scholarly journals Anatomia uczuć w przekładzie. Strategie tłumacza w oddawaniu warstwy emocjonalnej tekstu literackiego na przykładzie powieści Partygirl Marlene Streeruwitz

2019 ◽  
Vol 39 ◽  
pp. 15-30
Author(s):  
Joanna Bukowska
Keyword(s):  
Emotional States ◽  
The Novel ◽  
Main Character ◽  
Source Text ◽  
Translation Process

The focus of this article is an examination of translator’s dilemmas related to the rendering of emotions in the translation process. he relationship between emotions and the translation process is analyzed on the example of the novel Partygirl Marlene Streeruwitz and its Polish translation by Emilia Bielicka. The study focuses on the problem of translating emotional elements that are present in the source text and sheds light on how emotions can be translated. The article provides an introduction to the author's context which is of significance in understanding the role of emotions in the source text. The study shows how the Austrian writer conceives language and uses stylistic means and writing techniques to incorporate emotions into language structures. The analytical part consists of fragments of the novel that emphasize the emotional states of the main character and is devoted to the exploration of the lexical, syntactic and stylistic features. The undertaken analysis reveals the translator’s strategies and examines his decisions. 

scholarly journals A glossary as an explicative translation technique in the translation of the third culture elements

2021 ◽  
Vol 145 ◽  
pp. 129-144
Author(s):  
Michał Gąska
Keyword(s):  
Literary Translation ◽  
Cultural Barriers ◽  
The Novel ◽  
Third Culture ◽  
Source Text ◽  
Translation Process ◽  
East Indies ◽  
The Third ◽  
Translation Technique ◽  
Similarities And Differences

Utilising notes or glossaries in literary translation has both its opponents and supporters. While the former conceive it as a translator’s helplessness and failure, the latter defend it as a manner of overcoming cultural barriers. The present article aims to scrutinize glossaries used as an explicative translation technique with regard to the rendering of the third culture elements. The analysis is conducted on the basis of the novel by Dutch writer Hella S. Haasse: Sleuteloog, in which the action is set in the Dutch East Indies. For this reason, Indonesian culture occurs as the third culture in the translation process. The source text is juxtaposed with its translations into German and Polish in order to examine the similarities and differences in images of the third culture elements the glossaries evoke in the addressees of the target texts.

scholarly journals Emocionális nagyvárosi terek

2016 ◽  
Vol 55 (3-4) ◽  
Author(s):  
Éva Pataki
Keyword(s):  
Urban Spaces ◽  
Emotional States ◽  
The Novel ◽  
Literary Representation ◽  
Female Protagonist ◽  
The Creation

Investigating the literary representation of urban spaces and identities, my paper untangles the complex psychological and emotional relationship between the heroine and her beloved and hated cities in Sunetra Gupta’s The Glassblower’s Breath (1993). Drawing on Gernot Böhme’s (1993) theory of the atmospheric qualities of space, Steve Pile’s psychogeographical approach to reading cities, Walter Benjamin’s concept of phantasmagoria and various interpretations of fascination, the paper explores the creation of atmospheres in the novel and the role of fascination in the perception of London and Gupta’s female protagonist as phantasmagorias. I argue that – as urban imaginaries – the emotional fabric and atmosphere of the cities portrayed are as much created by their spaces and places, their inhabitants and visitors, as are manifested and formulated in emotional states of being, whether real or fictional, phantasmagoric or imaginary.

scholarly journals STUDYING THE ARTISTIC DETAIL (based on Donna Tartt’s novel «The Goldfinch»)

2021 ◽  
Vol 1 (192) ◽  
pp. 80-84
Author(s):  
Olha Kozii ◽  
Keyword(s):  
Adult Male ◽  
Defense Mechanisms ◽  
The Other ◽  
The Novel ◽  
Main Character ◽  
Time And Space ◽  
Part D ◽  
Life And Death ◽  
Critical Situation

