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A Study of Verbs Related to Violence in A Tale of Two Cities
Issue:
Volume 5, Issue 1, March 2020
Pages:
1-12
Received:
23 October 2019
Accepted:
12 December 2019
Published:
4 January 2020
Abstract: Almost every Englishman is aware, however slightly, of the wonderful novels of Charles Dickens. A Tale of Two Cities, one of the historical fictions, set in the context of the French Revolution, begins with the miserable plight of the French people living under the exploitation of the aristocrats in the years leading up to the revolution and ends with the exceedingly blind and terrifying revolt and vengeance demonstrated by the revolutionaries. It has been vastly studied from different aspects, like the territory and disciplinary frontier-crossings, revelation of personal and national identity, uses of caricatures and ironies. We apply the quantitative method to the study of verbs related to violence so as to uncover Dicken’s attitudes towards the French Revolution and investigate deeper into the double theme - violence, madness, terrorism and love, reason, forgiveness. “How does Dickens’s approval of the capital punishment influence his writing of A Tale?” “As readers are drenched in the heart-rending sentiment and intoxicated by the sacrificial love at the end, why do hatred and violence, as claimed by many commentators, serve as the main theme of the novel? In fact, the answer is embedded in the use of verbs related to violence. We will first compare the political stands of Burke, Carlyle and Dickens, and then proceed to the two lists of words related to violence and a diagram displayed on AntConc, followed by the analysis of the three main characters in A Tale - Doctor Mannette, Madame Defarge and Sydney Carton.
Abstract: Almost every Englishman is aware, however slightly, of the wonderful novels of Charles Dickens. A Tale of Two Cities, one of the historical fictions, set in the context of the French Revolution, begins with the miserable plight of the French people living under the exploitation of the aristocrats in the years leading up to the revolution and ends w...
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Vocal Piano Accompaniment: A Constant Research Towards Emancipation (1)
Jose Maria Peñalver Vilar,
Luis Valles Grau
Issue:
Volume 5, Issue 1, March 2020
Pages:
13-24
Received:
19 November 2019
Accepted:
13 January 2020
Published:
31 January 2020
Abstract: This article represents the first one in a series of two that investigate the evolution of vocal piano accompaniment through history and the role of the piano in its relationship with the voice. The research method used is musical analysis focused on the piano part, both in itself and its link with the text and the vocal part. The research method used is musical analysis centred on the piano part, both in itself and its link with the text and the vocal part. Initially, some preliminary questions necessary to establish a starting point around the piano accompaniment are addressed. Then, by means of musical examples of different composers following a chronological order, the article investigates all those aspects that provide evidence of the change in the role of the piano in the correspondence between the piano and the voice. In this way we will observe the trajectory of piano accompaniment to the voice and we will see how Schubert conceived the piano in vocal works with piano accompaniment. This new conception will influence both contemporary and later composers. The treatment of this influence will be dealt with in the second article. In the present article we will establish the basis of the functioning of piano accompaniment in compositions prior to Schubert, starting from the Ancient Italian aria (the beginnings of piano accompaniment) to his first lieder. We will observe the different dialogue between voice and piano that starts from the dependence of the piano in the beginnings towards its participation in the final result of the work with a decisive role. Schubert will articulate this drift, as will be seen. However, the results and conclusions, taking into account the whole evolutionary perspective of piano accompaniment, will be presented in the second article.
Abstract: This article represents the first one in a series of two that investigate the evolution of vocal piano accompaniment through history and the role of the piano in its relationship with the voice. The research method used is musical analysis focused on the piano part, both in itself and its link with the text and the vocal part. The research method u...
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Vocal Piano Accompaniment: A Constant Research Towards Emancipation (2)
Jose Maria Peñalver Vilar,
Luis Valles Grau
Issue:
Volume 5, Issue 1, March 2020
Pages:
25-35
Received:
28 November 2019
Accepted:
13 January 2020
Published:
4 February 2020
Abstract: This is the second and last article in the series dedicated to the investigation of the evolution of vocal piano accompaniment through history and the role-played by the piano in its relationship with the voice. If the previous chapter focused from the beginnings of piano accompaniment to Franz Schubert, this one will take up again the analysis of the piano part from the last lieder of Franz Schubert to Arnold Schoenberg. The research method used continues to be based on the musical analysis of the piano part, addressing both issues of the piano itself and its link with the text and the vocal part. By means of musical examples of different composers, the article investigates all those aspects that provide evidence of the change in the role of the piano in the correspondence of the piano with the voice and its repercussion on the final result of the work. In this way, we will look at the history of piano accompaniment for voice and see how the influence of Schubert's conception of vocal piano accompaniment materializes in contemporary and later composers, as well as the crucial change in the history of the piano as an accompanying instrument introduced by Schubert. The results and conclusions drawn from the evolution presented in these two articles are presented at the end of the article, based on the different aspects involved in the musical event, such as rhythm, harmony or texture.
