scholarly journals The English Translation of Goenawan Mohamad’s On God and Other Unfinished Things with Special Reference to Poem No. 15: Reiss’ Method Application

E-Structural ◽  
2019 ◽  
Vol 1 (02) ◽  
pp. 192-206
Author(s):  
Almira Ghassani Shabrina Romala ◽  
Harris Hermansyah Setiajid
Keyword(s):  
Quality Assessment ◽  
Special Reference ◽  
English Translation ◽  
Semantic Content ◽  
Literary Work ◽  
Text Type ◽  
Expressive Function ◽  
The Aesthetic

This paper aims to explicate and examine one of the poems written by Goenawan Mohamad, Poem No. 15, which is included in his poem and poetic essay collection entitled Tuhan dan Hal-hal yang Tak Pernah Selesai, which was translated into On God and Other Unfinished Things by Laksmi Pamuntjak by applying Reiss’ method. This method scrutinizes the translation shift, especially the expression shift and the intralinguistic criteria comprising semantic, lexical, grammatical, and stylistic features. As a creative composition and a piece of literary work that illuminates the imaginative, emotional, and intellectual experience and creativity of its author, a poem is classified in the expressive text type based on Reiss’ text-type category. The result shows that there are several intralinguistic criteria and stylistic features maintained and also modified by the translator in the English translation of Goenawan Mohamad’s Poem No. 15 in On God and Other Unfinished Things, that is done not only to preserve the aesthetic dimension of the language used in the poem but also to fulfill the expressive function of the text. By employing various translation shifts and metaphor translation to make the target text more natural, preserving the relevant aspects of the semantic content, and taking the standpoint of the author in translating the poem, the English translation of Poem No. 15 can fulfill its quality assessment required by its expressive text type.

scholarly journals Coloristic Expressive Tools in Prose by Volodymyr Drozd

2019 ◽  
pp. 78-97
Author(s):  
Oleksandr Brayko
Keyword(s):  
Literary Work ◽  
Creative Work ◽  
Expressive Function ◽  
Psychological Analysis ◽  
Semantic Associations ◽  
The Rich ◽  
Teaching Function ◽  
The Aesthetic ◽  
Color Rendering

The paper deals with coloristic means in the works by the well-known Ukrainian writer-Sixtier. It focuses on the functions of colors and color effects in the text, their analogues in painting, and the role of the colors in showing semantic and mood accents or expressing some implicated meanings. The researcher traces accordance of the literary means with expressive resources of painting art as they are recorded in the theory of art. Throughout all the periods of the writer’s creative work the prose by V. Drozd shows the author’s attention to the plastic wealth of the outside world and its coloristic potential. The search for the graphic forms of a psychological analysis, as well as the mood dominant, the background of event, the expressive color markers of semantic accents or meaningful image components of exposition, and, after all, the very painting-like modeling of the landscape or interior, stimulated new graphic experiments that renewed and deepened aesthetic impact of a literary work on a reader, due to the culture of visual perception and constructive imagination. The first attempts of verbal design and color rendering in V. Drozd’s works still testify to his literary apprenticeship showing excessively decorative nature, unambiguity of semantic associations, bright hues and chromatic saturation that looks rather as adopted from pictures and not taken from nature. Such artistic approach to the theme generates enormous, and at the same time ideologically typical, pathos associated with aesthetics of socialistic realism and therefore with the teaching function of art. The development of coloristic culture in the works of the prose writer is rooted in his attention to the rich range of hues, their emotional and expressive potential, and also in the author’s desire to show a psychological action in a more plastic and suggestive way. In order to reproduce the coloristic variety of sensory experience and underline important semantic implications the writer skillfully works on the parameters of achromatic light environment which becomes symbolized or transformed in a fantastic and hyperbolic way due to the expressive function of light markers. The light and color contrasts or combinations of hues may underline some essential semantic aspects of the verbal picture components within the reproduction of a landscape. The analysis of figurative and modeling means proves the artistic functionality of the verbal analogues of painting in V. Drozd’s prose, and its consistency with the aesthetic dominants of the Sixtiers.

