scholarly journals Humour Loss in the Indonesian Translation of Harry Potter and the Sorcerer's Stone

2019 ◽  
Vol 9 (1) ◽  
Author(s):  
Issy Yuliasri ◽  
Pamela Allen
Keyword(s):  
Harry Potter ◽  
The Novel ◽  
Culturally Specific ◽  
Young Readers

This article explores the preservation of humour in the Indonesian translation of Harry Potter and the Sorcerer’s Stone. Through the use of questionnaires completed by young readers aged 12-15 years old, we examine whether passages in the novel that are deemed humorous in the English original are also perceived as such by Indonesian readers. Our findings reveal the complexity of translating linguistic and culturally-specific humour in a novel. We conclude that the Indonesian translator of Harry Potter and the Sorcerer’s Stone adopted an interpretative-communicative method of translation. In doing so, some compromises were made, particularly, through simplification, which frequently resulted in humour loss.

A STUDY ON HOW LONG AND SHORT SENTENCES SHOW THE STORY’S PACING IN ANTHONY HOROWITZ’S RAVEN’S GATE

JURNAL SPHOTA ◽  
2019 ◽  
Vol 11 (2) ◽  
pp. 22-31
Author(s):  
I Wayan Sidha Karya ◽  
Ida Bagus Adhika Mahardika
Keyword(s):  
Empirical Study ◽  
Harry Potter ◽  
Sentence Length ◽  
The Novel ◽  
Story Line ◽  
General Audience ◽  
Grammatical Form ◽  
Average Sentence ◽  
The One ◽  
The Impact

Long and short sentences affect the reader’s pace of reading story since they have to farce the complexity of the sentences and words used in it. In this study the impact of the use of long and short sentences on the pace of the story as implemented by Anthony Horowitz, a novelist, in his novel Raven’s Gate, is being explored. Especially the researchers looked at what types of long and short sentences were being used in the novel and how they were building up the story line and their effect on the pace of the story. A sentence with the length of up-to fourteen (14) words is considered to be short and the one over 14 words is considered to be long in spite its grammatical form, whether it is simple or complex. The criteria are based on empirical study as mentioned by Casi Newell in the AJE (American Journal Experts) retrieved from https://www.aje.com/en/arc/editing-tip-sentence-length/, that “the average sentence length in scientific manuscripts is 12-17 words,” with JK Rowling—the writer of Harry Potter—who can be considered to be representative of a modern English writer with a general audience, having the average of 12 words. For convenience we take the liberty of taking 14 words for the longest sort sentences and those which have 15 or more words are considered to be long sentences

scholarly journals At Play on the Borders of the Diegetic: Story Boundaries and Narrative Interpretation

2003 ◽  
Vol 35 (1) ◽  
pp. 591-632 ◽  
Author(s):  
Margaret Mackey
Keyword(s):  
Computer Game ◽  
Border Crossing ◽  
Common Element ◽  
Game Playing ◽  
The Novel ◽  
Narrative Texts ◽  
Special Effects ◽  
Young Readers ◽  
Scene Construction ◽  
Narrative Interpretation

Working with young readers, aged 10 to 14, as they responded to narrative texts in a variety of media (Mackey, 2002), I observed a recurring phenomenon: In a variety of ways they repeatedly stepped in and out of the fictional universe of their different stories. Some examples will perhaps give the flavor of this experience: Two 14-year-old girls playing Starship Titanic alternate between lively engagement in the narrative world of the story and stepping outside the fiction to console themselves, “Oh well, if we die, we can just start again.” A 10-year-old girl speaks of alternating between the novel and the computer game of My Teacher is an Alien, using the novel as a source of game-playing repertoire. Two 10-year-old boys look at the DVD of the film Contact, learning how the special effects of an explosion scene were composed, and commenting on how their new awareness of scene construction would affect how they view the film in the future. As I recorded and analyzed numerous examples of such behaviors, I was struck by a common element of interpretive activity on the boundaries of the fictional universe. Sensitized to the topic, I began to notice, and then to collect, examples of contemporary texts that foster various forms of such border crossing, in and out of the diegesis, the framework of events as narrated in the text. This article explores how an awareness of this aspect of contemporary texts may enhance our understanding of interpretive processes and expand what happens in literature classes.

