...～The Importance of English in the modern world～ PHAM ANH QUOC Student No.1720131024 Table of Contents 1) Introduction 2) A Brief History of the English Language 3) The Importance of English in the modern world 4) Conclusion 1) Introduction Since the dawn of humanity and the rise of civilizations, language has always played a very crucial role in multiple aspects of our society. In many ways, language could be considered to be the lynchpin, or more accurately, the “brick and mortar“ in the development process of human as a species. Utilizing language, we are able to effectively communicate with each other, form meaningful emotional relationships and work together toward a common goal. Language gives us the ability to freely express our thoughts and convey even the deepest emotions without any restrains or boundaries. Furthermore, it also happens to be the essential catalyst to the human’s imaginative mind – because in fact, without language there would be no culture whatsoever. The world with no language is a place where art don’t exist, music would never be written and no literature masterpieces to enrich the human soul. And that is a dead world. Language is so important because it’s what separates us from animals and elevate humanity to the apex of natural evolution. Therefore, it is possible to say that language is inseparable from our own identity, constituting the very essence of a human being. Throughout history, there has been countless numbers of languages all over...
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...English has developed over the many years and evolved in countless ways. Throughout the period labelled Old English, 450-1150, language was modified due to large social, political, cultural and economic influences. The invasion of the Germanic tribes (Angles, Saxons and Jutes), in the 5th-8th centuries left the Celtic language displaced except in Wales and Scotland. From this, Old English developed from the invaders dialects. However, this lead to a varied language as not all dialects were the same. Majority of the basic grammatical words (e.g. the, in, was), nouns and verbs were derived from this period. Shortly after, in 8th century came the Viking invasions. The Viking’s language, Norse, was close enough to the Anglo-Saxon that the inhabitants were able to communicate successfully. Though the Vikings still took over a large amount of the Anglo-Saxon kingdoms, particularly in the north and east of the country. Similarly to the Anglo-Saxons, Norse is the reason for many common Standard English words such as get, take, angry, awkward, they, she and more have survived through the years. The rest of the country was still lead by the original invaders, which all had their own dialects. The Angles had 2 main dialects; Mercian in the Midlands and Northumbrian in the north, Kentish was spoken by the Jutes and West Saxon was spoken in the rest of England (south of the Thames and west as far as Cornwall). Due to the large sum of dialects throughout England, all texts were hand written...
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...1 ETYMOLOGICAL ANALYSIS OF MODERN ENGLISH VOCABULARY The modern English vocabulary falls into two main sets: native words and borrowings. Native words belong to the original English word-stock and are known from the earliest Old English manuscripts. It is customary to subdivide native words into those of the Indo-European stock and those of the common Germanic origin. The former have cognates in the vocabularies of all or most Indo-European languages, whereas the latter have cognates only in Germanic languages, but not in Romance, Slavonic or other languages of the Indo-European family. Several linguists are inclined to the opinion that there exist specifically English words which have no cognates in other languages and constitute the English proper element of the vocabulary. The degree of assimilation depends upon the length of period during which the word has been used in the receiving language, upon its importance for communication purpose and its frequency. Oral borrowings due to personal contacts are assimilated more completely and more rapidly than literary borrowings, i.e. borrowings through written speech. Loan words according to the degree of assimilation fall into three groups: a) completely assimilated loan words, b) partially assimilated loan words, c) unassimilated loan words or barbarisms. The group of partially assimilated words may be subdivided depending on the aspect that remains unaltered, i.e. according to whether the word retains features of spelling, pronunciation...
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...1. Old English Poetry Old English poetry was written during A.D. 650 to 1100. Often called Anglo-Saxon literature, the poetry was written in the old English language. The first characteristic is structure of the poetry. In Old English poetry, each line is broken into two sections called verses or half lines. The first verse is called the on verse, and the second is called the off verse. A pause called a caesura is between the on and off verses. The second is alliteration. Because, one of the most predominant characteristics of Old English poetry is the use of alliteration. Alliteration is the repeated use of the same consonant or vowel sound in different words. In Old English poetry, the alliteration was completed on stressed words beginning with the same consonants or on any vowel sound. The third characteristic is Meter and Rhythm. In Old English poetry, five rhythm types were common. The rhythms were represented by "lift," which means stressed syllable, and "drop," which means unstressed syllables. The five patterns are (1) lift, drop, lift, drop; (2) drop, lift, drop, lift; (3) drop, lift, lift, drop; (4) lift, lift, half-lift, drop or lift, lift, drop, half-lift; and (5) lift, half-lift, drop, lift. The last characteristic of poetry in old English is compound. It was useful to poets focusing on creating alliterations and keeping the rhythm and meter of the poem itself consistent. Three types of compounds occur in Old English poetry. In one type of compound, one...
