Authors’ Figurative Expressions From Two Novels: A Comparative Analysis Between RTJNA Rosso and RTJNA Blu

Stylistic analysis of the novels Reisei To Jounetsu No Aida Rosso by Ekuni Kaori and Reisei To Jounetsu No Aida Bluu by Hitonari Tsuji is an analysis of metaphorical language style as a figurative language used to express the author's thoughts, personality, and perspectives. The use of distinctive language in a work shows the characteristics of individualism and the style of each author in conveying ideas through the medium of language. This study uses the metaphorical perspective of Michael C. Halley and Stephen Ullman. The results of the analysis show that the use of an author's language style provides information about the author's cultural background and the context in which they communicate. The metaphorical language style is used by the authors to express feelings and express different thoughts and each author has a uniqueness or specialty style which can be felt in a significant way by the readers of their works.

Figurative Competence of Jordanian Graduate Students of English: An Analysis of Their Errors and Strategies

This study uses a translation task consisting of 15 sentences to examine the figurative competence of Jordanian graduate students majoring in English. It also attempts at shedding some lights on their strategies and errors when translating fixed figurative expressions into Arabic. The sample of this study consists of 36 Jordanian graduate students in the English department of two Jordanian universities. Half of the participants are M.A. students, while the other half are Ph.D. students. The findings of the study indicate that Ph.D. students have a slightly higher idiomatic competence than M.A. students, though the two groups perform poorly in the translation task. The findings also suggest that graduate students of English often rely on the context, metaphor, and knowledge of L1 to approach the meaning of English figurative expressions. Furthermore, the findings show that paraphrasing and giving an Arabic equivalent are the most common translation strategies used by graduate students.

Translation as a Linguistics Process: A Case Study of the Concept of Equivalence in Translation TL----SL

In this study, the linguistics processes guiding the concept of equivalence in translation of Source Language and Target Language are vividly discussed. When translating from one language to another, it's necessary to decode the source text and look for an acceptable translation in the target language. The main purpose of this paper is to explain the concept Equivalence in Translation to this end. The data used were drawn from some Yoruba lexical words, idioms, proverbs and figurative expressions as well as its English equivalents. According to the most authoritative research in the fields of grammar and sociolinguistics, grammatical analysis is insufficient to explain the nature of language. The results also show that knowledge of a language is a composite of knowledge of a language's structure and usage in a socio-cultural setting.

Ælfric’s Expressions for Shame and Guilt: A Study in Intra-Writer Conceptual Variation

This research focuses on the analysis of onomasiological variation in Old English texts written by Ælfric; more specifically, I am interested in the study of the different motifs that shape the linguistic expressions of shame and guilt used by this Anglo-Saxon monk across different textual genres. Through the fine-grained analysis of the whole set of shame and guilt expressions recorded in the entire corpus of Ælfrician texts, a network of literal and figurative conceptualizations for each emotion is proposed here. Based on this network, I have reconstructed and analysed patterns of conceptual variation in Ælfric’s English in order to show the existing tension between literal, metonymic and metaphoric expressions for these two emotions. As shall be seen here, the introduction in Anglo-Saxon England of Augustinian psychology by Ælfric and other highly educated authors favoured (i) the progressive neglect of the Germanic concept of shame and guilt as instruments of social control, (ii) the dissemination of new shame-related values, and (iii) the growing use of a new set of embodied conceptualizations for the two emotions under scrutiny here, most of which have become common figurative expressions of shame and guilt in later varieties of English. The new expressions (e.g., SHAME IS SOMETHING COVERING A PERSON, GUILT IS A BURDEN) illustrate the shift towards a progressive embodiment of the new emotional standards brought by Christianization. According to these standards, rather than an external judgment or reproach, shame and guilt involve a negative evaluation of oneself.

Figurative language in multilingual students’ L2 Swedish – a usage-based perspective

The aim of the current paper is to reinterpret some results of two previous studies on the mastery of figurative expressions from the perspective of usage-based linguistics. The reanalysis aims to shed more light on the learning and use of figurative language by multilingual students by exploring the complex interplay of linguistic creativity, expressivity, and conventionality in figurative expressions. The reinterpretation shows that many of the examples that were previously categorized as novel figurative expressions used in students’ writing, can be analyzed as instances of regular patterns, i.e. constructions, with certain lexical idiosyncrasies. Modifications of conventionalized figurative expressions are discussed and reinterpreted in terms of strength of entrenchment of links between form and meaning within certain constructions or links between constructions and conventionalized pragmatic information in the multilinguals’ mental construction. Implications for the treatment of Swedish figurative expressions in the second language class room are, in line with previous research, that focusing on regularity might reduce unpredictability, often seen as the core difficulty in the learning of such expressions in an L2. The paper also offers some directions for further investigation of the socio-cognitive processes involved in the learning of figurative language in an additional language.

