IDÉOLOGIE ET TRADUCTION : ANALYSE DE LA VERSION FRANÇAISE « PERBURUAN » DE PRAMOEDYA ANANTA TOER

RÉSUMÉ. Cet article rapporte les résultats d’analyse de la version française du roman « Perburuan » de Pramoedya Ananta Toer, intitulé « Le Fugitif » au point de vue de l’idéologie. Afin de trouver les idéologies dans ce roman, nous utilisons la théorie de l’hégémonie de Gramsci (cité dans Adamson, 1980 ; Femia, 1987 ; et Simon, 2001). Cette étude est effectuée pour répondre à des questions : comment le traducteur traduit-il les idéologies de ce roman ? Et existe-il des différences de sens dans l’idéologie de l’auteur dans la traduction de ce roman ? Cette étude est fondée sur une analyse qualitative en prenant les phrases contenant les idéologies basées sur la théorie de l’hégémonie de Gramsci comme l’une des références pour analyser le roman traduit, à savoir « Le Fugitif ». Nous supposons que, en utilisant la théorie de l'hégémonie de Gramsci, nous avons deux idéologies telles que l'humanisme et le nationalisme. Mots-clés : Traduction, Langue, Roman, et Théorie de l’Hégémonie de Gramsci.ABSTRACT. This paper reports the results of analysis of the French version of the novel « Perburuan » by Pramoedya Ananta Toer, entitled « Le Fugitif » from the point of view of ideology. In order to find the ideologies in this novel, we use the Gramsci’s theory of hegemony (in Adamson, 1980 ; Femia, 1987 ; Simon, 2001). This study is conducted to answer the questions: how does the translator translate the ideologies of this novel? And are there differences of meaning in the author's ideology in the translation of this novel? This study is based on a qualitative analysis by taking the sentences containing the ideologies based on Gramsci's hegemony theory as one of the references to analyze the translated novel, namely « Le Fugitif ». It was assumed that by using the Gramsci's hegemony theory, we have two ideologies such as humanism and nationalism. Keywords: Translation, Language, Novel, et Gramsci’s Hegemony Theory

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CHAOS, MORAL DECADENCE, AND BETRAYAL (SATIRE IN "DI TEPI KALI BEKASI" NOVEL BY PRAMOEDYA ANANTA TOER)

LITERA ◽

10.21831/ltr.v18i1.21146 ◽

2019 ◽

Vol 18 (1) ◽

pp. 71-91 ◽

Cited By ~ 1

Author(s):

Rudy Gunawan ◽

Desvian Bandarsyah ◽

Wildan Insan Fauzi

Keyword(s):

