https://uvadoc.uva.es/handle/10324/5353 ES: Revista de filología inglesa - 2006-2007 - Num. 27 2026-04-11T19:58:44Z https://uvadoc.uva.es/handle/10324/22682 The origins of satire lead us to the origins of Western civilisation, both in its practice and in its earliest theorisation (Horace, Juvenal)1. Its complexity has always attracted the interest of criticism. Having this perspective in mind, the author has sought to provide a systematic analysis of satire that covers both aspects of history and theory. The work under analysis has therefore aimed to cope with those aspects which are essential to understand the peculiarities, functioning and implications of satire. 2006-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/17337 In this essay, my aim is to show how, despite a different national background, William Morris's News from Nowhere (1890) and Gabriele D'Annunzio's The Pleasure (1889) reveal a common semantic denominator exemplified by an aesthetic cult of Pre-Raphaelite taste. Not only does interior design prove to be an inexhaustible source of pleasure for both of them, but this motif of idealized compensation in the form of decoration had a special social and cultural significance. Not surprisingly, the Red House (1859) manifested itself as the unfolding of Morris's character in deeds and statements, while "the little red house" (1915) by The Grand Canal in Venice epitomized D'Annunnzio's power of self-expression. Apart from the nostalgic longing for a lost sense of pleasure governing the nineteenth century, these two monumental works show many signs of internal contact, not to say about the relationship of dialogic sort between the Morrisean "Romantic Medusa" in The Earthly Paradise (1868) and D'Annunzio's femme fatale of Il Poema Paradisiaco (1893), female typologies located in a similar pleasure garden. What is more, Morris's and D'Annunzio's literary imaginations are inseparably tied up with Nietzsche's philosophic formula, a vision of totalizing life, measured primarily by the return to an imaginary beautiful homeland, which sheds light on a complex comparison, allowing a variety of textual representations to be investigated as the outstanding examples of Morris's and D'Annunzio's idealisms. 2006-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/17336 Este artículo se centra en parte las conclusiones de una investigación acerca de las redacciones de los alumnos que se presentan al ejercicio de Lengua Extranjera Inglés en la Prueba de Acceso a la Universidad: el análisis lingüístico y pedagógico de los errores que cometen los alumnos a la hora de escribir un texto y dotarle de los mecanismos cohesionadores que se utilizan en lengua inglesa. En primer lugar se hará una panorámica de la herramienta Análisis de Errores aplicado al campo del texto para luego describir los tipos de error encontrados en el corpus estudiado y su importancia desde la perspectiva pedagógica. 2006-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/17335 In this article we go into a thorough analysis of complex noun compounds in technical texts. We understand that a noun compound is a unit consisting of two or more nouns, plus such other parts of speech as are necessary, that together express a "single no un" idea or concept. We have analysed various examples taken randomly from different engineering publications in order to describe their use and, rather often, abuse in this context. The typology and main characteristics of complex noun compounds in ESP communication are discussed. Noun strings are not only specifically useful for enabling more concise, accurate and precise communication, but also because they often help to fill terminology gaps which refer to new concepts, improvements or discoveries. Besides, their semantic potential and high specialization are characteristics very much valued by technical writers.; En este artículo hemos llevado a cabo un análisis pormenorizado del uso de los nombres compuestos complejos en textos de carácter técnico. Entendemos por nombre compuesto una unidad formada por dos o más sustantivos, más las unidades del lenguaje que sean necesarias, que conjuntamente expresen una única idea o concepto. Hemos analizado varios ejemplos cogidos al azar de distintas revistas de ingeniería con el fin de describir su uso, y a menudo abuso, en este contexto. Hemos llevado a cabo un estudio de la tipología y de las principales características de los nombres compuestos complejos en IFE. Estas estructuras no son sólo especialmente útiles por permitir una comunicación más precisa y concisa, sino que también con frecuencia contribuyen a llenar vacíos terminológicos. 2006-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/17333 In 1980s Britain, during the Thatcher decade, a cycle of cinematographic productions called "Raj films", which included titles such as Gandhi (Attenborough, 1982), Heat and Dust (Ivory, 1982), A Passage to India (Lean, 1984), Kim (1984), The Far Pavilions (1984) and The Jewel in the Crown (1984), tackled the issue of the representation of historical and cultural relationships between centre and margins. On the one hand, these films seem to build a portrayal of the British identity through a nostalgic approach to the imperial past in which whiteness and patriarchy were the key elements that set the basis for the social norm while relegating "other" identities to the periphery. On the other hand, a close analysis of these productions reveals that special attention is also paid precisely to those characters inhabiting marginal spaces. This is the case of Ivory's Heat and Dust (1982), which focuses on the problematic relationships between characters belonging to East and West, past and present, centre and periphery. Basing my analysis on the theories by Stuart Hall, Homi Bhabha and Richard Dyer among others, I will try to demonstrate how Heat and Dust proposes hybridity as the bridge that brings the gap between centre and periphery. 2006-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/17332 This paper is an attempt to examine the socio-cultural significance and the imaginary implications of water-as vital element, aesthetic metaphor, image as well as symbol. Very much like its fluidity and reflective transparency, this vital element plays a significant role in human imagination, and socially constructed reality alike. As one of the most significant primordial elements, water on this planet exists in a variety of forms, volatile and static alike-river and lake, glacier and ice, rain and groundwater. At almost every point in human history the presence of water or the absence of it has played a vital role. Metaphorically, it conceals and reveals at the same time. Bereft of water there is no life, however, too much of it hastens human casualty. Cultural and historical dissimilarities in the approach and response to water are not so evident on the physical and biological planes, however, in its symbolic and spiritual dimension water acquires a variety of meanings over the globe. 