scholarly journals Ada’s Penmanship To the publication of an excerpt from the Russian translation of Nabokov’s novel

Literary Fact ◽  
2020 ◽  
pp. 8-67
Author(s):  
Andrei Babikov
Keyword(s):  
Short Story ◽  
Russian Translation ◽  
The Novel ◽  
Basic Principles ◽  
Archival Material ◽  
Utopian Fiction ◽  
Russian Version ◽  
Modern Period ◽  
The Subject ◽  
Family Chronicle

The material offered to the readers is a translation into Russian, with extensive notes, of an excerpt from the First Part of Vladimir Nabokov’s novel Ada, or Ardor: A Family Chronicle (1969). The published material consists of a translator’s Preface, five chapters from the novel, notes by V.V. Nabokov and the translator’s annotations. The Preface to the publication describes the creative and biographical circumstances of the creation of one of the most significant and controversial novels of the twentieth century, and indicates the sources of its conception, which goes back to the English short story of Nabokov Time and Ebb (1944), and considers its formal peculiarities. The Preface outlines the basic principles of Ada’s poetics, which distinguish it from the number of other works of the outstanding master and innovator of prose and affect it’s readers perception, such as: deliberate complexity of the narrative technique and an unprecedented variety of language tools used by Nabokov. The author of the Preface draws attention to the fact that the subtitle of the novel, indicating that it belongs to the genre of family chronicles, serves as one of the elements of Nabokov’s game poetics, since the classical tradition becomes the subject of parody in Ada. The novel is considered by the author of the Preface and translator of Ada as a grand compendium of European literature of Modern period, as an experiment in combining many varieties of the novel, from pastoral and Enlightenment utopian fiction of the 16– 17 centuries to the Nouveau roman of the 1950s and 1960s. The new Russian version of Nabokov’s most untranslatable novel took into account detailed annotations (in progress) by B. Boyd, works by A. Appel, Jr., and other researches, observations by one of the German translators of Ada, D. Zimmer, and the text of the French translation of the novel, which was prepared under Nabokov’s supervision. The Preface to the publication and the translator’s annotations involve archival material, in particular the draft of several chapters of the Russian translation of Ada, prepared by Véra Nabokov.

scholarly journals Seksualitetens uddrivelse

2016 ◽  
Vol 44 (121) ◽  
pp. 205-220
Author(s):  
Nils Gunder Hansen
Keyword(s):  
Rural Community ◽  
Short Story ◽  
Consumer Society ◽  
The Novel ◽  
Pure Material ◽  
Modern Period ◽  
Welfare Society ◽  
Big City ◽  
Life Trajectory ◽  
Late Modern

The article investigates a historical development in the concepts of happiness and love and the norms of sexual behavior from a rural community over the upcoming welfare society in the suburbs to the late modern period in the big city. The changes are observed through three Danish literary texts from 1960, 1965 and 2011, first the novel I heltespor (“In the footsteps of heroes”) by Erik Aalbæk Jensen, then the short story Julestue (“The Christmas Gathering”) by Anders Bodelsen and finally the novel Se på mig (“Look at me”) by Kirsten Hammann. In the rural community happiness is knowing your right place and mastering the challenges of seduction and sexual temptation without the complete surrender to an inauthentic life of pure conventionalism. In the suburbs and early welfare society controlled infidelity with the exchange of partners represents a promise of happiness, something “more” and meaningful transcending the pure material satisfaction of the new and well managed consumer society. In the late modern period the importance of sexuality and love is downgraded in a remarkable manner: The search for happiness is extremely individualized and conceived as a kind of portal you have to enter at the precise right moment of your life trajectory. Sexuality and love seem to have lost their transcendent and integrational power in the game of happiness.

scholarly journals Shaymaa Neamah Mohammed ALMKHELIF

2022 ◽  
Vol 04 (01) ◽  
pp. 192-200
Author(s):  
Sevsen Aziz HILAYIF
Keyword(s):  
Short Story ◽  
Historical Novel ◽  
The Novel ◽  
Detailed Explanation ◽  
Short Summary ◽  
The People ◽  
Turkish Literature ◽  
Turkish People ◽  
The Subject ◽  
Orhan Pamuk

