scholarly journals REPRODUCTION OF OCCASIONAL FEATURES IN THE GERMAN-LANGUAGE TRANSLATION OF THE NOVEL "THE YELLOW PRINCE" BY V. BARKA

2019 ◽  
pp. 372-380
Author(s):  
V. V. Tkachivsky ◽  
M. R. Tkachivska
Keyword(s):  
New York ◽  
Language Translation ◽  
The Novel ◽  
Totalitarian Regime ◽  
Lexical Unit ◽  
German Translation ◽  
Original Language ◽  
The Individual ◽  
The University ◽  
Individual Style

The novel of V. Barka "The Yellow Prince" that showed the truth about the terrible crime of the Stalinist totalitarian regime of the Holodomor in Ukraine in 1932-1933 to the whole world was published in 1962 in New York. Immediately after its publication, it was translated into English. Thirteen years later (1981), its French translation appeared in France;  in 2016, the Italian translation followed. In 2009 M. Ostheim-Dzerovych made the German translation of the novel “The Yellow Prince” by Vasyl Barka as the novel entitled "Der gelbe Fürst". The translator was born in Lviv, studied at the Faculty of Philology of the University of Vienna, since 1958 she has been working as a translator. The individual-authorial innovations operating in the novel "The Yellow Prince" demonstrate the literary skill of the writer and the peculiarities of his individual style. The reproduction of an individual style of the author is the most difficult task in the translation of an artistic text. By way of forming calques it was possible for the interpreter to reproduce the words adequately and therefore correspond to the individual style of V. Barka as well as to find certain equivalents. In some cases, the translator uses the lexem Getreide, and in the others she uses the word Brot. Vasyl Barka accurately and clearly conveys the realities of the Holodomor in Ukraine in 1932-1933. His individual names of the months deserve special attention. Using calques while copying the structure of the output lexical unit, the translator reproduces the newly created words. In the German translation, they retain the stylistic colour inherent to the original language.

PRAGMATIC POTENTIAL OF AUTHOR’S AND TRANSFORMED PHRASEOLOGIES IN THE WORK OF CARLOS RUIZ ZAFÓN «THE PRISONER OF HEAVEN»

2021 ◽  
pp. 18-28
Author(s):  
A. Yu. Bovsunivska A. Yu.
Keyword(s):  
Emotional State ◽  
Spanish Language ◽  
The Novel ◽  
Unique Combination ◽  
Textual Space ◽  
Different Types ◽  
General Linguistic ◽  
The Individual ◽  
Pragmatic Aspects ◽  
Individual Style

The article is devoted to the study of pragmatic aspects of the use of phraseology in the textual space of Carlos Ruiz Safón’s novel «Prisoner of Heaven». One of the defining features of the individual style of this well-known modern Spanish writer is the metaphoricity and figuration of aristic expression, the saturation of the text with phraseological units that play a significant role in creating a pragmatic charge of the work of art. Along with general linguistic phraseological units, which include commonly-used vocabulary, the author uses dialectal and authorial phraseological units, which is a feature of his individual style. All three designated groups of phraseological units mostly reflect the negative psychophysical and emotional state of the characters. The author uses dialectal, individually-authorial and modified phraseological units, which is a feature of his individual style. It is determined that transformation is one of the most productive and most effective ways to update linguistic means in works of art. Author’s modification of FU leads to a change in the semantics and structure of expression, gives it a more expressive or emotional coloring. Transformed phraseology is limited to individual usage and is subject to the context of the work. Modified FUs in the Zafón’s artistic space acquire certain aesthetic and artistic qualities. Their modification is mainly to create the desired stylistic effect – to achieve emotional or expressive expression, which increases the reader’s interest, focuses on the content, issues of the work, as well as reveals the potential expressive potential of the Spanish language. In the transformed FUs, not just a new meaning is traced, but a combination of the well-known and the occasional. The unique combination of different types of phraseological units in the novel is considered a manifestation of individual style and makes a representation of the individually-authorial linguistic picture of the world more expressive.

scholarly journals Semantico-Functional Features of Expressive Derivatives in the Artistic Discourse of V. Makanin

