scholarly journals THE TEACHING OF LITERARY TRANSLATION AND THE CONSISTENCY OF EQUIVALENTS TO OBTAIN FUNCTIONAL TARGET NARRATIVES: ANALYSIS OF THE RENDERING OF MOBY DICK BY HERMAN MELVILLE FROM ENGLISH INTO SPANISH

2021 ◽  
Vol 8 ◽  
pp. 510-539
Author(s):  
Robert Szymyślik
Keyword(s):  
Herman Melville ◽  
Teaching Methods ◽  
Point Of View ◽  
Literary Translation ◽  
The Novel ◽  
Narrative Coherence ◽  
Literary Works ◽  
Moby Dick

This paper was developed to draw conclusions about the teaching methods that can be applied to the translation of literary works and about the study of the needs for consistency concerning rendering options in order for students to produce functional target narratives. It was carried out through the analysis of the novel entitled Moby Dick by Herman Melville from English into Spanish from the point of view of transversal narrative coherence. It centres its attention on the multiple translation options that can be employed to transfer specific extracts of this novel (such as verbs and pronouns whose equivalents must be maintained throughout the complete text) and on showing the importance of a consistent use of these translation options to obtain a functional target text. Keywords: literary translation, Melville, Moby Dick, narrative consistency, translation teaching

scholarly journals In the center of a circle: poetics of space in Dante’s “Divine Comedy” and H. Melville’s novel “Moby-Dick, or The Whale”

Litera ◽  
2020 ◽  
pp. 29-41
Author(s):  
Anna Viktorovna Dulina
Keyword(s):  
Herman Melville ◽  
Historical Analysis ◽  
Divine Comedy ◽  
The Novel ◽  
Moby Dick ◽  
Comparative Historical Analysis ◽  
Spatial Dimensions ◽  
Inner World ◽  
Distinct Features ◽  
The Impact

This article is dedicated to the analysis of peculiarities of space arrangement in the “Divine Comedy” by Alighieri and the novel Moby-Dick, or The Whale” by Herman Melville. On the examples of structural mythologemes “journey inside yourself” and “path towards the center of a circle”, present in both works, the author notes the impact of Dante upon Melville and determines the differences in their poetics of space. Structural, semantic and comparative-historical analysis of the texts in question allows speaking of the transformation of symbolism of the images of circle and its center, circular, vertical and horizontal movement, as well as reconsideration of meaning of the category of chaos and order, opposition “internal-external” from Dante’s works to worldview of the authors of the era of Romanticism. The novelty of this work consists in simultaneous analysis of the impact of Dante’s poetry upon Melville and comparison of peculiarities of the poetics of space of both authors for determining fundamental changes in representations of the structure of world space and space of the inner world of a person. In artistic realm of H. Melville, symbolic point of the center of a circle – “center of the world” –is no longer static, it becomes unreliable, depicting heads of madman characters and the images of the objects, which semantics does not resemble the concept of emptiness. The motif of the loss of structuredness along with the motif of mutual reciprocity of spatial dimensions and characteristics distinguish Melville’s poetics of space, delineated in the dialogue with distinct features of space arrangement in Dante’s works.

Melville's Intervisionary Network

2017 ◽  
Author(s):  
John Haydock
Keyword(s):  
Herman Melville ◽  
Honore De Balzac ◽  
The Novel ◽  
Moby Dick ◽  
French Writer ◽  
Innovative Environment ◽  
Billy Budd ◽  
New Methodologies ◽  
Literary Networks ◽  
The Web

The romances of Herman Melville, author of Moby-Dick and Billy Budd, Sailor, are usually examined from some setting almost exclusively American. European or other planetary contexts are subordinated to local considerations. But while this isolated approach plays well in an arena constructed on American exclusiveness, it does not express the reality of the literary processes swirling around Melville in the middle of the nineteenth century. A series of expanding literary and technological networks was active that made his writing part of a global complex. Honoré de Balzac, popular French writer and creator of realism in the novel, was also in the web of these same networks, both preceding and at the height of Melville’s creativity. Because they engaged in similar intentions, there developed an almost inevitable attraction that brought their works together. Until recently, however, Balzac has not been recognized as a significant influence on Melville during his most creative period. Over the last decade, scholars began to explore literary networks by new methodologies, and the criticism developed out of these strategies pertains usually to modernist, postcolonial, contemporary situations. Remarkably, however, the intertextuality of Melville with Balzac is quite exactly a casebook study in transcultural comparativism. Looking at Melville’s innovative environment reveals meaningful results where the networks take on significant roles equivalent to what have been traditionally classed as genetic contacts. Intervisionary Network explores a range of these connections and reveals that Melville was dependent on Balzac and his universal vision in much of his prose writing.

