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4 aprile 2012

From the Norman conquest to Chaucer (1066 - 1350)

The Normans brought a higher civilisation, a new language (Norman French) and a new kind of poetry (the system of syllable and rhyme instead of the old allitterative verse) to England. The conquest of the island led to the decline of Anglo-Saxon literature, as Anglo-Saxon was only spoken by uncultured and often illitterate Saxons, the language of the norman court and society being French. However, what was to emerge from the long struggle between the two languages and civilisations was a new language, Middle English, containing both a German and a Latin element, and a new, that is, an English civilisation.
We can therefore consider the history of this transition period, in which a new language and a new literture were born, as a slow victory of the vanquished Saxons over the Norman conquerors.
The Normans began to identify themselves more closely with the native English and their language, after the loss  of Normandy had confined them to England; but it was not until the second half of the XIV century that English replaced French in the schools, the law-courts and Parliament. For about three centuries after the battle of Hastings, literary works were written in French and Latin, the language of the Church and of science. In fact, with the sole exception of a few lyrics, such as The Owl and the Nightingale and Spring, the religious and secular works which appeared from the middle of the XIII century onwards were translations of French poems and narratives of chivalry.
Three alliterative poems in praise of purity, Pearl, Patience and Cleaness, take us into the Age of Chaucer.

16 marzo 2012

(30) To

To (a/in) indica moto a luogo. Si deve perciò usare to, non in o at, con verbi che indicano movimento, anche in senso figurato.
- We often  go to the disco. (Andiamo spesso in discoteca)
- Can you take me to the station? (Puoi portarmi alla stazione)
- Go/turn to page 20. (Andate a pagina 20)

To si omette con il sostantivo home.
- He always comes home late. (Viene sempre a casa tardi)

Il verbo to arrive (arrivare) è normalmente seguito dalle preposizioni at (luogo circoscritto: school, the station...) o in (luogo ampio: London, England...). La preposizione è comunque omessa con il sostantivo home.
- Billy arrives at school at 8:30. (Billy arriva a scuola alle 8:30)
- Billy arrives home at 4:50. (Billy arriva a casa alle 4:50)

(29) "Have" come verbo principale

To have è usato come verbo principale in numerose espressioni idiomatiche.

To have:
- breakfast/a snack/lunch/dinner (fare colazione/uno spuntino/pranzare/cenare)
- tea/coffee/a drink/a cacke... (prendere il tè/il caffè/una bibita/un dolce...)
- a shower/a bath/a wash (farsi una doccia/un bagno/darsi una lavata)
- a walk/a swim/a rest (fare una passeggiata/una nuotata/riposarsi)
- a good time (divertirsi)

In questi casi to have richiede l'uso degli ausiliari do/does nella forma interrogativa e negativa del presente.
- Do you have a shower every day? (Fai la doccia tutti i giorni?)
- Yes, I do./No, I don't.
- She doesn't have lunch at home. (Lei non pranza a casa)

Inoltre non è usato nelle forme contratte e non è mai seguito da got.
- We have dinner at 7. (Noi ceniamo alle 7)

Il verbo to have può avere le forme interrogative e negative con do/does anche quando significa possedere. Quest'uso è prevalentemente americano, ma si va diffondendo anche nell'inglese britannico.

5 marzo 2012

(28) Avverbi di frequenza - Adverbs of frequency

I più comuni avverbi di frequenza sono:
  • Always (sempre)
  • Often (spesso)
  • Usually (di solito)
  • Generally (in genere)
  • Rarely/seldom (raramente)
  • Sometimes (a volte)
  • Never (mai)
Gli avverbi di frequenza sono normalmente posti prima del verbo principale.
- He usually has lunch at home.
- I don't often watch TV.
- We can rarely get up late.

Seguono però il verbo essere.
- The disco is alway crowded on Saturdays

Sometimes può anche essere posto all'inizio o alla fine della frase.
- Sometimes I watch TV.
- I sometimes watch TV.
- I watch TV sometimes.

Very often (molto spesso) viene invece posto in fine di frase.
- I don't go out very often.

Ever (mai) è usato in frasi interrogative.
- Do you ever go to the disco? (Vai mai in discoteca?)

In frasi negative di norma si usa never. Never ha significato negativo e non può essere usato assieme a un'altra negazione.
- I never go out at night. (Non esco mai di notte)

Altre espressioni di frequenza, che però sono poste di norma in fine di frase, sono:
  • Once (una volta)
  • Twice (due volte)       }a day/a week/a month/a year (al giorno/alla settimana/al mese/all'anno)
  • Three times (tre volte)
Per chiedere con che frequenza avviene un'azione si usa How often?


