two nations’ representations of soldiers far outweigh any similarities.","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45187214","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 : 2018-09-17DOI: 10.7311/0860-5734.27.3.04
Natalia Stachura
British film propaganda directed at neutral countries was meant to strengthen the pro-British attitude or at least weaken pro-German sentiments in the neutral countries. Directed at the wide strata of neutral societies as well as at intellectual, military and economic elites, factual films from the battle lines were believed not only to counteract German propaganda but also to overshadow hostile actions taken by British government against economic and political freedoms of the neutrals. This article is an attempt at understanding the reasons for the eventual failure of British film propaganda in the Netherlands. While mentioning various conflict areas between the countries, it focuses on cultural entanglements and cultural networks that developed, though precariously, throughout the war. The neglect of existing connections between British and Dutch filmmakers and the hesitant if not hostile attitude of War Office Cinematograph Committee towards expensive adaptations of literary works, and feature films in general, might be perceived, the article argues, as one of the core reasons, along political and economic tensions, why Britain lost the battle for Dutch cinema audiences.
{"title":"British Film Propaganda in the Netherlands: Its Preconditions and Missed Opportunities","authors":"Natalia Stachura","doi":"10.7311/0860-5734.27.3.04","DOIUrl":"https://doi.org/10.7311/0860-5734.27.3.04","url":null,"abstract":"British film propaganda directed at neutral countries was meant to strengthen the pro-British attitude or at least weaken pro-German sentiments in the neutral countries. Directed at the wide strata of neutral societies as well as at intellectual, military and economic elites, factual films from the battle lines were believed not only to counteract German propaganda but also to overshadow hostile actions taken by British government against economic and political freedoms of the neutrals. This article is an attempt at understanding the reasons for the eventual failure of British film propaganda in the Netherlands. While mentioning various conflict areas between the countries, it focuses on cultural entanglements and cultural networks that developed, though precariously, throughout the war. The neglect of existing connections between British and Dutch filmmakers and the hesitant if not hostile attitude of War Office Cinematograph Committee towards expensive adaptations of literary works, and feature films in general, might be perceived, the article argues, as one of the core reasons, along political and economic tensions, why Britain lost the battle for Dutch cinema audiences.","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47063232","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 : 2018-09-17DOI: 10.7311/0860-5734.27.2.05
Marta Sylwanowicz
One of the text-type features of a recipe is a certain degree of technical lexicon (cf. Görlach 2004). The aim of the present study is to compare the use and distribution of selected group of terms, here references to medical preparations, in Middle and Early Modern English recipe collections. Particular attention will be given to the factors responsible for the choice of terms. Also, we will concentrate on the rivalry between native and foreign lexical units.
{"title":"Middle and Early Modern English Medical Recipes: Some Notes on Specialised Terminology","authors":"Marta Sylwanowicz","doi":"10.7311/0860-5734.27.2.05","DOIUrl":"https://doi.org/10.7311/0860-5734.27.2.05","url":null,"abstract":"One of the text-type features of a recipe is a certain degree of technical lexicon (cf. Görlach 2004). The aim of the present study is to compare the use and distribution of selected group of terms, here references to medical preparations, in Middle and Early Modern English recipe collections. Particular attention will be given to the factors responsible for the choice of terms. Also, we will concentrate on the rivalry between native and foreign lexical units.","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42241571","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 : 2018-09-17DOI: 10.7311/0860-5734.27.1.03
Shoshannah Ganz
Developing on 150 years of reviews and scholarship of Charles Sangster’s The St. Lawrence and the Saguenay, this paper contends that Sangster’s poem is not merely derivative of British and American Romantic poetry, or a vague tourist poem, but that Sangster employs the language and images of Christian pilgrimage to purposefully detail the pilgrimage of his soul.