scholarly journals The implementation of literary works In teaching literary translation

2020 ◽  
Vol 4 (1) ◽  
pp. 28-40
Author(s):  
Sylvie Meiliana
Keyword(s):  
Leisure Activities ◽  
Literary Work ◽  
Literary Translation ◽  
The Novel ◽  
Semantic Approach ◽  
Literary Works ◽  
Analysis Technique ◽  
Cultural Terms ◽  
Functional Equivalent ◽  
Translation Procedure

The aim of this research is to show the implementation of literary works in literary translation by giving the way how to implement the literary work in revealing cultural terms found in a literary work, namely Achmad Tohari’s Ronggeng Dukuh Paruk Novel. Based on the literary work, the research on literary translation is done by investigating the translation procedure applied in translating the cultural terms from Indonesian into English. This research used a  descriptive qualitative method with content analysis technique done by taking the flow model followed by data reduction, data presentation, and conclusion. The analysis used a semantic approach and Peter Newmark’s translation procedures. Result of the research shown by implementing literary work, the research of literary translation reveals that there are 16 cultural terms and classified in 6 different categories, they are musical instruments, clothes, accessories, work and leisure, activities and procedures, and religious terms. In translating the novel, there are 7 translation procedures used by the translator, they are transference, naturalization, cultural equivalent, functional equivalent, descriptive equivalent, couplets, and notes.

scholarly journals The childish adult and popular culture: some thoughts to the anthropology of translation as taken from a translated poem of j. R. R. Tolkien

2020 ◽  
Vol 18 (2) ◽  
pp. 382-406
Author(s):  
Cyril Korolev ◽  
Keyword(s):  
Popular Culture ◽  
Intercultural Communication ◽  
Children’S Literature ◽  
Point Of View ◽  
Theory And Practice ◽  
Literary Translation ◽  
Foreign Languages ◽  
Literary Works ◽  
Factors Affecting ◽  
Translation Practice

The article examines the theory and practice of modern literary translation in Russia based on the examples of published works of translated children’s literature in foreign languages. From the point of view of the anthropology of translation, various extralinguistic factors affecting translation and publishing intentions are analyzed. An attempt is made to demonstrate how readers’ expectations define the particular age field of specific literary works, regardless of the author’s initial addressees. As an example of translation practice, clearly reflecting the peculiarities of intercultural communication, the translation of an early poem by J. R.R. Tolkien is analyzed.

scholarly journals Romandan Tiyatroya: Değirmen - Sarıpınar 1914 / From Novel to Theatre: Degirmen - Saripinar 1914

2017 ◽  
Vol 6 (4) ◽  
pp. 960
Author(s):  
Hayrunisa Topçu
Keyword(s):  
Interdisciplinary Studies ◽  
Point Of View ◽  
The Novel ◽  
Adaptation Theory ◽  
Prolific Author ◽  
Literary Works ◽  
Theoretical Part ◽  
Turkish Literature