«The Goldfinch» is a story of a boy and later an adult male Theodore Decker who accidentally obtains a masterpiece. The writer, as a surgeon, separates one second of expectation from the other, detail from detail. The reader is presented not just a frightened child but deep sorrow of the loss of the whole world. In the second chapter of the first part D. Tartt reveals herself as a skillful psychologist, skillfully accustoms herself to the inner state of the main character, with him she travels through the memories, tracks associative relationships he makes. The writer brilliantly follows all defense mechanisms of a man who is faced with the inevitability. The author uses gradation way of describing while stringing visual and auditory details, retards artistic time. The writing of D. Tartt is characterized by the unique skill in the detail describing. The role of artistic detail in the process of inner state depicting is investigated. The author touches upon the problem of the depicting of critical situation in the novel. The attention is paid to the writer’s skills in showing main character’s feelings, memoirs, thoughts, associative relations and human nocifensor in critical situations. It is admitted that in case of such temporal and space detail the most suitable way of analysis is «in succession to the author». Thus, in the novel The Goldfinch D.Tartt declares herself a talented master of words, subtle psychologist and philosopher. As a surgeon, the writer separates one second of expectation from the other, detail from detail. Therefore, the reader can observe not just a frightened child but deep sorrow of the loss of the whole world. This is achieved by the skillful combination of visual and auditory details that create convex emotionally saturated images filled with heartbeat of life. The author dowers the main character – both a teenager and an adult man – with the ability to see deep philosophical maxims in small details, to decipher the message from the artist, to understand the dialectical interpenetration of life and death. Because of such careful author's treatment to the artistic time and space the most appropriate way to study seems to be the analysis «in succession to the author».

scholarly journals GEMINATION AS ONE OF THE PRINCIPLES TO VERBALIZE THE EXPRESSION OF CHARACTERS’ EMOTIONAL STATES (based on Ray Bradbury’s dystopian novel “Fahrenheit 451”)

2021 ◽  
pp. 88-94
Author(s):  
Bohovyk O.A.
Keyword(s):  
Positive Emotions ◽  
Emotional States ◽  
The Novel ◽  
Theoretical Generalization ◽  
General Tone ◽  
Descriptive Method ◽  
Stylistic Device ◽  
Made In

Purpose. The task of this article is to study the use of gemination that is the stylistic device of repetition. It is used to depict the emotional states of the characters in the novel “451 degrees Fahrenheit” by the American writer Ray Bradbury. Until now this topic has not been examined thoroughly in scientific studies. It seems interesting to mark gemination as positive and negative one by means of the context that helps to acquire a certain expressive and evaluative judgment.Methods. The research is carried out using a descriptive method for cataloguing, systematization, and classification of factual material, as well as methods of theoretical generalization and analysis. The method of contextual analysis is used to clarify the role of expressive means in the text of the novel. This method is aimed at revealing the context, taking into account the author’s intention, and commented on the means of expression used by the writer. The application of these methods allows analyzing the use of the stylistic figure gemination as an expression of the characters’ different emotional states.Results. The article considers the theoretical aspects of repetition and stylistic devices which are based on its principle. In the novel, repetition functions as one of the principles to verbalize the expression of the characters’ emotional states. The views of linguists on the peculiarities of gemination’s functioning in the language are analyzed. The attempt to give the definition to this stylistic device is made. In linguistics, gemination is characterized as a phenomenon of the expressive syntax that has a contact location. The achievement of the influential effect is due to redundancy. Conclusions. The analyzed examples which are based on gemination mostly describe negative emotions. The number of examples in the novel where gemination is used to denote positive emotions is rather small. It is emphasized that such a distribution is not usual as it depends on the genre, the text’s general tone, and the context of the analyzed stylistic device.Key words: repetition, stylistic devices, expressive syntax, fiction, function, emotion. Мета наукової розвідки полягає в дослідженні вживання стилістичної фігури повтору гемінації, яку використано для зображення емоційного стану персонажів у романі американського письменника РеяБредбері «451 градус за Фаренгейтом», що до сьогодні не ставало предметом ретельних наукових студіювань. Цікавим видається позитивне та негативне маркування стилістичної фігури, яка залежно від контексту набуває певного експресивно-оціночного судження.Методи. Дослідження здійснено за допомогою описового методу – для інвентаризації, систематизації і класифікації фактологічного матеріалу, а також методів теоретичного узагальнення та аналізу. Для з’ясування ролі експресивного засобу в тек-сті роману було використано метод контекстуального аналізу, який спрямовано на розкриття контексту з урахуванням задуму автора та було прокоментовано виражальні засоби, якими послуговувався письменник. Використання зазначених методів дозволило здійснити аналіз уживання стилістичної фігури гемінація як виразника різних емоційних станів персонажів твору.Результати. У статті розглянуто теоретичні аспекти фігури мови повтору та стилістичних фігур, які засновані на його принципі. У тексті роману повтор функціонує як один із принципів вербалізації вираження емоційних станів персонажів. Детально проаналізовано ті з них, які використано як інструмент досягнення експресивності. Розглянуто точки зору вчених-лінгвістів на особливості функціонування гемінації в мові та зроблено спробу надати дефініцію зазначеному явищу. У науко-вих лінгвістичних розвідках гемінація характеризується як фігура експресивного синтаксису. Зазначене явище має контактне розташування, а досягнення впливового ефекту відбувається за рахунок надлишковості. Вживання гемінації у тексті привер-тає увагу читачів, акцентує увагу на найголовнішому, допомагає відобразити настрій та емоції героїв твору.Висновки. У статті звернено увагу на вживання стилістичних фігур, які засновано на принципі повтору і є семантико-стилістичною домінантою у творі письменника. Досліджувані приклади, які засновані на вживанні фігури мови гемінації, в основному описують негативні емоції. Кількість прикладів у романі, де гемінація вживається на позначення позитивних емоцій, складає незначну кількість. Наголошено, що такий розподіл не є закономірним, а залежить від жанру, загального тону твору та контексту аналізованої фігури. Ключові слова: повтор, стилістичні засоби, експресивний синтаксис, художній текст, функція, емоція.