{"title":"Reading and Resituating Charles Sangster’s The St. Lawrence and the Saguenay as a Canadian Pilgrimage Poem","authors":"Shoshannah Ganz","doi":"10.7311/0860-5734.27.1.03","DOIUrl":"https://doi.org/10.7311/0860-5734.27.1.03","url":null,"abstract":"Developing on 150 years of reviews and scholarship of Charles Sangster’s The St. Lawrence and the Saguenay, this paper contends that Sangster’s poem is not merely derivative of British and American Romantic poetry, or a vague tourist poem, but that Sangster employs the language and images of Christian pilgrimage to purposefully detail the pilgrimage of his soul.","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42577512","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 : 2018-09-17DOI: 10.7311/0860-5734.27.2.01
David L. White
Linguistic evidence is adduced indicating that (as non-linguistic evidence long known also suggests) the origin of Anglo-Frisian goes back to a period of common development in SE Anglo-Saxon England around 475–525. The linguistic reason to think so is that almost every characteristic innovation of Anglo-Frisian has a plausible motivation in terms of infl uences from Brittonic. It seems that the later Frisians originated as Anglo-Saxons, occupying territory between Kentish and Pre-Mercian, who left England and went back to the continent, of course to the coast, around 540. The conclusion is that Frisian is similar to English because Frisian is descended from English.
{"title":"Reasons to Think That Anglo-Frisian Developed in Britain","authors":"David L. White","doi":"10.7311/0860-5734.27.2.01","DOIUrl":"https://doi.org/10.7311/0860-5734.27.2.01","url":null,"abstract":"Linguistic evidence is adduced indicating that (as non-linguistic evidence long known also suggests) the origin of Anglo-Frisian goes back to a period of common development in SE Anglo-Saxon England around 475–525. The linguistic reason to think so is that almost every characteristic innovation of Anglo-Frisian has a plausible motivation in terms of infl uences from Brittonic. It seems that the later Frisians originated as Anglo-Saxons, occupying territory between Kentish and Pre-Mercian, who left England and went back to the continent, of course to the coast, around 540. The conclusion is that Frisian is similar to English because Frisian is descended from English.","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48202665","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 : 2018-09-17DOI: 10.7311/0860-5734.27.1.11
Dagmara Drewniak
In June 2015 The Canadian Polish Research Institute organized a panel discussion chaired by professor Tamara Trojanowska called “Writing Change and Continuity: Culture, Languages, Generations.” The debate featured esteemed writers of Polish descent: Eva Stachniak, Andrew Borkowski, Ania Szado, Jowita Bydlowska and Aga Maksimowska. Although the writers in question do not belong to the same generation and do not share exactly the same emigration experience, nowadays they form a distinguished group of Canadian writers of Polish origins. The aim of this paper is to look at the selection of the latest texts written by authors of the Polish diaspora in Canada such as Eva Stachniak’s The Chosen Maiden (2017), Jowita Bydlowska’s Drunk Mom (2013) and Guy (2016), Ania Szado’s Studio Saint Ex (2013) and Aga Maksimowska’s Giant (2012) among others. This paper does not venture to repeat the conclusions drawn during the panel but rather to extend the exploration of the recent Polish diasporic, multivoiced writing as well as offer a modest supplement to the famous analysis of ethnic writing proposed by Smaro Kamboureli in her Scandalous Bodies: Diasporic Literature in English Canada (2009). Hence, the discussion comprises the authors’ choice of themes, (dis)appearance of immigrant motifs, references to Poland as a country of origin and Canada as the new homeland as well as an analysis of the genres the aforementioned authors use.
{"title":"“[They] would say she was betraying Poland already”: Major Themes in Contemporary Canadian Literature by Writers of Polish Origins","authors":"Dagmara Drewniak","doi":"10.7311/0860-5734.27.1.11","DOIUrl":"https://doi.org/10.7311/0860-5734.27.1.11","url":null,"abstract":"In June 2015 The Canadian Polish Research Institute organized a panel discussion chaired by professor Tamara Trojanowska called “Writing Change and Continuity: Culture, Languages, Generations.” The debate featured esteemed writers of Polish descent: Eva Stachniak, Andrew Borkowski, Ania Szado, Jowita Bydlowska and Aga Maksimowska. Although the writers in question do not belong to the same generation and do not share exactly the same emigration experience, nowadays they form a distinguished group of Canadian writers of Polish origins. The aim of this paper is to look at the selection of the latest texts written by authors of the Polish diaspora in Canada such as Eva Stachniak’s The Chosen Maiden (2017), Jowita Bydlowska’s Drunk Mom (2013) and Guy (2016), Ania Szado’s Studio Saint Ex (2013) and Aga Maksimowska’s Giant (2012) among others. This paper does not venture to repeat the conclusions drawn during the panel but rather to extend the exploration of the recent Polish diasporic, multivoiced writing as well as offer a modest supplement to the famous analysis of ethnic writing proposed by Smaro Kamboureli in her Scandalous Bodies: Diasporic Literature in English Canada (2009). Hence, the discussion comprises the authors’ choice of themes, (dis)appearance of immigrant motifs, references to Poland as a country of origin and Canada as the new homeland as well as an analysis of the genres the aforementioned authors use.","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47388826","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 : 2018-09-17DOI: 10.7311/0860-5734.27.2.07
Magdalena Wieczorek
The present paper draws upon Sperber and Wilson’s ([1986] 1995) Relevance Theory to undertake a pragmatic analysis of situation comedy (sitcom) discourse. More specifically, special attention is paid to the cognitive interpretative paths the viewer needs to take in order to find a dialogue or monologue humorous. The analysis is premised upon the participation framework, which accounts for the bi-partite division of communication in fictional discourse: the character’s (fictional) layer and the recipient’s layer, the latter being in the centre of attention.