The Attraction of Literary Local Lore Material and Information from the Native Literature of Students in the Study of A.M. Gorky

2021 ◽  
pp. 137-141
Author(s):  
Zinaida Kh. Tedtoeva
Keyword(s):  
Russian Literature ◽  
Literary Work ◽  
Young Person ◽  
Native People ◽  
Culture History ◽  
Teacher Needs ◽  
Special Area ◽  
History Of ◽  
History Of Culture ◽  
The Aesthetic

The problem of perceiving fiction has aesthetic, sociological, historical and psychological aspects. In this regard, in the methodology of teaching Russian literature to the national audience, special attention is paid to the deep, faithful and subtle reproduction of the literary works of writers, the development of the reader’s talent. Fiction as a form of art is a special area of the aesthetic. In a truly fictional work, all its elements are subordinate to the expression of a certain content, expressive, figurative, therefore, the reader’s understanding of a literary work is not only aesthetic, but also evaluative in nature. There are three stages of students’ perception of the writer’s creation: 1) recreation and experience of images of the work, with the leading process of imagination; 2) understanding of the ideological content; V.G. Belinsky called this stage “true pleasure”; 3) the influence of fiction on the personality of the reader as a result of the perception of the work. Fiction affects the worldview, speech, moral behavior in society, aesthetic and artistic development, in general, the formation of a person’s personality. The teacher tries to ensure that students have the necessary knowledge, developed, recreational imagination, emotional sensitivity, a sense of the poetic word, observation, the ability to make comparisons, comparisons, generalizations, conclusions. Their perception of a work of art is a difficult process that directly depends on previous knowledge of literature, facts of the history of culture, history of society. The complexity of the spiritual world of a modern young person is due to the development of personality in the context of the rapid progress of society. All this poses a difficult task for methodological science - to diversify the means of analysis, its types and techniques, effective ways of influencing art on students. In the national audience, the main problem of studying Russian literature - the teacher needs to reveal Russian-national literary ties with specific examples, based on certain historical conditions, national specifics, use translations of the works of the Russian writer into the native language of students, literary local history material, highlight the attitude of cultural figures of the native people to the work of the Russian writer, to his personality.

scholarly journals Unsur Budaya Material dalam Novel Entrok Karya Okky Madasari

ATAVISME ◽  
2019 ◽  
Vol 22 (2) ◽  
pp. 200-216
Author(s):  
Miftahurohmah Hikmasari ◽  
Wening Sahayu
Keyword(s):  
Material Culture ◽  
Research Problem ◽  
Literary Work ◽  
Aesthetic Value ◽  
Literary Works ◽  
Descriptive Research ◽  
The Third ◽  
Qualitative Descriptive ◽  
The Aesthetic

This research aims to classify and describe the material culture elements contained in Okky Madasari’s novel Entrok. The research problem includes the classification of material culture elements which only exist in Indonesia, and most of them are related to Javanese culture. This research was a qualitative descriptive research. The data were in the form of words and phrases obtained from Okky Madasari’s Entrok. The result showed that there were six elements of material culture. The most commonly found material culture element was food, the second was house, the third was clothes, and the least found were vehicle, daily equipment, and art tool. The use of material culture elements in literary works, such as novel, not only improves the aesthetic value of the work, but also can be used as a media of education, so that the literary work enthusiasts can recognize better and are able to preserve the cultures in Indonesia.

scholarly journals MYSTERY AS A META-GENRE IN THE DRAMA OF THE TWENTIETH CENTURY

2021 ◽  
pp. 18-26
Author(s):  
K. Oliinyk
Keyword(s):  
Twentieth Century ◽  
World Order ◽  
Semantic Content ◽  
Point Of View ◽  
Dramatic Works ◽  
Life And Death ◽  
The Matrix ◽  
General Feeling ◽  
The Aesthetic ◽  
Definition Of

