There has been a good deal of discussion on discourse markers in the light of historical semantic... more There has been a good deal of discussion on discourse markers in the light of historical semantics,pragmatics and grammaticalization for these twenty years.For our regret ,however,few attempts were made to prove their literal effects on individual medieval work.This article inquires into the various functions of discourse markers found in Thomas Malory\u27s Morte D\u27Arthur,BOOK I to X "King Mark". It first states an objective of this investigation quoting from some previous researches. Section 2 takes up specific discourse markers;well,also,so,thus,now,then,which are grouped into three to maintain my point of view based on the term foreground and background. Section 3 we shall examine each marker in the context.For its parataxis this prose seems monotonous at first glance,though each marker has highlighting and sequentialising effect to make the reader/audience fascinate.Section 4 compares their usage with one in Caxton edition and alliterative verse.This comparison may ...
a case in which the original Latin accusative singular word dolorem which means "grief" , is tran... more a case in which the original Latin accusative singular word dolorem which means "grief" , is translated into synonymous OE word pairs as sar and sorge. Another Latinate instance is pater which means "priest". The word is translated into the word pair faeder and lareow, the former word means "father" and the latter, "teacher". The use of both alliterative and non-alliterative pairs is also common in Middle English (ME). In present-day English, Ⅰ. Introduction
The aim in this paper is to show that the use of the progressive form for subjective/emotional st... more The aim in this paper is to show that the use of the progressive form for subjective/emotional statements is identified with the styles of beginning novels. It is not a coin-cidence that the English novel proper begins when the progressive form begins to have a clear-defined place in English syntax. The progressive form has descriptive force and, by reason of its concrete meaning and the emphasis or peculiar tone often associated with it, is charged with feeling, pleasure, irritation, intensity, etc. These foregrounding functions suggest the speaker\u27s involvement in the affair and hence relates with the form for emotional statements and the simple form for objective ones. I have surveyed the implicature in the novels from the seventeenth to the beginning of the nineteenth century. These results lead us to believe that modal use of the progressive rises in colloquial styles of novels, which are felicitous to emotive use of the progressive form
the topic solely based on a basis of presentday English. Wales suggests that repetition is felt a... more the topic solely based on a basis of presentday English. Wales suggests that repetition is felt as lack of premeditation characteristic of ordinary speech, and quotes Malory's Morte d'Arthur: (1) This beast went to the well and drank, and the noise was in the beast's belly like unto the questing of thirty couple hounds, but all the while the beast drank there was no noise in the beast's belly… (quoted from Malory's Morte d'Arthur in Ⅰ Introduction In view of the style of English today, repetition is often associated with unsophisticated styles, such as in children's narratives or medieval chronicles. In Middle English prose, however, repetition occurres very frequently, especially in crucial context. This fact leads us to believe repetition in Middle English
Julian of Norwich (c.1343-c.1416) was a professional religious hermit who entered a convent in he... more Julian of Norwich (c.1343-c.1416) was a professional religious hermit who entered a convent in her teens. She was a popular and persuasive nun. That her preaching was influential is shown by the fact that Margery Kemp was exerted a great influence from her. The work to be investigated is classified by Chambers (1957: cxvii) under "the ordinary medieval prose of pious instruction", and he mentions: "Yet much of it is exceedingly beautiful; for instance the Revelation of Divine Love of Dame Julian of Norwich." It was in the year 1373, when Julian was critically ill in bed, that she had a revelation of God. She wrote down the mystic experience in two versions, A Revelation of Love (A Revelation), a longer one and a shorter one. The shorter version is generally accepted as the first transcript, written soon after the revelations were given. The longer one is confessedly written twenty years later. The text we are going to investigate is the longer version based on the Slone Manuscript No.2499. Compared with the shorter text, Studies in the Language of A Revelation of Love: with special reference to vacillation in nouns, pronouns and verbs KATAMI, Akio This paper examines the lexical and grammatical features of the language of A Revelation of Love by a medieval female mystic, Julian of Norwich. Linguistic characteristics of her prose in the longer version written in Middle English, irrespective of their importance, have been overlooked so far. The present analysis builds on descriptive sketching with the aim mainly to elucidate the vacillation and style in her work with some diagrams. The parts of speech to be surveyed are nouns, personal pronouns, relative pronouns, verbs and others. Middle English is a period that permits a number of spelling and syntactic variants. The inclination is reflected in her prose as a miniature of the language of this period, as is seen in such as plurals accompanied by a singular and plural verb, dual use of some verbs in personal and impersonal constructions, and the like. At the same time some of the fluctuations are peculiar to the author such as the use of the second person pronouns. Through the study of her idiosyncratic prose, we see a vivid process of transition from Old to Modern English.