2018 ◽  
Vol 7 (4.36) ◽  
pp. 983 ◽  
Author(s):  
Anastasia S.Volskaya ◽  
Olga A. Chupryakova ◽  
Svetlana S. Safonova ◽  
Gulnaz T. Karipzhanova
Keyword(s):  
World View ◽  
Word Formation ◽  
The Novel ◽  
Leading Role ◽  
The World ◽  
Important Means ◽  
Functional Features ◽  
The Individual ◽  
Abstract Feature ◽  
Individual Style

The paper is devoted to the study of semantic and functional features of expressive derivatives, both usual and occasional, in the artistic gist of the novel “Asan” by V. Makanin, as well as their role in structuring the individual-author’s linguistic picture of the world. It has been proven that the derivation of expressive lexemes is the result of improvisation according to established patterns, and that the formation of occasional substantives, adjectives and verbs involved the main methods of the Russian word derivation. It is noted that in the artistic discourse of V. Makanin, in the substantive word-formation, suffixation plays a leading role, which takes place in the sphere of abstractness and includes such lexical-semantic groups as expressive substantives with the meaning of a person, expressive substantives with the meaning of abstracted action or an abstract feature with connotation, as a rule, negative and/or reduced colloquial connotation. While in the sphere of adjectival and verbal word formation, confixation and prefixation, as the formation of expressiveness, is most productive. The paper considers the phenomenon of semantic word formation, describes the formation of semantic derivatives, including in the field of occasional vocabulary. Expressive derivatives in the artistic discourse of V. Makanin are a bright sign of his individual style, an important means of expressing the world view and outlook of the writer.  

“That Pause for Contemplation”

2016 ◽  
Author(s):  
John Callahan
Keyword(s):  
New York ◽  
Short Stories ◽  
Thought Experiment ◽  
Ralph Ellison ◽  
Abraham Lincoln ◽  
American Identity ◽  
The Novel ◽  
Father Figures ◽  
The Individual ◽  
The Relationship

In “’That Pause for Contemplation’: A Centennial Meditation on Ralph Ellison,” John Callahan—Ellison’s literary executor and the dean of Ellison studies—looks back upon Ellison’s life and work, asking what Ellison’s accomplishment looks like 100 years after his birth, and a new century proceeds in his wake. Beginning with the “thought experiment” of a young Barack Obama jogging past Ralph Ellison in New York in the 1980s, Callahan meditates on Ellison’s investigation of the relationship between the individual search for identity and America’s pursuit of democratic equality. Drawing upon Ellison’s wealth of posthumously published material—the short stories, essays, interviews, and his unfinished second novel—Callahan emphasizes Ellison’s relentless pursuit of the novel form as his means of interrogating the fluid, improvisational, evolving form of American identity. Callahan probes the omnipresent father figures that dominate Ellison’s work after Invisible Man—Lewis Ellison, Abraham Lincoln, Alonzo Hickman, and others.

scholarly journals Critical Dystopia: Local Narrative in the Threshold in Ahmed Khaled Towfik’s Utopia

2019 ◽  
Vol 19 (1) ◽  
pp. 175-194
Keyword(s):  
Twentieth Century ◽  
System Structure ◽  
Close Reading ◽  
The Novel ◽  
Totalitarian Regime ◽  
Critical Orientation ◽  
The Subject ◽  
The Individual ◽  
Knowledge Memory ◽  
Critical Dystopia

This study is an exploration of critical dystopia within a postmodern context. Literary and historical viewpoints associate dystopia with the failed utopia of twentieth-century totalitarianism manifested in regimes of extreme coercion, inequality, and slavery. Raffaella Baccolini and Tom Moylan, of whose perspective this study makes use, theorize that critical dystopia provides a potential for change through rejecting the traditional dystopian ending marked by the subjugation of the individual. Problematizing critical dystopia further, the study proposes that the critical orientation of this sub-genre originates mainly from the “local narrative” of a subject whose agency generates from his position in the “threshold” between those in and under control, combined with the “counter-conducts” he uses to acquire knowledge, memory, and awakened consciousness. As a full agent, the subject resists the “utopian” “metanarrative” of an oppressive system/structure and offers possibilities of meaning in a process of “différance” which entails a potential for change. This proposition is clarified through the close reading of Ahmed Khaled Towfik’s Utopia (2011; first published in Arabic in 2008). The novel is discussed as a critical dystopian text in which Gaber, the subject in the “threshold,” opposes the totalitarian regime of Utopia in his “local narrative.”

