TRANSLATORS AS MEDIATOR: CULTURAL NEGOTIATION IN TRANSLATING ENGLISH LITERARY TEXT INTO INDONESIAN

This study explores the translation of cultural-specific terms in the literary text as the translation process connects cultural differences between the source and target languages. Using Eco's notion of "translation as negotiation"; Bassnett's "translators as a mediator of cultures", and Newmark's cultural categorizations of terms as the framework and this qualitative study analyzed two Indonesian versions of the novel The Secret Garden by Francess Hodgson Burnett (1911). The first translated version was published in 2010 under the title "Taman Rahasia", whereas the second translated version was published in 2020 under the same title as the original version. This study has shown the complexity in closing the cultural gap between the source text and target text. As the impact, both translators used different forms of negotiation to accommodate readers' expectations and to functionally create optimal target texts in the target culture, which differentiate into five categories (i.e., ecological, material culture; social culture, social, politic, and administrative organizations; and gestures and habits).

A Comparative Analysis of Selection Criteria of Candidates in Belgium

The literature on candidate selection has focussed extensively on the degree of inclusiveness and decentralization of the selectorate, as part of the debate on intra-party democracy. However, much less attention has been paid to the degree of openness of candidacies, or selection criteria within parties. Yet parties have a lot of leeway in how they design selection criteria internally. Which guidelines do parties follow when making the crucial choice on which candidates to select for elections? This paper investigates selection criteria from two perspectives: the formal rules set by parties that restrict the candidate’s pool and the (informal) preferences of selectors that shape who gets selected. We aim first at contrasting the degree of party institutionalization and parties’ formal rules in candidate selection and so, we shed light on whether parties formalise their candidacy requirements and candidate selection processes to the same extent as other party activities. Second, the paper investigates the role of the selectorates, and how selectorate’s characteristics matter for the kind of (informal) selection criteria, be they intended at maximizing offices, votes or policies. Drawing on party statutes coded in the Political Party Database (PPDB) and 23 in-depth interviews with selectors, we study three francophone Belgian parties that differ both in terms of inclusiveness of the selectorate who has the final say on candidate selection and in terms of degree of centralisation, and in terms of party institutionalisation: the green party (Ecolo), the socialist party (PS), and the liberal party (MR). Our comparative analysis of parties, selection criteria provides new insights into the secret garden of politics and highlights in particular the major impact of parties, degree of centralization.

Margaret Mahy and the Golden Age of Children's Literature

<p>Margaret Mahy’s novels contain numerous allusions to the classics of Victorian fiction for children. Some of these take the form of passing references; in 24 Hours, for example, protagonist Ellis thinks of himself as “Ellis in Wonderland.” But Mahy also draws on Victorian precedents for some of her settings, taking imaginary islands from Peter and Wendy and Treasure Island, and the secret garden from Frances Hodgson Burnett’s novel of the same name. She also invokes the forest of the fairy tales that (although they were not invented by the Victorians) featured so prominently in the reading of Victorian children. To date, little attention has been paid to what might be described as the “Victorian dimension” of Mahy’s work. In what follows, I examine its function in five novels. It emerges that Mahy’s response to the values embodied by her Victorian texts is critical on at least three counts. Mahy’s heroines (or, rather, female heroes) reject the passivity and silence exhibited by fairytale characters such as Jorinda in the Grimms’ ‘Jorinda and Joringel’, and the lack of emotional growth displayed by Lewis Carroll’s Alice. They are also shown in the process of leaving childhood (nostalgically idealized by Carroll, J.M. Barrie and other Victorian authors) behind. Moreover, this thesis exposes the tension between Mahy’s insistent allusion to quintessential fantasy spaces such as Wonderland on one hand, and the distinct anxiety present in her work about the dangerously isolating nature of fantasy on the other. While for Mahy’s teenage protagonists the domestic “real” wins out more often than not over the fantastic but dangerous “true”, the transformative journey of maturation that each undergoes is figuratively sparked by their belief in the Red Queen’s “six impossible things before breakfast”. Perhaps by the same token, they learn that fantasy worlds (like Barrie’s “Neverland”) can be dangerously isolating.</p>

