This discursive article was inspired by a reading of Vita Haroldi and in seeing similarities to Shakespeare’s Hamlet. In the introduction, I examine the possible links between the medieval survival story Vita Haroldi and Hamlet. Part One explicates three potential approaches to a study of early modern English literature: the traitorous letter trope, the historiography of the death of medieval English kings, and the interest of leading lights in Elizabethan England in Anglo-Saxon law and the church. Part two implements these approaches in a brief reading and interpretation of Hamlet. Both the play Hamlet and the character of Prince Hamlet are situated in a transition from the medieval to the early modern; from a faith-based world to a rational one, from a focus on revenge to one on justice.
{"title":"Vita Haroldi and Hamlet—a flight of the imagination","authors":"David Bell","doi":"10.48148/ljes.v5i.26015","DOIUrl":"https://doi.org/10.48148/ljes.v5i.26015","url":null,"abstract":"This discursive article was inspired by a reading of Vita Haroldi and in seeing similarities to Shakespeare’s Hamlet. In the introduction, I examine the possible links between the medieval survival story Vita Haroldi and Hamlet. Part One explicates three potential approaches to a study of early modern English literature: the traitorous letter trope, the historiography of the death of medieval English kings, and the interest of leading lights in Elizabethan England in Anglo-Saxon law and the church. Part two implements these approaches in a brief reading and interpretation of Hamlet. Both the play Hamlet and the character of Prince Hamlet are situated in a transition from the medieval to the early modern; from a faith-based world to a rational one, from a focus on revenge to one on justice.","PeriodicalId":422796,"journal":{"name":"Lund Journal of English Studies","volume":"3 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139796168","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}
This discursive article was inspired by a reading of Vita Haroldi and in seeing similarities to Shakespeare’s Hamlet. In the introduction, I examine the possible links between the medieval survival story Vita Haroldi and Hamlet. Part One explicates three potential approaches to a study of early modern English literature: the traitorous letter trope, the historiography of the death of medieval English kings, and the interest of leading lights in Elizabethan England in Anglo-Saxon law and the church. Part two implements these approaches in a brief reading and interpretation of Hamlet. Both the play Hamlet and the character of Prince Hamlet are situated in a transition from the medieval to the early modern; from a faith-based world to a rational one, from a focus on revenge to one on justice.
{"title":"Vita Haroldi and Hamlet—a flight of the imagination","authors":"David Bell","doi":"10.48148/ljes.v5i.26015","DOIUrl":"https://doi.org/10.48148/ljes.v5i.26015","url":null,"abstract":"This discursive article was inspired by a reading of Vita Haroldi and in seeing similarities to Shakespeare’s Hamlet. In the introduction, I examine the possible links between the medieval survival story Vita Haroldi and Hamlet. Part One explicates three potential approaches to a study of early modern English literature: the traitorous letter trope, the historiography of the death of medieval English kings, and the interest of leading lights in Elizabethan England in Anglo-Saxon law and the church. Part two implements these approaches in a brief reading and interpretation of Hamlet. Both the play Hamlet and the character of Prince Hamlet are situated in a transition from the medieval to the early modern; from a faith-based world to a rational one, from a focus on revenge to one on justice.","PeriodicalId":422796,"journal":{"name":"Lund Journal of English Studies","volume":"1 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139856209","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}
The aim of this paper was to analyse how three different television adaptations of Jane Austen’s Emma (1815) avail themselves of the medium of television to narrate the story. The productions analysed are John Glenister’s BBC series from 1972, dramatised by Denis Constanduros; Diarmuid Lawrence’s ITV film from 1996, dramatised by Andrew Davies; and Jim O’Hanlon’s BBC series from 2009, dramatised by Sandy Welch. A close reading and formal analysis of the three television productions, against a close reading of the novel and theoretical perspectives on narration and adaptation by Seymour Chatman, Linda Hutcheon and Linda Costanzo Cahir, showed differences related to the different formats of TV series and TV film as well as to the differences in ideals and conventions related to television drama between 1972 and 2009.
