scholarly journals Issues Of National Methodological Identity And Expression Of National Color In Translation

2021 ◽  
Vol 03 (02) ◽  
pp. 383-390
Author(s):  
Shokirova Ddilfuza Zoidovna ◽  
◽  
Ochilova Nilufar Kabilovna ◽  
Keyword(s):  
Unique Feature ◽  
Literary Translation ◽  
National Literature ◽  
Artistic Skill ◽  
Stylistic Diversity

Style is a unique feature of each author, which implies that each artist has his own style - the ideological direction of his work, the artistic means used in the text, lexical and phraseological elements and specific components related to the artistic form. Re-creation of each author's own "language", ie style, is one of the important conditions of literary translation and requires great artistic skill from the translator. The stylistic diversity, the charm of form and meaning is a great treasure of every national literature. Were it not for the variety of styles and colors, there would have been a single stylistic ambiguity, ambiguity, ambiguity. Such a situation would have led to intellectual bluntness, artistic poverty.

scholarly journals MODERN GEORGIAN COMPARATIVE STUDIES: DIRECTIONS OF RESEARCH, MAIN ISSUES

2021 ◽  
pp. 22-36
Author(s):  
Liudmyla Hrytsyk ◽  
Ivane Mchedeladze
Keyword(s):  
Middle Ages ◽  
Comparative Studies ◽  
World Literature ◽  
Literary Translation ◽  
National Literature ◽  
Literary Texts ◽  
Material Research ◽  
The World ◽  
History Of ◽  
Theory Of Literature

Taking into account the factual material, research methods, and tasks, the authors trace the evolution/changes in Georgian comparative studies. It is notable that typological approaches, along with contact-genetic ones, are now actively used. These changes become firmly established due to the studies of iconic figures and periods, which attract the special attention of the scholars. Eurocentric concepts give place to other ones that have their basis in the study of the national literature and include philosophical, anthropological, psychological, and religious factors in the field of research. A lot of attention has been given to the principles of selecting literary texts for translation. The field of Georgian comparative studies has been remarkably changed/updated in the late 20th — early 21st centuries. Along with historians of literature, the theorists, critics, translators, and specialists in European and Oriental languages have been involved, which affected the level of comparative studies. Among the raised issues are reception, imagology, typology of anti-colonial narratives, genre transformations, postmodern discourse, etc. The character of Georgian-Ukrainian comparative studies changed drastically: it is obvious in the approaches/assessments of literary translation and in all connecting issues in general. Comparative studies came as close as possible to the theory of literature, which let the researchers (R. Khvedelidze, N. Naskidashvili, S. Chkhatarashvili, I. Mchedeladze) update the methodology and intensify their work on the diff erent levels of research, regardless of the presence/absence of contexts. The present surge in Georgian comparative studies started in the 2010s. It is connected to the organization of effective specialized research centers. Of great interest are the comparative studies aiming to show the history of Georgian literature as an individual version of the world literature (I. Ratiani), to identify the features of the Georgian literary canon based on the three main literary models (Middle Ages, Romanticism, post-Soviet), with a focus on the combination of ‘canonical’ and ‘non-canonical’ in innovative writing.

scholarly journals Poetry of Boris Kagermazov

Litera ◽  
2021 ◽  
pp. 64-73
Author(s):  
Naima Borisovna Bozieva
Keyword(s):  
Significant Contribution ◽  
Theoretical Foundation ◽  
Detailed Examination ◽  
National Literature ◽  
Practical Application ◽  
Compositional Structure ◽  
The Subject ◽  
Aesthetic Values ◽  
Artistic Skill