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...EN5314 Roots and Development of English 2014-15 Coursework assignment 1 (Old English) This assignment is worth 25% of your overall mark for this module Please submit your answers electronically, as a PDF document, by the deadline: Thursday 11th December 2014, 12noon Instructions This work must be completed on your own. Working with others is not permitted. Please word process all of your answers and convert your document to a PDF. Your student assessment number (but not your name) must be included on your coursework. Carefully follow the instructions on how to present your answers. Lack of clarity in your answers may lead to deductions in marks. Answer ALL the questions. SECTION A 1) Transcribe sentences a) – d) below as they might have been pronounced in the Old English period, using the phonemic alphabet. A modern English transliteration has been provided for reference only. Remember that a macron (line above a letter) indicates a long vowel. NB: Please use http://ipa.typeit.org/full/ and http://icelandic.typeit.org/ for the relevant phonemic symbols which are not part of the standard keyboard. 2) Identify all the noun phrases in sentences a) to d) below and in each case rewrite them in Old English and label them according to whether they are in the nominative, accusative, genitive or dative case. You must label all and only those words which form part of each noun phrase. A modern English transliteration has been provided...
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...One could be forgiven for believing that the words ‘fiction’ and ‘novel’ mean one and the same thing. The main reason for this confusion is that both of them have a common denominator; they both tell a story. In the novel, we have the theatre of life and for over two centuries it has been the most effective agent of the moral imagination. Though it has never really achieved perfection in form and its shortcomings are numerable, nevertheless one experiences from it not only the extent of human variety, but also the value of this variety. Fiction existed right from the first time man told a story and thus it is in this respect only, that it is similar to the forerunner of the novel as we know it today, which is any work of fiction in England written before 1670. Novelists express their conscious conclusions about life as they experience it and these manifest themselves not only in the characters they create and their interaction with each other, but also in the way they make them react or respond to the various situations in which they find themselves and in what they say within these situations. They are relatively free to choose their material, but their conclusions about life and the nature of their novels are dependent on their innate personality, as this affects not only the way in which they present their characters, but also our own understanding and response to their inherent values and behaviour. In this sense, novelists can be seen as mediators between their characters...
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...CAROLYN L GASEFETE CHILD GUIDANCE HOPE FOUNTAIN MASTER GUIDE CLUB As parents we have the obligation of giving physical, mental and spiritual instruction. These 3 elements of a balanced character have been looked more in depth through the book Child Guidance, but this paper is just a sneak peak of what it entails. Physical - Health - What are we feeding our children? Is it food that will give them strength and a clear mind to fight their battles each day. "Our bodies are constructed from what we eat; and in order to make tissues of good quality, we must have the right kind of food, and it must be prepared with such skill as will best adapt it to the wants of the system. It is a religious duty for those who cook to learn how to prepare healthful food in a variety of ways, so that it may be both palatable and healthful." {CG 373.2} Exercise - "In the children and youth an ambition should be awakened to take their exercise in doing something that will be beneficial to themselves and helpful to others. The exercise that develops mind and character, that teaches the hands to be useful and trains the young to bear their share of life's burdens, is that which gives physical strength and quickens every faculty. And there is a reward in virtuous industry, in the cultivation of the habit of living to do good." {AH 506.2} Learning a trade - "Schools should be established that, in addition to the highest mental and moral culture, shall provide the best possible facilities...
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...SKILL AND IMPORATANCE TOOLS IN DECOVERING YOUR DESTINY Destiny mean the aspiration of your soul being whispered to you on a daily basis, more so destiny follow your purpose the one you were created for, doing that one thing that makes you sing to do it, that one thing make you believe in the greatness and joy that life has to offer. Following a destiny is the closest thing to living your truth as a human being “Gen 12:1” when God call Abram he aspect is destiny and he also follow God instruction. “Job 2:1” when Satan attack job health and everything job till stand and aspect is destiny, because destroy is the closest thing to live your truth as a human being. Destiny can frighten you, it challenges the soul and ask it to because something that seems impossible, this is when you know you are on the right track, Isaiah 41:10-11 “fear thou not, for I am with thee, be not dismayed, for I am thy God ,I will strengthen three-year, I will help thee yea, I will uphold thee the right hand of my righteousness. Behold, all they were incensed against thee shall be ashamed and confounded, they shall be as nothing, and they that strive with thee shall perish”. Destiny give you comfort when your world in upside down r falling apart, your destiny beg you to believe and believe even more in yourself. Destiny strengthen your character and helps you to stretch your already thinning faith to surrender more,this is when you know you have allowed your destiny to guide your life people will...
