Bourdieu and Genette in Paratext: How Sociology Counts in Linguistic Reasoning Hisham M
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Translation As a Critical Practice: Using Retranslation When Teaching
Quaderns. Revista de Traducció 21, 2014 199-209 Translation as a Critical Practice : Using Retranslation when Teaching Translation Jonathan Evans University of Portsmouth School of Languages and Area Studies Park Building, King Henry I Street, Portsmouth, PO1 2DZ, UK. [email protected] Abstract This article addresses the question of how to relate translation theory to translation practice when teaching translation. Retranslation is viewed as a critical practice (kydd 2011) that inte- grates critical engagement with existing translations and theory into practice. This critical reflexion is part of translation competence, both in Pym’s (2003) minimalist formulation and the European Master’s in Translation guidelines. Retranslation can therefore be seen to help students achieve the sort of critical awareness that is part and parcel of translation competence. A series of practical learning activities are suggested that use retranslation. These range from analyses of retranslation of the same text to commented retranslations that ask the students to explain their own process. Each of these offers ways of going beyond textual criticism to engage with wider theoretical concerns. Keywords: retranslation; translation pedagogy; reflexive practice; translation competence; commentary writing. Resum. Traduir com a pràctica crítica: la retraducció en l’ensenyament de la traducció Aquest article prova d’exposar com es pot incloure la teoria de la traducció en l’ensenyament pràctic a les aules, i considera que traduir un text ja versionat és un exercici que integra una lec- tura crítica tant del trasllat com de la teoria traductològica. Com que, tant en la formulació mini- malista de Pym (2003), com en les directrius dels màsters europeus en traducció, aquesta consciència crítica és part de la competència traductora, retraduir es pot considerar una manera d’ajudar els estudiants a aconseguir-la. -
Revisting Retranslation Hypothesis in Goethe's and Lu Xun's Selected
Vol. 4(2), pp. 19-23, February 2016 DOI: 10.14662/IJELC2016.009 International Journal of English Copy© right 2016 Author(s) retain the copyright of this article Literature and Culture ISSN: 2360-7831 http://www.academicresearchjournals.org/IJELC/Index.htm Review Revisting retranslation Hypothesis in Goethe’s and Lu Xun’s selected Works 1G.Sankar* 2K.Jaya and 3Dr.Neha Jain 1Assistant Professor, Department of English, SVS College of Engineering Ciombatore-Tamilnadu, India -641032. E-mail: [email protected] 2Assistant Professor, Department of English, SVS College of Engineering Ciombatore- Tamilnadu, India- 641032. E-mail: [email protected] 3 Assistant Professor, Department of English,University of Delhi,Delhi-India. E-mail: [email protected] Accepted 14 March 2016 Goethe’s contribution to studies on retranslation is his classification of (re)translations into three epochs, namely domestication, combination of domestication and foreignization, and foreignization. Lu Xun’s is his emphasis on the absolute necessity of retranslating. Their ideas on retranslation have important implications for contemporary retranslation research. Keywords: Goethe; Lu Xun; retranslation; classification; neccessity Cite This Article As: Sankar G, Jaya K, Jain N (2016). Revisting retranslation Hypothesis in Goethe’s and Lu Xun’s selected works. Inter. J. Eng. Lit. Cult. 4(2): 19-23 INTRODUCTION In the history of world literature, at least two authors have 1990: 4; Brownlie 2006: 148) and Lu Xun (Wu et al. 1995: discussed retranslation extensively: Goethe (Berman 531, 532, 695). The former’s discussion is somewhat 20 Inter. J. Eng. Lit. Cult. indirect but thought-provoking, while the latter’s is direct which turns poetry to prose and thus loses the original and forceful. -
The Structure of Plays