The subject of this article is the analysis of poetry of Boris Kagermazov. The object of this research is the genre, plot, composition, and thematic peculiarities the epic works of Boris Kagermazov. The goal of this article is to reveal the specific features of the poems, their compositional structure, novelties s in poetics, and role of this genre in the works of Boris Kagermazov. Detailed examination is conducted on peculiarities of the poems “Echo of the War”, “Grief and Anger”, “Harmonist”. Attention is given to the analysis of poetic theme and problematic of the poems, as well as to their composition and artistic skill of B. Kagermazov. The relevance of the selected topic is defined by the crucial role of B. Kagermazov in evolution of the genre of poem in the Kabardian-Circassian literature of the XX century, the depth of artistic conceptualization of the historical process, and embrace of the system of philosophical, spiritual- ethical, and aesthetic values of his ethnic group. The acquired results may serve as the theoretical foundation in the further examination of the works of B. Kagermazov and studying the Adyghe poetry, namely lyrical and lyrical-epic works; their practical application can be found in specialized courses, research works of the pedagogues, postgraduates and students. The conclusion is made on the novelties introduced by the poet in creation of original modifications of the poem, which is reflected in the diffusion of genres, simultaneous use of certain elements of lyrics, epic, and drama. The poet's artistic pursuits made significant contribution to enrichment of the national literature.

Silica Incorporation in the Cell Wall of the Singing Cell of Urtica dioica

1975 ◽  
Vol 33 ◽  
pp. 584-585
Author(s):  
A. E. Sowers ◽  
E. L. Thurston
Keyword(s):  
Cell Wall ◽  
Unique Feature ◽  
Urtica Dioica ◽  
Wall Material ◽  
Pain Response ◽  
Apical Portion ◽  
Ultrastructural Investigation ◽  
Plant Families ◽  
Bulbous Tip

Plant stinging emergences exhibit functional similarities in that they all elicit a pain response upon contact. A stinging emergence consists of an elongated stinging cell and a multicellular pedestal (Fig. 1). A recent ultrastructural investigation of these structures has revealed the ontogeny and morphology of the stinging cells differs in representative genera in the four plant families which possess such structures. A unique feature of the stinging cell of Urtica dioica is the presence of a siliceous cell wall in the apical portion of the cell. This rigid region of the cell wall is responsible for producing the needle-like apparatus which penetrates the skin. The stinging cell differentiates the apical bulbous tip early in development and the cell continues growth by intercalary addition of non-silicified wall material until maturity.The uppermost region of the stinging cell wall is entirely composed of silica (Fig. 2, 3) and upon etching with a 3% solution of HF (5 seconds), the silica is partially removed revealing the wall consisting of individualized silica bodies (Fig. 4, 5).

Indonesian Literature’s Position in World Literature

TEKNOSASTIK ◽  
2018 ◽  
Vol 14 (2) ◽  
pp. 1
Author(s):  
Dina Amelia
Keyword(s):  
World Literature ◽  
The Other ◽  
National Literature ◽  
Western World ◽  
The World ◽  
The One ◽  
The Voice

There are two most inevitable issues on national literature, in this case Indonesian literature. First is the translation and the second is the standard of world literature. Can one speak for the other as a representative? Why is this representation matter? Does translation embody the voice of the represented? Without translation Indonesian literature cannot gain its recognition in world literature, yet, translation conveys the voice of other. In the case of production, publication, or distribution of Indonesian Literature to the world, translation works can be very beneficial. The position of Indonesian literature is as a part of world literature. The concept that the Western world should be the one who represent the subaltern can be overcome as long as the subaltern performs as the active speaker. If the subaltern remains silent then it means it allows the “representation” by the Western.

Transformation and Education in GDR Youth Literature: A Script Theory Approach

2016 ◽  
Vol 9 (1) ◽  
pp. 65-82
Author(s):  
Jean E. Conacher
Keyword(s):  
Fairy Tale ◽  
Democratic Republic ◽  
Socialist Realism ◽  
National Literature ◽  
Close Reading ◽  
Theory Approach ◽  
Conceptual Blending ◽  
Script Theory ◽  
Cultural Policies ◽  
Youth Literature