Margaret Mahy and the Golden Age of Children's Literature

<p>Margaret Mahy’s novels contain numerous allusions to the classics of Victorian fiction for children. Some of these take the form of passing references; in 24 Hours, for example, protagonist Ellis thinks of himself as “Ellis in Wonderland.” But Mahy also draws on Victorian precedents for some of her settings, taking imaginary islands from Peter and Wendy and Treasure Island, and the secret garden from Frances Hodgson Burnett’s novel of the same name. She also invokes the forest of the fairy tales that (although they were not invented by the Victorians) featured so prominently in the reading of Victorian children. To date, little attention has been paid to what might be described as the “Victorian dimension” of Mahy’s work. In what follows, I examine its function in five novels. It emerges that Mahy’s response to the values embodied by her Victorian texts is critical on at least three counts. Mahy’s heroines (or, rather, female heroes) reject the passivity and silence exhibited by fairytale characters such as Jorinda in the Grimms’ ‘Jorinda and Joringel’, and the lack of emotional growth displayed by Lewis Carroll’s Alice. They are also shown in the process of leaving childhood (nostalgically idealized by Carroll, J.M. Barrie and other Victorian authors) behind. Moreover, this thesis exposes the tension between Mahy’s insistent allusion to quintessential fantasy spaces such as Wonderland on one hand, and the distinct anxiety present in her work about the dangerously isolating nature of fantasy on the other. While for Mahy’s teenage protagonists the domestic “real” wins out more often than not over the fantastic but dangerous “true”, the transformative journey of maturation that each undergoes is figuratively sparked by their belief in the Red Queen’s “six impossible things before breakfast”. Perhaps by the same token, they learn that fantasy worlds (like Barrie’s “Neverland”) can be dangerously isolating.</p>

ADJECTIVE CLAUSES AND ADVERBIAL CLAUSES IN “THE SECRET GARDEN” BY FRANCES HODGSON BURNETT

This research aims to analyze the adjective and adverbial clauses in “The Secret Garden” by Frances Hodgson Burnett. The method used in this research is a content analysis which is to describes the adjective clause and adverbial clause in the novel. Data are obtained, analyzed, and described based on the sentences in the novel. The relative pronoun's adjective shows the highest percentage of 130 or 86%, while relative adverbs show 22 or 14%. The adjective clause in relative pronouns shows the highest percentage caused by the complex sentences, mostly describing someone or things in most sentences in the novel. Meanwhile, adjective clause in time shows 154 or 63%, manner 46 or 19%, reason 35 or 14%, condition 6 or 2%, and concession 4 2%. Adverbial clause in time shows the highest percentage caused by most sentences tell about the time in almost every page.<p> </p>

‘IT SOUNDED SO UNLIKE INDIA’: AUDITORY PERCEPTION IN ‘THE SECRET GARDEN’ BY F. H. BURNETT

Children’s literature has traditionally employed images of different sensory modalities to make the experience of the main characters more accessible to young readers. We believe that auditory imagery is an integral part of the sensory imagery repertoire of any text written for children, and auditory perception in a literary text reflects the way of interaction between the characters and the world around them at various stages of their spiritual journey. Being a traditional coming-of-age novel, The Secret Garden by F. H. Burnett shows a specific connection between auditory imagery and the plot of the novel since it reveals the changes in the main heroine’s character and highlights her growing need to accept another point of view. Eventually, Mary Lennox, the main character of the novel, becomes ready to hear other people: her initial indifference towards the surrounding is gradually being replaced by her sincere wish to listen to the Yorkshire dialect, speak her native tongue, and believe in the curing effect of the word. With the change of the spatial imagery of the text (from British India in the first chapters to the restricted space of the garden in the Yorkshire estate Misselthwaite Manor in the second part of the book), the heroine’s inner growth becomes more obvious, and the foregrounding of the sensory imagery (including auditory) grows more vivid. The spiritual transformation experienced by Mary Lennox affects other characters of the story and even leads to overshadowing of her role at the end of the novel. From the perspective of auditory imagery, Burnett creates a circular structure, making her heroine go from a lack of audio perception – through unhackneyed auditory sketches and quotations from classic novels – to a total silencing of the main heroine at the end of the novel.