scholarly journals Kołysanka jak terapia w relacji matki z córką. O powieści „Widziane z drugiej strony” Ken Bugul

2021 ◽  
Vol 53 (4) ◽  
pp. 225-237
Author(s):  
Edyta Sacharewicz
Keyword(s):  
Intimate Relationship ◽  
The Novel ◽  
Main Character ◽  
Short Introduction ◽  
Therapeutic Role ◽  
Ken Bugul ◽  
Artistic Works ◽  
The Relationship

The aim of this article is to present the lullaby as a special song based on the intimate relationship between a mother and a daughter in the artistic works of a Senegalese writer, Ken Bugul. An analysis of the novel De l’autre côté du regard is preceded by a short introduction that explains the concept of a lullaby and presents its functions. The author of this article attempts to show how the lullaby can influence the relationship between the main character and her mother, showing the therapeutic role of the song. 

Translation of Politeness Strategies in Jane Austen’s Sense and Sensibility

2020 ◽  
pp. 1-18
Author(s):  
Henrietta László
Keyword(s):  
Comparative Analysis ◽  
Parallel Analysis ◽  
Original Text ◽  
The Novel ◽  
Source Text ◽  
Translation Process ◽  
Politeness Strategies ◽  
Back Translation ◽  
Sense And Sensibility ◽  
Linguistic Behaviour

The present article is a comparative analysis of negative politeness strategies in Jane Austen’s Sense and Sensibility and the Hungarian translation in Értelem és érzelem translated by Gerda Barcza. The aim of the article is to examine whether the politeness strategies applied by the characters in the source text remain the same type of politeness strategies in the target text as a result of the translation process. The article also endeavours to establish whether the politeness strategies employed by the characters in the Hungarian translation mirror the same character traits as in the original text. The article presents the parallel analysis of the negative politeness strategies in the source text and the target text used by several characters in the novel. The comparative analysis explores whether there are any changes in the characters’ linguistic behaviour as a result of the translation process. In order to show the differences between the source and the target text, we apply back translation, a translation that is as literal as possible to demonstrate the change of the politeness strategy. When no change is identified, no back translation is applied, only a detailed analysis and explanation is offered. The article presupposes that the politeness strategy in question will show only a slight change, therefore the characters will mirror the same traits as in the original text. The article ultimately aims to prove that the translation of the novel entitled Sense and Sensibility will not alter Jane Austen’s specific way of characterization.

scholarly journals Tõlkepoeetikast teksti ja keele taustal / On the Poetics of Translation

2017 ◽  
Vol 13 (16) ◽  
Author(s):  
Anne Lange ◽  
Miriam McIlfatrick-Ksenofontov
Keyword(s):  
Original Text ◽  
Source Text ◽  
Cognitive Approach ◽  
Translation Process ◽  
Original Language ◽  
Guiding Principle ◽  
Asking Questions ◽  
The Mind ◽  
Mental Constructs

