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Contents |
5 |
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List of Figures |
7 |
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List of Tables |
9 |
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Introduction |
11 |
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Bibliography |
20 |
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Voicing the ‘Knacker’: Analysing the Comedy of the Rubberbandits |
22 |
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1 Introduction |
22 |
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2 Background: Limerick ‘Citaay’ and the Rubberbandits |
24 |
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2.1 Limerick City |
24 |
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2.2 The Rubberbandits |
27 |
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3 Data and Methodology |
31 |
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4 Analysis and Discussion |
34 |
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5 Conclusion |
43 |
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Bibliography |
50 |
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He’s After Getting Up a Load of Wind: A Corpus-Based Exploration of be + after + V-ing Constructions in Spoken and Written Corpora |
55 |
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1 Introduction |
55 |
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2 The be + after + v-ing Structure: A Distinctive Feature of IrE |
56 |
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3 This Study |
60 |
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4 Findings from This Study |
63 |
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5 Functions of the After Construction |
66 |
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5.1 Focus on Immediate Outcome/Recency |
67 |
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5.2 Past as Narrative Device |
67 |
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5.3 Comparing (ha)ve (just) + pp. V after +ing |
68 |
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6 Conclusions |
70 |
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Appendix: Contemporary Irish Authors |
71 |
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Bibliography |
78 |
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‘I Intend to Try Some Other Part of the Worald’: Evidence of Schwa-Epenthesis in the Historical Letters of Irish Emigrants |
82 |
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1 Introduction |
82 |
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1.1 Epenthesis in Irish English |
83 |
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1.2 Egodocuments: Voices from the Past |
84 |
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1.3 CORIECOR: Discourse across the Oceans |
86 |
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2 Methodology |
88 |
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2.1 Challenges |
89 |
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3 Epenthesis in CORIECOR |
92 |
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3.1 Clusters and Environments |
95 |
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3.2 Geographical and Social Factors |
99 |
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4 Conclusions |
104 |
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Bibliography |
109 |
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NEG/AUX Contraction in Eighteenth-Century Irish English Emigrant Letters |
112 |
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1 Introduction |
112 |
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1.1 Negation Patterns in English: NEG/AUX Contraction Versus Full Form |
114 |
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1.2 Aim and Scope |
116 |
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2 Methodology |
117 |
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3 Findings |
121 |
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3.1 NEG/AUX Contraction with be |
122 |
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3.2 NEG/AUX Contraction with will |
123 |
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3.3 Geographic Origin of the Letter Writers |
125 |
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3.4 Biological Sex |
127 |
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4 Social Stratification |
130 |
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5 Conclusions |
134 |
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Bibliography |
141 |
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A Corpus-Based Approach to Waiting for Godot’s Stage Directions: A Comparison between the French and the English Version |
145 |
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1 Introduction |
145 |
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2 Beckett and Bilingualism |
147 |
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3 Methodology |
148 |
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4 Analysis |
153 |
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5 Differences between Waiting for Godot and En Attendant Godot |
158 |
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6 Conclusion |
167 |
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Bibliography |
171 |
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Samuel Beckett’s Irish Voice in Not I |
174 |
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Bibliography |
188 |
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Bernard Shaw and the Subtextual Irish Question |
192 |
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Bibliography |
211 |
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Voices from War, a Privileged Fado |
214 |
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1 Fado alexandrino and El raro privilegio |
215 |
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2 War and Fiction, Argentina and Portugal |
218 |
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3 Being Back in the Motherland |
220 |
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4 A Category of Other(s) |
222 |
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5 Dislocated Voices |
223 |
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6 Conclusion |
232 |
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Bibliography |
237 |
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A Century Apart: Intimacy, Love and Desire from James Joyce to Emma Donoghue |
239 |
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1 From James Joyce’s ‘The Dead’ to Emma Donoghue’s ‘Speaking in Tongues’ |
239 |
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2 On the Desire for, and Fear of, Love and Intimacy |
243 |
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3 Voicing Resistance, Love and Desire in ‘The Dead’ |
247 |
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4 Voicing Love and Desire in ‘Speaking in Tongues’ |
253 |
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5 Intimacy and Vulnerability in ‘The Dead’ and ‘Speaking in Tongues’ |
258 |
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Bibliography |
265 |
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Foreign Voices and the Troubles: Northern Irish Fiction in French, German and Spanish Translation |
268 |
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1 The Challenge of Translating Northern Irish Voices |
268 |
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2 Reproduced, Silenced and Added Voices in Translation |
270 |
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3 Transferring Local Humour into a New Environment |
274 |
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4 ‘The Blah Blah Blackberries’: Experimenting with the Sense of Nonsense |
277 |
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5 Struggling with the ‘Untranslatable’: The Difficulty of Transferring Telling Titles |
281 |
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6 Misunderstanding Local Behaviour |
284 |
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7 Conclusion |
288 |
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Bibliography |
291 |
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Index |
293 |
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