Orhan Pamuk is considered one of the most important novelists and short story writers in Turkish Literature. The full name is Ferit Orhan Pamuk. He was born in Istanbul in 1952. He is now 69 year old and still alive. He is considered the first Turkish writer who wins Noble Prize for literature for the year 2006. He won several other prizes, one of which is Noble Prize because he has several short stories and novels. The White Castle is one of the most important novels for the author Orhan Pamuk who won the Noble Prize. It is considered a historical novel that belongs to the Ottoman Empire era in the 17th century. The novel revolves on one of the passengers who travels to Napoli through the sea. The Ottoman pirates captivate him and sell him to one of the Turkish people as slave. Both the master and the slave almost share the same features although they are from different geographic areas. The novel deals with the similarities and differences among the people of the and the people of the west in an accurate way. The concept of dream is to wish something favorable in the future. There were several types and ways of daydreams. This concept is different from one person to another. This term cannot be clearly defined because of its subjective nature. It appears in a very wide area, from the ability to maintain the thing dreamt to achieve to the world of dreams of the dreamer. Hence, the reality of daydreams is a wonderful art that is different from one person to another. We start the research by giving inclusive summary. In the Introduction, there is short summary for the life and literary personality of the Turkish author Orhan Pamuk as well as his works. The research introduces information about the novel which is the subject of the research paper. It introduces, through detailed study for the novel The White Castle, a detailed explanation about the art of dreams.

scholarly journals Beyond Translation: Clarity, Sensitivity, and Artistry in Benedict Anderson’s Reading of Indonesian Literature

2018 ◽  
Vol 12 (3) ◽  
pp. 227
Author(s):  
Novita Dewi
Keyword(s):  
Foreign Language ◽  
Short Story ◽  
Analytical Method ◽  
English Translation ◽  
The Novel ◽  
Translation Strategies ◽  
Language And Culture ◽  
The Subject ◽  
Foreignizing Translation ◽  
Pragmatic Equivalence

This research was to reconfirm Anderson’s theory (and praxis) of translation, i.e., transfer of language and culture from one to another with clarity, sensitivity, and high artistry. The analytical method used the application of diverse translation strategies to achieve pragmatic equivalence, i.e., the use of footnotes and foreignization-domestication principles. To consolidate the discussion, this research examined closely Anderson’s English translation of part of Titie Said’s “Bidadari” in his analysis of the novel and his translation of Pramoedya Ananta Toer’s short story “Nyonya Dokter Hewan Suharko”. The results indicate that what appears in his translation work is a broad range of discourses that help expound foreign-language (in this case English) intelligibility from the translating (Indonesian) one. His treatment of domesticating and the foreignizing translation is critically done owing to his gift of interests, passion, and persistence in the subject.

scholarly journals Narrative Genres and the Administration of Consciousness : The Case of Daisy Goodwill's Rebellion

2008 ◽  
Vol 5 ◽  
pp. 155
Author(s):  
María Jesús Hernáez Lerena
Keyword(s):  
Short Story ◽  
Subject Matter ◽  
Meaning In Life ◽  
The Novel ◽  
Carol Shields ◽  
The Past ◽  
The Subject ◽  
The Way ◽  
Fictional Autobiography

The Stone Diaries (1993), a novel by Carol Shields, examines the strategies characters use to render their selves accountable: they turn life into an ensemble made up of historical, scientific, novelistic or biographical discourse. In contrast, Daisy Goodwill, who is the subject-matter of this fictional autobiography, remains close to the epistemology of the short story, whose potential has been described by critics as a challenge to knowledge or synthesis (Cortázar 1973; Bayley 1988; Leitch 1989, May 1994; Trussler 1996). There seems to be agreement that the only condition of coherence necessary for the short story is a pointing to the evasion of meaning in life, also that the genre allies itself to the way in which the past is attached to our memory (Kosinski 1978; Hallet 1998; Lohafer 1998; Wolff 2000). This essay will analyze the implications of its protagonist’s stance with a view to pinning down some of the ideological grounds of the novel and of the short story in their approach to the question of identity.

scholarly journals The role of interlinear in literary translation: syntactic aspect (on the example of the novel by E. P. Neimokhov)

Litera ◽  
2020 ◽  
pp. 192-202
Author(s):  
Anna-Saidyyna Vasil'evna Varlamova
Keyword(s):  
Russian Translation ◽  
Primary Source ◽  
Russian Language ◽  
Literary Translation ◽  
The Novel ◽  
Complex Sentences ◽  
The Subject ◽  
The Russian Language