AFRICA IN RETROSPECT AND THE FUTURE: A STYLISTIC ANALYSIS OF DEVIATION AND PARALLELISM IN DIOP’S AFRICA

Attention of language scholars has been shifting from the structural pattern of language to language as a functional unit given the change of interest from the form of a language to its function. This study presents a stylistic analysis of a well-known poem by David Diop “Africa” and analyses the unique role that language plays in projecting the central theme of the poem. The poem Africa is one of the poems that laments the ill treatments that Africa suffered in the hands of its colonialists, but which quickly paints a picture of hope for the continent. The researchers used foregrounding both as a stylistic theory and a method to analyse the poem so as to investigate how linguistic deviations and parallel structures are employed to project the central theme of the poem. The study revealed that both linguistic deviations and parallel structures as well as figurative expressions abound in the poem. These linguistic tools have, in no doubt, contributed immensely to the projection of the overall meaning of the poem – Africa’s past glories, present predicaments of suffering and humiliation under colonialism and the future of hope and freedom embedded in Africa’s rebirth. The study concludes that language and literary works contribute in a unified manner to expose the rots in society and then project a future of hope. <p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0876/a.php" alt="Hit counter" /></p>

The Figurative Language of the Indigenous Semai People of Lembah Jelai, Malaysia

This study aims to examine aspects of the figurative language of a sub-group of the Orang Asli of Malaysia, namely the Semai people, living in Lembah Jelai, Pahang, Malaysia. This qualitative study was based on a semi-structured interview method involving five native speakers of the Semai language. The researchers used an adapted version of the cognitive-linguistic framework of Lakoff and Johnson (1980) to analyze the interview data. The findings showed that most of the figurative expressions used in their language were primarily based on natural and cultural elements that heavily influenced the way they led their lives. In particular, the findings showed that the Semai community used figurative expressions in their conversations not only to articulate their feelings and thoughts but also to serve as unwritten social guidelines. Overall, these findings indicate that indigenous communities living in far remote areas in jungles use figurative languages to guide their peoples in forging close kinships, in cementing strong societal bonds, and in dealing with the spiritual realm. The findings also provide greater insight into the understanding of the uniqueness of the figurative language of the Semai community, which is considered as a sub-language of the mainstream Malay language in the Malay Archipelago. Surely, such a language needs to be persevered to ensure it will continue to thrive among the younger generation of the Semai people, given its significant influence on the development of their emotions, thinking, and culture.

MAXIMO LAURA: A TAPESTRY ARTIST FROM PERU

There are cultural traces of many civilizations in Peruvian territory. Looking at the historical examples in terms of textile, we encounter a rich textile history with the use of vivid colors and figurative expressions. These textiles with pictorial expressions are considered as the first examples of Tapestry weavings. The reason why weaving artist Maximo Laura was chosen as the subject in this study is that the artist is nourished by the values of the land he was raised in and reflects his own culture in contemporary art works with original expressions. By combining the traditional production method of tapestry rug weaving with the technique developed by himself, strong use of colors and figurative expressions, he has become internationally recognized and accepted. In this research, in addition to the verbal and written communication with Maximo Laura, many sources were reviewed, the articles and exhibition catalogs published in the international field were examined, the data obtained from the Maximo Laura Museum archive, which contains the works and information of the artist, were evaluated, and this study was completed. The traditional techniques used by the artist and the weaving forms developed by him were discussed in detail, the colors and symbolic approaches he used, the new and different applications he made, and his future thoughts were discussed with him. The aim is; to convey the artist from all aspects, who produces and has international recognition, to the reader who is interested in different textile fields, to establish a bridge between cultures while introducing today's tapestry art, artist's works and world view in the context of Peruvian culture. Keywords: Maximo Laura, Tapestry, Peruvian Textiles, Andean Textiles