Content Analysis ◽

Research Method ◽

Qualitative Content Analysis ◽

Social Criticism ◽

Point Of View ◽

The Novel ◽

Direct Experience ◽

Immoral Behavior ◽

Pramoedya Ananta Toer ◽

The Revolution

Indonesian revolution in 1945-1949 is a remarkable moment for all of Indonesian people which is full of heroic spirit. Interestingly, Pramoedya portrayed the revolution moment in the novel entitled “Di Tepi Kali Bekasi” with different point of view in which he used a sarcasm style of language to depicts the conditions and deliver his critics about behaviors of people from various clusters at that time. Therefore, this current study is motivated by interest to explore how satirical narrative is used in the novel. A qualitative content analysis with context unit was employed as a research method to describe and analyze in detail the description and characteristics of satire in the novel. Specifically, a concept of satire intended in this study is sarcasm, social criticism, and irony. Based on the results of analysis, there are some satirical elements in the novel namely social chaos, public unrest, bandits and robbery, betrayal, generation conflicts, youth nationalism, and immoral behavior and corruption of the army. In addition, according to Pramoedya's view, revolution is considered as an animalistic age where the revolution of soul is more important and needed by the nation instead of the armed revolution. Due to those facts, independence remains as a fake independence where unheard voice of the periphery and moral destruction are still the main problem. Generally, it is found that the satirical root in the novel is laid on two things namely Pramoedya's direct experience as a soldier and his ideas he wants to convey in the novel.Kata Kunci: Di Tepi Kali Bekasi, novel sejarah, Pramoedya Ananta Toer, satireCHAOS, DEKANDENSI MORAL, DAN PENGKHIANATAN(Satir dalam Novel Di Tepi Kali Bekasi karya Pramoedya Ananta Toer)AbstrakRevolusi fisik 1945-1949 merupakan periode yang disakralkan dan digambarkan penuh dengan semangat kepahlawanan. Namun, Pramoedya menggambarkan revolusi Indonesia dalam novel di Tepi kali Bekasi dengan gaya bahasa satir yang berisi kritikan tajam dan ironi terhadap perilaku berbagai kalangan. Tujuan penelitian ini adalah mendeskripsikan narasi satir dalam novel Di Tepi Kali Bekasi karya Pramoedya Ananta Toer. Penelitian ini menggunakan metode analisis isi kualitatif untuk menggambarkan dan menganalisis secara detail deskripsi dan karakteristik satir dalam novel. Analisis data yang digunakan adalah unit konteks. Konsep satir yang dimaksud adalah sindiran, kritik sosial, dan ironi. Unsur satir yang terdapat dalam novel adalah kekacauan sosial (chaos), keresahan masyarakat, bandit dan rampok, pengkhianatan, konflik generasi, nasionalisme pemuda, serta perilaku amoral dan korupsi tentara. Cara pandang Pramoedya mengenai revolusi adalah revolusi sebagai zaman kebinatangan, revolusi jiwa lebih berhasil daripada revolusi bersenjata, kemerdekaan hanya kemerdekaan semu, suara kaum pinggiran, dan kehancuran moral. Akar satir dalam novel Di Tepi Kali Bekasi bertumpu pada dua hal, yaitu pengalaman langsung Pramoedya sebagai tentara dan gagasan-gagasan yang ingin disampaikannya dalam novel.Kata Kunci: Di tepi kali bekasi, novel sejarah, Pramoedya Ananta Toer, Satir

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LA CENTRALITÉ LINGUISTIQUE DU FRANÇAIS DANS L’AFFICHAGE PUBLICITAIRE À MÉDÉA EN ALGÉRIE

FRANCISOLA ◽

10.17509/francisola.v1i1.2560 ◽

2016 ◽

Vol 1 (1) ◽

Author(s):

Djamel HAMIDI

Keyword(s):

Nous Avons ◽

Urban Area ◽

Point Of View ◽

Urban Spaces ◽

Mots Clés ◽

Object Of Study ◽

The City ◽

Urban Places

RÉSUMÉ. Ce travail s’attache à approcher l’affichage publicitaire de point de vue sociolinguistique. Plus précisément, Il s’agit de voir les langues en présence dans l’espace urbain de Médéa. Pour ce faire, sur le plan théorique, nous avons inscrit notre objet d’étude dans le champ de la sociolinguistique urbaine, discipline qui questionne les pratiques sociolangagières dans leur complexité. Sur le plan méthodologique, nous nous appuyons sur un corpus constitué d’affiches publicitaires. Par le biais de ce corpus, nous focalisons notre attention, d’abord, sur la distribution des langues en contexte urbain ; puis, nous nous intéressons à la place de la langue française dans le paysage graphique urbain. Notre intérêt est donc de vérifier le poids des langues affichées dans la ville de Médéa. Mots-clés : appropriation, langue, sociolinguistique. ABSTRACT. This work deals with the urban publicity boards from a sociolinguistic point of view. Mainly, it does deal with the languages presented in urban places of Médéa town. For that, theoretically, we have chosen to subscribe our object of study under the urban sociolinguistic field. This later studies sociolinguistic practices with their various complexities. From a methodological side, we have chosen a corpus consists of billboards. Using that corpus, we have focused first on the distribution of the languages on urban spaces, and after that, we have dealt with the place of French in this urban area. So, our objective is to know the value of all the languages in the city of médéa. Keywords: appropriation, language, sociolinguistic.