Journal of Literature and Art Studies, Oct 8, 2019
The aim of this paper is to examine metaphors and similes as figures of speech in the language of... more The aim of this paper is to examine metaphors and similes as figures of speech in the language of medieval English mystics. We will focus on three contemplative 14th-century mystics in East Midland, Walter Hilton, the Cloud author, and Julian of Norwich. Metaphors are figures of speech in which a word or phrase that ordinarily denotes one thing is used to designate another, thus making an implicit comparison, as in "a sea of troubles". For theoretical background, we adapt Lakoff and Johnson's subcategorization of metaphors into ontological, orientational, and structural metaphors. Lakoff and Johnson significantly remarked that in everyday life, metaphors are pervasive in not only language but also thought and action. As another device of a figure of speech, we will consider similes whereby two concepts are imaginatively and descriptively compared. The use of figurative speech among the medieval mystics is not random but an effective measure in terms of which we can conceptualize their experience. Metaphors and similes used in mystical discourse cannot help but try and construct what cannot be comprehended by acting on embodying the abstract. Numerous figures of speech found in devotional prose, though some noted earlier in biblical works, are novel in their use. In trying to make the ancient teachings of the Christ accessible for the lay public, the prose observed in this study uses figurative language in association with their writings.
There has been a good deal of discussion on discourse markers in the light of historical semantic... more There has been a good deal of discussion on discourse markers in the light of historical semantics,pragmatics and grammaticalization for these twenty years.For our regret ,however,few attempts were made to prove their literal effects on individual medieval work.This article inquires into the various functions of discourse markers found in Thomas Malory\u27s Morte D\u27Arthur,BOOK I to X "King Mark". It first states an objective of this investigation quoting from some previous researches. Section 2 takes up specific discourse markers;well,also,so,thus,now,then,which are grouped into three to maintain my point of view based on the term foreground and background. Section 3 we shall examine each marker in the context.For its parataxis this prose seems monotonous at first glance,though each marker has highlighting and sequentialising effect to make the reader/audience fascinate.Section 4 compares their usage with one in Caxton edition and alliterative verse.This comparison may ...