n the previous chapters, you explored activities preparing you to inter- I pret and develop a role from a playwright’s script. You used imagina- tion, concentration, observation, sensory recall, and movement to become aware of your personal resources. You used vocal exercises to prepare your voice for creative vocal expression. Improvisation and characterization activities provided opportunities for you to explore simple character portrayal and plot development. All of these activities were preparatory techniques for acting. Now you are ready to bring a character from the written page to the stage. The Structure of Plays LESSON OBJECTIVES ◆ Understand the dramatic structure of a play. 1 ◆ Recognize several types of plays. ◆ Understand how a play is organized. Much of an actor’s time is spent working from materials written by playwrights. You have probably read plays in your language arts classes. Thus, you probably already know that a play is a story written in dia- s a class, play a short logue form to be acted out by actors before a live audience as if it were A game of charades. Use the titles of plays and musicals or real life. the names of famous actors. Other forms of literature, such as short stories and novels, are writ- ten in prose form and are not intended to be acted out. Poetry also dif- fers from plays in that poetry is arranged in lines and verses and is not written to be performed. ■■■■■■■■■■■■■■■■ These students are bringing literature to life in much the same way that Aristotle first described drama over 2,000 years ago. -
Children's Literature & the Retranslation Hypothesis the Rose and the Ring
Faculteit Letteren en Wijsbegeerte Nicole De Letter Children’s Literature & the Retranslation Hypothesis The Rose and the Ring Masterproef voorgedragen tot het behalen van de graad van Master in het Vertalen 2015 Promotor Dr. Ruud Ryckaert Vakgroep Vertalen Tolken Communicatie ACKNOWLEDGEMENTS I would like to express my sincere gratitude to Dr. Ruud Ryckaert for his patient guidance, encouragement and advice throughout the course of writing this paper. I would like to thank him first and foremost for giving me the opportunity to develop my own ideas and for the time he invested in reading through my texts. In addition, I would like to thank Prof. Dr. Sonia Vandepitte for her professional linguistic advice. A heartfelt thank you to my husband for his unrelenting faith in me. 4 TABLE OF CONTENTS LIST OF TABLES ................................................................................................................... 6 LIST OF IMAGES ................................................................................................................... 8 LIST OF ABBREVIATIONS .................................................................................................. 9 1 INTRODUCTION ............................................................................................................. 10 2 RESEARCH QUESTION, AIM AND EXPECTED RESULTS ................................... 12 2.1 Research question ............................................................................................................. 12 2.2 Aim of this study -
Topic: Sentence Structure Definition: Syntax, Diction, and Grammar Create
Topic: Sentence Structure Definition: Syntax, diction, and grammar create sentence style. They work together to create effective writing. Explanation: Good writing is clear and easily understood by readers. That means the following elements of writing must be used effectively: • Syntax (sentence structure) should be as concise as possible. • Diction (word choice) should be as precise as possible. • Grammar (spelling and punctuation) should be accurate. Examples of rules in style to remember • Use simple present tense consistently when describing someone's written statement. o Example: “In another article she is saying…” or “she said…” o Better: "In another article she says…" o Note on verb tense: Research papers are typically written in past tense, and papers about literature and film are written in present tense. • To maintain formal style, avoid contractions even though they are appropriate in conversation. o Example: "I've noticed that she's written a novel that many people haven't read." o Better: "I have noticed that she has written a novel that many people have not read." • To maintain formal style, avoid writing in second person (you, your). o Example: "When you read Lincoln's words, you will understand his wisdom." o Better: "Reading Lincoln's words reveals his wisdom." • Avoid qualifiers, such as, pretty, little, rather, somewhat, very, kind of. They sound uncertain and hesitant. Go easy on the use of very. o Example: "I am pretty certain that with a little effort, you can be somewhat sure of the kind of success that most people usually hope for." o Better: "With effort, she can reach the success others hope for." Page 1 of 3 • Go easy on superlatives. -
Poetic Diction, Poetic Discourse and the Poetic Register