{"title":"Relevance in Sitcom Discourse: The Viewer’s Perspective","authors":"Magdalena Wieczorek","doi":"10.7311/0860-5734.27.2.07","DOIUrl":"https://doi.org/10.7311/0860-5734.27.2.07","url":null,"abstract":"The present paper draws upon Sperber and Wilson’s ([1986] 1995) Relevance Theory to undertake a pragmatic analysis of situation comedy (sitcom) discourse. More specifically, special attention is paid to the cognitive interpretative paths the viewer needs to take in order to find a dialogue or monologue humorous. The analysis is premised upon the participation framework, which accounts for the bi-partite division of communication in fictional discourse: the character’s (fictional) layer and the recipient’s layer, the latter being in the centre of attention.","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49614567","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 : 2018-09-17DOI: 10.7311/0860-5734.27.1.02
Piotr Kałowski
The following paper will examine how (male) speakers in William Wordsworth’s “The Baker’s Cart” and “Incipient Madness,” which eventually became reworked into “The Ruined Cottage,” narrate the histories of traumatised women. It will be argued that by distorting the women’s accounts of suffering into a didactic lesson for themselves, the poems’ speakers embody the tension present in the chief psychiatric treatment of the Romantic period, moral therapy, which strove to humanise and give voice to afflicted subjects, at the same time trying to contain and eventually correct their “otherness.”
{"title":"“Vain dalliance with misery”: Moral Therapy in William Wordsworth’s “The Ruined Cottage”","authors":"Piotr Kałowski","doi":"10.7311/0860-5734.27.1.02","DOIUrl":"https://doi.org/10.7311/0860-5734.27.1.02","url":null,"abstract":"The following paper will examine how (male) speakers in William Wordsworth’s “The Baker’s Cart” and “Incipient Madness,” which eventually became reworked into “The Ruined Cottage,” narrate the histories of traumatised women. It will be argued that by distorting the women’s accounts of suffering into a didactic lesson for themselves, the poems’ speakers embody the tension present in the chief psychiatric treatment of the Romantic period, moral therapy, which strove to humanise and give voice to afflicted subjects, at the same time trying to contain and eventually correct their “otherness.”","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71139715","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 : 2018-09-17DOI: 10.7311/0860-5734.27.3.05
A. Samson
The end of the First World War in Africa occurred at different times across the continent as the German colonies capitulated and surrendered to the allied forces between 26 August 1914 and 25 November 1918. The experience of each territory was indicative of its colonial development and local conditions. As the war inched across the landscape so people moved between states of peace and conflict, all caught up in some aspect either directly or through the provision of food and other materials. This chapter explores different experiences across the continent and the legacy of the discussions at Versailles. ERRATUM Anne Samson and the editors of Anglica: An International Journal for English Studies wish to apologize to George Ndakwena Njung for the misspelling of his name in the in-text references and the references section (90, 92, 110).