<p><strong>Abstract</strong></p><p>Reşat Nuri Güntekin is one of the prolific author of Turkish Literature. He owns a lot of literary works within novel and theatre play genres. He cogitated about all components of theatre from decor, till play writer and he wrote many articles. His study on this field was continued by other authors in the following years. Turgut Özakman is a writer who, like Reşat Nuri, has been thought over play writing and studied on theoretical part of theater. The novel named <em>Değirmen </em>which was published in 1944 by Reşat Nuri, was adapted to theater by the name of <em>Sarıpınar 1914</em> by Turgut Özakman. The play was first staged by Ankara Sanat Tiyatrosu on 16 February 1968.</p><p>With the increasing interdisciplinary studies in recent years, the concept of adaptation has attracted the attention of researchers from almost every field. Therefore, the studies adapted from novel to theater have been discussed again with a new point of view. In this article named<em> Romandan Tiyatroya: Değirmen / Sarıpınar 1914,</em> Reşat Nuri’s novel <em>Değirmen</em> and Turgut Özakman’s theatre play <em>Sarıpınar 1914</em> will be evaluated in the framework of the “adaptation theory”. It will be discussed the differences between the novel and theatre play and also reasons of the differences with the comparative evaluations made on the concept of plot, character, time and place.</p><p> </p><p><strong>Öz</strong></p><p>Reşat Nuri Güntekin, Türk edebiyatının en üretken yazarlarından biridir. Özellikle roman ve tiyatro türünde birçok eseri vardır. Tiyatro konusunda dekordan oyun yazarlığına kadar her alanda kafa yormuş ve bu konuda birçok makale yazmıştır. Onun bu alanda yürüttüğü çalışmalar sonraki yıllarda başka yazarlar tarafından da devam ettirilmiştir. Turgut Özakman da tıpkı Reşat Nuri gibi oyun yazarlığı ile meşgul olmuş ve tiyatronun kuramsal kısmı üzerinde çalışmış bir yazardır. Reşat Nuri’nin 1944’te yayımlanan<em> Değirmen </em>isimli romanı, Turgut Özakman tarafından<em> Sarıpınar 1914</em> adıyla tiyatroya uyarlanmıştır. Oyun ilk kez 16 Şubat 1968 tarihinde Ankara Sanat Tiyatrosu tarafından sahnelenmiştir.<em> </em></p><p>Son yıllarda disiplinler arası çalışmaların artmasıyla birlikte uyarlama kavramı neredeyse her alandan araştırmacıların dikkatini çekmektedir. Dolayısıyla romandan tiyatroya aktarılan eserler de yeni bir bakış açısıyla tekrar ele alınmaya başlanmıştır. <em>Romandan Tiyatroya: Değirmen / Sarıpınar 1914 </em>adlı makalede Reşat Nuri Güntekin’in <em>Değirmen </em>isimli romanı ve Turgut Özakman’ın <em>Sarıpınar 1914</em> adlı tiyatro oyunu, “uyarlama kuramı” çerçevesinde değerlendirilecektir. Özellikle olay örgüsü, kişiler, zaman, mekân kavramları üzerinden yapılacak karşılaştırmalı değerlendirmelerle, iki eser arasındaki farklılıkların nedenleri ve bu farklılıkların uyarlanan eser üzerindeki etkileri tartışılacaktır. </p>

scholarly journals An Eco-critical Analysis of Moby Dick

2021 ◽  
Vol 8 (9) ◽  
pp. 86-90
Author(s):  
Yue Zhao ◽  
◽  
Mengyang Zhang ◽  
Keyword(s):  
Herman Melville ◽  
Critical Analysis ◽  
The Novel ◽  
Moby Dick ◽  
The 1950S ◽  
American Author ◽  
American Society ◽  
Realistic Significance

Moby Dick is well acknowledged as a world masterpiece by the American author Herman Melville. This paper attempts to analyze Melville’s Moby Dick by the theory of eco-criticism. In order to better approach the American society before the 1950s, the author aims to scrutinize the novel with eco-criticism from three such aspects as nature, society and spirit so that the present society can gain some insights in preventing and solving similar problems. Divided into several parts as follows, this paper introduces Melville and Moby Dick as well as eco-criticism first and then interprets the novel via eco-criticism in three aspects, and finally ends with its realistic significance as a conclusion.

Nested Inversions: Genre and the Bipartite Form of Herman Melville's Pierre

2010 ◽  
Vol 64 (4) ◽  
pp. 437-464
Author(s):  
Jonathan Crimmins
Keyword(s):  
Herman Melville ◽  
Value Systems ◽  
The Novel ◽  
Real Solution ◽  
Historical Contingency ◽  
Mixed Form ◽  
Moby Dick ◽  
Mode Of Production ◽  
As If ◽  
Generic Elements

Jonathan Crimmins, "Nested Inversions: Genre and the Bipartite Form of Herman Melville's Pierre" (pp. 437––464) In this essay I suggest that Herman Melville constructed Pierre (1852) as a diptych, an early example of the form that he later employed in his stories for Harper's and Putnam's magazines. He characterized Pierre's two halves by their settings, countryside and city, and used the locales allegorically to represent the ideological value systems associated with the mode of production of each. Further, I argue that Melville constrained the scope of the mixed form, more freely practiced in Mardi (1849) and Moby-Dick (1851), by carefully aligning the generic elements of Pierre with its bipartite structure: the sentimental and the Gothic with the first half of the novel, the urban and romantic with the second half. subordinating the generic elements to the structure, Melville built a novel in which each half operates according to different laws, each as its own separate stage, enacting the drama of its treasured beliefs and the inescapable hypocrisies of those beliefs. Each half of Pierre presents the justice of its values as natural and the logic of its values as complete. And yet, set side-by-side as a diptych so as to suggest equal measure, the competing claims to totality collapse; while each ideological stage acts as if its value systems are unified and whole, side-by-side they are seen as inverted schematics, as two halves of a single crisis. Melville shows the contradictory dependence of capitalism's ideology of historical contingency and feudalism's faith in an idealist grounding of the historical, offering up the insolubility of the crisis as the empty indicator of a real solution.