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KONSEP DIRI “ I “ DAN “ME” TOKOH HIROKO DALAM NOVEL NAMAKU HIROKO KARYA NH.DINI

Sosial & Humaniora ◽

10.24123/jsh.v5i2.688 ◽

2012 ◽

Vol 5 (2) ◽

pp. 109

Author(s):

Besin Gaspar

Keyword(s):

Point Of View ◽

The Other ◽

Self Concept ◽

The Novel ◽

Main Character ◽

Fictional Character ◽

Social Customs ◽

The Social ◽

The Village ◽

The City

This research deals with the development of self concept of Hiroko as the main character in Namaku Hiroko by Nh. Dini and tries to identify how Hiroko is portrayed in the story, how she interacts with other characters and whether she is portrayed as a character dominated by ”I” element or ”Me” element seen from sociological and cultural point of view. As a qualitative research in nature, the source of data in this research is the novel Namaku Hiroko (1967) and the data ara analyzed and presented deductively. The result of this analysis shows that in the novel, Hiroko as a fictional character is portrayed as a girl whose personality develops and changes drastically from ”Me” to ”I”. When she was still in the village l iving with her parents, she was portrayed as a obedient girl who was loyal to the parents, polite and acted in accordance with the social customs. In short, her personality was dominated by ”Me” self concept. On the other hand, when she moved to the city (Kyoto), she was portrayed as a wild girl no longer controlled by the social customs. She was firm and determined totake decisions of her won for her future without considering what other people would say about her. She did not want to be treated as object. To put it in another way, her personality is more dominated by the ”I” self concept.

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Wacana Kolonial dalam Novel Max Havelaar: Sebuah Kajian Poskolonial

Metahumaniora ◽

10.24198/metahumaniora.v7i3.18862 ◽

2017 ◽

Vol 7 (3) ◽

pp. 411

Author(s):

Abu Bakar Ramadhan Muhamad

Keyword(s):

Point Of View ◽

The Other ◽

The Novel ◽

Colonial Discourse ◽

The Impact ◽

The Voice

AbstrakHegemoni kolonialisme dalam budaya poskolonial merupakan alasan penelitian inikemudian mengkaji wacana kolonial dalam novel Max Havellar (MH) khususnya dampakditimbulkannya. Dampak dimaksud adalah posisi keberpihakan pemikiran tersirat darikarya tersebut. Hasil pembahasan menunjukkan, secara temporal maupun permanen MHmenyuarakan ketidakadilan dalam kondisi-kondisi kolonial menyangkut penindasan sangpenjajah terhadap terjajah. Hanya saja, upaya mengatasnamakan atau mewakili suarakaum terjajah terbukti mengimplikasikan ciri ideologis statis kerangka kolonialisme(orientalisme); yakni cara pandang Eropasentris, di mana “Barat” sebagai self adalah superior,dan “Timur” sebagai other adalah inferior. Dalam konteks poskolonialisme, MH dengan sifatkritisnya yang berupaya “menyuarakan” nasib pribumi terjajah, justru menampilkan stigmapenguatan kolonialitas itu sendiri secara hegemonik. Artinya, “menyuarakan” nasib pribumidimaknai sebagai keberpihankan kolonial yang kontradiktif, di mana stigma penguatankolonialitas justru lebih terasa, ujung-ujungnya melanggengkan hegemoni kolonial. Tidakmembela yang terjajah, tetapi memperhalus cara kerja mesin kolonial.AbstractThe hegemony of colonialism in the culture of postcolonial society is the reason this studythen examines the colonial discourse in the novel Max Havellar (MH) in particular the impactit brings. The impact in question is the implied position of thought in the work. The resultsof the discussion show that, temporarily or permanently, MH voiced injustice in the colonialconditions regarding the oppression of the colonist against the colonized. However, the effort toname or represent the voice of the colonized has proven to imply a static ideological characterin the framework of colonialism (orientalism); ie Eropacentric point of view, in which “West” asself is superior, and “East” as the other is the inferior. In the context of postcolonialism, MH withits critical nature that seeks to “voice” the fate of the colonized natives, actually presents thestigma of strengthening coloniality itself hegemonicly. That is, “voicing” the fate of the pribumiis interpreted as a contradictory colonial flare, where the stigma of strengthening colonialityis more pronounced, which ultimately perpetuates the hegemony of colonialism. No longerdefending the colonized, but refining the workings of the colonial machinery.

