scholarly journals THE TRANSLATION OF THE EAST IN MOZAMBICAN LITERATURE

AFEL ◽  
2021 ◽  
pp. 53-68
Author(s):  
Nazir Ahmed Can
Keyword(s):  
Cultural Code

For many scholars who have studied the practice, translation is, among many other things, a form of poetic transcreation. In a similar way, the landscape, due to its ability to generate meaning, invites the writer to move from one cultural code to another. Focusing on contemporary Mozambican literature, with special emphasis on the production of João Paulo Borges Coelho, Luís Carlos Patraquim and Eduardo White, this article aims to observe how the spaces of the East are “translated” in the prose and poetry of the post-independence period. We will also draw attention to the forms of late Orientalism that emerge in this literature.

Antisemitism in Doubt. Historical and Methodological Reflections on Contemporary Europe

2021 ◽  
Vol 73 (2) ◽  
pp. 202-216
Author(s):  
Amos Morris Reich
Keyword(s):  
Normal State ◽  
Modern State ◽  
Anti Semitism ◽  
The Holocaust ◽  
Cultural Code ◽  
State Of Israel

Abstract In the attempt to find an Israeli approach to understanding the current European ambivalence towards Jews, this study focuses on the question of post-Holocaust anti-Semitism. It analyzes a specifically Israeli structure of experience of “schizophrenia” resulting from its decoupling of antisemitism from the Holocaust. It is shown that the justification of anti-Semitism has changed after the Holocaust. Thus, anti-Semitism has developed from a “cultural code” to a “semiotic problem”. The article concludes that the two main forms of Israel’s response to European anti-Semitism are inseparably linked to the question of whether Zionism ended with the establishment of the modern state of Israel and whether Israel is a “normal” state.

LINGUOCULTURAL POTENTIAL OF EUPHEMISMS-AMULETS

2021 ◽  
pp. 68-74
Author(s):  
SERGEY I. ROMANOV ◽  
Keyword(s):  
Target Selection ◽  
Cultural Factors ◽  
Point Of View ◽  
Negative Consequences ◽  
Cultural Community ◽  
Magical Power ◽  
Selection For ◽  
Cultural Code ◽  
Russian Linguistic ◽  
Selection Of

The article deals with a special type of euphemisms-amulets, that is, linguocultural units endowed with the function of protection. There are two types of euphemisms-amulets from the point of view of relevance: obsolete and current units. Obsolete euphemisms- amulets have targets that are not recognized as dangerous by the modern linguistic and cultural community. Current euphemisms-amulets, although not always consciously, are used by representatives of the modern Russian linguistic and cultural community to protect against something bad. The paper establishes that the use of the euphemism-amulet is based on the transla- tion of the target's representation into another cultural code. The work reveals that the euphemisms-amulets are directed not to mitigate an unwanted nomination but how to replace it. An undesirable nomination is endowed with negative magical properties, which is why the linguocultural community imposes a ban on its use. A protective cultural function is superim- posed on the euphemism. The main pragmatic explanation for the use of the euphemism- amulet is the speaker's desire not to predict an encounter with an unwanted object, which is based on belief in the magical power of the word. The factors that determine the linguocultural specificity of euphemisms-amulets are revealed. The first factor is target selection. For the Russian linguocultural community, such targets include a totemic animal, evil forces representing another world, death. The second factor is the selection of nominations for the euphemistic function, which is determined by culturally marked background knowledge, ideas, and typical practices. The communicative- pragmatic platform for the use of euphemisms-amulets is the belief in the magical power of the word, in the fact that the use of the forbidden word can lead to negative consequences (in particular, to cause the appearance of something dangerous, undesirable). The work proves that the identified cultural factors are universal, based on universal archetypes: one's own / another's, permission / prohibition, life / death. At the same time, the fact of the appearance of the euphemism-amulet, the choice of its internal form is determined by national and cultural factors.

Sustenance and Survival in Biblical Narrative

2015 ◽  
Author(s):  
Jennifer L. Koosed
Keyword(s):  
Religious Identity ◽  
Food Production ◽  
Biblical Narrative ◽  
Adam And Eve ◽  
Early Judaism ◽  
The Bible ◽  
Ancient Israel ◽  
Class Status ◽  
Cultural Code ◽  
Shape Characterization

Food is a comprehensive cultural code. In ancient Israel and early Judaism, food production and preparation structured lives; what one did in the process was determined by gender and class status and sometimes even marked by ethnic and religious identity. Food also serves to structure narrative, shape characterization, and add layers of symbolic signification to story. In the Bible, the drama of the first few chapters revolves around proper versus improper eating, and the final book portrays God as a lamb sacrificed for the Passover meal. Between picking and tasting the forbidden fruit, and slaughtering and eating God, a whole host of food-related plots, characters, and images proliferate, many of which revolve around the most important of foodstuffs: bread. This chapter explores the centrality of bread in the story of Adam and Eve, the book of Ruth, and the gospels of Jesus.

