scholarly journals EXPRESSION OF INDUCEMENT IN KOREAN AND BULGARIAN

2021 ◽  
pp. 42-51
Author(s):  
Eunnarae CHO
Keyword(s):  
Analytic Form ◽  
Sentence Structure ◽  
Declarative Sentence ◽  
Future Tense ◽  
Modal Verb ◽  
Deontic Modality ◽  
The Voice ◽  
Imperative Mood ◽  
Synthetic Form ◽  
The Way

This article attempts to present some means of expressing inducement in Korean and Bulgarian and to suggest some features discovered in the translation corpus, composed of five original Korean novels and their translations in Bulgarian. Unlike imperative mood, which is a grammatically concretized notion of deontic modality, inducement is a complex unity formed by various elements such as morphological, syntactic and lexical elements. Therefore, it can be realized both directly and indirectly through the means, which express / do not express inducement in its own form. As for the direct way, Bulgarian has a synthetic and an analytic form. Korean has only a synthetic form, but it has six imperative endings, differing in terms of formality and politeness. Regarding the indirect way, some means like interrogative sentences with the verb in indicative mood and declarative sentences with modal verb are actively used in both languages, while others are used only in Bulgarian. For example, the use of a declarative sentence with a future tense verb in the indicative mood for the purpose of expressing inducement is clearly confirmed in Bulgarian, but in Korean this kind of sentence does not perform the same function at all. From the studied translation materials five main asymmetric features have been found – in the person of the addressee, the voice of the sentence, the way of expressing the inducement, the sentence structure and the way of strengthening the persistence.

scholarly journals Tryb rozkazujący – uwagi o definiowaniu pojęcia i zakresie jego użycia w opisach systemu fleksyjnego współczesnego języka polskiego

2021 ◽  
Vol 28 (2) ◽  
pp. 195-212
Author(s):  
Krystyna Bojałkowska
Keyword(s):  
The Other ◽  
Other Hand ◽  
The Status ◽  
Polish Language ◽  
Deontic Modality ◽  
Directive Speech ◽  
Imperative Mood ◽  
The Way

The aim of this paper is to present how the imperative mood is defined in the descriptions of the inflection system of the contemporary Polish language. First of all, imperative mood is considered to be the value of one of the inflection categories of mood, and the forms representing it, e.g. zrób! (‘do!’), myj! (‘wash!’) are considered to be in opposition to the forms of the declarative and the conditional moods. On the other hand, the imperative is a grammatical means that expresses the so-called deontic modality and utterances with imperative forms are treated, before anything else, as acts of directive speech. This way of defining the imperative mood is the reason why the status of such forms as wygraj! (‘win!’), otrzymaj! (‘receive!’), (nie) umieraj! (‘[not] die!’) or bądź (szczęśliwy) (‘be [happy]’) is problematic, because they constitute a non-directive use of the imperative mood. The conclusion is that the way of defining the imperative mood in Polish requires clarification.

scholarly journals Recalculating the White Page-GPS Love in Comme dans un film des frères Coen

2016 ◽  
Vol 5 (1) ◽  
pp. 53-72
Author(s):  
Valerie Hastings
Keyword(s):  
The Novel ◽  
Main Character ◽  
Creative Activity ◽  
Moving Images ◽  
The Voice ◽  
The Way

Abstract Hastings reads the novel Comme dans un film des frères Coen (2010) by Bertrand Gervais as addressing both the midlife and the blank page crisis. Indeed, the main character of this novel is a writer in his fifties who still suffers from the failure of his last novel ignored by the critics. Disenchanted, he slowly enters a world of fantasy, and falls in love with the voice of his GPS he called Gwyneth “parle trop” (speaks too much) therefore recalling the name of the actress with the same name. He gradually loses contact with his wife and his son, a successful painter, and is transformed into “the man who was not there” another character from a movie by the Coen brothers entitled The Barber: the man who was not there. Hastings asks: How could one get lost with a GPS? After the main character had initially bought his GPS for a trip in Australia in order to find his way, it started to go beyond its role as a road guide and questioned where he was in his relationship with his wife, in his career as a writer, and in his skin as a mature man. Not only was the GPS not fulfilling its purpose but also it started to ruin a fragile relationship hoping to find its way back to love during a last minute trip in Australia. Even after destroying the annoying talkative GPS, it continued to disrupt the couple in the plane on the way back to Canada. As much as Gwyneth the GPS is synonymous with escape and freedom, it is also showing the main character the wrong way, the way out of his reality, out of his family and out of his life. His attempts to free himself from Gwyneth are worthless, her image is still there, haunting his thoughts like images from a movie. But the displacement happens at another level than just the diegetic one. The confrontation of the text with moving images has consequences on the shape of the text itself. The mapping of the text on the page is influenced by this amalgam. The white page becomes a space where words are rearranged in different ways, some of which suggest poetry, other cartoons or cinematic images. The displacement of literature in areas that were previously foreign to it is at the heart of creative activity, and determines its renewal. Hastings presents the consequences resulting from the confrontation with the GPS, both on the mapping of one’s identity as well as the mapping and the shaping of the text itself.