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Tanggapan dan Horizon Harapan Pembaca terhadap Le Petit Prince Karya A. De Saint-Exupery: Tinjauan Resepsi Sastra

Metahumaniora ◽

10.24198/mh.v8i3.20709 ◽

2018 ◽

Vol 8 (3) ◽

pp. 300

Author(s):

Tania Intan ◽

Trisna Gumilar

Keyword(s):

Research Data ◽

Point Of View ◽

Data Sources ◽

The Internet ◽

The Novel ◽

Literary Reading ◽

Reading Experience ◽

Reader Responses ◽

Qualitative Descriptive ◽

Research Type

AbstrakPenelitian ini bertujuan untuk (1) mendekripsikan tanggapan pembaca terhadap novel Le Petit Prince (2) mendeskripsikan horizon harapan pembaca terhadap novel Le Petit Prince, dan (3) mendeskripsikan faktor-faktor penyebab perbedaan tanggapan dan horizon harapan pembaca. Penelitian ini termasuk jenis penelitian deskriptif kualitatif. Data penelitian berupa teks yang memuat tanggapan pembaca novel Le Petit Princeyang terdiri dari 20 orang, sedangkan sumber datanya berupa artikel dan makalah yang dimuat di media massa cetak dan elektronik termasuk internet. Instrumen penelitian berupa seperangkat konsep tentang pembaca, tanggapan pembaca, dan horizon harapan. Teknik pengumpulan data dengan cara observasi dan data dianalisis dengan menggunakan teknik deskriptif kualitatif. Hasil penelitian yang didapat sebagai berikut. (1) Seluruh pembaca menanggapi atau menilai positif unsur tema, alur, tokoh, latar, sudut pandang, gaya bahasa, teknik penceritaan, bahasa, dan isi novel Le Petit Prince. (2) Harapan sebagian besar pembaca sebelum membaca novel Le Petit Prince sesuai dengan kenyataan ke sembilan unsur di dalam novel Le Petit Prince, sehingga pembaca dapat dengan mudah menerima dan memberikan pujian pada novel Le Petit Prince. (3) Faktor penyebab perbedaan tanggapan dan horizon harapan pembaca selain perbedaan stressing unsur yang ditanggapi juga karena perbedaan pengetahuan tentang sastra, pengetahuan tentang kehidupan, dan pengalaman membaca karya sastra.Kata kunci: tanggapan pembaca, horizon harapan, Le Petit PrinceAbstractThis study aims to (1) describe reader’s responses to the novel Le Petit Prince (2) to describe the reader's expectations horizon of Le Petit Prince's novel, and (3) to describe the factors causing differences in responses and the horizon of readers' expectations. This research is a descriptive qualitative research type. The research data consist of a set of paragraphs that contains readers' responses to Le Petit Prince's novel, while the data sources are articles and papers published in print and electronic mass media including the internet. The research instruments are a set of reader concepts, reader responses, and expectations horizon. The technique of collecting data is observation and data are analyzed by using qualitative descriptive technique. The results obtained are as follow: (1) All readers respond and valuethe theme elements,plots, characters, background, point of view, language, titles, storytelling techniques, language, and extrinsic novel Le Petit Prince positively. (2) The expectations of most readers before reading Le Petit Prince's novels are in accordance with the nine facts in Le Petit Prince's novel, so readers can easily accept and give prise to Le Petit Prince's novel. (3) Factors causing differences in responses and horizon of readers' expectations other than the stressing differences of the elements being addressed also due to the differences in knowledge of literature, knowledge of life and literary reading experience. Keywords: readers responses, expectations horizon, Le Petit Prince

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PROBLEMS OF EQUIVALENCE AND ADEQUACY IN THE TRANSLATION OF THE NOVEL “NAVOI” BY AYBEK

International journal of word art ◽

10.26739/2181-9297-2020-5-24 ◽

2020 ◽

Vol 5 (3) ◽

pp. 153-160

Author(s):

Elmurod Tursunov ◽

Keyword(s):

Translation Studies ◽

Point Of View ◽

The Novel ◽

Alternative Translation

Some inappropriatenesses and defects on the issue of equivalence and adequacy in the translated version of the novel “Navoi” by Aybek are revealed in this article. These inappropriatenesses and defects are described in great detail with the help of examples and alternative translation variants are suggested, the problems of equivalence and adequacy in translation studies are researched from the scientific point of view, as well as, views and comments of the Uzbek and foreign translators and scientists are provided on theissue of the two concepts