proceedings of the British Academy, 93.21-93 Poetic Diction, Poetic Discourse and the Poetic Register R. G. G. COLEMAN Summary. A number of distinctive characteristics can be iden- tified in the language used by Latin poets. To start with the lexicon, most of the words commonly cited as instances of poetic diction - ensis; fessus, meare, de, -que. -que etc. - are demonstrably archaic, having been displaced in the prose register. Archaic too are certain grammatical forms found in poetry - e.g. auldi, gen. pl. superum, agier, conticuere - and syntactic constructions like the use of simple cases for pre- I.positional phrases and of infinitives instead of the clausal structures of classical prose. Poets in all languages exploit the linguistic resources of past as well as present, but this facility is especially prominent where, as in Latin, the genre traditions positively encouraged imitatio. Some of the syntactic character- istics are influenced wholly or partly by Greek, as are other ingredients of the poetic register. The classical quantitative metres, derived from Greek, dictated the rhythmic pattern of the Latin words. Greek loan words and especially proper names - Chaoniae, Corydon, Pyrrha, Tempe, Theseus, Zephym etc. -brought exotic tones to the aural texture, often enhanced by Greek case forms. They also brought an allusive richness to their contexts. However, the most impressive charac- teristics after the metre were not dependent on foreign intrusion: the creation of imagery, often as an essential feature of a poetic argument, and the tropes of semantic transfer - metaphor, metonymy, synecdoche - were frequently deployed through common words. In fact no words were too prosaic to appear in even the highest poetic contexts, always assuming their metricality. -
A Utopian Journey in Turkish: from Non-Translation to Retranslation Ceyda Elgül Boğaziçi University 2011
A UTOPIAN JOURNEY IN TURKISH: FROM NON-TRANSLATION TO RETRANSLATION CEYDA ELGÜL BOĞAZİÇİ UNIVERSITY 2011 A UTOPIAN JOURNEY IN TURKISH: FROM NON-TRANSLATION TO RETRANSLATION Thesis submitted to the Institute for Graduate Studies in the Social Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Translation by Ceyda Elgül Boğaziçi University 2011 Thesis Abstract Ceyda Elgül, “A Utopian Journey in Turkish: From Non-Translation to Retranslation” This study explores the role of translation in the evolution of new contexts for foreign works. It classifies non-translation, initial translation and retranslation as the three existential forms in which translation appears and proposes that each of these forms attributes the foreign work a different translational context. Benefiting from the favorable grounds provided by the journey of Thomas More’s Utopia in the Turkish literary system, this diachronic study embraces the pre- and post-translation periods synchronously with the period in which the translation first appeared.The study firstly investigates Utopia in the Turkish literary system as a work that appeared in the form of non-translation in the period between the Tanzimat and 1964 and questions what type of a culture repertoire this non-translation contributed to. Then, it focuses on the initial translation and seeks a position for this first translation in the context of the 1960s, referring to the social dynamics of the period in which the translation first appeared after a long phase of resistance. Here, the study touches on the agency factor and explores the historical significance of the first translation in relation to the external factors that concern the agents of the translation. -
English Literature and Language Review ISSN(E): 2412-1703, ISSN(P): 2413-8827 Vol
Academic Research Publishing Group English Literature and Language Review ISSN(e): 2412-1703, ISSN(p): 2413-8827 Vol. 2, No. 6, pp: 71-73, 2016 URL: http://arpgweb.com/?ic=journal&journal=9&info=aims Goethe’s and Lu Xun’s Views on Retranslation * Chuanmao Tian Professor of English, School of Foreign Studies, Yangtze University, Hubei, 434023 P. R. China Jiying Chen Associate Professor of English, School of Foreign Studies, Yangtze University, Hubei, 434023 P. R. China Abstract: Goethe’s contribution to studies on retranslation is his classification of (re)translations into three epochs, namely domestication, combination of domestication and foreignization, and foreignization. Lu Xun’s is his emphasis on the absolute necessity of retranslating. Their ideas on retranslation have important implications for contemporary retranslation research. Keywords: Goethe; Lu Xun; retranslation; classification; necessity. 1. Introduction In the history of world literature, at least two authors have discussed retranslation extensively: Goethe (Berman, 1995) and Lu Xun (Wu, 1995). The former’s discussion is somewhat indirect but thought-provoking, while the latter’s is direct and forceful. 2. Johann Wolfgang von Goethe Goethe was a great writer as well as a translation theorist. His fragmentary and aphoristic remarks on translation in his 133 volumes of collected works have helped make the German theoretical tradition one of the world’s richest bodies of work in the field of Translation Studies (Robinson, 2006). In his West-Östlicher Divan (1819), Goethe divides translation into three kinds: 1. The first kind of translation familiarizes us with the foreign country on our own terms. 2. In the second kind of translation one seeks to project oneself into the circumstances of the foreign country, but in fact only appropriates the foreign meaning and then replaces it with one’s own. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