scholarly journals What Protective Health Measures Are Americans Taking in Response to COVID-19? Results from the COVID Impact Survey

2020 ◽  
Vol 17 (17) ◽  
pp. 6295 ◽  
Author(s):  
Fares Qeadan ◽  
Nana Akofua Mensah ◽  
Benjamin Tingey ◽  
Rona Bern ◽  
Tracy Rees ◽  
...  
Keyword(s):  
Future Research ◽  
The Novel ◽  
Protective Measures ◽  
Individual Level ◽  
Health Measures ◽  
Education Levels ◽  
Large Household ◽  
The Individual ◽  
The University ◽  
Social Engagements

With the emergence of the novel SARS-CoV-2 and the disease it causes; COVID-19, compliance with/adherence to protective measures is needed. Information is needed on which measures are, or are not, being undertaken. Data collected from the COVID Impact Survey, conducted by the non-partisan and objective research organization NORC at the University of Chicago on April, May, and June of 2020, were analyzed through weighted Quasi-Poisson regression modeling to determine the association of demographics, socioeconomics, and health conditions with protective health measures taken at the individual level in response to COVID-19. The three surveys included data from 18 regional areas including 10 states (CA, CO, FL, LA, MN, MO, MT, NY, OR, and TX) and 8 Metropolitan Statistical Areas (Atlanta, GA; Baltimore, MD; Birmingham, AL; Chicago, IL; Cleveland and Columbus, OH; Phoenix, AZ; and Pittsburgh, PA). Individuals with higher incomes, insurance, higher education levels, large household size, age 60+, females, minorities, those who have asthma, have hypertension, overweight or obese, and those who suffer from mental health issues during the pandemic were significantly more likely to report taking precautionary protective measures relative to their counterparts. Protective measures for the three subgroups with a known relationship to COVID-19 (positive for COVID-19, knowing an individual with COVID-19, and knowing someone who had died from COVID-19) were strongly associated with the protective health measures of washing hands, avoiding public places, and canceling social engagements. This study provides first baseline data on the response to the national COVID-19 pandemic at the individual level in the US. The found heterogeneity in the response to this pandemic by different variables can inform future research and interventions to reduce exposure to the novel SARS-CoV-2 virus.

scholarly journals Falling Kingdoms by M. Rhodes

2014 ◽  
Vol 4 (1) ◽  
Author(s):  
Colette Leung
Keyword(s):  
New York ◽  
Information Science ◽  
Social Classes ◽  
Digital Tools ◽  
Library And Information Science ◽  
The Novel ◽  
Baby Girl ◽  
Humanities Computing ◽  
University Of Alberta ◽  
The University

Rhodes, Morgan. Falling Kingdoms. New York: Penguin Group, 2012. Print.This young adult fantasy novel tells the story of three different fictional kingdoms: the prosperous Auranos, the impoverished Paelsia, and the oppressed Limeros. The book opens with a short prologue where two witches steal a baby girl, who is prophesied to become a powerful sorceress.Sixteen years later, the story continues with Princess Cleo of Auranos, who is out with some friends and Lord Aron, whom she hates but may one day be her betrothed. They visit a wine merchant in Paelsia, as the country is known for its wonderful wine. After tasting a sample, Aron uses his position to bully the wine merchant into letting him buy many cases of wine for only a fraction of their cost. When the merchant’s two sons, Tomas and Jonas, interrupt the trade, they become insulted and start a fight with Aron, who pulls a dagger and kills Tomas. The incident serves as a catalyst for war between all three kingdoms.The novel follows four different storylines. One is the story of Princess Cleo, who feels incredibly guilty about the death of Tomas.  She discovers love and loss, and is kidnapped by the neighbouring kingdoms, who wish to use her to make the King of Auranos give up his realm. Another major storyline is that of Jonas, who seeks revenge for his brother’s death. He aligns himself with the Chief of Paelsia, and helps instigate a rebellion with the help of the Kingdom of Limeros, in order to conquer Auranos. The last two storylines deal with the royalty of Limeros. Prince Magnus, who grew up under the abuse of his tyrannical father, struggles to live up to the king’s expectation as heir, and also to protect his younger sister Lucia. Even more torturous for Magnus are his strong, romantic feelings towards Lucia. The last storyline is that of Lucia, who is in fact the baby stolen years ago, raised as a princess in Limeros. At age sixteen, her powers manifest, and she learns to control them, and she seeks to protect her brother at all costs. Her father wishes to use her powers to his advantage during the war on Auranos. All four of these stories converge by the end of the book.Falling Kingdoms takes a serious look at politics, and the effects of economic discrepancy between social classes. The book ends on a cliffhanger. It is the first in a series, the second of which is called Rebel Spring. This series explores not only the repercussions of the war between kingdoms, but the place of magic in this fictional world.As the book alternates between the four different viewpoints, and each of these viewpoints engage multiple characters, the story is complex, and might be hard for some to follow. The novel also deals with heavy themes, including war, revenge, death, incest, abuse, and sex.Recommended: 3 out of 4 starsReviewer: Colette LeungColette Leung is a graduate student at the University of Alberta, working in the fields of Library and Information science and Humanities Computing who loves reading, cats, and tea. Her research interests focus around how digital tools can be used to explore fields such as literature, language, and history in new and innovative ways.