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...Is this a dagger which I see before me, The handle toward my hand? Come, let me clutch thee. I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible To feeling as to sight? Or art thou but A dagger of the mind, a false creation, Proceeding from the heat-oppressèd brain? I see thee yet, in form as palpable As this which now I draw. Thou marshall’st me the way that I was going, And such an instrument I was to use. Mine eyes are made the fools o' th' other senses, Or else worth all the rest. I see thee still, And on thy blade and dudgeon gouts of blood, Which was not so before. There’s no such thing. It is the bloody business which informs thus to mine eyes. As he looked their seemed to be a dagger Hanging there. He closed his eyes and opened them again. It was still there the handle ready for him to grab. So he tried to grab it. His hand went right through it: it was there and yet he couldn't touch it. Was it his imagination, a phantom created in his sick mind? As he took out his own, dagger: the phantom dagger pointed to Duncan's room. He knew he was seeing things but it seemed real. When he looked again there was blood on it, which wasn’t there before. This was crazy. It couldn’t be real. He knew it was the violence from his mind that was manifesting in the form of the bloody dagger. As he stood there his mind was filled with murder and other horrible images and it scared him. Will all great Neptune’s ocean wash this blood Clean from my...
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...The text under analysis belongs to the tragedy genre of drama. I have chosen an abstract from the Shakespearean play “Romeo and Juliet”, especially the conversation between the protagonists. Key words of especially this abstract are “name” and “love”. They are repeated many times. And no wonder, we know, that one of the main themes of this play is unhappy love of the main characters. Concept of love is percepted by the reader in two meanings: something high and beautiful and dark, unlucky at the same time. The second word is name. Because the name is the only reason they can’t be together, they hate their names and would be happy to change them, if only they could: “ 'Tis but thy name that is my enemy” “By a name I know not how to tell thee who I am: My name, dear saint, is hateful to myself, Because it is an enemy to thee; Had I it written, I would tear the word”. As to the compositional structure, this abstract consists of dialogues, monologues and author’s remarks. It should be mentioned, that the role of author’s remarks is used to the description of the place, changing of the characters on stage. In this text remarks are almost absent: “Enter ROMEO”, “Nurse calls within”. The structure of dialogues isn’t homogeneous. Replicas of the characters are different in terms of length. It depends on the topic of conversation: when they discuss their feelings, replicas are rather long: “'Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What's...
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...Had we but world enough and time, This coyness, lady, were no crime. We would sit down, and think which way To walk, and pass our long love’s day. Thou by the Indian Ganges’ side Shouldst rubies find; I by the tide Of Humber would complain. I would Love you ten years before the flood, And you should, if you please, refuse Till the conversion of the Jews. My vegetable love should grow Vaster than empires and more slow; An hundred years should go to praise Thine eyes, and on thy forehead gaze; Two hundred to adore each breast, But thirty thousand to the rest; An age at least to every part, And the last age should show your heart. For, lady, you deserve this state, Nor would I love at lower rate. But at my back I always hear Time’s wingèd chariot hurrying near; And yonder all before us lie Deserts of vast eternity. Thy beauty shall no more be found; Nor, in thy marble vault, shall sound My echoing song; then worms shall try That long-preserved virginity, And your quaint honour turn to dust, And into ashes all my lust; The grave’s a fine and private place, But none, I think, do there embrace. Now therefore, while the youthful hue Sits on thy skin like morning dew, And while thy willing soul transpires At every pore with instant fires, Now let us sport us while we may, And now, like amorous birds of prey, Rather at once our time devour Than languish in his slow-chapped power. Let us roll all our strength and all Our sweetness up...
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...An Inspirational Thought Ten Commandments of Human Relations By Author Unknown 1. Speak to People. There is nothing as nice as a cheerful word of greeting. 2. Smile at People. It takes 72 muscles to frown, but only 14 to smile! 3. Call People by Name. The sweetest music to anyone's ear is the sound of his or her own name. 4. Be Friendly and Helpful. If you would have friends, be friendly. 5. Be Cordial. Speak and act as if everything you do were a real pleasure. 6. Be Genuinely Interested in People. You can like everyone if you try. 7. Be Generous with Praise, Cautious with Criticism. Praise will win out when it comes to gaining friends. 8. Be Considerate of the Feelings of Others. It will be appreciated. 9. Be Thoughtful of the Opinions of Others. People love their opinions as they do their own children, calling them ugly won't get you anything but anger. 10. Be Alert to Give Service. What counts most in life is what we do for others! "THE TRUE DECALOGUE" by Apolinario Mabini First. Thou shalt love God and thy honor above all things: God as the fountain of all truth, of all justice and of all activity; and thy honor, the only power which will oblige thee to be faithful, just and industrious. Second. Thou shalt worship God in the form which thy conscience may deem most righteous and worthy: for in thy conscience, which condemns thy evil deeds and praises thy good ones, speaks thy God. Third. Thou shalt cultivate the special gifts which God has granted...