Voices of Spectators and Audience Power

Pólemos ◽  
2015 ◽  
Vol 9 (2) ◽  
Author(s):  
Christian Biet
Keyword(s):  
Social Relationship ◽  
The Other ◽  
Long Period ◽  
The Social ◽  
The Common ◽  
Dramatic Action ◽  
The Law ◽  
The Voice ◽  
The Way

AbstractTheatre and law are not so different. Generally, researchers work on the art of theatre, the rhetoric of the actors, or the dramaturgy built from law cases or from the questions that the law does not completely resolve. Trials, tragedies, even comedies are close: everybody can see the interpenetration of them on stage and in the courts. We know that, and we know that the dramas are made with/from/of law, we know that the art the actors are developing is not so far from the art of the lawyers, and conversely. In this paper, I would like to have a look at the action of the audience, at the session itself and at the way the spectators are here to evaluate and judge not only the dramatic action, not only the art of the actors, not only the text of the author, but also the other spectators, and themselves too. In particular, I will focus on the “common judgment” of the audience and on its judicial, aesthetic and social relationship. The spectators have been undisciplined, noisy, unruled, during such a long period that theatre still retains some prints of this behaviour, even if nowadays, the social and aesthetic rule is to be silent. But uncertainty, inattention, distraction, contradiction, heterogeneity are the notions which characterise the session, and the judgments of the spectators still depend on them. So, what was and what is the voice of the audience? And with what sort of voice do spectators give their judgments?

scholarly journals The voices that Ezekiel hears

2010 ◽  
Vol 196 (2) ◽  
pp. 101-101 ◽  
Author(s):  
George Stein
Keyword(s):  
Son Of Man ◽  
The People ◽  
The Voice ◽  
Command Hallucinations ◽  
The Way

Like any prophet, Ezekiel hears the voice of God and it is his prophetic task to relay God's message onto the people. He hears the voice of God more often (93 times) than any other prophet, and the way God addresses him as ‘son of man’ or ‘mortal’ is also unique. Ezekiel experiences a variety of other auditory phenomena, including command hallucinations which are not described in any other prophet, 3:3 ‘He said to me; mortal eat this scroll that I give to you and fill your stomach with it. Then I ate it; and in my mouth it was as sweet as honey.’

scholarly journals Memoria e storia nelle narrazioni postcoloniali di Regina di fiori e di perle di Gabriella Ghermandi e Memorie di una principessa etiope di Martha Nasibù

2020 ◽  
Vol 17 ◽  
pp. 30-42
Author(s):  
Barbara Kornacka
Keyword(s):  
Narrative Voice ◽  
Historical Discourse ◽  
The Voice ◽  
The Way

The aim of thise paper is to show how the setting out of the narrative voice determines the historical discourse. The analysis of the narrative voice leads to some considerations about memory and to the examination of recollection in these two novels. That, in turn, allows an exploration of the way in which the historical discourse is constructed. In those cases where the voice in the historical discourse is given to subaltern subjects, they contribute to a more plural history.

scholarly journals Shifting voices: A comparison of two novelists’ translations of a third

2007 ◽  
Vol 52 (3) ◽  
pp. 450-462
Author(s):  
Eirlys E. Davies
Keyword(s):  
Tahar Ben Jelloun ◽  
Source Text ◽  
English Version ◽  
French Version ◽  
Paul Bowles ◽  
Autobiographical Work ◽  
The Voice ◽  
The Way