scholarly journals ‘DEATH’S OTHER KINGDOMS’: DEATH AND THE AFTERLIFE IN SOME RECENT FANTASIES FOR YOUNG ADULTS

Mousaion ◽  
2016 ◽  
Vol 32 (4) ◽  
pp. 141-153
Author(s):  
Molly Brown
Keyword(s):  
Young Adults ◽  
Young Adult ◽  
Human Mind ◽  
Harry Potter ◽  
His Dark Materials ◽  
Safe Spaces ◽  
Young Readers ◽  
Adolescent Readers

Trites (2000:117) argues that death is a biological imperative that possibly operates even more powerfully on the human mind than sexuality. In this article it will be suggested that coming to terms with the inevitability of mortality is a key maturational task, but that popular young adult fantasies dealing with immortal vampires or decaying zombies usually offer little or no support to adolescents struggling to deal with this issue. By contrast, it will be suggested that novels such as those in Terry Pratchett’s Johnny Maxwell series, JK Rowling’s Harry Potter series, Ursula Le Guin’s Earthsea series and Philip Pullman’s His dark materials trilogy provide adolescent readers with safe spaces in which to explore not only the threat of death, but a range of social and religious approaches to the problem. In this way, young readers may be encouraged to accept themselves, in Heidegger’s (1962 [1927]:304–307) terms, as ‘Being-towards-death’ and eventually even be empowered by such an acknowledgement.

scholarly journals The Foregrounding Function of Praesens Historicum in Russian Translated Adventure Narratives (20th Century)

Slovene ◽  
2016 ◽  
Vol 5 (1) ◽  
pp. 226-248 ◽  
Author(s):  
Anastasia V. Urzha
Keyword(s):  
Discourse Analysis ◽  
English Language ◽  
The Novel ◽  
Functional Grammar ◽  
Young Readers ◽  
Translation Strategy ◽  
Common Basis ◽  
Narrative Forms

This research focuses on the functioning of praesens historicum forms which Russian translators use to substitute for English narrative forms referring to past events. The study applies the Theory of Grounding and Russian Communicative Functional Grammar to the comparative discourse analysis of English-language adventure stories and novels created in the 19th and 20th centuries and their Russian translations. The Theory of Grounding is still not widely used in Russian translation studies, nor have its concepts and fruitful ideas been related to the achievements of Russian Narratology and Functional Grammar. This article presents an attempt to find a common basis in these academic traditions as they relate to discourse analysis and to describe the role of praesens historicum forms in Russian translated adventure narratives. The corpus includes 22 original texts and 72 Russian translations, and the case study involves six Russian translations of The Adventures of Tom Sawyer, focusing on the translation made by Korney Chukovsky, who employed historic present more often than in other translations of the novel. It is shown that the translation strategy of substituting the original English-language past forms with Russian present forms is realized in foregrounded and focalized segments of the text, giving them additional saliency. This strategy relates the use of historic present to the functions of deictic words and words denoting visual or audial perception, locating the deictic center of the narrative in the spacetime of the events and allowing the reader to join the focalizing WHO (a narrator or a hero). Translations that regularly mark the foreground through the use of the historic present and accompanying lexical-grammatical means are often addressed to young readers.

scholarly journals THE TRANSFIGURATION ERROR IN ROWLING’S HARRY POTTER AND THE CHAMBER OF SECRET

Lire Journal ◽  
2018 ◽  
Vol 2 (1) ◽  
pp. 25-29
Author(s):  
Siegfrieda A.S. Mursita Putri
Keyword(s):  
Harry Potter ◽  
The Novel ◽  
Literary Works

Translator is always given two options in translating literary works. Either they can pick formal orientation, or pick dynamic orientation. Both orientations have different effect for readers. Harry Potter and the Chamber of Secret is one best-selling novel written by J.K. Rowling. Her work in the series is known for the play of words. This paper proposes other version of translation by exposing several sentences taken from the novel.

Dumbledore’s army: civil disobedience in “Harry Potter and The Order of the Phoenix”

2020 ◽  
Vol 6 (1) ◽  
pp. 177-198
Author(s):  
Arthur Emanuel Leal Abreu ◽  
Alexandre de Castro Coura
Keyword(s):  
Real Life ◽  
Civil Disobedience ◽  
School Community ◽  
Harry Potter ◽  
Law And Literature ◽  
The Novel ◽  
Persuasive Strategies ◽  
Law In Literature ◽  
The Phoenix ◽  
Do So