{"title":"Television Adaptations of Jane Austen’s Emma, 1972–2009","authors":"Mette Hildeman Sjölin","doi":"10.48148/ljes.v3i.23806","DOIUrl":"https://doi.org/10.48148/ljes.v3i.23806","url":null,"abstract":"The aim of this paper was to analyse how three different television adaptations of Jane Austen’s Emma (1815) avail themselves of the medium of television to narrate the story. The productions analysed are John Glenister’s BBC series from 1972, dramatised by Denis Constanduros; Diarmuid Lawrence’s ITV film from 1996, dramatised by Andrew Davies; and Jim O’Hanlon’s BBC series from 2009, dramatised by Sandy Welch. A close reading and formal analysis of the three television productions, against a close reading of the novel and theoretical perspectives on narration and adaptation by Seymour Chatman, Linda Hutcheon and Linda Costanzo Cahir, showed differences related to the different formats of TV series and TV film as well as to the differences in ideals and conventions related to television drama between 1972 and 2009.","PeriodicalId":422796,"journal":{"name":"Lund Journal of English Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130022756","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}
George Eliot’s last novel, Daniel Deronda, is insistently concerned with the visual and with the problematics of looking. Like many of Eliot’s novels, it examines the visual in relation to notions of reliability, perspective, interpretation, representation, the subjective versus the objective, and the relation between observation and imagination. This paper is concerned with the creation and development of character as unveiled through visual moments within the diegesis. Focus is on the function of the visual between characters and the study proposes that visual moments – understood as the combination of looker, “lookee”, the manner of looking or seeing, the context of looking and the form of narration – significantly contribute to the development of characterisation. Furthermore, it suggests that George Eliot, to a large extent, locates characters’ personal beliefs and ideologies in visual exchanges. Visual moments in Daniel Deronda are identified with the aid of corpus linguistic methods. Corpora aid to pinpoint the frequency and range of lexical items related to the visual and this study examines the lexeme look, specifically, in order to trace and unravel character construction and development. By so doing, it aims to complement or qualify the composition of character as presented through the combination of direct speech, free indirect discourse and the agency of a reflective and analytical narrative voice.
{"title":"George Eliot’s Visual Moments: The Construction of Character in Daniel Deronda","authors":"Sara Håkansson","doi":"10.48148/ljes.v3i.23807","DOIUrl":"https://doi.org/10.48148/ljes.v3i.23807","url":null,"abstract":"George Eliot’s last novel, Daniel Deronda, is insistently concerned with the visual and with the problematics of looking. Like many of Eliot’s novels, it examines the visual in relation to notions of reliability, perspective, interpretation, representation, the subjective versus the objective, and the relation between observation and imagination. This paper is concerned with the creation and development of character as unveiled through visual moments within the diegesis. Focus is on the function of the visual between characters and the study proposes that visual moments – understood as the combination of looker, “lookee”, the manner of looking or seeing, the context of looking and the form of narration – significantly contribute to the development of characterisation. Furthermore, it suggests that George Eliot, to a large extent, locates characters’ personal beliefs and ideologies in visual exchanges. Visual moments in Daniel Deronda are identified with the aid of corpus linguistic methods. Corpora aid to pinpoint the frequency and range of lexical items related to the visual and this study examines the lexeme look, specifically, in order to trace and unravel character construction and development. By so doing, it aims to complement or qualify the composition of character as presented through the combination of direct speech, free indirect discourse and the agency of a reflective and analytical narrative voice.","PeriodicalId":422796,"journal":{"name":"Lund Journal of English Studies","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132585044","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}
The paper examines how interjections have been treated in linguistic literature; on what grounds they have been separated from pure response cries; and what their relation is to iconic (onomatopoeic) vocabulary items. Second, the paper examines various English grammars intended for university level students, especially in second language contexts, to see how their treatment of interjections reflects what is said in linguistic literature. It will be shown that most such grammars ignore interjections almost entirely, which means student learners have very little change of learning about such vocabulary items only based on their grammar books.
