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The Tractarian movement and the subsequent Ritualist movement sought to bring the Church of England back to what they believed was its Catholic roots. The means through which they tried to accomplish that were, among others, the revival of the Catholic forms of liturgy. These activities attracted much attention, often unwelcome, from Evangelical circles, who feared all these activities were the indication of a Popish “fifth column” working in the midst of the Anglican Church. One of the most controversial revivals was that of re-introducing auricular confession. Confession was in the eyes of many Anglicans tainted by its associations with the Roman Catholic Church, and especially the confessions of women, in an intimate encounter with a man who was not their father or husband, were particularly troubling. Probably the most famous confessional scene in Victorian literature is the one described by Charlotte Brontë in "Villette" (1853). This article discusses this and other confessional scenes, but focusing on confession in the Anglican context, presenting both the novelists attacking it, such as Mrs Henry Wood or Emma Worboise, but also supporting it, such as Charlotte Mary Yonge or Christina Rossetti. It is notable that while confession was very important for Tractarian religious practice, it is mentioned relatively rarely in the works of the writers connected with this movement, or described in a rather coded way. A possible explanation could be the Tractarian doctrine of reserve, which encouraged the followers of the movement to exercise caution when speaking about subjects they considered holy, especially with an uninitiated audience, such as the potentially random readers of their novels.
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This article examines Dickens’s depiction of PTSD symptoms in connection with his country’s aggressive imperial actions. With a colonial other suffering from a pathological mental and emotional condition, the novel portrays colonialism as an inveterately traumatising phenomenon, the young Ceylonese’s trauma narrative being indicative of the collective race trauma afflicted on a larger community by colonial violence. Apart from portraying the traumatic inner landscape of his character, the novelist is equally engaged in offering ways of healing and recovery.
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The action of "The Pickwick Papers" begins in 1827, ten years before the novel was published. Quite how seriously we should take this date is debateable. In Chapter 2, Mr Jingle claims to have been present at the deposition of the Bourbons, which leads Dickens to issue a correction (of sorts) in a footnote to the 1847 edition: “A remarkable instance of the prophetic force of Mr Jingle’s imagination; this dialogue occurring in the year 1827, and the Revolution in 1830”. So, Dickens was not exactly scrupulous in setting up the novel’s original chronology, and may have thought that being so would have been slightly absurd (a kind of Pickwickian pedantry). Nevertheless, he does eventually spot the mistake with the Bourbons, and draws attention to it. And there are reasons for thinking that, in some ways, he may have been deeply invested in 1827 as the opening year. To be precise, "Pickwick" begins in May of that year, a month that Dickens will have vividly recalled, as it was then, as a 15-year-old office boy in Gray’s Inn, that he began his white-collar career. In fact, it is by no means impossible that May 12th, 1827, the day on which Mr Pickwick delivers his epoch-making paper on ponds and ‘tittlebats’, may have been the very day (in the real world) on which young Charles began work. Taking its starting point from a range of internal and external hints, forms of evidence, and loose ends, such as these, this article anatomises the dating of "Pickwick" in terms of Dickens’s personal history; his sense of the social and political specifics of the 1820s; the amateur antiquarianism that is satirised within the novel; and its fictional placement in a literary no-man’s-land between Romanticism and the Victorian.
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Indisputably, 18th century English society was male-dominated and male-oriented. The fundamental justification for the subjection of women was found in the Bible, and allowing women to make individual decisions or hold public offices was considered irrational. However, the situation had to be re-examined when Queen Anne came to the throne and often sought other women’s advice on issues which were to change the fate of the country. Examining a number of texts by contemporary men of letters who commented extensively on current political questions, helps to formulate conclusions on whether the women closest to the throne were personally and consciously interested in shaping the political arena, or were simply manipulated by politicians who chose to exploit their female naivety and folly.
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The article discusses the semiotics of the gothic setting in Jane Austen’s "Northanger Abbey". It argues that the novel’s dialogic form juxtaposes contrasting genres and codes constructing a multi-layered and vibrant dialogue between the realistic and the fantastic modes of the novel.
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In this article, we briefly present the results of a multifaceted investigation of the book « Ce que le jour doit à la nuit ». We examine the effects produced on the novel by the transgression of multiple frontiers: identity, geographic, inter-linguistic, translation, semiotic, etc. These are frontiers that both the writer, Yasmina Khadra, and her novel transgress. A necessary look at the circumstances in which the book was created will allow us to survey the types of frontier transgression: of the self, of the civilian and artistic identity, in order to concentrate on the crossing of inter-linguistic frontiers (the translation into Romanian of the novel « Ce que le jour doit à la nuit » in this case), semiotic (its cinema adaptation and its subtitles).
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The development of bilingual dictionaries is a very complex activity that highlights three areas of expertise: lexicography, terminology and translation. This category of dictionaries requires command of the general language and more. An in-depth knowledge of the terms (surnames) is, within the field of terminology, a real link between lexicography and translation. A lexicographic only analysis can cause translation errors in the construction of this tool. That is why synergy between these three levels of competence remains a prerequisite. Translation is therefore a necessity for the development of bilingual dictionaries.
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Translation is a space of sharing, knowledge, and recognition of otherness, a transmission of knowledge about the Other which is transmitted from a country to another one, from a person to another one, and from generation to generation. As a result, it has issues in different areas, but all have the same objective, which is to convey a message, a culture, another vision of the world from an author to a target audience. In other words, it is an asset because it allows anyone to recognize that there are other cultures than its own.
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