A Case Study of the Chinese Repository
Durham E-Theses Orientalism and Representations of China in the Early 19th Century: A Case Study of The Chinese Repository JIN, CHENG How to cite: JIN, CHENG (2019) Orientalism and Representations of China in the Early 19th Century: A Case Study of The Chinese Repository, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/13227/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ORIENTALISM AND REPRESENTATIONS OF CHINA IN THE EARLY 19TH CENTURY: A CASE STUDY OF THE CHINESE REPOSITORY Cheng Jin St. Cuthbert’s Society School of Modern Languages and Cultures Durham University This dissertation is submitted for the degree of Doctor of Philosophy 2019 March 2019 DECLARATION This dissertation is the result of my own work and includes nothing, which is the outcome of work done in collaboration except where specifically indicated in the text. -
The Retranslation Phenomenon
The Retranslation Phenomenon A Sociological Approach to the English Translations of Dickens’ Great Expectations into Arabic Shatha Abdullah Abdulrahman Al-Shaye Submitted in accordance with the requirements for the degree of PhD Centre for Translation Studies (CenTraS) University College London July 2018 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. Contents Contents ......................................................................................................................... i Figures .......................................................................................................................... ix Tables ............................................................................................................................ xi Abstract and keywords ............................................................................................. xiii Declaration ................................................................................................................. xvi Acknowledgements ................................................................................................. xviii Abbreviations .............................................................................................................. xx 1 Introduction ......................................................................................................... -
Creative Writing - Essential Curriculum
Creative Writing - Essential Curriculum CW11.10 – The student will demonstrate the ability to respond to a text by employing personal experience and critical analysis. • CW11.10.01 – Analyze how the patterns of organization, hierarchic structure, repetition of key ideas, syntax and word choice in a text influence understanding and reveal an author’s purpose. CW11.10.01a – Use scansion to analyze the meter of a poem. • CW11.10.02 – Analyze and evaluate how the literary elements of point of view, tone, imagery, voice, metaphor, and irony are used in texts for literary aesthetics. CW11.20 – The student will demonstrate the ability to compose in a variety of modes by developing content, employing specific forms, and selecting language appropriate for a particular audience. • CW11.20.01 – Write independently for an extended period of time. • CW11.20.02 – Produce literary writing and demonstrate an awareness of audience, purpose, and form using stages of the writing process as needed. • CW11.20.03 – Utilize effective structural elements of particular literary forms (e.g. poetry, short story, novel, drama, essay, biography, autobiography, journalistic writing, and film) to create works of literary merit. • CW11.20.04 – Use literary elements to compose poetry and fiction for literary aesthetics. CW11.20.04a – Use poetic elements to include consonance, assonance (and other forms of rhyme), meter (rhythm), simile, metaphor, hyperbole, understatement, personification, imagery, symbolism, syntax, parallelism, repetition, speaker’s voice, and irony. CW11.20.04b – Use poetic forms to include sonnet, haiku, ballad, blank verse, couplets, quatrains, sestets and at least 2 additional forms (ex – cinquains, villanelle, sestina, etc.).