The article examines the specificity of existence of the renewed mystery genre as a meta genre in the twentieth century. The main literary study views on the definition of ancient and medieval / Christian ritual mystery are analyzed. The beginning of the twentieth century was full of a general feeling of catastrophe and tragic hopelessness. In artistic terms, the consequence of this was the activation of Christian issues, motives, plots, religious genres (miracles, morality and mystery). The most universal from the point of view of the ideological message and content for the writers of the twentieth century. was the matrix of the medieval mystery, which retained the ritual basis in its primary structure. This made it possible for the multilevel organization of the action and the space for it. The genre of medieval mystery is being modified, it ceases to be a purely form of religious action and acquires the quality of a meta genre. There is a transition from the religious sphere to the secular one, and the aesthetic one is replacing the didactic load. Mystery begins to exist on the edge of genres as a synthetic formation, showing intentions to “help” other genres. A large number of dramatic works of the twentieth century. ("Forest Song" by Lesia Ukrainka, "Iconostasis of Ukraine" by Vіra Vovk) comes close to the mystery, using its archetypal components: the ideas of faith in the absolute beginning, governing the eternal rotation of life and death, world order and harmony, death and rebirth, transformations of the human soul, chosenness and initiation associated with trials, sacrifice, deepening into mysticism. Such works are a certain imitation with elements of mythological or religious subjects. So, the twentieth century, actualizes a certain involvement of the semantic content of dramas to the mysteries, bringing the mystery to the level of the meta genre.

From Research on the Literary Hermeneutics

2021 ◽  
pp. 9-84
Author(s):  
Anatoly S. Demin ◽  
Keyword(s):  
18Th Century ◽  
Literary Work ◽  
17Th Century ◽  
Foreign Affairs ◽  
16Th Century ◽  
Old Russian ◽  
Russian State ◽  
State Library ◽  
The Aesthetic

The research consists of the series of articles analyzing the pre- viously unexplored expressiveness, figurativeness, fantasy and sarcasticity of a number of Old Russian works. The first article reveals the expressiveness of the “Turkic” utterances of Afanasy Nikitin in The Journey Beyond Three Seas according to the list of the Russian State Archive of Ancient Acts (RSAAA), f. 181, no. 371 of the first quarter of the 16th century. The second article characterizes the distorted, fantastic earthly worlds depicted in the Tale of the Twelve Dreams of King Shahaisha according to the list of the Russian National Library (RNL), Kir.-Beloz., no. 22/1099 of the 1470s; in the Conversation of Three Saints according to the list of the Russian State Library (RSL), Troitsk., no. 778 of the beginning of the 16th century; in the collection of proverbs and sayings according to the list of the RSAAA, Ministry of Foreign Affairs, Moscow Main Archive (MMA), no. 250–455 of the late 17th century; in The Tale of Ersh Ershovich according to the list of Pushkin House, 1.27.105 of the late 17th — early 18th centuries; in the Bird Council according to the list of the RNL, 0.XVII.17 the mid-18th century; in the Medicine Book. How to Treat Foreigners according to the list of the RNL, Q.XVII.96, Peter’s time; in the Legend of a Luxurious Life and Fun according to the list of the RNL, 0.XVII.57 of the first quarter of the 18th cen- tury. The third article examines the aesthetic role of verses in the collections of the late 17th century: RSL, Tikhonravov, no. 233, 249, 380, 411, 499. The fourth article shows that some compilers of collections of the 17th century appreciated the visual arts of works, mostly very old (оn the example of collections of the RSL, Tikhonravov, no. 460, 384, 18, 340, 231). In two Appendices to the article are published the descriptions of the composition of the collection no. 231 and the text of the parable about the dispute of parts of the human body. In two Ap- pendices to the article, it is said about the everyday depiction of the collection of proverbs and sayings according to the list of the RSAAA, MMA, no. 250–455 of the late 17th century and on the expressiveness of articles in the miniature collection of the RSL, Bolshakov, no. 325. The fifth article points to the mocking meaning of proverbs and sayings about criminals in the same collection of the RSAAA, MMA, no. 250–455. Finally, the sixth article draws attention to the evolution of the literary work of Archpriest Avvakum from brief mentions of events to detailed stories about them (оn the material of Vita, petitions, Book of Interpretations, Book of Accusations, Write-off about the creation of man, The Lamentable Word about the death of noblewoman F. Morozova). We must warn you that the pictorial and expressive meaning of the examples and phrases quot- ed from the texts of the monuments is not thoroughly proved in this work, but is only stated. Otherwise, each example would require an independent essay on certain literary means, and the theme and composition of the work would be completely different.

