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What is American poetry? This paper is a history of the various answers poets have given to that question. They include Whitman's creation of a new form for poetry, one to replace those inherited from England. This new poetry was as radical politically as it was poetically —it was created to include those that other poetic forms had left out. Frost, on the other hand, adapted British verse forms to an American scene and American verse. The contradictory nature of America's response to Europe has shaped the divided tradition of American poetry.
This paper discusses the use of predicative complements in English and in Spanish. These complements are defined as phrases which identify a semantic quality of the subject or the direct object of the clause. Current predicatives are those expressing a quality previous to the action denoted by the verb, while resulting predicatives denote a quality derived from the verbal process. Broadly speaking, current predicatives appear both in English and in Spanish with similar syntactic features. On the other hand, resulting predicatives, and, in particular, those which are not obligatory complements, are common to English syntax but rare in Spanish.
This paper offers a contrastive analysis of the identifiers same and mismo. It begins with a discussion of the morphological and distributional features that characterize them and distinguish one from the other. The Spanish adjective has more flexibility of distribution than the English one. The notion of identification is carefully explained, defined and differentiated from that of equality or likeness. Same and mismo are the terms mostly used to express the idea of identification and, therefore, they are syntactically and semantically analysed in detail. They are compared with words of similar meaning such as like/como, equal/igual, identical/idéntico and distinguished from them. Finally, the nominalization of the two adjectives, same and mismo, is also discussed and contrasted. The greatest difference between the two substantivized ...
The Mysterious Stranger manuscripts have always been set apart from Twain's earlier fiction as a consequence of the writer's aggravated pessimism in his last years and his intention to keep them unpublished. But there is a strong resemblance between these manuscripts and a novel published a decade before: A Connecticut Yankee in King Arthur's Court. The similarities between the main characters and their contradiction between meliorism and determinism, as well as the use of the iconoclastic power of satire against the same targets and a parallel manipulation of time and space, are all common features which help understand The Mysterious Stranger as a progression from ideas already latent in A Connecticut Yankee.
This paper is concerned with the analysis of sentences with extraposed relative clauses. This transformation is studied within the framework of GB syntax. Extraposition, as a case of «move a,» must not violate any of the principles forming the subtheories of Universal Grammar. Special attention will be paid to the Subjacency Condition and the problem of where the extraposed clause moves to. Movement rules leave traces which have to be licensed by the principles too. The value chosen in English and Spanish of the pro-drop parameter can explain why extraposition takes place in some sentences, and also why this transformation seldom occurs in Spanish.
The paper explores the drawbacks that may arise from an excessive emphasis on either teacher education or teacher training in the syllabus of the future English language teacher. Then it analyses the present limitations in the teaching practice within the E.U. del Profesorado de E.G.B. and how some of the existing problems might be overecome.
This article looks at the way nature appears in Alastor, Childe Harold and Endymion. We have tried to look for both the similarities and the differences that exist in these poems in relation to nature. First, we have dealt with Shelley's poem, in which we have noticed the poet's love for nature and its contemplation. Then we analyse Byron's feelings about nature in Childe Harold, and we have a close look at the development in the way nature is treated through the different cantos. We also pay special attention to some of the characteristics Alastor and Childe Harold have in common, such as a kind of pantheistic feeling for nature that goes back to Spinoza and Plato. Finally, we study how nature is seen through Keat's imagination in Endymion.
The country chapel ; The hare = La iglesia rural ; La liebre / translated by Beatriz Villacañas Palomo
The colossus ; Lady Lazarus = El coloso ; Señora Lázaro / translated by J.I. Oliva
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