The language of fiction literature, language of the classics of national literature, prominent prose writers is the primary source for studying literary language. This article examines the role of interlinear in literary translation and the translation equivalents of complex sentences in the Yakut and Russian languages on the example of the novel “Alampa” by Egor Petrovich Neimokhov in two volumes. The subject of this research is complex sentences in the Yakut and Russian languages. Special attention is given to finding equivalents in translation of complex sentences in the Yakut and Russian languages on  the syntactic level language, as well as to determination of the role of interlinear in fiction literature. Yakut linguistics has started to study the stylistics of Yakut language, while the lexical, morphological, and syntactic stylistics is in its inception stage. The works of researchers dedicated to the syntax of Yakut language cover the questions of syntactic transformations using the example of attributive constructions (Vasilieva, 2002) and syntactic transformations of one-member sentences (Atakova, 2007). There are no special works dedicated to the analysis of complex sentences in fiction texts in the Yakut-Russian translation. This raises the need for studying the equivalents of complex sentences in interlinear translation, and its role in literary translation. The following conclusions were made: 1) the content of complex sentences in the Russian language usually correspond to the such in the Yakut language, although they differ significantly in structure; 2) in both languages, the semantic meanings of complex sentences are expressed through various means that reflect the peculiarities of non-cognate languages, however, separate equivalents are determined among such constructions; 3) in interlinear and literary translation, complex sentences of the Yakut text are preserved in the Russian language for the most part. Thus, interlinear translation plays the role of intermediary translation and directly affects the translation result.

scholarly journals La ricezione delle opere di Giorgio Bassani in Slovenia

2021 ◽  
Vol 13 (1) ◽  
pp. 309-316
Author(s):  
Irena Prosenc
Keyword(s):  
World War Ii ◽  
Short Story ◽  
Global Strategy ◽  
Film Adaptation ◽  
The Novel ◽  
World War ◽  
The Past ◽  
Current State ◽  
The Subject ◽  
Selection Of

The article examines the reception of Giorgio Bassani’s works in Slovenia. The current state of translations of Bassani’s works into Slovene is characteristic of the availability of Slovene editions of Italian authors, which often seems desultory despite the relatively high number of literary translations from Italian published after World War II. In the past, the translations were typically published later than the original texts and without a global strategy. This situation partly persists to the present day: whilst the translations of some authors are sufficiently present, others continue to be absent, which is probably due to the limitations of the Slovene book market. As few as three of Bassani’s texts have been translated into Slovene, namely the novel Il giardino dei Finzi-Contini (1978), translated by Stabej, excerpts from the short story Una lapide in via Mazzini (1994), translated by Ožbot, and a selection of poems from In rima e senza (2008), translated by Dekleva. Il giardino dei Finzi-Contini, the only text to have been translated in an unabridged version, was also the subject of linguistic research by Miklič and Premrl. Whilst no doubt interesting for specialists, the results of their research most likely did not reach a wider public. Even though the translation of Bassani’s novel was followed by the release of the film adaptation, whilst the poetry collection received critical acclaim, Bassani remains a relatively little-known author in Slovenia to this day. Moreover, as many as thirteen years have passed since the publication of the last translation.

scholarly journals Metalepsa jako strategia narracyjna w dziełach literackich i filmowych (analiza zjawiska na wybranych przykładach)

2015 ◽  
pp. 384-475
Author(s):  
Magdalena Karkiewicz
Keyword(s):  
Short Story ◽  
Western Europe ◽  
Higher Order ◽  
The Novel ◽  
Narrative Strategy ◽  
Forbidden Transition ◽  
Starting Point ◽  
The Subject ◽  
Gerard Genette ◽  
Ontological Uncertainty

