5 The Epistolary Mode as First- and Second-Person Narration in the Single-Letter Story

2021 ◽  
pp. 65-85
Keyword(s):  
2017 ◽  
Vol 11 (1) ◽  
pp. 65-94 ◽  
Author(s):  
Leyla Ozgur Alhassen

In this study, I explore verses in the Qur?an that come towards the end of stories and use a second-person address to say, “you were not there” when this happened. I seek to understand what literary function in the story it serves to address the second person and her/ his lack of knowledge, whomever s/he is. I locate all of these verses (3:44, 11:49, 12:102 and 28:44–46) and analyze them in order to obtain a better understanding and analysis of Qur?anic literary style. I focus on what these stories have in common and how the verses function. In addition, I analyze the verses and their roles in their respective stories. Through this analysis, we see that these verses are generally seen by commentators and modern scholars as asserting the Prophet’s authority and the Qur?an’s authenticity. However, I argue that these verses function as a sophisticated Qur?anic literary and rhetorical device that works to put people in their place: Prophet Mu?ammad, his contemporaries, and all of the Qur?an’s audience, by showing them their lack of knowledge and their temporality.


2016 ◽  
Vol 1 (2) ◽  
pp. 23
Author(s):  
MUNIRAH MUNIRAH ◽  
HUSAIN SYARIFUDDIN

This study aimed to describe the value of cohesion and coherence contained in the translation of the Qur'an surah Al Zalzalah. This study was a qualitative descriptive research, research data collection techniques using three techniques namely, inventory, rading and understanding, and record keeping. The data analysis used the coding of data, classification data, and the determination of the data. The results showed that the cohesion markers used in the translation of surah Al Zalzalah discourse are: 1) reference, 2) pronouns, ie pronouns second person, and third, the relative pronoun, the pronoun pointer, pen pronouns and pronouns owner, 3 ) conjunctions, namely temporal conjunctions, coordinating conjunctions, subordinating conjunctions, and conjunctions koorelatif, and 4) a causal ellipsis. It mean that there was a coherence in the translation of surah Al Zalzalah discourse are: the addition or addition, pronouns, repetition or repetition, match words or synonyms, in whole or in part, a comparison or ratio of conclusions or results. Keywords: Cohesion, Coherence, sura Al Zalzalah AbstrakPenelitian ini bertujuan untuk mendeskripsikan nilai kohesi dan koherensi yang terdapat dalam terjemahan Al-Qur’an surah Al Zalzalah. Jenis penelitian ini termasuk jenis penelitian deskriptif kualitatif, Teknik pengumpulan data penelitian menggunakan tiga teknik yakni, inventarisasi, baca simak, dan pencatatan. Teknik analisis data menggunakan pengodean data, pengklasifikasian data, dan penentuan data. Hasil penelitian menunjukkan bahwa pemarkah kohesi yang digunakan dalam wacana terjemahan surah Al Zalzalah adalah: 1) referensi, 2) pronomina, yaitu kata ganti orang kedua, dan ketiga, kata ganti penghubung, kata ganti penunjuk, kata ganti penanya dan kata ganti empunya, 3) konjungsi, yaitu konjungsi temporal, konjungsi koordinatif, konjungsi subordinatif, dan konjungsi koorelatif, dan 4) elipsis kausal. Sarana koherensi yang terdapat di dalam wacana terjemahan surah Al Zalzalah adalah: penambahan atau adisi, pronomina, pengulangan atau repetisi, padan kata atau sinonim, keseluruhan atau bagian, komparasi atau perbandingan simpulan atau hasil.Kata Kunci: Kohesi, Koherensi, surah Al Zalzalah


Author(s):  
Ana Brígida Paiva

As works of fction, gamebooks offer narrative-bound choices – the reader generally takes on the role of a character inserted in the narrative itself, with gamebooks consequently tending towards being a story told in the second-person perspective. In pursuance of this aim, they can, in some cases, adopt gender-neutral language as regards grammatical gender, which in turn poses a translation challenge when rendering the texts into Portuguese, a language strongly marked by grammatical gender. Stemming from an analysis of a number of gamebooks in R. L. Stine’s popular Give Yourself Goosebumps series, this article seeks to understand how gender indeterminacy (when present) is kept in translation, while examining the strategies used to this effect by Portuguese translators – and particularly how ideas of implied readership come into play in the dialogue between the North-American and Portuguese literary systems.


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