Abstract: This is the second and last article in the series dedicated to the investigation of the evolution of vocal piano accompaniment through history and the role-played by the piano in its relationship with the voice. If the previous chapter focused from the beginnings of piano accompaniment to Franz Schubert, this one will take up again the analysis of ...
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The Aesthetics of Exhibitionism: Oscar Wilde as a Public Aesthete
Issue:
Volume 5, Issue 1, March 2020
Pages:
36-44
Received:
24 January 2020
Accepted:
14 February 2020
Published:
25 February 2020
Abstract: Oscar Wilde develops a unique way of critical arguments in which the critical discourse carries a special exhibition effect. Despite his condemnation of the contemporary tendency that literature appeals more to the eye, this visuality in language reveals his desire for self-exhibition in the public domain. Therefore, Wilde distinguishes himself from other intellectuals of his time by providing a sensation for the pleasure of eyes and by offering a new visual pattern for the intellectual attraction to the public. The present paper attempts to demonstrate that a sort of exhibitionism functions as a foundational element in Wilde’s literary creation. His critical essays, as represented by “The Critic as Artist,” are characterized by a conspicuous exhibition of classical knowledge and aesthetic temperament. In his advocacy of “art for art’s sake,” artistic uniqueness is interrelated with the widespread pursuit of visual stimulus and display of difference among the reading public of the late Victorian period. Thus, it is impossible to have a comprehensive understanding of Wilde’s literary achievement and aesthetic sensibilities without serious consideration of his publicity-seeking self-exhibition. In this sense, the paper tends to show that Wilde’s aestheticism is, in essence, the aesthetics of exhibitionism. It regards superficial quality as the high standard of wit, style the very condition of art, and appearance the real nature of life.
Abstract: Oscar Wilde develops a unique way of critical arguments in which the critical discourse carries a special exhibition effect. Despite his condemnation of the contemporary tendency that literature appeals more to the eye, this visuality in language reveals his desire for self-exhibition in the public domain. Therefore, Wilde distinguishes himself fro...
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An Assessment of Cohesion and Coherence in Students’ Descriptive and Narrative Essays: The Case of Sodo Preparatory School Grade Eleven Students’
Issue:
Volume 5, Issue 1, March 2020
Pages:
45-52
Received:
21 November 2019
Accepted:
23 December 2019
Published:
6 March 2020
Abstract: This study is aimed to assess the students’ use of cohesion and coherence in their descriptive and narrative essays. It was conducted at Sodo Preparatory School on grade 11 students. The descriptive research design was employed to achieve the intended aim of the study. In this study, 30 grade eleven students were selected as participants through simple random sampling technique. Document analysis was used to collect data from the sample students. The data collected through document analysis was analyzed qualitatively based on the analysis parameters of cohesive devices; such as, substitution ellipsis, reference, conjunction and lexical cohesion to determine meaningfully (coherently) written students’ essays. The findings revealed that students’ used a variety of cohesive devices in each genre of writing except ellipsis and they employed all the other sub categories of cohesive devices in their (descriptive and narrative) essays. However, among the frequently used cohesive devices, the largest numbers of connectors were inappropriately instanced regarding the total use of devices. The students’ inappropriate use of cohesive devices mainly appeared with conjunction, followed by reference, lexical cohesion, and substitution signals. As a result, the essays lacked consistent key expressions, clear purpose of the statement, and the logical shift from one sentence to the other. Based these findings, conclusions and recommendations were made.
Abstract: This study is aimed to assess the students’ use of cohesion and coherence in their descriptive and narrative essays. It was conducted at Sodo Preparatory School on grade 11 students. The descriptive research design was employed to achieve the intended aim of the study. In this study, 30 grade eleven students were selected as participants through si...
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