Logically forbidden transition, the impossible transgression, fictional characters moving through the boundaries between levels of (un)reality and the attempt to cross the ‘frames’ of artistic presentation constitute the essence of the subject of this dissertation: the metalepsis. This term, originally derived from the rhetoric, was annexed to narratology field in 1972 by a French theoretician, Gérard Genette. In his book Figures III, he described a narrative metalepsis (ʻla métalepse narrativeʼ) as ʻany intrusion by the extradiegetic narrator or narratee into the diegetic universe (or by diegetic characters into a metadiegetic universe, etc.), or the inverse.ʼ The definition became a starting point for further research on metalepsis, which in recent years has gained particular popularity in Western Europe. It was noticed that metalepsis is particularly characterized by the comic potential and Woody Allen’s movie ‘Purple Rose of Cairo’ is a perfect example of it. However, the influence range of this figure seems to go far beyond the mere evocation of emotions. The analyzed examples of the use of metalepsis as a narrative strategy, for example a short story written by Julio Cortázar The Continuity of Parks, have emphasized the specificity of impact of this figure on the recipient. By corresponding with such phenomena as ʻmise en abymeʼ or ʻtext in the textʼ, metalepsis draws attention to the recipients, the readers or the viewers themselves and puts them in ontological uncertainty concerning their own existence. Since heroes of the fictional worlds can move between levels of diegesis, leave the novel or the cinema screen, read the book about their own fate or suddenly realize that they are the imaginary creatures created by some higher creative’s instance and ruled by a higher order, then how can we be sure that we are for r e a l ?

What has Happened to the Object?

2015 ◽  
Vol 16 (1) ◽  
pp. 67-78
Author(s):  
Gábor Kovács
Keyword(s):  
Detailed Analysis ◽  
Short Story ◽  
Jack London ◽  
The Novel ◽  
Special Aspect ◽  
Common Process ◽  
The Subject ◽  
Theory Of Discourse ◽  
Mode Of Being ◽  
Familiar Objects

It is well known that one of the most important questions of Bakhtin’s theory of discourse (теория прозаического слова) is the “image in artistic prose” (образ прозаического слова). In his widely read essay Discourse in the Novel, Bakhtin gives a detailed analysis of the word (слово), which “on all its various routes toward the object, in all its directions, [the word] encounters an alian word and cannot help encountering it in a living, tension-filled interaction”. Bakhtin named this phenonemon “the internal dialogism of the word”. According to his theory, the specificity of prose language (the “image in artistic prose”) consists of this kind of dialogism. There is a common process in each and every short story and novel: the prose language always prevents “the intention of the word, that is, its directionality toward the object”. Prose language sets the word against all the alien words and evaluations that are directed toward the same object. That is how the “dialogized image” emerges. While the subject of discourse seems to disappear behind the mass of words, the image of the object manifests itself in its greatest richness. It is easy to apply Bakhtin’s prose theory to the analysis of those words that are directed toward non-ostensive objects in a short story or a novel. In the cases of words like crime, punishment, war, peace, pride, prejudice, sense, sensibility and so on, the directed objects are non-ostensive, they have a discursive mode of being, so they are open to dispute. But prose language has another special aspect that is said to be―by other theroists―as typical as dialogism: the detailed description or depiction. Descriptive discourse in prose language always uses words that are directed to ostensive objects―to familiar objects that are hard to argue for or against. It is quite rare to hear quarrels over the meaning of words like chair, table, window, room, tree, knife and so on; and obviously it would be going too far to say that all these words “form concepts of their objects in a dialogic way”. But all these do not mean that the descriptive utterances of prose language are lacking in dialogism. My main aim is to revise and re-define the analysis of the processes of descriptive discourse in prose language with the help of Bakhtin’s theory of dialogism. How does prose language over-dialogize all those words that are directed toward ostensive objects? What happens to the ostensive object when it becomes a verbal “image in artistic prose”? A short story by Jack London―The Law of Life―will help me to develop these problems.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Le potentiel théâtral chez David Foenkinos. Analyse du roman, du scénario et du film La Délicatesse

2020 ◽  
Vol 65 (2) ◽  
pp. 297-319
Author(s):  
Aluaș Alina
Keyword(s):  
Text Processing ◽  
Careful Analysis ◽  
The Novel ◽  
Work Analysis ◽  
Personal Myth ◽  
The Subject

"The Theatrical Potential in David Foenkinos’ Work. Analysis of the Novel, the Scenario and the Film “La Délicatesse”. Our interest, especially when it comes to the subject of literature, is to show the manner in which the text processing done by the author (script writer/director) brings to light the guidelines of the novelistic text’s semantics, which under careful analysis reveals a kind of personal myth of the novelist. The skewed, syncopated, interrupted writing which disrupts the chronotope serves the needs of the script as well as the director’s selective vision. Unconsciously, the novel seems to follow the structure of the theatrical model. These traits can also be found in the cinematographic structure of the film. Keywords: love, eroticism, delicacy, theatricality, scenario, film. "

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