2 marzo 2012

(27) Preposizioni di tempo - Prepositions of time

AT: Ore o momenti precisi del giorno


- At 8:30
- At lunchtime/dinnertime...
- At midday/midnight


ON: giorni della settimana (anche se seguiti da morning/afternoon/evening/night)


- On Monday
- On Sunday evening


At è in genere omesso nel chiedere a che ora?
- (At) what time does the bank open? (A che ora apre la banca?)

I giorni della settimana e le parti del giorno possono essere usati al plurale quando si intende tutti i sabati/ogni sabato..., ogni sabato mattina, ecc.
- We don't have lessons on Saturdays/on Saturday mornings. (Non abbiamo lezioni il sabato/il sabato mattina)

Altre preposizioni di tempo sono:
- after (dopo)
- before (prima)
- till o until (fino a)
- during (durante)

Dopo, usato come avverbio nel significato di poi, in seguito, successivamente, è espresso con after that o then.

27 febbraio 2012

Anglo-Saxon literature (650-1066)


The Germanic dialects spoken by the Angles, the Saxons and the Jutes are generally referred to as Anglo-Saxon, a language which differs from modern English even more than Latin from Italian. Though sometimes called Old English, Anglo-Saxon is a language in its own right; Anglo-Saxon literature can therefore be considered as quite distinct from English literature.
The Anglo-Saxons invaders were heathen barbarians but when their writings appeared they were already Christian and partly civilised. This fact accounts for the Christian character of most of their literary works, which have been preserved and handed down to us by the learned churchmen of those times. These works were mostly written in the West-Saxon dialect, the language of King Alfred the Great.
King Alfred himself translated religious, historical and philosophical works from Latin into Anglo-Saxon and ordered the Anglo-Saxon Chronicles to be recorded and kept in the monasteries.
Anglo-Saxon poetry, however, is far more important than the prose writing of that period. It is of two kinds: epic poetry and religious poetry. The story of Beowulf, which tells of the life and heroic death of a daring warrior, king of the Danish isle of Seeland, is the oldest epic in Germanic literature. A strong pagan feeling of the working of fate and a deep melancholy run through the whole poem, but the Christian element is present in the idea of the vanity of earthly things and in the spirit of self-sacrifice of a king who dies to save his people.
The fierce note of pagan a primitive times is more evident in two more war poems, the battle of Brunaburh, which celebrates King Athelstan's victory over the Scots and Danes, and the Battle of Maldon, in which an Anglo-Saxon chief was defeated by the Vikings who had landed in Essex.
However, the greater part of the Anglo-Saxon poetry is religious in character. There are two groups of Biblical poems. One is attribuited to Caedmon, a poor shepherd, and contains: Exodus, on the flight of Moses to Egypt, Judit, the story of the Bible heroine, and Guthlac, the only narrative in verse about a native saint; the other group consist of : Christ, on the life of the Saviour, The Fates of the Apostles, and the lives of the saints Juliana and Helen: all these are attributed to the poet Cynewulf.
These poems are mere paraphrases of the Holy Scriptures; their main fault is a lackof originality, which is very much in evidence in spite of the sincerity and fire of the religious feeling which inspires them.
The most original poetical works of the Anglo-Saxon period are probably a few elegies, or short melancholic poems, Christian only in their conclusion, such as The Ruin, on the lost glory of a ruined town, probably Bath, The Wanderer and The Seafarer.


22 febbraio 2012

(26) L'ora - The time

Le ore sono sempre espresse al singolare. L'espressione o'clock è usata solo con le ore intere.
- What's the time? / What time is it? (Che ore sono?)
- It's seven o'clock (Sono le sette)

Le ore si possono esprimere in due modi :

1) i minuti precedono le ore. La parola minutes è in genere omessa per cinque e multipli di cinque.
Si usa la preposizione past per la prima mezz'ora e to dalla mezz'ora all'ora successiva.
I quarti d'ora e le mezzo'ore sono espressi con (a) quarter e half past.
- It's five (minutes) past ten. (Sono le dieci e cinque)
- It's twelve minutes to nine. (Sono le nove meno dodici minuti)
- It's (a) quarter past twelve. (Sono le dodici e un quarto)
- It's half past eight. (Sono le otto e mezza)

2) Le possono essere lette di seguito. Questo modo di leggere le ore è il più usato per parlare di orari di treni, aerei, ecc.
- It's nine thirty-five. (Sonole nove e trentacinque)
- My train leaves at eight thirty. (Il mio treno parte alle otto e trenta)

Normalmente vengono usate le ore da 1 a 12. In caso di ambiguità si può specificare in the morning, in the afternoon, in the evening, at night o nello scritto si possono usare le espressioni a.m. (ante meridiem) da mezzanotte a mezzogiorno e p.m. (post meridiem) da mezzogiorno alla mezzanotte successiva. In orari scritti di treni, aerei, annunci ufficiali si usano di solito le ore da 1 a 24.