From Imperialism to Collaboration: How Do We Get There?

PMLA ◽  
2002 ◽  
Vol 117 (5) ◽  
pp. 1266-1271 ◽  
Author(s):  
Domna C. Stanton
Keyword(s):  
New York ◽  
Middle Ages ◽  
Magical Realism ◽  
Marie De France ◽  
First Year ◽  
University Of Michigan ◽  
English Only ◽  
Original Language ◽  
The University ◽  
First Year Seminar

I want to begin with some anecdotal facts:Item: a first-year seminar on multiethnicity in New York is taught at Barnard College only by the English faculty.Item: a senior seminar on epic and romance in the Middle Ages, announced in the fall 2002 offerings of the University of Michigan's English department, will include works by Chrétien de Troyes and Marie de France, but the only texts to be read in the original language are in Middle English.Item: a comparative literature course on modernism, magical realism, and postmodernism at the University of Michigan for fall 2002 will read texts by Proust, Kafka, Mann, Borges, García Márquez, Tekin, Calvino, and Pamuk in English only

scholarly journals Theoretical Philosophy and Philosophy of Science in the Soviet Times: Some Remarks on the Example of Estonia, 1960-1990

2016 ◽  
pp. 195-227
Author(s):  
Rein Vihalemm
Keyword(s):  
Philosophy Of Science ◽  
Soviet Philosophy ◽  
General Context ◽  
General Description ◽  
Totalitarian Regime ◽  
East European ◽  
European Philosophy ◽  
The Individual ◽  
The University ◽  
Theoretical Philosophy

This part of the Soviet philosophy that corresponds approximately to theoretical philosophy and philosophy of science on the example of Estonia and proceeding from the University of Tartu is discussed. The author concentrates on the period of approximately 1960–1990, when he himself was engaged in the field, i.e. the time before 1960 is not included. The aim of this paper is not to provide an overview of the individual philosophers in Estonia at the time and their works, but to give a more general description of the philosophy of the Soviet era. The Soviet and the East European philosophy of the time have received rather little critical treatment in literature in English. However, a few general overviews trying to prove that this Soviet and East European philosophical legacy is worth studying have still been published. This paper is focused on the question what kind of philosophical researches it was possible to engage oneself in under the abnormal conditions at the time and whether some starting points and problem issues in theseresearches might be viable also today. Estonian experience confirms the general conclusion of these authors who, analyzing the legacy of Marxism, have found that although Marxism is nowadays—not to mention how it existed in the Soviet totalitarian regime—mainly not considered a serious philosophy but rather an ideological basis of a failed political doctrine, it has nevertheless quite something to offer when treated in a more depoliticized manner, in the general context of philosophical quests.Teoreetiline ja teadusfilosoofia Nõukogude ajal: mõned märkused Eesti näitel 1960-1990 (Resümee)Vaatluse all on Eesti näitel ja lähtudes Tartu ülikoolist see osa Nõukogudeaegsest filosoofiast, mis vastab umbes teoreetilisele filosoofiale ja teadusfilosoofiale. Autor peatub ajavahemikul umbes 1960–1990, mil ta ka ise tegev oli, st 1960-ndate aastate eelset aega ei käsitleta. Artikli eesmärgiks ei ole ülevaate andmine Eestis sel ajal tegutsenud filosoofidest ja nende töödest, vaid Nõukogudeaegse filosoofia üldisem iseloomustamine. Nõukogude ja selleagset Ida-Euroopa filosoofiat on ingliskeelses kirjanduses üsna vähe kriitiliselt uuritud. Üksikuid ülevaateteoseid, milles on püütud näidata, etsee Nõukogude ja Ida-Euroopa filosoofiline pärand väärib uurimist, on siiski ilmunud. Käesolevas artiklis on keskendutud eelkõige küsimusele, mis laadi filosoofilise uurimistööga sai tolle aja ebanormaalsetes tingimustes tegelda ja kas mõned lähtekohad ja probleemipüstitused selles on elujõulised ka veel nüüd. Eesti kogemus kinnitab nende autorite üldist järeldust, kes marksismi pärandit uurides on leidnud, et kuigi marksismi tänapäeval — rääkimata sellest, missugune see oli Nõukogude totalitaarses režiimis — enamasti ei peeta tõsiseltvõetavaks filosoofiaks, vaid pigem läbikukkunud poliitilise õpetuse ideoloogiliseks aluseks, on tal siiski nii mõndagi öelda, kui teda käsitleda depolitiseeritumalt, filosoofiliste otsingute üldises kontekstis.  Märksõnad: dialektiline materialism, dialektika, ‘eessõna-marksism’, filosoofia põhiküsimus, Nõukogude filosoofia, ‘ontologistid’ ja ‘epistemologistid’, praktika