a case in which the original Latin accusative singular word dolorem which means "grief" , is tran... more a case in which the original Latin accusative singular word dolorem which means "grief" , is translated into synonymous OE word pairs as sar and sorge. Another Latinate instance is pater which means "priest". The word is translated into the word pair faeder and lareow, the former word means "father" and the latter, "teacher". The use of both alliterative and non-alliterative pairs is also common in Middle English (ME). In present-day English, Ⅰ. Introduction
The aim in this paper is to show that the use of the progressive form for subjective/emotional st... more The aim in this paper is to show that the use of the progressive form for subjective/emotional statements is identified with the styles of beginning novels. It is not a coin-cidence that the English novel proper begins when the progressive form begins to have a clear-defined place in English syntax. The progressive form has descriptive force and, by reason of its concrete meaning and the emphasis or peculiar tone often associated with it, is charged with feeling, pleasure, irritation, intensity, etc. These foregrounding functions suggest the speaker\u27s involvement in the affair and hence relates with the form for emotional statements and the simple form for objective ones. I have surveyed the implicature in the novels from the seventeenth to the beginning of the nineteenth century. These results lead us to believe that modal use of the progressive rises in colloquial styles of novels, which are felicitous to emotive use of the progressive form
the topic solely based on a basis of presentday English. Wales suggests that repetition is felt a... more the topic solely based on a basis of presentday English. Wales suggests that repetition is felt as lack of premeditation characteristic of ordinary speech, and quotes Malory's Morte d'Arthur: (1) This beast went to the well and drank, and the noise was in the beast's belly like unto the questing of thirty couple hounds, but all the while the beast drank there was no noise in the beast's belly… (quoted from Malory's Morte d'Arthur in Ⅰ Introduction In view of the style of English today, repetition is often associated with unsophisticated styles, such as in children's narratives or medieval chronicles. In Middle English prose, however, repetition occurres very frequently, especially in crucial context. This fact leads us to believe repetition in Middle English
Julian of Norwich (c.1343-c.1416) was a professional religious hermit who entered a convent in he... more Julian of Norwich (c.1343-c.1416) was a professional religious hermit who entered a convent in her teens. She was a popular and persuasive nun. That her preaching was influential is shown by the fact that Margery Kemp was exerted a great influence from her. The work to be investigated is classified by Chambers (1957: cxvii) under "the ordinary medieval prose of pious instruction", and he mentions: "Yet much of it is exceedingly beautiful; for instance the Revelation of Divine Love of Dame Julian of Norwich." It was in the year 1373, when Julian was critically ill in bed, that she had a revelation of God. She wrote down the mystic experience in two versions, A Revelation of Love (A Revelation), a longer one and a shorter one. The shorter version is generally accepted as the first transcript, written soon after the revelations were given. The longer one is confessedly written twenty years later. The text we are going to investigate is the longer version based on the Slone Manuscript No.2499. Compared with the shorter text, Studies in the Language of A Revelation of Love: with special reference to vacillation in nouns, pronouns and verbs KATAMI, Akio This paper examines the lexical and grammatical features of the language of A Revelation of Love by a medieval female mystic, Julian of Norwich. Linguistic characteristics of her prose in the longer version written in Middle English, irrespective of their importance, have been overlooked so far. The present analysis builds on descriptive sketching with the aim mainly to elucidate the vacillation and style in her work with some diagrams. The parts of speech to be surveyed are nouns, personal pronouns, relative pronouns, verbs and others. Middle English is a period that permits a number of spelling and syntactic variants. The inclination is reflected in her prose as a miniature of the language of this period, as is seen in such as plurals accompanied by a singular and plural verb, dual use of some verbs in personal and impersonal constructions, and the like. At the same time some of the fluctuations are peculiar to the author such as the use of the second person pronouns. Through the study of her idiosyncratic prose, we see a vivid process of transition from Old to Modern English.
Journal of Literature and Art Studies, Oct 8, 2019
The aim of this paper is to examine metaphors and similes as figures of speech in the language of... more The aim of this paper is to examine metaphors and similes as figures of speech in the language of medieval English mystics. We will focus on three contemplative 14th-century mystics in East Midland, Walter Hilton, the Cloud author, and Julian of Norwich. Metaphors are figures of speech in which a word or phrase that ordinarily denotes one thing is used to designate another, thus making an implicit comparison, as in "a sea of troubles". For theoretical background, we adapt Lakoff and Johnson's subcategorization of metaphors into ontological, orientational, and structural metaphors. Lakoff and Johnson significantly remarked that in everyday life, metaphors are pervasive in not only language but also thought and action. As another device of a figure of speech, we will consider similes whereby two concepts are imaginatively and descriptively compared. The use of figurative speech among the medieval mystics is not random but an effective measure in terms of which we can conceptualize their experience. Metaphors and similes used in mystical discourse cannot help but try and construct what cannot be comprehended by acting on embodying the abstract. Numerous figures of speech found in devotional prose, though some noted earlier in biblical works, are novel in their use. In trying to make the ancient teachings of the Christ accessible for the lay public, the prose observed in this study uses figurative language in association with their writings.
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