第一次世界大战在非洲大陆的结束发生在1914年8月26日至1918年11月25日期间，德国殖民地向盟军投降。每一个领土的经验都表明了其殖民地的发展和当地的情况。随着战争在各地蔓延，人们在和平与冲突状态之间流动，所有人都直接或通过提供食物和其他材料在某个方面陷入困境。本章探讨了整个欧洲大陆的不同经历以及凡尔赛宫讨论的遗留问题。ERRATUM Anne Samson和《Anglica:An International Journal for English Studies》的编辑们希望就George Ndakwena Njung的名字在正文参考文献和参考文献部分拼写错误向他道歉（90，92110）。
{"title":"The End of the 1914–1918 War in Africa","authors":"A. Samson","doi":"10.7311/0860-5734.27.3.05","DOIUrl":"https://doi.org/10.7311/0860-5734.27.3.05","url":null,"abstract":"The end of the First World War in Africa occurred at different times across the continent as the German colonies capitulated and surrendered to the allied forces between 26 August 1914 and 25 November 1918. The experience of each territory was indicative of its colonial development and local conditions. As the war inched across the landscape so people moved between states of peace and conflict, all caught up in some aspect either directly or through the provision of food and other materials. This chapter explores different experiences across the continent and the legacy of the discussions at Versailles. ERRATUM Anne Samson and the editors of Anglica: An International Journal for English Studies wish to apologize to George Ndakwena Njung for the misspelling of his name in the in-text references and the references section (90, 92, 110).","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48355277","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 : 2018-09-17DOI: 10.7311/0860-5734.27.1.09
Q. Ha, C. Hogan
Adrienne Kennedy’s psychodrama Funnyhouse of a Negro personifies in her protagonist, Sarah, the internalized racism and mental deterioration that a binary paradigm foments. Kennedy also develops the schizoid consciousness of Sarah to accentuate Sarah’s hybridized and traumatized identity as an African American woman. Kennedy’s play was controversial during the Black Arts Movement, as she refrained from endorsing black nationalist groups like Black Power, constructing instead a nightmare world in which race is the singular element in defining self-worth. In her dramatized indictment of both white supremacy and identity politics, American culture’s pathologized fascination with pigmentation drives the protagonist to solipsistic isolation, and ultimately, to suicide. Kennedy, through the disturbed cast of Sarah’s mind, portrays a world in which race obsession triumphs over any sense of basic humanity. The play urges the audience to accept the absurdity of a dichotomized vision of the world, to recognize the spectral nature of reality, and to transcend the devastation imposed by polarizing rhetoric.
阿德里安娜·肯尼迪(Adrienne Kennedy)的黑人心理剧《滑稽之家》(Funnyhouse)将二元范式所煽动的内化的种族主义和精神退化体现在了主人公莎拉(Sarah)身上。肯尼迪还发展了莎拉的精神分裂意识，以强调莎拉作为非裔美国女性的混血和创伤身份。在黑人艺术运动(Black Arts Movement)期间，肯尼迪的剧本引起了争议，因为她没有支持黑人民族主义团体，比如“黑人权力”(Black Power)，而是构建了一个噩梦般的世界，在这个世界里，种族是定义自我价值的唯一因素。在她对白人至上主义和身份政治的戏剧性控诉中，美国文化对肤色的病态迷恋驱使主人公走向唯我主义的孤立，并最终走向自杀。肯尼迪通过莎拉的精神错乱，描绘了一个对种族的痴迷战胜了任何基本人性的世界。该剧敦促观众接受世界二分观的荒谬，认识到现实的幽灵本质，并超越两极分化的修辞所带来的破坏。
{"title":"The Violence of Duality in Adrienne Kennedy’s Funnyhouse of a Negro","authors":"Q. Ha, C. Hogan","doi":"10.7311/0860-5734.27.1.09","DOIUrl":"https://doi.org/10.7311/0860-5734.27.1.09","url":null,"abstract":"Adrienne Kennedy’s psychodrama Funnyhouse of a Negro personifies in her protagonist, Sarah, the internalized racism and mental deterioration that a binary paradigm foments. Kennedy also develops the schizoid consciousness of Sarah to accentuate Sarah’s hybridized and traumatized identity as an African American woman. Kennedy’s play was controversial during the Black Arts Movement, as she refrained from endorsing black nationalist groups like Black Power, constructing instead a nightmare world in which race is the singular element in defining self-worth. In her dramatized indictment of both white supremacy and identity politics, American culture’s pathologized fascination with pigmentation drives the protagonist to solipsistic isolation, and ultimately, to suicide. Kennedy, through the disturbed cast of Sarah’s mind, portrays a world in which race obsession triumphs over any sense of basic humanity. The play urges the audience to accept the absurdity of a dichotomized vision of the world, to recognize the spectral nature of reality, and to transcend the devastation imposed by polarizing rhetoric.","PeriodicalId":36615,"journal":{"name":"Anglica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71139789","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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