J. E. Tatengkeng and Robert Frost’s Poems: An Application of Michael Riffaterre’s Semiotic Model

This paper describes the results of poem analysis using the semiotic model of Riffaterre. The objects of analysis were poems written by J.E Tatengkeng from Indonesia including Di Lereng Gunung, Bulan Terang, and Melati; and Robert Frost from America including Nothing Gold Can Stay, Fireflies in the Garden, and After Apple Picking. The analysis was conducted using two steps of reading. The first was the heuristic reading conducted by using linguistic knowledge; while the second was the retroactive reading conducted by using knowledge beyond the text. This second step was intended to conclude the hypograms, and based on the hypograms, matrices and significance of the poems were concluded. The analysis revealed the poems’ matrices and significance related to the value of love, beauty of nature, and religious belief. Keywords: Riffaterre, J.E. Tatengkeng, Robert Frost.

Portrayal of Instability and Vulnerability of Modern Life in the Selected Poems of Robert Frost and Mathew Arnold: A Comparative Study

This paper attempts a comparative study in the presentation of vulnerability and instability evident in people's life due to modernity by Mathew Arnold, a Victorian poet, and Robert Frost, a Modern American poet. Investigating various features with crises existing in modern life is a major aim of this paper. Moreover, the comparative analysis seeks to identify the major similarities and differences in the portrayal of human nature based on modern features in the poetry of these two poets. Since this research is theoretical in nature, it depends primarily on reviewing already published works on the relevant topics. The presence of modern elements is very obvious in the writings of both the poets though they belong to two different periods. Their poetry reflects modern crisis and vulnerability like alienation, pessimism, doubtfulness, isolation, self -centeredness, and so on. Nature is also treated in a different way as well as the reality of modern life represented in a different light by the poets. Finally, this research focuses on bringing out the features of instability and vulnerability of modern life that are still mirrored in contemporary society.

2. American English as a poetic resource

“American English as a poetic resource” argues that American English is one of the country’s great poetic resources. It is remarkably adaptable, contested, and diverse. When poets explore American English’s poetic usefulness, the diversity of their approaches and interests demonstrates the language’s flexibility. They use American English to critique and celebrate America and its literary traditions and to create a distinctive literature that also draws from traditions outside it. They mark differences as well as affinities. In some cases, the poetry shows an exuberant appreciation of American English’s peculiarities, its quirks and openness to experimentation and cultural cross-fertilization. Discussed poets include Walt Whitman, Harryette Mullen, Henry Wadsworth Longfellow, Ezra Pound, and Robert Frost.

STUDENTS’ PERCEPTIONS TOWARDS THE IMPLEMENTATION OF ROBERT FROST’ POETRY IN WRITING CLASS AT MUSAMUS UNIVERSITY

This study investigated the students’ perceptions concerning the use of Robert Frost’s poetry in writing class at English Literature Department of Musamus University which was obtained through a survey. A total of 17 undergraduate students taking writing class participated in this study. The participants responded to a questionnaire and an open-ended questions concerning the two focal points: (1) how the students perceived the use of Robert Frost’s poetry in teaching writing, (2) the implementation of Frost’s poetry in improving students’ writing short story. The results of the study revealed that the implementation of Frost’s poetry helped them to be easier in writing short story. Most of the participants gave positive response to the use of Frost’s poetry in teaching them to write a short story. In addition, they seemed to prefer learning writing short story by using English poetry in writing classes. The concluding discussion addresses suggestion about the need to consider students’ wants and needs by gauging their perceptions as the student evaluation of teaching in order to keep up the better improvement to the teaching writing the texts and the using of authentic material or media in English Literature Department at Musamus University.

