scholarly journals FUNCTIONS OF GENERAL QUESTIONS WITH DIRECT WORD ORDER IN FRENCH (BASED ON LITERARY TEXTS OF THE 11TH-17TH CENTURIES)

Author(s):  
Maria N. Zubkova ◽  
Yulia A. Drozdova
Keyword(s):  
1993 ◽  
Vol 45 ◽  
pp. 53-64
Author(s):  
Stella Linn

We may assume that there is a relationship between the various ways in which literary texts can be interpreted, and the strategies that can be applied in their translation. Inevitably, translation strategies only pay attention to a limited number of aspects of the original text. It is, indeed, impossible to preserve all the aspects of a literary text in translation - the whole contents, the exact form, the rhythm, metaphors, puns and so on. This implies that the translator always has to choose so as to keep the features he considers most important, while giving up others. Since translation is a special kind of interpreting and reading, reading and translation strategies are bound to be interrelated. This paper deals with the influence of translating on the reading competence (and vice versa) and shows that when one is translating a text, one becomes more aware of the different ways in which it can be read and interpreted, and this, in turn, makes the translator more conscious of the choices (s)he can make. It is possible, then, to establish a 'hierarchy of priorities' in which the translator can take translation decisions more deliberately. I became aware of this influence of translating on reading attitude when I was leading a translation project at the University of Groningen, in which a group of students translated a number of poems of the Spanish poets Antonio Colinas and Julio Llamazares into Dutch. It appeared that during the classes, while we discussed the first Dutch versions of the poems, the students became gradually aware of a number of features they had not realized before, such as the intentional ambiguity of Colinas' word order, the use and significant position of certain key words, the musical qualities of the poems and the etymology of certain terms. This changing attitude brought about a number of modifications in our translations: the source texts were followed with more precision, importance was given to the preservation of various interpretations and the identification of key terms, the etymology of words was maintained wherever possible, the students tried to keep rhythm and musical effects and became sensitive to word order. This experience shows us that translation can have a useful place in the teaching of foreign languages, in that it sharpens the reading attitude, stimulates the analyzing and interpreting competences, and makes students more aware of the various choices they have when translating, and of the consequences these bring about.


2019 ◽  
Vol 3 ◽  
Author(s):  
Sobirov Anvar Kuvandikovich

In the methodological study of word order, it is important to look at it as a means of spiritual expression. The usual mode of expression is that it does not have the same sensitivity, but also provides a greater function of language communication. Inversion is characterized by stylistic dyes in the language of poetic works. The main purpose of the inversion is to ensure that the author's methodical purpose in literary texts, especially in the language of poetic works, helps the reader to quickly and easily understand the main point by highlighting and highlighting a part of the sentence.


2017 ◽  
Vol 8 (1) ◽  
pp. 1229-1235
Author(s):  
Saloome Rostampour

Literature is a system of semantic markers which convey emotions as well. Sentences in literary texts, particularly poetic ones, are not merely a medium to convey a message. In literary language, there is not a one to one correspondence between words and their meaning. That is in literary texts, the words and consequently sentences do not have their common dictionary meaning. Rather, in many cases, they include the writers or poets intended meaning. For writers and poets, words are not simply means of conveying a message, but a scheme to create beauty and novel innovations. The poets to make more impression on their addressees usually create uncommon sentences in the language. To express their feelings and thoughts, they invert the poems internal word order or sort out the structural system of their poetic sentences counter to standard language. By creating marked words or sentences, they actually seek to communicate their audience artistically and innovatively. Sentence is the poets main instrument that according to traditional grammars definition consists of two parts: subject and predicate. However, in modern linguistics sentence is a set of noun and verb phrases that are joined together as a harmonious whole. Each of noun or verb phrases has a unique structure so that their internal order cannot be changed; however, poets make their utterance poetic by inverting these groups to create greater influence. By using content analysis method, an attempt is made in this article to analyze the internal orders of noun and verb phrases in contemporary poems. The author gratefully acknowledge the financial and other support of this research, provided by the Islamic Azad University. eslamshahr Branch, Tehran ,Iran


2016 ◽  
Vol 39 ◽  
Author(s):  
William O'Grady

AbstractI focus on two challenges that processing-based theories of language must confront: the need to explain why language has the particular properties that it does, and the need to explain why processing pressures are manifested in the particular way that they are. I discuss these matters with reference to two illustrative phenomena: proximity effects in word order and a constraint on contraction.


1967 ◽  
Vol 10 (3) ◽  
pp. 600-605 ◽  
Author(s):  
Penelope B. Odom ◽  
Richard L. Blanton

Two groups each containing 24 deaf subjects were compared with 24 fifth graders and 24 twelfth graders with normal hearing on the learning of segments of written English. Eight subjects from each group learned phrasally defined segments such as “paid the tall lady,” eight more learned the same words in nonphrases having acceptable English word order such as “lady paid the tall,” and the remaining eight in each group learned the same words scrambled, “lady tall the paid.” The task consisted of 12 study-test trials. Analyses of the mean number of words recalled correctly and the probability of recalling the whole phrase correctly, given that one word of it was recalled, indicated that both ages of hearing subjects showed facilitation on the phrasally defined segments, interference on the scrambled segments. The deaf groups showed no differential recall as a function of phrasal structure. It was concluded that the deaf do not possess the same perceptual or memory processes with regard to English as do the hearing subjects.


Author(s):  
Jae Jung Song
Keyword(s):  

2020 ◽  
pp. 65-80
Author(s):  
Magdalena Strąk

The work aims to show a peculiar perspective of looking at photographs taken on the eve of the broadly understood disaster, which is specified in a slightly different way in each of the literary texts (Stefan Chwin’s autobiographical novel Krótka historia pewnego żartu [The brief history of a certain joke], a poem by Ryszard Kapuściński Na wystawie „Fotografia chłopów polskich do 1944 r.” [At an exhibition “The Polish peasants in photographs to 1944”] and Wisława Szymborska’s Fotografia z 11 września [Photograph from September 11]) – as death in a concentration camp, a general concept of the First World War or a terrorist attack. Upcoming tragic events – of which the photographed people are not yet aware – become for the subsequent recipient an inseparable element of reality contained in the frame. For the later observers, privileged with time perspective, the characters captured in the photograph are already victims of the catastrophe, which in reality was not yet recorded by the camera. It is a work about coexistence of the past and future in the field of photography.


CounterText ◽  
2018 ◽  
Vol 4 (1) ◽  
pp. 98-113
Author(s):  
Shaobo Xie

The paper celebrates the publication of Ranjan Ghosh and J. Hillis Miller's Thinking Literature across Continents as a significant event in the age of neoliberalism. It argues that, in spite of the different premises and the resulting interpretative procedures respectively championed by the two co-authors, both of them anchor their readings of literary texts in a concept of literature that is diametrically opposed to neoliberal rationality, and both impassionedly safeguard human values and experiences that resist the technologisation and marketisation of the humanities and aesthetic education. While Ghosh's readings of literature offer lightning flashes of thought from the outside of the Western tradition, signalling a new culture of reading as well as a new manner of appreciation of the other, Miller dedicatedly speaks and thinks against the hegemony of neoliberal reason, opening our eyes to the kind of change our teaching or reading of literature can trigger in the world, and the role aesthetic education should and can play at a time when the humanities are considered ‘a lost cause’.


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