This paper explores the connection between law and literature, considering the concept of civil disobedience as developed in the plot of the novel “Harry Potter and the Order of the Phoenix”. To do so, this research uses the approach of law in literature, by linking the actions of Dumbledore’s Army to the theory of civil disobedience by Dworkin. Also, the narrative is compared to the conception of civil disobedience as a fundamental right, based on the conflict between facticity and validity, as described by Habermas. Thus, the analysis identifies, in the novel, two categories of civil disobedience proposed by Dworkin, and discusses, in real life, the overlapping of disobedience based on justice and on politics, in order to identify the conditions that justify actions of civil disobedience. Besides that, this paper analyzes the tension between legality and legitimacy, considering the decisions of the Ministry of Magic and its educational decrees, which sets the school community apart from the official political power. In conclusion, the research examines the use of persuasive and non-persuasive strategies and the reach of civil disobedience’s purposes based on the actions of Harry Potter and of Dumbledore’s Army.

A Country for Old Men: The South of Clyde Edgerton’s Early Novels

2016 ◽  
Author(s):  
Robert Donahoo
Keyword(s):  
Language Arts ◽  
English Language ◽  
The Novel ◽  
The South ◽  
Young Readers ◽  
Contemporary Life ◽  
Excessive Alcohol ◽  
Old Men ◽  
Larry Brown ◽  
Clyde Edgerton

This chapter discusses Clyde Edgerton's early novels, whose characters define themselves and the essential nature of contemporary life in the South. If we accept Erik Bledsoe's description of the Rough South as “a world of excess—excessive alcohol, excessive sex, excessive violence,” the works of Edgerton hardly seem to qualify. Indeed, Yvonne Mason, in Reading, Learning, Teaching Clyde Edgerton, declares his work “infinitely suitable” for “young readers in the English Language Arts classroom”—an appraisal difficult to imagine for the fiction of Harry Crews or Larry Brown. Edgerton's first three novels—Raney (1985), Walking Across Egypt (1987), and The Floatplane Notebooks (1988)—offer a way to understand his South, a world that increasingly belongs to and is defined by aging and death. This chapter considers Edgerton's other works, including the novel The Night Train (2011), the memoir Solo: My Adventure in the Air (2005), and the nonfiction Papadaddy's Book for New Fathers: Advice to Dads of All Ages (2013).

Where Life Itself Lives

2019 ◽  
pp. 19-35
Author(s):  
Mayra Rivera
Keyword(s):  
Literary Genre ◽  
The Novel ◽  
Culturally Specific ◽  
Life Itself ◽  
Constructive Dimension

Sylvia Wynter’s work seeks to expose Man as an arbitrary conception inherently linked to racism and too often mistaken for the human as such. She also offers a more capacious model for being human—one that is culturally specific, relational and dynamic. This constructive dimension of her work is especially evident in her novel, The Hills of Hebron, for the literary genre is consonant with her argument that communities invent genres of being human from their local histories, the specificities of landscape, religious visions, and creative practices. This essay examines the contribution of the novel to Wynter’s broader project of deconstructing the doctrine of Man.

Islam and the Limits of Translation: Orhan Pamuk and the Ottoman Revival

2020 ◽  
pp. 215-259
Author(s):  
Karim Mattar
Keyword(s):  
Religious Identity ◽  
The United States ◽  
Translation Theory ◽  
The Novel ◽  
Black Book ◽  
Aesthetics And Politics ◽  
Culturally Specific ◽  
The Face ◽  
Orhan Pamuk ◽  
Anglo American

This chapter addresses the carefully (self-)cultivated image of Orhan Pamuk as a worldly, cosmopolitan, and secular-liberal writer. This image, I argue, has come to define the aesthetics and politics, the ethos, of his novels in their worldly reception, and has functioned to undermine the nature and extent of his engagement with the local (especially his native city, Istanbul, and its Ottoman, Islamic heritage). I trace this argument through a sustained focus on The Black Book as this novel has been translated and read in Britain and the United States. Drawing on translation theory, I show that both English versions of the novel are unable to capture the logic and significance of Pamuk’s culturally-specific use of language, and have influenced its Anglo-American (mis)reading as a postmodernist work. In my counter-reading, I argue that anything but a postmodernist deconstruction of myths of national and religious identity, The Black Book in fact comprises an evocation of Istanbul’s Ottoman, Islamic heritage in the face of a Turkish secular modernity by which this heritage was historically repressed. I detail this argument through close attention to Pamuk’s treatment of Sufism and Hurufism. The Black Book, I conclude, inscribes what I call “cultural neo-Ottomanism” as form.

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