KONSEP DIRI “ I “ DAN “ME” TOKOH HIROKO DALAM NOVEL NAMAKU HIROKO KARYA NH.DINI

2012 ◽  
Vol 5 (2) ◽  
pp. 109
Author(s):  
Besin Gaspar
Keyword(s):  
Point Of View ◽  
The Other ◽  
Self Concept ◽  
The Novel ◽  
Main Character ◽  
Fictional Character ◽  
Social Customs ◽  
The Social ◽  
The Village ◽  
The City

This research deals with the development of  self concept of Hiroko as the main character in Namaku Hiroko by Nh. Dini and tries to identify how Hiroko is portrayed in the story, how she interacts with other characters and whether she is portrayed as a character dominated by ”I” element or  ”Me”  element seen  from sociological and cultural point of view. As a qualitative research in nature, the source of data in this research is the novel Namaku Hiroko (1967) and the data ara analyzed and presented deductively. The result of this analysis shows that in the novel, Hiroko as a fictional character is  portrayed as a girl whose personality  develops and changes drastically from ”Me”  to ”I”. When she was still in the village  l iving with her parents, she was portrayed as a obedient girl who was loyal to the parents, polite and acted in accordance with the social customs. In short, her personality was dominated by ”Me”  self concept. On the other hand, when she moved to the city (Kyoto), she was portrayed as a wild girl  no longer controlled by the social customs. She was  firm and determined totake decisions of  her won  for her future without considering what other people would say about her. She did not want to be treated as object. To put it in another way, her personality is more dominated by the ”I” self concept.

Wacana Kolonial dalam Novel Max Havelaar: Sebuah Kajian Poskolonial

Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 411
Author(s):  
Abu Bakar Ramadhan Muhamad
Keyword(s):  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Colonial Discourse ◽  
The Impact ◽  
The Voice

AbstrakHegemoni kolonialisme dalam budaya poskolonial merupakan alasan penelitian inikemudian mengkaji wacana kolonial dalam novel Max Havellar (MH) khususnya dampakditimbulkannya. Dampak dimaksud adalah posisi keberpihakan pemikiran tersirat darikarya tersebut. Hasil pembahasan menunjukkan, secara temporal maupun permanen MHmenyuarakan ketidakadilan dalam kondisi-kondisi kolonial menyangkut penindasan sangpenjajah terhadap terjajah. Hanya saja, upaya mengatasnamakan atau mewakili suarakaum terjajah terbukti mengimplikasikan ciri ideologis statis kerangka kolonialisme(orientalisme); yakni cara pandang Eropasentris, di mana “Barat” sebagai self adalah superior,dan “Timur” sebagai other adalah inferior. Dalam konteks poskolonialisme, MH dengan sifatkritisnya yang berupaya “menyuarakan” nasib pribumi terjajah, justru menampilkan stigmapenguatan kolonialitas itu sendiri secara hegemonik. Artinya, “menyuarakan” nasib pribumidimaknai sebagai keberpihankan kolonial yang kontradiktif, di mana stigma penguatankolonialitas justru lebih terasa, ujung-ujungnya melanggengkan hegemoni kolonial. Tidakmembela yang terjajah, tetapi memperhalus cara kerja mesin kolonial.AbstractThe hegemony of colonialism in the culture of postcolonial society is the reason this studythen examines the colonial discourse in the novel Max Havellar (MH) in particular the impactit brings. The impact in question is the implied position of thought in the work. The resultsof the discussion show that, temporarily or permanently, MH voiced injustice in the colonialconditions regarding the oppression of the colonist against the colonized. However, the effort toname or represent the voice of the colonized has proven to imply a static ideological characterin the framework of colonialism (orientalism); ie Eropacentric point of view, in which “West” asself is superior, and “East” as the other is the inferior. In the context of postcolonialism, MH withits critical nature that seeks to “voice” the fate of the colonized natives, actually presents thestigma of strengthening coloniality itself hegemonicly. That is, “voicing” the fate of the pribumiis interpreted as a contradictory colonial flare, where the stigma of strengthening colonialityis more pronounced, which ultimately perpetuates the hegemony of colonialism. No longerdefending the colonized, but refining the workings of the colonial machinery.

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