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L’absence chez Michel Butor. L’Emploi du temps et Degrés

Quêtes littéraires ◽

10.31743/ql.4628 ◽

2012 ◽

pp. 66-80

Author(s):

Michał Mrozowicki

Keyword(s):

Human Memory ◽

Point Of View ◽

Narrative Discourse ◽

The Novel ◽

Michel Butor ◽

Starting Point ◽

One Year ◽

The Moment ◽

Narrative Mode ◽

The City

Michel Butor, born in 1926, one of the leaders of the French New Novel movement, has written only four novels between 1954 and 1960. The most famous of them is La Modification (Second thoughts), published in 1957. The author of the paper analyzes two other Butor’s novels: L’Emploi du temps (Passing time) – 1956, and Degrés (Degrees) – 1960. The theme of absence is crucial in both of them. In the former, the novel, presented as the diary of Jacques Revel, a young Frenchman spending a year in Bleston (a fictitious English city vaguely similar to Manchester), describes the narrator’s struggle to survive in a double – spatial and temporal – labyrinth. The first of them, formed by Bleston’s streets, squares and parks, is symbolized by the City plan. During his one year sojourn in the city, using its plan, Revel learns patiently how to move in its different districts, and in its strange labyrinth – strange because devoid any centre – that at the end stops annoying him. The other, the temporal one, symbolized by the diary itself, the labyrinth of the human memory, discovered by the narrator rather lately, somewhere in the middle of the year passed in Bleston, becomes, by contrast, more and more dense and complex, which is reflected by an increasinly complex narration used to describe the past. However, at the moment Revel is leaving the city, he is still unable to recall and to describe the events of the 29th of February 1952. This gap, this absence, symbolizes his defeat as the narrator, and, in the same time, the human memory’s limits. In Degrees temporal and spatial structures are also very important. This time round, however, the problems of the narration itself, become predominant. Considered from this point of view, the novel announces Gerard Genette’s work Narrative Discourse and his theoretical discussion of two narratological categories: narrative voice and narrative mode. Having transgressed his narrative competences, Pierre Vernier, the narrator of the first and the second parts of the novel, who, taking as a starting point, a complete account of one hour at school, tries to describe the whole world and various aspects of the human civilization for the benefit of his nephew, Pierre Eller, must fail and disappear, as the narrator, from the third part, which is narrated by another narrator, less audacious and more credible.

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The Limit Situation And The Narrative Of War (On The Material Of The Novel “My Lieutenant” By Daniil Granin)

Tyumen State University Herald Humanities Research Humanitates ◽

10.21684/2411-197x-2020-6-1-90-104 ◽

2020 ◽

Vol 6 (1) ◽

pp. 90-104

Author(s):

Anatoly S. Kuprin ◽

Galina I. Danilina

Keyword(s):

20Th Century ◽

Scientific Work ◽

Point Of View ◽

Continuous Limit ◽

The Novel ◽

Term Limit ◽

Abstract Author ◽

The Third ◽

Definition Of

The purpose of this study is the analysis of limit situation in the narrative of war. The material of the study is the novel of Daniil Granin “My Lieutenant” and related texts. In the first part of the paper, the authors explore existing approaches to the term “limit situation” and similar concepts into scientific and philosophical traditions; limits of its applicability in literary studies and its relation to the categories of “narrative instances” and “event”. Proposed a literary-theoretical definition of the limit situation, which can be used in the analysis of fiction texts. Existing approaches to the examination of the situation of war are analyzed: philosophical-existential, psychoanalytic, sociological, literary. In the second part of the paper, the authors propose their method for analyzing limit situations in texts about war, which basis on existing approaches and preserves the text-centric principle of studying the structure of the story. Two interrelated areas of research have been identified: the study of war as a continuous limit situation in the intertextual aspect (the discourse of war); the study of limit situations (death, suffering, guilt, accident) in the narrative of war as part of a specific text. In the third part of the scientific work,the analysis of war as a continuous limit situation results in the study of the concept of “limit” (border) in a fiction text. The role of “limit” (border) concept in the texts about the war is studied, the possible types of limits in the discourse of war are examined. Limit situations in the narrative of war are analyzed on the basis of the novel “My Lieutenant” by Daniil Granin. A review of journalistic and scientific works about the novel revealed both the continuity and the differences between the novel and the “lieutenant” prose of the 20th century. An analysis of the limit situations in the novel revealed their key position in the narrative. These situations are independent of the fiction time, of the fluctuation of the point of view’; the function of the abstract author is to build the narrative as a “directive” immersion of the hero and narrator in these situations.

