While most discussions ofmarriage in Jane Austen primarily dwell on Pride and Prejudice and its treatment, marriage is also central in Sense and Sensibility, which illustrates the penury that may befall young, single women with limited financial means. This essay analyzes Sense & Sensibility, a rewriting of Sense and Sensibility by Joanna Trollope (2013), which is set in twenty-first century England, paying close attention to how Trollope approaches love and marriage (its desirability or the obligation to get married), especially under the light of changing social mores in the twenty-first century and taking into accountAustens' own views on both issues as presented in Sense and Sensibility.
This paper presents quantitative data identified in the novelAltered Carbon by Richard K. Morgan and its two sequels: after finding 846 morphological and semantic occasionalisms in the pilot, all three novels were loaded into the corpus linguistics programme LancsBox, and a search was performed for those gathered nonce/neological constructions. The achieved goal was to provide answers about the creativity/productivity of these constructions, and the status of occasionalisms in the Altered Carbon dialect, with an insight into their frequency, meaningful interaction, and collocation networks. It was proven that higher-occurring constructions from the pilot were more productive, and that semantic occasionalisms slightly prevailed over morphological.
This study examines the translation of book titles from Japanese into English, focusing on a selection of works by Yasunari Kawabata. Drawing on Levinsons' (1985) classification of titles and Grices' (1975) cooperative communication maxims, it explores the strategies used by translators and the impact of their choices on the form, meaning, cultural specificity, and potential target reader interpretation. The findings reveal that, despite having similar functions, the Japanese and English titles differ in terms of the quantity, quality, and relevance of the information they convey to their readers.
Cormac McCarthys' swan song touches upon the motifs of his whole career, from Melvillian ambition to Southern Gothic imagery, and from western tropes to apocalyptic foreboding. Nevertheless, The Passenger (2022) is his most arcane and abstract work. This is due not only to the amount of scientific knowledge around which McCarthy builds his plot, but also to the specific issues that the main characters tackle philosophically, such as ones' moral responsibility and capacity to forgive, transgressions in science and in the private life, the nature of reality and the degree to which poetic language may capture it.
The present article examines London not as the largest and most magnificent capital in Europe by the dawn of the eighteenth century, but as a sordid and dangerous city, in which poverty, starvation, crime and prostitution were in full swing. Although a considerable body of eighteenth-century English literature reveals the latter view of the city, I choose to focus on Edward Wards' The London Spy (1698-1700) and Tom Browns' Amusements Serious and Comical, Calculated for the Meridian of London (1700), two satirical representations of the dark side of London written by non-elite authors, and on John Gays' Trivia: or, the Art of Walking the Streets of London (1716), a guide to the modern capital of Britain.