Abstract This paper compares the English and French translations of Mohamed Choukri’s autobiographical work originally written in Arabic under the title Al khubs al hafi. The translations are somewhat unusual in that both were published long before the source text became available, and in that they were done by two renowned novelists (Paul Bowles and Tahar Ben Jelloun) while Choukri himself was a completely unknown writer. The comparison reveals many contrasts. The English version favours a fragmentary, often disjointed style, with simple everyday vocabulary and frequent repetition, while the French version uses more sophisticated syntax and more specialised and varied lexis. There are also differences in content; the English version often remains more implicit than the French and yet provides more horrific details, and it frequently opts for foreignization where the French features the strategy of domestication. It is suggested that these contrasts reflect the ways in which the novelists’ own voices have influenced the way in which they express the voice of Choukri.

scholarly journals MEMORIZING PROPAGANDA OF EQUALITY IN NGULANDARA AND KIRTI NDJOENJOENG DRADJAT, NOVELS OF BALAI POESTAKA (Mengingat Kembali Propaganda Kesetaraan dalam Novel-Novel Balai Poestaka, Ngulandara dan Kirti Ndjoenjoeng Dradjat)

Kandai ◽  
2020 ◽  
Vol 16 (1) ◽  
pp. 96
Author(s):  
Yohanes Adhi Satiyoko
Keyword(s):  
Lower Class ◽  
Point Of View ◽  
Literary Works ◽  
Colonial Era ◽  
Sociological Approach ◽  
Independence Era ◽  
Colonial Government ◽  
The Voice ◽  
Dutch Colonial ◽  
The Way

Equality of men is a great issue to maintain every country all the time. Indonesia is one of them which should struggle to maintain it so far. Fictional work is one of the aesthetical means to support it. The way of struggle can be memorized through the time of independence era in fictional works of Balai Poestaka publisher. Javanese language novels, Ngulandara and Kirti NdjoendjoengDradjat are two literary works published by BalaiPoestaka that were written in the dominance times of Balai Poestaka activities as commission for people’s reading in Dutch colonial era in Indonesia (Dutch Indies). Kepriyayian (nobility) was the theme of Ngulandara (1936) and Kirti NdjoendjoengDradjat(1924) novels. As seen from propaganda point of view, ideologically the portrayal of priyayi (nobleman) was analogy symbol of Dutch colonial government that ruled social system. Ngulandara and Kirti Njunjung Drajat showed a “struggle” through literary works as portrayed in wong cilik (Javanese: lower class people) who struggled against the existence of the authorities. The struggle emerged in the way of wong cilik behaved intellectually, morally, even mannerly better than the nobles (priyayi). This research used the theory of literature and propaganda using a sociological approach. Those oppositional relationships between deconstruction nobles and the raise of wong cilik in the field of intellectual, moral, and manner show the propaganda of equality of men through the voice of Jasawidagdo and Margana Djajaatmadja.Kesetaraan manusia merupakan isu besar yang harus selalu dijaga di setiap negara. Indonesia adalah salah satu negara yang harus tetap berjuang menjaga isu tersebut. Karya fiksi berfungsi sebagai salah satu peranti estetis untuk mendukung isu tersebut. Cara memperjuangkan isu tersebut ialah dengan mengingat kembali masa kemerdekaan melalui penerbit Balai Poestaka. Novel-novel berbahasa Jawa, Ngulandara dan Kirti Ndjoendjoeng Dradjat ialah dua karya sastra yang diterbitkan oleh Balai Poestaka yang ditulis pada waktu dominasi Balai Poestaka sebagai komisi bacaan rakyat di era kolonial Belanda di Indonesia (Hindia Belanda). Kepriyayian merupakan tema novel Ngulandara (1936) dan Kirti Njoendjoeng Dradjat (1924). Dilihat dari sudut pandang propaganda, penggambaran priyayi merupakan analogi simbol pemerintah kolonial Belanda yang berkuasa mengatur sistem sosial kemasyarakatan. Ngulandara dan Kirti Ndjoendjoeng Dradjat menunjukkan sebuah “perjuangan” melalui karya sastra seperti digambarkan melalui wong cilik yang berjuang melawan kemapanan penguasa. Perjuangan tersebut muncul dengan cara wong cilik tersebut bertindak secara intelektual, bermoral, bahkan bersikap lebih terhormat daripada para priyayi. Penelitian ini menggunakan teori sastra dan propaganda dengan pendekatan sosiologi. Relasi oposisional antara dekonstruksi priyayi dan bangkitnya wong cilik dalam ranah intelektual, moral, dan sikap menunjukkan propaganda kesetaraan manusia melalui suara Jasawidagdo dan Margana Djajaatmadja.  