scholarly journals Cultural Code in Controlling Stereotypes of Mass Consciousness

2017 ◽  
Vol XX (Issue 4B) ◽  
pp. 694-705 ◽  
Author(s):  
Olga ◽  
Larisa ◽  
Irina ◽  
Ivan ◽  
Vera
Keyword(s):  
Mass Consciousness ◽  
Cultural Code

scholarly journals Lak proverbs with the religious code of culture

2020 ◽  
Vol 11 (4) ◽  
Author(s):  
Mariana Abakarova
Keyword(s):  
Morphological Analysis ◽  
Semantic Analysis ◽  
Native Speakers ◽  
Point Of View ◽  
The Social ◽  
Present Participle ◽  
Cultural Code ◽  
Positive Traits ◽  
The Given ◽  
Syntactical Analysis

The article analyzes Lak proverbs with the religious cultural code. The research was based on the descriptive method, syntactical analysis, morphological analysis and cognitive analysis. The proverbs collected from 3 books of Lak proverbs were analyzed from the point of view of semantics, axiological connotations, syntax and morphology. Semantic analysis revealed 6 groups of lexemes: (1) denominations of people; (2) words related to religious pillars and rituals; (3) words related to holy scriptures, religious attributes and terms; (4) words denoting death and afterlife; (5) words denoting commendable religious acts and notions; (6) words denoting sin and punishment. In the course of the axiological analysis there have been defined proverbs with positive evaluation of a person and proverbs with negative characteristics of a person. Positive traits include honesty, piety, decency, erudition and diligence, while negative ones include insulation, indecency, hypocrisy and negligence in the religious worship. Syntactical analysis of the Lak proverbs has revealed the presence of adverbs of asyndetic structure within which there have been established adversative, concessive and comparative relations, as well as of proverbs with copulative and disjunctive conjunctions. Some of the proverbs are based on the principle of alogism. Morphological analysis of the proverbs has revealed the most frequent grammatical tense, the Present Affirmative Tense, which is formed by means of adding the affix -r to the present participle. The Present Affirmative Tense in the Lak language denotes an action as an attribute of the subject which explains the fact of usage of this tense in proverbs that summarize the social experience of the native speakers. Lak proverbs with the given code have not been researched earlier that makes this study relevant.

scholarly journals Graffiti as a sign: the semiotic approach to the study of the phenomenon

2019 ◽  
Vol 9 (18) ◽  
pp. 92-98
Author(s):  
Maria Chikarkova ◽  
Keyword(s):  
Cultural Context ◽  
Single Point ◽  
Point Of View ◽  
Urban Life ◽  
Street Art ◽  
The Media ◽  
Cultural Code ◽  
The One ◽  
Different Characteristics

Although graffiti is a well-known phenomenon of street art, there is still no single point of view on this phenomenon (even if it is considered art at all). Both the essence and the manifestations of graffiti remain a matter of debate - there are dozens of different classifications, that they are based on different characteristics. However, the phenomenon has rarely attracted attention from the point of view of semiotics, though it is the semiotic reading of graffiti that makes it possible to understand its nature more deeply. Due to semiotics we could create an integrative classification, which would combine stylistics and subject matter into one system. The article made exactly such an attempt –providing of the semiotic classification of graffiti, based on Ch. Peirce’s classification of semiotic signs. Graffiti is a sign, because it has a material shell of the latter, a marked object and rules of interpretation. It functions within the subculture and signifies the individual's desire to escape from the deterministic nature of urban life (J. Baudrillard). It is a culture of the semiosphere, which continuously gives rise to new connotations and, accordingly, generates new receptions. An important component of graffiti interpretation is the cultural code; it is not read outside the field of conventionality, cultural context. Decoding of graffiti can occur in three ways. From our point of view, it is appropriate to use S. Hall’sclassification. He suggested a scheme for "decrypting" messages in the media, however, in our opinion, his scheme works for any communicative act (including graffiti). He distinguished dominant ("dominant-hegemonic"), oppositional ("oppositional") and negotiated ("negotiated") decoding. In the graffiti situation, oppositional decoding prevails among ordinary recipients (passers-by). U. Eco called this type aberrant, because it provides "decryption" of text with a different code than the one it was created for. Authors of graffiti themselves are often not fully aware of what they createalso. Modern writers use techniques of op-art, Dadaism, surrealism, etc., without being very oriented in all these directions. When graffiti combines different types of art (for example, the combination of painting with literature), it takes into account the features of inter-semiotic translation, which makes the decoding situation even more complicated. We offercreating a semioticclassificationofgraffiti, that might be based on Ch. Peirce’s classification of semiotic signs, whichdistinguishthesigns-copies, signs-indexes, signs-symbols. It could help the essence of graffiti and decode them.

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