{"title":"Wow, this chilli is hot! Interjections in student grammars of English: a lexical category that is not there.","authors":"Satu Manninen","doi":"10.48148/ljes.v3i.23791","DOIUrl":"https://doi.org/10.48148/ljes.v3i.23791","url":null,"abstract":"The paper examines how interjections have been treated in linguistic literature; on what grounds they have been separated from pure response cries; and what their relation is to iconic (onomatopoeic) vocabulary items. Second, the paper examines various English grammars intended for university level students, especially in second language contexts, to see how their treatment of interjections reflects what is said in linguistic literature. It will be shown that most such grammars ignore interjections almost entirely, which means student learners have very little change of learning about such vocabulary items only based on their grammar books.","PeriodicalId":422796,"journal":{"name":"Lund Journal of English Studies","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133236188","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}
This paper investigates the group of un-prefixed verbs or "reversives" with respect to their aspectual features. The aim is to see whether or not these verbs form a homogeneous group. With the new stream of words and the high "productivity" of the prefix un-, new terms are coined according to the needs and conceptualizations of language users. Examples of this sort include uninstall, unlike, unfriend, etc. These newly-coined terms do not easily fall into the conventional categories defined for the group of reversive verbs and show diversity with respect to their aspectual features. Therefore, the group of un-prefixed verbs cannot be defined by a set of simplistic word-formation rules.
{"title":"Reversives: The case of un-prefixation in verbs","authors":"Sara Farshchi","doi":"10.48148/ljes.v3i.24181","DOIUrl":"https://doi.org/10.48148/ljes.v3i.24181","url":null,"abstract":"This paper investigates the group of un-prefixed verbs or \"reversives\" with respect to their aspectual features. The aim is to see whether or not these verbs form a homogeneous group. With the new stream of words and the high \"productivity\" of the prefix un-, new terms are coined according to the needs and conceptualizations of language users. Examples of this sort include uninstall, unlike, unfriend, etc. These newly-coined terms do not easily fall into the conventional categories defined for the group of reversive verbs and show diversity with respect to their aspectual features. Therefore, the group of un-prefixed verbs cannot be defined by a set of simplistic word-formation rules.","PeriodicalId":422796,"journal":{"name":"Lund Journal of English Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116209902","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}
This short contribution is concerned with the development of the colour adjective blå (blue) in Swedish and the underlying semantic conditions and mechanisms that have been favourable for the development of the new senses that have gained ground among speakers.
{"title":"From colour adjective to degree modifier","authors":"Carita Paradis","doi":"10.48148/ljes.v3i.23669","DOIUrl":"https://doi.org/10.48148/ljes.v3i.23669","url":null,"abstract":"This short contribution is concerned with the development of the colour adjective blå (blue) in Swedish and the underlying semantic conditions and mechanisms that have been favourable for the development of the new senses that have gained ground among speakers.","PeriodicalId":422796,"journal":{"name":"Lund Journal of English Studies","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123175974","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}
Both the Swedish verb hinna and the Norwegian verb rekke have been shown to encode complex sufficiency meanings involving temporal sufficiency and ability (‘have enough time to be able to do sth’) (Johansson & Nordrum, 2016, 2021), but differ in that hinna always encodes temporal meaning while rekke also has spatial meaning. Interestingly, a third Mainland Scandinavian language, Danish, can also encode complex sufficiency meanings, and is similar to Norwegian rekke in having both spatial and temporal meanings. In this paper, featuring a short background and a multimodal presentation, we explore the meaning and use of the three Scandinavian verbs, hinna, rekke, and nå, in the multilingual parallel corpus OPUS2 (available through the Sketch Engine Web based interface) using English as the pivot language (see Tiedemann, 2012). In the spirit of Johansson (2007), the English correspondences of the Scandinavian verbs are used to shed light on semantic distinctions that may be difficult to spot in monolingual data. The multimodal presentation discusses the possibility that the three verbs in the Scandinavian languages are on a path towards grammaticalization, but at different stages in the process, a discussion which is related to an observation in the literature that verbs with ‘reach’ type meanings tend to grammaticalize into modals (see e.g., Bybee et al, 1994).