scholarly journals Penggunaan Modal Verbs Bahasa Inggris dalam Ketrampilan Berbicara

2020 ◽  
Vol 1 (1) ◽  
pp. 11-20
Author(s):  
Maria Theresia Priyastuti
Keyword(s):  
Nursing Students ◽  
Health Education ◽  
Learning Process ◽  
Role Play ◽  
English Learning ◽  
Modal Verbs ◽  
Main Form ◽  
Modal Verb ◽  
Deontic Modality ◽  
Descriptive Qualitative

This research discusses the form of modality and the meaning of modality in English learning process using role play method. This research discusses the form of modality and the meaning of modality in English learning process using role play method. Objective to describe the form of modality and to explain the meaning of modality. The form of modality that is used in speaking is deontic modality with the modal verbs such as “must, has to atau have to, should, can/could” and the meanings of modality which are found, are order/necessity modality and permission modality. Descriptive qualitative with equal pragmatic methods. The data were taken from the conversation of role play which contained modal verbs. The sampling of the research were used  randomly when the nursing students did role play of giving health education with diet program theme. firstly, the main form of modality in the conversation of role play using modal verb “can and will”. Secondly the meaning of modality which is often found in conversation of role play is deontic modality for asking permission. The nursing students are able to use English modal verbs correctly  in role play learning process.

The Voices of Samizdat and Magnitizdat

2021 ◽  
Author(s):  
Ann Komaromi
Keyword(s):  
Soviet Union ◽  
Audio Tape ◽  
Soviet Culture ◽  
Presence And Absence ◽  
The Individual ◽  
The Voice ◽  
Gulag Archipelago ◽  
The Way

This chapter treats “samizdat” (self-publishing) and “magnitizdat” (audio tape self-publishing) in the late Soviet Union via the concept of the “voice.” Komaromi discusses a select set of examples including guitar poetry; Boris Pasternak’s Doctor Zhivago; Aleksandr Solzhenitsyn’s Gulag Archipelago, Evgeniia Ginzburg’s camp memoirs; poetry at Maiakovskii Square; and the texts of Leningrad second culture. These examples facilitate exploration of the way samizdat and magnitizdat related to official culture, even as they expanded the range of late Soviet culture far beyond what was allowed in print. They also make it possible to analyze the way samizdat and magnitizdat voices mediated between silence and speech, matter and spirit, presence and absence, and the individual and the collective, creating new ways for Soviet citizens to express themselves and be heard by one another.

Where Words End

2021 ◽  
pp. 586-603
Author(s):  
Graham Ward
Keyword(s):  
Jesus Christ ◽  
Word Of God ◽  
Presence Of God ◽  
Creative Experience ◽  
The Voice ◽  
The Church ◽  
The Way

Revelation cannot be approached directly. It is mediated all the way down. That is not just because of ‘sin’. Though sin is the manifestation of our alienation from God—an alienation overcome by God’s reconciling operations in salvation—a diastema between Creator and creation still pertains. There is no immediate encounter with the Word of God available to us as such. It is always mediated to us through human words and human acts, stories (biblical and autobiographical) and material practices, the Church and its liturgies, and the cultures we inhabit that shape us. The voice of the Lord comes to us in and through the darknesses and ambivalences of our various unredeemed and yet to be redeemed states. We are addressed, continually addressed, by God’s transformative grace, by his love and mercy, in and through our condition as created. The voice is accommodated to that condition, and can be accommodated because the Word of God is written into creation, coming finally, and intensively, in Jesus Christ. So the voice can be heard: makes itself available to be heard. But the eternal presence of God pro nobis (where the ‘we’ is not just humankind but all God’s creatures, pace Barth), the eternal presence of God-with-us that is the touchstone and content of revelation, bubbles up intrinsically through the obscurities of created and creative experience.

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