Teesid: Artikkel käsitleb tõlkeprotsessi ilukirjandusliku teksti tõlkimisel, kus keeleline ja sotsiaalkultuuri­line informatsioon on allutatud kunstilisele struktuurile. Et tekst ei kodeeri tähendust ühemõtteliselt, nõnda et seda saaks de- ja rekodeerida, rakendab tõlkija tähenduse lahti tinglikust keelemärgist ja vormistab selle teisiti, toetudes tekstis ära tuntud tugipunktidele. Tõlge on tõlkija intentsionaalne lausung, mis sõltub tema teadmistest ja kognitiivsest filtrist. Teoreetilise tõlkepoeetika rakendamist praktikas kirjeldab tõlkija Miriam McIlfatrick-Ksenofontov Jaan Malini luuletuse „Keele meel“ tõlkimise näitel.S U M M A R YThe article describes the process of translation in the light of Henri Meschonnic’s suggestion that the poetic compatibility of source text and target text is of central significance, not the differences between the languages and cultures involved. Departing from the premise that no text is determined by its linguistic or social contin­gencies, the goal of translation is to produce a new text that does in the new language what the original text does in the original language. The linguistic and cultural information of a source text is subject to its poetics.In order to illustrate the practical implications of this approach, the article highlights translational solutions that cannot be explained in linguistic terms given that they attempt to maintain the specifics of the original. The translator proceeds by pretending to know what a text (and its author) is doing; it is the cognitive filter of the translator that gives the source text its meaning. In an account of her translation of Jaan Malin’s ”Keele meel“ into English, Miriam McIlfatrick-Ksenofontov begins with the analysis of the poem. This entails separating the whole into its component parts and identifying their relations. Reading with a view to translating unravels the texture of a poem, exposing the lexical, semantic and phonetic strands that constitute its coherence. The article then offers an account of how the translator experiences the original and navigates through it towards a new poem in translation, recognising that languages differ in what they can and must do. The latter, primarily a grammatical reality, is accompanied by a semantic one: the implications that stem from lexical connotations are inevitably different in the original poem and in the new poem. However, the supposed intent of the original is what a cognitive approach sees as a possibility of translation. This does not involve the transferral of isolated lexicalised items, but allows the translator to overcome the dilemma of retaining both form and content by adopting the role of writer, by working with language that is at no more at her disposal than it is for the writer of the original.The analysis of the original enables the translator to avoid seeing the poem as fixed language in a solid object or searching for a single invariant meaning. Between the reader and the poem a situation of dialogue is established that involves asking questions of the poem in order to find what meanings it insists on. Questions like what does this word (image, rhyme, comma, etc.) do in/to the poem? how would the poem be different if this word (rhyme, etc.) were replaced by another or removed altogether? give the translator an idea of all the features that constitute a text; thus the use or absence of metre, form, layout, punctuation, lineation, rhyme, diction and syntax, etc. in the translation can be settled. Questions have to be directed not only at the denser parts of the poem, but even at those places where there seems to be univalence of meaning or standard language usage. Any detail or device, singly or together with another element(s), may be a hinge on which the poem turns. The guiding principle is that any choice made by the writer inevitably involved the rejection of alternatives. The elements on the page are both more and less than any answer anyone (translator or reader) can give. The objective is to interact with the text rather than wander aimlessly through the space that is opened up by reading.In producing multiple drafts which explore and experiment with the devices employed in the original, the translator highlights the comprehensive set of values that account for its coherence. This, in turn, will test the translating language and its possibilities; the translating language may become subtly altered in the translation process, as the translator works under the influence of the syntactic and semantic systems of the original. There is an interdependence between imitation and creation in play here, which the translator explores. It is a process of synthesising, as the translator homes in on the most tenacious elements of the original and the expressive potential of her own language.Reading a text generates conjectures that are infinite in number, but ultimately they will have to be tested against the text’s coherence. Translating with a focus on stylistic features as mental constructs rests on the claim that the mind stands between a word and its referent. By aiming to translate the mind rather than linguistic expression, a translator can discover options and make textually relevant choices between them.

scholarly journals Main Character’s Resistance Against Traumatic Experience in Frances Hudgson Burnett’s The Secret Garden: Freud’s Tripartite Model Analysis

2019 ◽  
Vol 7 (1) ◽  
pp. 13
Author(s):  
Brian Cesar
Keyword(s):  
Sigmund Freud ◽  
Model Analysis ◽  
The Other ◽  
Traumatic Experience ◽  
Tripartite Model ◽  
The Novel ◽  
Main Character ◽  
Minor Characters ◽  
The Secret Garden

