sheep would have been pronounced more like “shape” me as “may” mine as “meen” shire as “sheer” mate as “maat” out as “oot” house as “hoose” flour as “floor” boot as “boat” mode as “mood” etc). In Middle English (for instance in the time of Chaucer), the long vowels were generally pronounced very much like the Latin-derived Romance languages of Europe (e.g. It affected words of both native ancestry as well as borrowings from French and Latin. It was, however, a peculiarly English phenomenon, and contemporary and neighbouring languages like French, German and Spanish were entirely unaffected. The causes of the shift are still highly debated, although an important factor may have been the very fact of the large intake of loanwords from the Romance languages of Europe during this time, which required a different kind of pronunciation. It was largely during this short period of time that English lost the purer vowel sounds of most European languages, as well as the phonetic pairing between long and short vowel sounds. Many languages have undergone vowel shifts, but the major changes of the English vowel shift occurred within the relatively short space of a century or two, quite a sudden and dramatic shift in linguistic terms. In fact, the shift probably started very gradually some centuries before 1400, and continued long after 1700 (some subtle changes arguably continue even to this day). Students have received credit for this topic under an ENGL 359 number may not take this course for credit.Great Vowel Shift The Great Vowel Shift (from ELLO)Ī major factor separating Middle English from Modern English is known as the Great Vowel Shift, a radical change in pronunciation during the 15th, 16th and 17th Century, as a result of which long vowel sounds began to be made higher and further forward in the mouth (short vowel sounds were largely unchanged). A selection of letters, diaries, and personal reflections by Irish immigrants is also studied. A selection of texts by writers from Ireland (Brian Friel, Joseph O’Connor, Eavan Boland), Canada (D’Arcy McGee, Brian Moore, Jane Urquhart), America (William Kennedy, Alice McDermott, Maeve Brennan), England (Patrick MacGill, Elizabeth Bowen, William Trevor) and Australia (Thomas Keneally, Vincent Buckley) is explored. Issues explored include concepts of diasporic and transnational identities the negotiation of forms of self‑understanding and self‑transformation in the context of hybridity, fluidity, and multiplicity and the roles of landscape, memory, and cultural production as determining factors in the competing hegemonies of homeland and diaspora. in ballet, cinema, music, and painting).ĭescription: This course examines various forms of literary expression - novels, stories, poems, and life‑writing (memoirs, autobiographies, letters) - from Ireland and the Irish Diaspora that address the experience of emigration, settlement, and integration of Irish migrants in various countries around the world. While the course focuses on the lively cross‑fertilization of British and American writing, the international scope of Modernism is also emphasized, as well as its diversity (e.g. It was also the “Jazz Age,” the nexus of which was the Harlem Renaissance. Much of the most important work, appropriately enough in an era of female enfranchisement, was written by women. The literature, often produced by expatriates, was cosmopolitan, elitist, and provocative. Avant‑garde artists organized into numerous schools, including the Imagists, Surrealists, Dadaists, Constructivists, Futurists, and Vorticists. Experiments abounded in disjunctive, elliptical, impressionistic, allusive, and mythopoeic styles. In painting emerged a tendency to abstraction, in music a tendency to atonality, and in literature to non‑mimetic forms. ![]() The congeries of experimental movements collectively identified as Modernism, flourishing from prior to World War I until World War II, renegotiated artistic conventions, revived neglected traditions, and turned attention to the primary materials of art (sound, colour, language).
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