OF FENCES AND PEACE BETWEEN NEIGHBOURS

The speaker in the poem “Mending Wall” by American poet Robert Frost questions the wisdom of the saying that “Good Fences Make Good Neighbo[u]rs”. The walls or fences referred to in the poem represent more than just physical barriers separating adjacent premises; the speaker sees them as representing obstacles to communication and friendship between individuals. Seen from theperspective of the speaker, a fence or wall is a “bad” thing. But the speaker is but one of the parties to the neighbourly relationship. For the speaker’s neighbour, a wall or a fence is “a protector of privacy”. Thus there are two views on walls or fences: they can be seennegatively as obstructing good relations, or positively as dividers that secure good relations between neighbours by separating them and protecting their privacy rights. What do dividers (or barriers), physical or otherwise, have to do with law? During recent research visits to the Durban Magistrate’s Court (October 2007, February 2008) the author noted with interest that magistrates at the Durban court often had to deal with applications for binding-over orders (or “peace orders”) intended to secure the peace between neighbours. Binding-over orders can be seen as legal “fences” or “walls” established in terms of statute at the request of one of the parties where violence or threats of violence imperil the peaceful co-existence of neighbours. Section 384 of the Criminal Procedure Act 56 of 1955 – which allows for such applications – is one of only two sections of that Act that remains on the statute book. The provisions of section 384 have been called archaic and irrelevant in view of the provisions of the Domestic Violence Act of 1998 and its 1993 predecessor. Seen in this light, a reconsideration of section 384 seems redundant. But the matter is not that simple. The application ofthe Domestic Violence Act requires the existence of a domestic relationship between the parties as defined in section 1 of that Act. The complainant who approaches a magistrate for a binding-over order in terms of section 384 and the person against whom the order is sought may not be in a domestic relationship as defined in the Act, thus ruling out the application of the Domestic Violence Act. Therefore, section 384 goes wider in that it aims to preserve the peace within a broader context than the Domestic Violence Act.Consequently reconsideration thereof is warranted. In this note the author discusses the provision for binding-over orders asset out in section 384 of the Criminal Procedure Act of 1955. In order to do so, she traces the origins thereof before considering the specific scope of section 384. In the main she analyses the constitutionality of this section in the light of relevant jurisprudence of the Constitutional Court and comparative jurisprudence of the European Court of Human Rights. She concludes with a recommendation.

Depiction of Nature in the Poetry of Robert Frost and that of the Romantics: Questing for Similitude and Dissimilitude through a Comparative Analysis

This paper attempts to investigate the depiction of nature in the poetry of Robert Frost and how this treatment simultaneously resembles and differs from that of romantic poetry. Though he belongs to the era of modernism, his poetry carries numerous characteristics of romantic poetry. The researcher tries to compare the poetry of Robert Frost and that of the Romantics how they are identical or dissimilar in the representation of nature. Robert Frost might be called the interpreter of nature and humanity. He shows that he is a close observer of both nature and people. On the other hand, Romantic writers see nature as a source of inspiration, solace in agony, healer in mental illness, rescuer in struggling period, etc. They treat nature as Mother Nature where their poetry tells us the beauty of green forestland, woods, hills and mountains, riverbanks, pastoral scenarios, breezes and winds, fresh air, sunrises, and sunsets, etc. Whereas Robert Frost always tries to make a bridge between nature and humankind as he believes that there is a close relationship between man and nature. He finds a resemblance between the order of nature and human life. Frost depicts the symbolic quality of nature. Nature symbolizes the human world and all creatures including mankind are bound to agree and obey the rules of nature. Thus this article would try to uphold Frost's treatment of nature in comparison with that of the Romantics.

Entrevista a Gabri Molist

Gabri Molist nació en Barcelona en 1993. Dibujaba en la clase para no aburrirse, como una especie de terapia energética. Leía Mortadelo y Filemónde pequeño, para después enamorarse de Calvin y Hobbes y el Hellboy de Mike Mignola. Ama dibujar gente extraña y curiosa a la que poneen situaciones absurdas e incómodas mientras reivindica las fronteras de lo que posibilita el medio del cómic. La mayor parte de sus historias surgieronen fanzines o cómics autopublicados (Gazpacho, Way Opposite, I Laugh To See Myself So Beautiful In This Mirror). Adaptó un cuentode Sergio Ramírez, Flores Oscuras, al cómic (con otros autores belgas) para el Instituto Cervantes de Bruselas. No tiene miedo a declamar supropia obra; lo hizo en el MACBA durante el evento en Còmic en Revolta comisariado por Francesc Ruiz. Con Apa Apa publicó Asonancia, unaadaptación de cinco poemas al cómic (entre otros, de Robert Frost, Harryette Mullen y Clark Coolidge). Ha vivido en Gante, y actualmente viveen Bruselas. Su sitio web es www.instagram.com/gabrimolist

Tradução de Poesia

Há uma conhecida citação do poeta norte-americano Robert Frost em que ele teria dito algo mais ou menos assim: a poesia é aquilo que se perde na tradução. A referência a Frost é recorrente em artigos e livros sobre poesia e tradução e, especificamente no caso dos estudos realizados no Brasil, aparece em pelo menos dois dos textos fundamentais sobre o tema: no livro Oficina de tradução: a teoria na prática (2007), da pesquisadora e professora Rosemary Arrojo, e no artigo “A poesia é traduzível?” (2012), do poeta e tradutor Ivan Junqueira. Nos dois casos, no entanto, a lembrança de tal afirmação de Frost funciona como uma espécie de escada contra argumentativa para se chegar às respectivas reflexões desejadas sobre tradução – isto é, pensando em tradução literária e, especificamente, na tradução poética, é possível concordar com Frost quando pensamos que algo irá se perder na passagem de uma língua para outra; porém, ainda assim, seria possível alcançar uma experiência estética interessante por meio de poemas traduzidos, reconhecendo-lhes, para além das perdas inerentes ao processo tradutório, ganhos poéticos de outra ordem.