Youth literature within the German Democratic Republic (GDR) officially enjoyed equal status with adult literature, with authors often writing for both audiences. Such parity of esteem pre-supposed that youth literature would also adopt the cultural–political frameworks designed to nurture the establishment of socialism on German soil. In their quest to forge a legitimate national literature capable of transforming the population, politicians and writers drew repeatedly upon the cultural heritage of Weimar classicism and the Bildungsroman, Humboldtian educational traditions and Soviet-inspired models of socialist realism. Adopting a script theory approach inspired by Jean Matter Mandler, this article explores how directive cultural policies lead to the emergence of multiple scripts which inform the nature and narrative of individual works. Three broad ideological scripts within GDR youth literature are identified which underpin four distinct narrative scripts employed by individual writers to support, challenge and ultimately subvert the primacy of the Bildungsroman genre. A close reading of works by Strittmatter, Pludra, Görlich, Tetzner and Saalmann reveals further how conceptual blending with classical and fairy-tale scripts is exploited to legitimise and at times mask critique of transformation and education inside and outside the classroom and to offer young protagonists a voice often denied their readers.

Patrick Kavanagh and the Authentic ‘Dispensation’: Rereading the Role of Narrator in The Great Hunger

2012 ◽  
Vol 42 (1) ◽  
pp. 86-104 ◽  
Author(s):  
Catherine Kilcoyne
Keyword(s):  
National Literature ◽  
Close Reading ◽  
Peasant Farmer ◽  
Nineteen Forties ◽  
Death Knell

This essay posits a challenge to the continued reading of The Great Hunger (1942) as a realist depiction of the Irish small-farming class in the nineteen forties. The widespread critical acceptance of the poem as a socio-historical ‘documentary’ both relies upon and propagates an outmoded notion of authenticity based upon the implicit fallacy that Kavanagh's body of work designates a quintessence of Irishness in contradistinction to his Revivalist predecessors. In 1959 Kavanagh referred to this delusion as constituting his ‘dispensation’, for indeed it did provide a poetic niche for the young poet. Kavanagh's acknowledgement of this dispensation came with his rejection of all prescriptive literary symbols. While this iconoclasm is widely recognised in his later career, the relevance of The Great Hunger to this question continues to be overlooked. In fact, this poem contains his strongest dialectic upon the use of symbols – such as the peasant farmer – in designating an authentic national literature. The close reading of The Great Hunger offered here explores the poem's central deconstruction of ruralism and authenticity. The final ‘apocalypse of clay’ is the poem's collapse under the stress of its own deconstructed symbolism; the final scream sounds the death knell to Kavanagh's adherence to his authentic dispensation.

The Galaxy, National Literature, and Reconstruction

2020 ◽  
Vol 75 (1) ◽  
pp. 50-81
Author(s):  
Brook Thomas
Keyword(s):  
Henry James ◽  
Mark Twain ◽  
National Literature ◽  
Lost Cause ◽  
American Democracy ◽  
Fair Treatment ◽  
The Galaxy ◽  
Great Poet ◽  
John William De Forest ◽  
United Nation

Brook Thomas, “The Galaxy, National Literature, and Reconstruction” (pp. 50–81) The North’s victory in the Civil War preserved the Union and led to the abolition of slavery. Reconstruction was a contentious debate about what sort of nation that union of states should become. Published during Reconstruction before being taken over by the Atlantic Monthly, the Galaxy tried, in Rebecca Harding Davis’s words, to be “a national magazine in which the current of thought of every section could find expression.” The Galaxy published literature and criticism as well as political, sociological, and economic essays. Its editors were moderates who aesthetically promoted a national literature and politically promoted reconciliation between Northern and Southern whites along with fair treatment for freedmen. What fair treatment entailed was debated in its pages. Essayists included Horace Greeley, the abolitionist journalist; Edward A. Pollard, author of The Lost Cause (1866); and David Croly, who pejoratively coined the phrase “miscegenation.” Literary contributors included Davis, Walt Whitman, Henry James, Mark Twain, Constance Fenimore Woolson, John William De Forest, Julian Hawthorne, Emma Lazarus, Paul Hayne, Sidney Lanier, and Joaquin Miller. Juxtaposing some of the Galaxy’s literary works with its debates over how the Union should be reimagined points to the neglected role that Reconstruction politics played in the institutionalization of American literary studies. Whitman is especially important. Reading the great poet of American democracy in the context of the Galaxy reveals how his postbellum celebration of a united nation—North, South, East, and West—aligns him with moderate views on Reconstruction that today seem racially reactionary.

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