Introduction

2021 ◽  
pp. 1-15
Author(s):  
Elaine T. James
Keyword(s):  
Semantic Content ◽  
Intellectual Work ◽  
Aesthetic Experiences ◽  
Susan Sontag ◽  
The Aesthetic

The introduction orients readers to the aesthetic dimensions of biblical poems and argues that poems as verbal arts are not reducible to rhetoric or a single “message” but rather operate with an excess of meaning that both involves and transcends semantic content. It suggests that biblical poems can be fruitfully examined by considering what kinds of aesthetic experiences they offer. It draws on the work of Alva Noë and Susan Sontag to offer an embodied description of the intellectual work that poems can accomplish as art. The introduction also provides a succinct overview of its chapters.

Philosophical Aspects of Literary Objectiveness

1998 ◽  
pp. 77-84
Author(s):  
Endre Kiss
Keyword(s):  
Literary Work ◽  
Philosophy Of Art ◽  
Crucial Importance ◽  
Work Of Art ◽  
Artistic Experience ◽  
Scientific Analysis ◽  
The Status ◽  
The Aesthetic ◽  
Definition Of ◽  
General Fact

Gadamer’s hermeneutic philosophy avoids the problem of literary objectiveness altogether. His approach witnesses the general fact that an indifference towards literary objectiveness in particular, leads to a peculiar neglect of par excellence literariness as such. It seems obvious, however, that the constitutive aspects of the crisis of literary objectiveness cannot be shown to contain the underlying intention of bringing about this situation. At this point, one can identify what could probably be the most important element in a definition of literary objectiveness. In contrast to ‘natural’ objectiveness and objectiveness based on various societal conventions, the legitimacy of a literary work is solely guaranteed by its elements being organized in accordance with the rules of literary objectiveness. Thus when the crisis of literary objectiveness intensifies, literariness will also find itself in a crisis. This crisis detaches new, quasi-literary formations from various definitions of literariness. When literary objectiveness ceases, however, to be understood as a system constituted by various objective formations aiming to correspond in one way or another to the ‘world’, scientific analysis of literary objectiveness will be rendered impossible. The crisis of literary objectiveness thus brings about the crisis of the theory of literature and the philosophy of art. Gadamer explicitly argues that the scientific approach proves to be inadequate in the analysis of artistic experience. This attitude results in the categorical rejection of a scientific orientation (and so in a complete indifference towards literary objectiveness), but he seems to overemphasize an otherwise correct thesis on the non-reflexive character of artistic experience. It is the anti-mimetic and Platonic character of Gadamer’s aesthetic hermeneutics that determines the status of literary (artistic) objectiveness in his system of thought. What is of crucial importance, however, is to point out that this aesthetics entails a fundamental reduction of the significance of literary objectiveness. As soon as the essence of aesthetic object-constitution is taken to be re-cognition (plus the emanating aesthetic possibilities), the absolutely natural interest in the original object represented by a work of art.Undoubtedly, Gadamer’s conception answers a number of questions that tend to be ignored by other theories. It is just as obvious, however, that Gadamer completes here the aesthetic devaluation of the objective domain. It is not the characteristics of the ‘original’ that constitute the image, but in effect the image turns the original into an original. Paraphrasing this claim one arrives at a near paradox: not objectiveness makes a work of art possible, but a work of art lends objects their objectiveness.

scholarly journals Translating Tenor: With Reference to the English Versions of Hong Lou Meng

2008 ◽  
Vol 53 (3) ◽  
pp. 528-548 ◽  
Author(s):  
Zequan Liu
Keyword(s):  
Special Reference ◽  
Social Distance ◽  
Literary Work ◽  
The Novel ◽  
The Social ◽  
Hong Lou Meng ◽  
The Relationship ◽  
Cultural Features

Abstract The objective of this paper is to see how the Chinese tenor as exhibited by the use of titles and honorifics in the classic novel Hong Lou Meng is translated in its five English versions. I shall compare the translations of several dialogues from the novel with special reference to the tenor-markers. By adopting House’s interpersonal equivalence as a criterion to measure the social distance and power between the dyads as shown by the tenor in both the SL conversations and their respective TL versions, I shall investigate the relationship between the interpersonal equivalence that is acquired in the TT and the strategies that are adopted to translate the dialogues. The argument put forward here is that in order to produce a translation that not only reads fluently but also retains the linguistic and cultural features of a foreign literary work, foreignising should be adopted as a mainstream rather than exclusive strategy, with assistance drawn from domesticating solutions.

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