scholarly journals Return to Titanic: Time Voyage by S. Brezenoff

2012 ◽  
Vol 2 (3) ◽  
Author(s):  
Melissa Blackwood
Keyword(s):  
New York ◽  
Science Fiction ◽  
100Th Anniversary ◽  
The Novel ◽  
Reading Levels ◽  
Book Series ◽  
University Of Alberta ◽  
Spring Break ◽  
Non Fiction ◽  
The University

Brezenoff, Steve. Return to Titanic: Time Voyage. Illus. Scott Murphy. North Mankato, MN: Stone Arch Books, 2012. Print.    The legendary Titanic resurfaces for this children’s novel which cleverly combines history with science fiction.  The subject of the Titanic voyage is timely, since it is recently the 100th anniversary of its maiden voyage. Tucker and Maya spend their spring break helping out at a museum and as they sort through a box labeled “special collection” for the Titanic exhibit, they find an original ticket to the maiden voyage of the Titanic.  Their curiosity provokes them to open its protective case.  Once they touch the ticket, they are sent back in time to Queenstown, Ireland in 1912, the day the Titanic was to set sail across the Atlantic Ocean.  Tucker’s mother, the museum’s curator, always said there was “magic in the junk at the museum”.  Tucker and Maya must decide what to do next.  Should they stop the Titanic from sailing?  Is it possible to change history?  They begin to wonder how will they ever return back to 2012? Detailed pencil-sketch drawings by Scott Murphy decorate every few pages.  These illustrations enhance the description and imagery in the novel while supporting reluctant readers.  The shaded teal-coloured sketches assist with setting the tone of history, mystery, and adventure.  Inclusion of a map, at the beginning of each chapter, indicates the location of the characters at that moment in the novel, whether they were in Queenstown, Ireland or in New York.  To assist with these transitions, the change of time occurs at the start of a new chapter, as well as clear setting descriptions are included throughout, integral in showing the time and place.  These time transitions are smooth and easy to follow.   Themes of friendship, curiosity, history, time-travel, adventure, and courage are intertwined.  Educators can integrate this novel into lessons about the Titanic's history.  Time Voyage is an exciting adventure story to accompany non-fiction titles.  It is interesting to note the correct historical references of location, dates, and the company that sailed the Titanic incorporated in this work of fiction. Time Voyage is the first novel in the Return to Titanic four book series, written by Steve Brezenoff.   With easy vocabulary, great plot description, imagery, and consistent use of strong adjectives, this novel will captivate readers aged 9 to 13 years old, appealing to grade 2 to 3 reading levels.  The cliff-hanger at the end of the book will surely entice readers to continue reading this four book series. Recommended: 3 out of 4 stars Reviewer: Melissa Blackwood Melissa Blackwood is a Primary/Elementary teacher, presently completing a Master of Education in Teacher-Librarianship with the University of Alberta.

Sign in / Sign up

Export Citation Format

Share Document