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Divi pirmās personas stāstījumi Osvalda Zebra romānā „Māra”

Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums ◽

10.37384/aplkp.2021.26-1.197 ◽

2021 ◽

pp. 197-208

Author(s):

Daiga Zirnīte

Keyword(s):

Young Woman ◽

Personal Growth ◽

Point Of View ◽

The Other ◽

Internal Conflict ◽

Narrative Form ◽

First Person ◽

The Novel ◽

Growth Path ◽

Dramatic Structure

The aim of the study is to define how and to what effect the first-person narrative form is used in Oswald Zebris’s novel “Māra” (2019) and how the other elements of the narrative support it. The analysis of the novel employs both semiotic and narratological ideas, paying in-depth attention to those elements of the novel’s structure that can help the reader understand the growth path and power of the heroine Māra, a 16-year-old young woman entangled in external and internal conflict. As the novel is predominantly written from the title character’s point of view, as she is the first-person narrator in 12 of the 16 chapters of the novel, the article reveals the principle of chapter arrangement, the meaning of the second first-person narrator (in four novel chapters) and the main points of the dramatic structure of the story. Although in interviews after the publication of the novel, the author Zebris has emphasised that he has written the novel about a brave girl who at her 16 years is ready to make the decisions necessary for her personal growth, her open, candid, and emotionally narrated narrative creates inner resistance in readers, especially the heroine’s peers, and therefore makes it difficult to observe and appreciate her courage and the positive metamorphosis in the dense narrative of the heroine’s feelings, impressions, memories, imaginary scenes, various impulses and comments on the action. It can be explained by the form of narration that requires the reader to identify with the narrator; however, it is cumbersome if the narrator’s motives, details, and emotions, expressed openly and honestly, are unacceptable, incomprehensible, or somehow exaggerated.

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Hypertextuality and the Economic Novel in Zimbabwe

Matatu ◽

10.1163/18757421-04902009 ◽

2017 ◽

Vol 49 (2) ◽

pp. 400-415

Author(s):

Maurice Taonezvi Vambe

Keyword(s):

Point Of View ◽

Hard Copy ◽

The Novel ◽

Ordinary People ◽

African Countries ◽

Narrative Style ◽

Great Ease ◽

New Type ◽

Novelistic Form ◽

Source Of Information

Abstract Recent surges and advances in the popular use of electronic technology such as Internet, email, iPad, iPhone, and touch-screens in Africa have opened up great communicative possibilities among ordinary people whose voices were previously marginalized in traditional elitist media. People far apart geographically and living in different times can communicate rapidly and with great ease. This technological revolution has challenged and broken down boundaries of dependence on television, newspapers, and novels, the traditional forms of communication. It is now possible to upload a novel onto an iPad and read it as one moves from place to place. The burden of carrying hard copies is relieved but not eradicated; in most African countries, including Zimbabwe (the centre of focus in the present article), the creative work of art or hard copy of a novel is still relied upon as source of information. There are creative, experimental innovations in the novel form in Zimbabwe which to some extent can justify one’s speaking of a hypertextual novel. This new type of novel incorporates multiple narratives, and sometimes deliberately uses genres such as the email form as a constitutive narrative style that confirms as well as destabilizes previous assumptions of single coherent stories told from one point of view. Using the concepts of hypertextuality, intertextuality, and Bakhtin’s notions of carnivalesque and heteroglossia in speech and written utterances, this article reconsiders the implications of the presence of ideologies of hypertextuality in one novel from Zimbabwe, Nyaradzo Mtizira’s The Chimurenga Protocol (2008). The article argues that the multiplicity of narratives constitutes the hypertextual dimension of the novelistic form.

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