Verb Conjugation, Pronouns, Textual Properties, and Literature
Verb Conjugation
Verbs are classified by: Person (1st, 2nd, 3rd), Number (Singular, Plural), Tense, Aspect (Perfect, Imperfect), and Mode (Imperative, Subjunctive, Indicative).
Indicative Mode
- Present: -o (e.g., singing)
- Perfect: Participle + auxiliary verb
- Imperfect: -ava (e.g., singing-ava)
- Pluperfect: had + participle
- Past Simple: -and (e.g., song-and)
- Past Anterior: haguí/hagué + participle
- Future: are + future tense (e.g., I will + participle)
- Conditional: aria-singing (e.g., should/haguera + participle)
- Conditional Perfect: should + haguera + participle
Subjunctive Mode
- Present: Canto-and
- Perfect: have + participle
- Imperfect: Canto-is
- Pluperfect: Had + participle
Imperative Mode
– / cannot-in / voice-and /-me singing / song-eu / singing-in
Pronouns
Pronoun usage:
- CC / CRV / C.PRED + de: en (in, n in-n)
- CC / CRV / C.PRED + of: it (there, there)
- CD: el, la, los, las (determinate); In (indeterminate); Ho (neutral)
- Attribute: el, la, los, las; Ho (indeterminate)
- CI: you there, the
Broken Mirror (Novel Analysis)
Broken Mirror is a psychological novel. It is interested in the intimate analysis of characters who, while fighting their enemies, discover the meaning of life and their own identity. The work unfolds through a series of symbolic images that evolve. The symbolic world also unfolds throughout the novel with a multitude of details with double meanings. Broken Mirror is a treatise on narrative techniques, combining different perspectives: author, narrator, and character. Rodoreda uses Editorial Omniscience (3rd person narration, in the past, combining scene and case), Narrative Omniscience (3rd person narration of a single character), Objectivity of the narrator (3rd person narration of external events), and Absence of narrator (Live Presentation in 1st person, what the person thinks at that time). The importance of secrets is very relevant in the third part, where everything becomes fantastic and wonderful. This is why it is called Broken Mirror (it does not reflect reality).
Troubadour Literature
Troubadour literature originated in Occitan courts during the 12th and 13th centuries. It is based on courtly love, parallel to feudalism, where allegiance is sworn to a noble. These individuals are monitored by lausengiers (friends and servers) and gilós. It is represented by troubadours and distributed by minstrels. Their genres include:
- Dance and Ballad: Stories of lost love, intended to be danced to.
- Song: Expresses feelings of love.
- Dawn: Disappointment of lovers after spending the night together, when they must separate.
- Pastorela: Meeting between a knight and a shepherdess in the fields, where the knight tries to seduce her.
- Cry: Funeral lament for the death of someone.
- Sirventes: Moralistic poetry.
Textual Properties
Textual properties include:
- Coherence: Thematic unity of meaning in the text. It must include general information and exclude unnecessary details.
- Cohesion: Well-constructed and interconnected sentences through connectors, punctuation, and maintenance of reference (ellipsis, pronominal and lexical substitution). Resources for cohesion based on reference include:
- Coreference: Direct link between two elements.
- Anaphora: Related elements share the same reference.
- Pro-forms: Alternative relationships that replace text elements.
- Repetition: Lexical relation.
- Ellipsis: Deletion of text snippets.
- Lexical Substitution: Synonyms (hipònim, e.g., automobile-van; hiperònim, e.g., fruit), periphrasis (e.g., Barca, the club, the Champion), metaphor.
- Morphological Matching: Gender, number, person, tense, mode, aspect.
- Connection-Based Resources: Connectors, verbal flexion.
- Adequacy: Choosing the most suitable code for each situation.
- Language Correction: Avoiding two types of errors: vulgarisms (e.g., “borate night”) and barbarisms (words taken from other languages).