The purpose of this essay is to capture and convey, through the use of different works of philosophy that encapsulate thoughts on the same idea, the motif of the absurdity of life in Ernest Hemingway’s first novel The Sun Also Rises. The concept of the absurd will be, first and foremost, examined through absurdist criticism of the novel, using the philosophical thought of Albert Camus, Soren Kierkegaard, Friedrich Nietzsche and other philosophers who captured the essence of the absurd in their philosophy, all in order to represent this concept in Hemingway’s novel and to show how it truly manifests itself upon some of the most important characters’ psychology and their actions, portrayed throughout the three parts of the book. Mention will be made of the concept of “Lost generation” as it is the cornerstone to understanding, firstly, the characters’ background and current psychological status and the effects that the war had on an entire generation, leading them to an unwilling search for meaning in what this essay strives to present as a meaningless life.
In Slovakia, modern Cultural Studies of English-speaking countries have been integrated into university curricula since the 1990s. However, there is a fundamental difference in the role CLIL plays in teaching “realia” (alternatively: cultural studies, country studies and area studies) for philological students and for business students of non-philological faculties. While philological students study realia with primary linguistic and cultural goals (i.e. to learn new words, terminology, context and comparative cultural aspects), non-philological students’ goals are business oriented (i.e. allow a successful graduate to function effectively in a new business environment). That affects the methodology, teaching procedure and assessment of both disciplines in debate.
This research aims to prove the effectiveness of Spanish as a Second Language lessons for Haitians designed by volunteers in Santiago de Chile. The methodology used through the study was based on the application of two questionnaires to Haitian students in order to compare results, and finally obtain an average that reflects the achievement of the communicative functions expected. Results indicate that neither the lessons planned, material giver nor the Common European Framework of Reference for Languages fulfilled such expectations. Findings are discussed in relation to previous studies on methodologies for Spanish as a Second Language for Haitian immigrants in Chile ()
West Kerry storyteller Seán Mac Criomhthain (1873-1955) was born almost a quarter-century after the Great Irish Famine. Nevertheless, his upbringing occurred in a context which included both overt and covert references to the kinds of sectarian divisions which initially had contributed to the famine, and which later were entrenched by it. Sectarian division in the Irish context expressed itself primarily via denominational attachment, and to a lesser extent, along linguistic lines. Such divisions were explored across the country through traditional lore and through song; and in the specific repertoire of Seán Mac Criomhthain, through the medium of a mellifluous ‘brand’ of Munster Irish for which the Corca Dhuibhne peninsula has since become renowned. This article attempts to describe attitudes to sectarian division in the evidence of Mac Criomhthain’s repertoire. With extensive reference to a composition translated for the first time to English, it will be argued that concerns of immediate social pragmatism are afforded much greater importance than those of denominational or linguistic attachments.
The paper provides an overview of the forms in which translation is used in foreign language education. A tentative classification is suggested which differentiates between facilitative translation as a supporting process that helps to overcome learning constraints, deliberate translation as an independent task with a predetermined objective that targets learners’ foreign language competence and skills, and simulated translation as an activity from which additional pedagogical benefits regarding learners’ foreign language proficiency can be derived. From the side of the learner, facilitative translation constitutes a complex learning strategy that can be applied for a variety of strategic purposes (memory-related, cognitive, compensatory, metacognitive, affective, and social), while from the side of the teacher it represents a scaffolding tool that can be consolidated into a fully-fledged teaching technique. Deliberate translation can further be differentiated according to the specifics of pedagogical focus. Language-focused translation, targeting learners’ grammatical accuracy or vocabulary range and control, and skill-focused translation, targeting one of the four basic communicative language skills, can be used for both instruction-related and diagnostic purposes. The focus on the holistic use of the available linguistic repertoire results in the two complex uses of translation as an incentive for communication and as a communicative activity aimed at developing the skill of cross-language mediation. A particular type of simulated translation which appears to be particularly suited for the purposes of foreign language education is audiovisual translation.
The essay entitled “Food Imagery in Lesley Saunders’ Poetry” expands upon various food issues that will be approached via Gaston Bachelard’s aesthetic theory which situates us in the proximity of a sensible point of objectivity further enlarged upon from a phenomenological perspective that merges the exterior substantiality of food with the reality of imagination. The acquired intimate connotations of the poetess’ food environment are tackled in terms of the inner/outer opposition and the Platonic dialectics that involves old versus new, good versus evil, plenty versus scarcity, revealing the dynamic virtues of “roots,” the emblem of the diversity of food. Our approach to the house, where various types of food are being prepared, in relation to its pivotal functions of dwelling, preparing food and sharing it, turns both the house and food into the unfailing communality and sociality constructs of all places and ages.
This essay studies scenes that focus on food and eating in the films and I Served the King of England (). To assess whether or not they constitute food porn we compare and contrast such scenes with the description of an unwholesome recipe for cannibalistic eating in Titus Andronicus, which anticipates our contemporary food obsession. At its most basic (and controversial), food porn names the alluring visualisation of certain foodstuffs, which renders food the object of erotically tinged desire. Serving different purposes in the two films, such eroticisation of food can be more than self-referential insofar as it indicates human interactions framed as power relations. Showing chocolate making and eating, in Chocolat, actually visualises a woman’s exertion of power over the women and their husbands in a bigoted French village in 1959, intended to awaken the people’s benumbed desire. Not food proper is the object of desire in the Czech film, but the young woman served up as ocular side dish to the moguls dining in a stylish Prague restaurant before the outburst of WWII. By contrast, food eroticisation is completely absent in Shakespeare; at stake is a verbal (and implicitly visual) concern with the transformation of flesh and body parts into ingredients for seemingly festive consumption. Visualising food, in Titus, implicitly visualises the reclaim and exertion of power in the fictional Roman polity. In all these cases, the concern with food vectorises power relations and may fluidise gendered hierarchies, an issue which food porn scholarship rarely addresses.
This paper explores the use of the Breton language (Brittany, North-West France) in contexts where speakers wish to signal their commitment to social equality through their linguistic practices. This is done with reference to examples of job advertisements which have pioneered the use of gender-fair language in Breton. Linguistic minorities are often portrayed as clinging to the past. This paper, however, sheds a different light on current minority language practices and demonstrates a progressive and egalitarian response to modernity among some current speakers of Breton, in their attempts to assume gender-fair stances.
Most Humanities scholars probably have an intuitive sense of what is meant by a “ghost word” – it is a word that, in one way or another, exists as the result of someone’s unrecognized mistake. However, upon closer examination it becomes clear that the term is liable to be employed so broadly that important distinctions can be lost. For one thing, ghost words are often regarded simply as nuisances that should be deleted whenever they are detected. But in practice they often prove to be too useful simply to discard: this article presents some examples that have made their way into active usage among the Celts. In other cases the etymology may indeed be unnatural, but turns out to be the result of more than a hint of deliberate word-crafting right from the start. A taxonomy is here proposed that distinguishes true ghost words and dead words, on the one hand, from active items that may be described as poltergeist words and even Frankenstein words on the other.