This thesis discusses about the effect caused by parent’s neglect towards children’s development as seen in the novel The Secret Garden by Francis Hudgson Burnett. The main character, Mary Lennox, has life without love and attention from her parents. This situation has a great impact towards Mary’s development, mentally and physically. The role of “the secret garden” along with several characters that appears in the story have a big contribution in help Mary to change to a better person, based on the theory by Sigmund Freud about “id, ego and superego” or famous with the term “tripartite theory”. The result of this research is how the contribution from the secret garden to help Mary changes to a better child. The secret garden has a role to helps Mary understands about her own intention, helped with the other minor characters that drives the “id” and “superego” of the main character.

scholarly journals Tu rostro con la marea: una tragedia con máscaras pero sin héroe

2018 ◽  
pp. 87
Author(s):  
Emilio Ramón García
Keyword(s):  
The Novel ◽  
Main Character ◽  
Direct Relation ◽  
Russian People ◽  
History Of ◽  
History Of Europe ◽  
Alter Ego

<p>Tu rostro con la marea es una metaficción historiográfica a modo de novela de memoria cuyo personaje principal, Ángel Bigas, se construye una imagen de héroe decimonónico. Incapaz de lidiar con la realidad,forja su vida según los mundos de escritores como Galdós, Maupassant y Stendhal, y según el modelo de amor romántico platónico hacia una mujer rusa, Olga Rykova Anneski. Incapaz de entenderla también a ella, la encaja dentro de las tesis del marqués de Custine respecto al pueblo ruso y sus tradicionales ataduras. Ella, por su parte, es el alter ego de la poeta rusa Ajmátova, y oculta un espíritu bolchevique tras su máscara. El análisis de sus figuras revela la relación entre la historia y la ficción, el carácter de tragedia clásica de la novela, el papel de las expectativas en la percepción, y el correlato de ambos con la historia de Europa.</p><p> </p><p>Tu rostro con la marea is piece of historiographical metafiction following the model of a memory novel<br />around its main character. Incapable of facing reality, Ángel Bigas projects the image of a nineteenth<br />century hero according to the lives and works of Galdós, Maupassant and Stendhal while fueling his<br />aura with rumors and legends. His belief in the idiosyncrasy of the Russian people as understood by themarquis of Custine also makes him fail understanding his idealized love, Olga Rykova Anneski. She is also the alter ego of a very different kind of writer: the Russian Bolshevik poet Akhmatova. The analysisof the two figures as literary constructs reveals the relation between history and fiction, the natureof the novel as a classical tragedy, the role of expectations in perception and the direct relation of bothcharacters with the history of Europe.</p>

scholarly journals The Motifs of Searching for a Sense of Being in the Plot of the Novel by Ivan A. Bunin “The Life of Arseniev”

2020 ◽  
Vol 27 (1) ◽  
pp. 276-293
Author(s):  
Tat’yana N. Kovalyova
Keyword(s):  
Spiritual Formation ◽  
Significant Role ◽  
The Novel ◽  
Main Character ◽  
Human Soul ◽  
True Path ◽  
Conscious Choice ◽  
Iconic Images ◽  
The Right

<p>The article focuses on the study of the role of the motifs in the development of the plot of Ivan A.&nbsp;Bunin&rsquo;s novel &ldquo;The Life of Arseniev&rdquo;. Investigating the early stages of spiritual formation of the main character of the novel, the author of the article highlights the motifs of loneliness, the feeling of senseless of an imperfect existence, the aspiration to understand the meaning of all things, the highest sense of being, to find the source and sense of an existential despondency&nbsp;&mdash; longing for God. The aspiration to find unshakable and eternal values brings Arseniev about to take the unusual road, that is why the motifs of wanderings, encircling and pilgrimage have a&nbsp;significant role in the plot of the novel. The aimless wandering of Arseniev is a&nbsp;reflection of the fact that he has not yet found the highest sense of being, and is opposed to the motif of wandering as a conscious choice of the person, who establishes a certain truth by his own conscious way, that is why the meaning of the pilgrimage and such Christian images as a temple, church, cathedral, monastery, pilgrim, saints attests to the hero&rsquo;s search for God and for the way to Him. Arseniev&rsquo;s searches are conditioned by his strivings for an inmost soul that a human soul always imagines, that is by his longing for God, his desire to find the highest sense of being, a true path as the path to God. This conclusion is confirmed by the path of life of the main character which includes the interrelation of motifs of search of a sense and purpose of life, the right path, wanderings, encircling, pilgrimage and also the main iconic images (temple, monastery).</p>

Sign in / Sign up

Export Citation Format

Share Document