From Philip Roth’s characater Merry Levov in American Pastoral to real-life figures such as the perpetrators of the Columbine massacre, the young domestic terrorist has become the archetype of a dramatic and unpredictable social and political climate. This paper intends to explore the real and fictional avatars of this contemporary anti-hero, its dynamics and specific place in contemporary imagination.
This article examines the protagonist of The Tenant of Wildfell Hall (Helen Huntingdon/Graham) as an anomaly in the novelistic tradition. Helen Huntingdon is a character who decides for herself, without heeding the advice of her aunt and uncle (exercising “a will of her own”, “I take the liberty of judging for myself”). Helen Graham, in this manner, challenges society, the Victorian novel, and also the sentimental novel that preceded it. She suffers domestic violence at the hands of her husband and, in an extraordinary act of rebellion, courage and determination, abandons him, taking her son away with her. The author’s depiction of Helen’s spouse, the alcoholic and abusive Arthur Huntingdon, also constitutes a divergence from the status quo of the era, as affairs of this kind were not normally portrayed in novels about the affluent Victorian society.
This article will focus primarily on the ending of The Awakening: A Solitary Soul, probably the most discussed and debated part of Kate Chopin’s novel. The ending can be best understood if the novel is read as an exercise in late Transcendentalist philosophy, with Gothic undertones, plus realist, social commentary and modernist concerns. Walt Whitman’s hedonism meets Guy de Maupassant’s melancholy in a novel that speaks about multiple awakenings (hedonistic, erotic, artistic) but also about several deaths, all necessary for the creation of a new female consciousness.
Death and the mass-media represent two recurring and connected presences throughout Don DeLillo’s fiction. While his canonical novel White Noise is themed around the paradoxical link between the pathological fear of dying and consumerism, his latest novel Zero K is about the deferral of death through cryonics. Using the analytical tools of critical theory, the current paper aims to analyse how the portrayal of death appears in the media saturated and consumer-driven environment in which DeLillo’s characters evolve, and how technology contributes both to fuelling the obsession with dying and to feeding the illusion of immortality.
Ambiguity has played a central role in the formation of modern grammatical theory. The article revisits the topic of structural ambiguity in particular, by looking closely at the sentences ‘The shooting of the hunters is terrible’ and ‘Flying planes can be dangerous’, both taken from Chomsky’s works. The question posed is whether the data provided by corpora verify their ambiguity.
In this paper, we explore the morphological structure and semantics of 89 English compound terms and their Serbian equivalents, as employed in air traffic and waterways transport and traffic engineering. In order to facilitate the process of translating these English metaphorical compound lexemes into Serbian, 10 translation patterns and strategies are designed. The results of the analysis also show that English compound terms and translation equivalents in Serbian do not pattern in most cases. To obtain the findings, we develop a semantico-morpho-translation method.
This study was motivated by the recent study on informality in academic writing carried out by Hyland and Jiang (2017), to see the status of informality in Applied Linguistics research articles published in Iranian local journals. To this end, 50 research articles from two Journals of “Research in Applied Linguistics” and “Iranian Journal of applied Linguistics” were selected. The research articles were published in 2014 and 2015 issues. They were analyzed based on Hyland and Jiang’s (2017) taxonomy. The results imply that unattended anaphoric pronouns and sentence initial conjunctions have received the greatest attention from Iranian writers of Applied Linguistics writers while exclamations and contractions were totally ignored. Compared to the results reported by Hyland and Jiang (2017), the use of features of informality by Iranian writers of the present study varies to a great extent. The variations could stress the necessity of awareness of Iranian Applied Linguistics and related fields of study writers concerning the use of these features by successful writers.
This essay examines the scenes in Shakespeare’s romances in which music has a healing and revitalizing power, but it also contains its own subversion. In Pericles, in the palace at Pentapolis, Pericles asks for a musical instrument, which he plays while he sings to himself. The wise doctor Cerimon revives Thaisa’s apparently dead body with the help of music in Pericles. In the final reunion scene with his daughter, Marina, the music of her voice has healing power for her father. In The Winter’s Tale, Hermione’s apparently lifeless statue is brought to life while music is playing. Finally, The Tempest is one of Shakespeare’s most musical plays, with songs and music and a masque reviving the action. Shakespeare used songs to establish the character or the mental state of the singer. Music and allusions to music in these plays’ scripts can be interpreted as forms of indirect and covert propaganda, attuned to the politics of the time, but also as individual musical parts, in which music has healing power over the mind. They are like the music of the soul, suggesting interiority. Music is used, therefore, to achieve theatrical effect.
Hedging has become a topic of interest among discourse-oriented linguists. The paper will discuss ways in which the term “hedge” has been understood and defined in the literature within the academic writing discourse. As epistemic devices with significant characteristics, hedges are often seen as features in academic writing practices that may cause problems, being often a serious source of pragmatic failure in written discourse in a foreign language. It is suggested that the appropriate use of hedging, which clearly requires subtlety and awareness of pragmatic competence of written discourse, is utterly important in avoiding “communicative failure” (Thomas, 1983) and allowing authors to find a way of expressing their true voice in a target discourse.
This article analyses Julian Barnes’s The Noise of Time, a postmodernist parody of the Russian communist world, and shows that historical truth is turned into a story which is remembered with bitter irony and which offers various interpretations. Being nothing but a story, history, associated with the symbol of noise, becomes subject to parody. Emphasizing the role of irony in revealing the dramatic effects of the Russian communist past, this essay remarks that parody functions as severe criticism.