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...From fairest creatures we desire increase, That thereby beauty's rose might never die, But as the riper should by time decease, His tender heir might bear his memory: But thou contracted to thine own bright eyes, Feed'st thy light's flame with self-substantial fuel, Making a famine where abundance lies, Thy self thy foe, to thy sweet self too cruel: Thou that art now the world's fresh ornament, And only herald to the gaudy spring, Within thine own bud buriest thy content, And, tender churl, mak'st waste in niggarding: Pity the world, or else this glutton be, To eat the world's due, by the grave and thee. As the opening sonnet of the sequence, this one obviously has especial importance. It appears to look both before and after, into the future and the past. It sets the tone for the following group of so called 'procreation' sonnets 1-17. In addition, many of the compelling ideas of the later sonnets are first sketched out here - the youth's beauty, his vulnerability in the face of time's cruel processes, his potential for harm, to the world, and to himself, (perhaps also to his lovers), nature's beauty, which is dull in comparison to his, the threat of disease and cankers, the folly of being miserly, the need to see the world in a larger sense than through one's own restricted vision. . From fairest creatures we desire increase, fairest creatures = all living things that are beautiful. increase = procreation, offspring. A reference also to the increase...
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...My Last Farewell 1 Farewell, dear Fatherland, clime of the sun caress'd, Pearl of the Orient seas, our Eden lost! Gladly now I go to give thee this faded life's best, And were it brighter, fresher, or more blest, Still would I give it thee, nor count the cost. 2 On the field of battle, 'mid the frenzy of fight, Others have given their lives, without doubt or heed; The place matters not--cypress or laurel or lily white, Scaffold of open plain, combat or martyrdom's plight, 'Tis ever the same, to serve our home and country's need. 3 I die just when I see the dawn break, Through the gloom of night, to herald the day; And if color is lacking my blood thou shalt take, Pour'd out at need for thy dear sake, To dye with its crimson the waking ray. 4 My dreams, when life first opened to me, My dreams, when the hopes of youth beat high, Were to see thy lov'd face, O gem of the Orient sea, From gloom and grief, from care and sorrow free; No blush on thy brow, no tear in thine eye 5 Dream of my life, my living and burning desire, All hail! cries the soul that is now to take flight; All hail! And sweet it is for thee to expire; To die for thy sake, that thou mayst aspire; And sleep in thy bosom eternity's long night. If over my grave some day thou seest grow, In the grassy sod, a humble flower, Draw it to thy lips and kiss my soul so, While I may feel on my brow in the cold tomb below The touch of thy tenderness, thy breath's warm power. Let the moon...
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...How is it that ye sought me? wist ye not that I must be about my Father's business? Suffer it to be so now: for thus it becometh us to fulfill all righteousness. It is written, Man shall not live by bread alone, but by every word that proceedeth out of the mouth of God. It is written again, Thou shalt not tempt the Lord thy God. Get thee behind me, Satan; get thee hence: for it is written, Thou shalt worship the Lord thy God, and him only shalt thou serve. What seek ye? Come and see. Thou art Simon the son of Jona: thou shalt be called Cephas. Follow me. Behold an Israelite indeed, in whom is no guile! Before that Philip called thee, when thou wart under the fig tree, I saw thee. Because I said unto thee, I saw thee under the fig tree, believest thou? thou shalt see greater things than these. Verily, verily, I say unto you, Hereafter ye shall see heaven open, and the angels of God ascending and descending upon the Son of man. Woman, what have I to do with thee? mine hour is not yet come. Fill the waterpots with water. Draw out now, and bear unto the governor of the feast. Take these things hence, make not my Father's house a house of merchandise. Destroy this temple, and in three days I will raise it up. † Verily, verily, I say unto thee, Except a man be born again, he cannot see the kingdom of God. Verily, verily, I say unto thee, Except a man be born of water and of the Spirit, he cannot enter into the kingdom of God. That which is born of the flesh is flesh:...
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