{"title":"A multilingual parallel corpus approach to time sufficiency expressions in Scandinavian and English.","authors":"L. Nordrum, M.-B. Johansson","doi":"10.48148/ljes.v3i.24222","DOIUrl":"https://doi.org/10.48148/ljes.v3i.24222","url":null,"abstract":"Both the Swedish verb hinna and the Norwegian verb rekke have been shown to encode complex sufficiency meanings involving temporal sufficiency and ability (‘have enough time to be able to do sth’) (Johansson & Nordrum, 2016, 2021), but differ in that hinna always encodes temporal meaning while rekke also has spatial meaning. Interestingly, a third Mainland Scandinavian language, Danish, can also encode complex sufficiency meanings, and is similar to Norwegian rekke in having both spatial and temporal meanings. In this paper, featuring a short background and a multimodal presentation, we explore the meaning and use of the three Scandinavian verbs, hinna, rekke, and nå, in the multilingual parallel corpus OPUS2 (available through the Sketch Engine Web based interface) using English as the pivot language (see Tiedemann, 2012). In the spirit of Johansson (2007), the English correspondences of the Scandinavian verbs are used to shed light on semantic distinctions that may be difficult to spot in monolingual data. The multimodal presentation discusses the possibility that the three verbs in the Scandinavian languages are on a path towards grammaticalization, but at different stages in the process, a discussion which is related to an observation in the literature that verbs with ‘reach’ type meanings tend to grammaticalize into modals (see e.g., Bybee et al, 1994).","PeriodicalId":422796,"journal":{"name":"Lund Journal of English Studies","volume":"134 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134106250","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}
Linking the fragmentary information provided in Kazuo Ishiguro’s “A Family Supper” (1982) to the first-person narrator’s unwillingness – or perhaps inability – to communicate, this brief note comments on a few passages that highlight the unforthcoming traits of the narrator.
将石黑一雄(Kazuo Ishiguro)的《家庭晚餐》(A Family Supper, 1982)中提供的零碎信息与第一人称叙述者不愿意——或者可能是没有能力——交流联系起来，这篇简短的笔记评论了几段话，突出了叙述者不愿透露的特征。
{"title":"“Perhaps we should forget it”: Reluctant narration in Kazuo Ishiguro’s “A Family Supper”","authors":"Cecilia Wadsö Lecaros","doi":"10.48148/ljes.v3i.23726","DOIUrl":"https://doi.org/10.48148/ljes.v3i.23726","url":null,"abstract":"Linking the fragmentary information provided in Kazuo Ishiguro’s “A Family Supper” (1982) to the first-person narrator’s unwillingness – or perhaps inability – to communicate, this brief note comments on a few passages that highlight the unforthcoming traits of the narrator.","PeriodicalId":422796,"journal":{"name":"Lund Journal of English Studies","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134108796","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}
This essay discusses the nature and function of poetry and poetic inspiration as central themes in the poetry of Sylvia Plath, an aspect of her poetry that has elicited surprisingly little critical attention over the years. Here, I trace the poetological strand in Plath’s poetry through four poems: the early ‘Black Rook in Rainy Weather’ (1956), ‘The Moon and the Yew Tree’ (1961), and, finally, ‘Ariel’ and ‘Lady Lazarus’ (both October, 1962). These poems all engage with and raise issues that relate to poetics in different ways. Read together, these four poems demonstrate the centrality of poetological themes in Plath’s poetry—how they in different ways represent and debate the genesis, nature, form, and function of poetry.
{"title":"“The Blood Jet Is Poetry”: Sylvia Plath’s Practical Poetics","authors":"Annika J. Lindskog","doi":"10.48148/LJES.V2I.22786","DOIUrl":"https://doi.org/10.48148/LJES.V2I.22786","url":null,"abstract":"This essay discusses the nature and function of poetry and poetic inspiration as central themes in the poetry of Sylvia Plath, an aspect of her poetry that has elicited surprisingly little critical attention over the years. Here, I trace the poetological strand in Plath’s poetry through four poems: the early ‘Black Rook in Rainy Weather’ (1956), ‘The Moon and the Yew Tree’ (1961), and, finally, ‘Ariel’ and ‘Lady Lazarus’ (both October, 1962). These poems all engage with and raise issues that relate to poetics in different ways. Read together, these four poems demonstrate the centrality of poetological themes in Plath’s poetry—how they in different ways represent and debate the genesis, nature, form, and function of poetry.","PeriodicalId":422796,"journal":{"name":"Lund Journal of English Studies","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124735321","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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