2006-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/17334 The Australian author Drusilla Modjeska combines historical and fictional characters to weave the text of her 3rd book, The Orchard (1994), which plays with two genres, the novel and the essay. The lives of women painters and their fight to pursue their careers are used to illustrate the conflicts in which the fictional characters are immersed. These painters' self-portraits become a way to explore their identities and a vehicle to achieve self-express ion by negotiating the gap between seeing and being seen. The difficult relation of women with the visual and with identity is laid down for analysis, while the author proposes a solution, attainable only after a period of solitude. 2006-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/17331 Shelley's Prometheus Unbound is a rewriting of Aeschylus's Bound Prometheus. As such, it is a work of Romantic Hellenism which, as so many Romantic texts, focuses on the ideas of Revolution and change, as well as the possibility of a better society. Prometheus, in his unenlightened state of primordial energy, provided mankind with the fire of enlightenment but, at the same time, angered Jupiter by his disobedience and the theft of the divine gift. Prometheus's defiant energy is described in terms that are analogous to Jupiter's destructive rage. It is made clear that Promethean society can only prosper if its founder - joined by the love of Asia - overcomes his hatred of Jupiter. Romantic love is seen as the force that can annihilate the despotism of Jupiter and is, therefore, used as a medium of fate and truth which cannot be controlled by anybody. This article, in reading Prometheus Unbound, focuses on the revolutionary and revolutionising quality of love to effect truth. 2006-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/17330 Anita Desai's novel Anita Desai's novel Fasting, Feasting portrays transatlantic experiences of female constraint on both sides of the Atlantic. Despite the prevalent differences characterising the Indian and American societies, women from both countries undertake similar experiences of (in)voluntary silence in search of a voice of their own. In India, Uma, the eldest unmarried woman of a traditional Indian family, inculcates her duty to quieten her own voice while managing to use silence as a retaliating weapon to prompt her growth as a woman. In the hectic American society, where noise is so prevalent, Melanie, a bulimic young female in the land of plenty, feels the need of silence to hear her own voice in the midst of the surrounding hubbub. The interaction between words and silence in Desai's novel proves a metaphor for women's transatlantic growth in search of raising their voices over the deafening noise of America or the overwhelming silence of India, only broken by the constant voices of others. 2006-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/17326 Cross-cultural influences, occasioned by different factors, abound in contemporary Nigerian literature, particularly, the Nigerian drama, and like the other two major generic forms, is largely responsible for its apparent hybridity of form, as well as engendering intertextuality. Cross-cultural correspondences also abound in virtually all aspects of Nigerian literature, especially, drama. Thus the seemingly shared ideological boundaries have made possible the domestication, adaptation and, or adoption of theories and concepts that were originally non-native of Africa. In addition to determining, locating and, or situating sources that foreground cross-cultural influences and correspondences, the present study examines the degree of cross-cultural influences of non-African, especially western dramatic traditions, on the contemporary Nigerian drama. Further still in this paper, there is a conscious effort at establishing very striking cross-cultural correspondence between contemporary Nigerian drama on the one hand, and on the other hand, dramatic traditions of non-African societies. The study delineates between cross-cultural influences and correspondences, and concludes that the overwhelming local and international audience-reception often accorded modem Nigerian drama is traceable to the playwright's artistic vision, especially his/her recognition of the possibility of advancing an obvious xenofilous spirit to a pedestal of a global dramatic culture, as well as his/her penchance for accornmodating and integrating the tradition of the Other. 2006-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/17325 Since World War II British and American writers, disenchanted with tradition, have created works that reject the boundaries set forth by those traditions. They see the modern world so fragmented and chaotic that it can no longer be described by the ordered conventions. But if contemporary fiction is apocalyptic and disruptive, its comic treatment of violence has produced a complex tone in which the comic vision is used to suggest hope. Two of the truly gifted writers in the so-called black humor, or comic treatment of violence, are the American John Hawkes and the British Beryl Bainbridge. The comic mode in their novel s is closely related to the centrality of death, and this combination explains the attraction-repulsion antithesis of our response to their major characters. 2006-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/17327 Many issues are raised when authors set their stories in the past. First and foremost there is the balance that must be kept between the responsibility owed to historical truth and the need to write a story which in its emotional and narrative truth engages the modem reader. (Collins 2001: v) 2006-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/17328 This study investigates the syntactic features of Nigerian English which have been created through the following processes - the use of subjectless sentences, reduplication, double subjects, Pidgin-influenced structures, discourse particles, verbless sentences, and substitution. It observes that the fact that some features of Nigerian English syntax are shared by other new Englishes is a healthy development for the identity of non-native varieties around the world. It finally recommends the codification of the new norms into variety-specific grammars and a common grammar of new Englishes. 2006-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/17329 Following a general cinematic trend, the road movie genre in its beginnings relegated the representation of non-whites to the periphery. After analysing the general state of affairs of racial representation in the genre, we witness in the 1990s a timid but remarkable trend to produce "racial" road movies which vindicate the rights of central representation of racial minorities. This paper analyses a representative racial road film, Jonathan Kaplan's Love Field (1992), in an attempt to show that the road movie's generic conventions and traditional liberal pedigree may provide a context where the depiction of racial minorities and race relations may finally reach a central status.In the road movie we have an ideogram of human desire and the last ditch search for self, and who is more plagued for hunger and lostness than the socially disenfranchised? (Atkinson 1994:14). 2006-01-01T00:00:00Z