scholarly journals Comparative Reading of Motherhood Identities in East African and Indonesian Literature

2020 ◽  
Vol 32 (2) ◽  
pp. 170
Author(s):  
Stanley Elias
Keyword(s):  
Social Stigma ◽  
Male Child ◽  
The Other ◽  
Literary Texts ◽  
East African ◽  
Physical Trauma ◽  
Religious Orientations ◽  
Other Hand ◽  
Reduced Forms

The study comparatively examines the representation of motherhood identities and the trauma of being childless to women in African and Indonesian literary texts namely Ngugi wa Thiong’o’s Secret Lives and other Stories, Elieshi Lema’s Parched Earth, Ratih Kumala’s Genesis and Iwan Setyawan’s Ibuk. Central to the analysis of this study is the argument that the existing cultural and religious discourses significantly contribute to the ways motherhood identities are construed in the society. Of a particular note, motherhood is argued to be a desired position that every woman wants most and is ready to sacrifice for it. Importantly, marriage, religious orientations and orders of the patriarchy certify motherhood and its related identities in the society. On the other hand, childlessness or failure to bear a male child circumscribe women in reduced forms of their identities and so subjects them to psychological and physical trauma and of course a social stigma.

Challenging Gender Hierarchies in Narratives of the Nation: Representations of Women in Zintgraff and the Battle of Mankon and Hard Choice

Imbizo ◽  
2020 ◽  
Vol 11 (2) ◽  
Author(s):  
Naomi Epongse Nkealah ◽  
Olutoba Gboyega Oluwasuji
Keyword(s):  
The Other ◽  
Literary Texts ◽  
Gender Differentiation ◽  
Hard Choice ◽  
Other Hand ◽  
Gender Hierarchies ◽  
The Face ◽  
The One ◽  
Representations Of Women ◽  
Do So

Ideas of nationalisms as masculine projects dominate literary texts by African male writers. The texts mirror the ways in which gender differentiation sanctions nationalist discourses and in turn how nationalist discourses reinforce gender hierarchies. This article draws on theoretical insights from the work of Anne McClintock and Elleke Boehmer to analyse two plays: Zintgraff and the Battle of Mankon by Bole Butake and Gilbert Doho and Hard Choice by Sunnie Ododo. The article argues that women are represented in these two plays as having an ambiguous relationship to nationalism. On the one hand, women are seen actively changing the face of politics in their societies, but on the other hand, the means by which they do so reduces them to stereotypes of their gender.

Discourse Analysis in Stylistics and Literature Instruction

1990 ◽  
Vol 11 ◽  
pp. 181-195 ◽  
Author(s):  
Mick Short
Keyword(s):  
Discourse Analysis ◽  
The Other ◽  
Literary Texts ◽  
Stylistic Analysis ◽  
Literature Instruction ◽  
Spoken Discourse ◽  
Other Hand ◽  
Written Texts ◽  
Language Study

The termsdiscourse analysisandstylistic analysismean different thing to different people. Most narrowly defined, discourse analysis has only to do with the structure of spoken discourse. Such a definition separates discourse analysis from literany stylistics and pragmatics—the study of how people understand language in context. At the other end of the spectrum, discourse analysis can be carried out on spoken and written texts, and can include matters like textual coherence and cohesion, and the inferencing of meaning by readers or listeners. In this case, it includes pragmatics and much of stylistics within its bounds. Similarly, stylistics can apply just to literary texts or not, and be restricted to the study of style or, on the other hand, include the study of meaning. For the purposes of this review, relatively wide definitions of both areas have been assumed in order to make what follows reasonably comprehensive. The main restriction assumed is that the works discussed will be relevant to the examination of literature in some way. The section on literature instruction will include matters relevant to both native and non-native learners of English, and will also make reference to the integration of literary and language study.

scholarly journals On the Hungarian Equivalents of the English Passive in Literary Translations A Case Study on the Translations of Two Novels

2016 ◽  
Vol 8 (2) ◽  
pp. 93-107
Author(s):  
Enikő Tankó
Keyword(s):  
Native Speakers ◽  
The Other ◽  
Literary Texts ◽  
Main Question ◽  
Passive Voice ◽  
Discourse Function ◽  
Passive Construction ◽  
Other Hand

Abstract This paper investigates the choice of Hungarian equivalents for the English passive construction in translated texts in order to have a glimpse on how translators deal with the English passive. In previous studies (Tankó 2011, 2014), we have looked at the problems encountered by L1 speakers of Hungarian in the acquisition of the English passive voice, having identified different Hungarian equivalents of the English passive that native speakers would resort to when expressing a passive meaning. A special attention has been paid to the Hungarian predicative verbal adverbial construction, which seems to be the closest syntactic equivalent of the English passive, which captures most of its syntactic or discourse function properties. The main question to pursue is whether L1 speakers of Hungarian use the same strategies as shown in previous studies or they choose some other structures to express the passive meaning when it comes to translating literary texts. On the other hand, we would like to analyse Hungarian contexts which require a translation using the passive in English. Thus, our corpus consists of Orwell’s 1984 and Jókai Mór’s Az arany ember, comparing them with their translated versions.

scholarly journals Hidden Ekphrasis in the Works of Miroslav Krleža

2017 ◽  
Vol 11 (1) ◽  
pp. 118-133
Author(s):  
Nataša Lah
Keyword(s):  
Social Context ◽  
Art History ◽  
The Other ◽  
Literary Texts ◽  
Other Hand ◽  
Mise En Scene ◽  
The Matrix ◽  
Miroslav Krleza ◽  
The Rich ◽  
The One

Throughout the entire literary oeuvre of Miroslav Krleža we are faced with a great number of credible descriptions, describing real historic events, or real artists and artworks belonging to the rich resources of European art history. By applying a cryptographic method of incorporating descriptions into his texts, Krleža on the one hand hid his sources, while on the other also revealed them. He hid them in the tissue of fictional texts, and unmasked them using a key work only those familiar with the source could identify. We term this method the use of “belletristic cryptograms”, and can further categorise it into thematic subgroups of concealed artwork descriptions, naming this whole method the use of hidden ekphrasis. The choice of artworks Krleža describes in his work is comprehensive, diverse and each described differently. Since we are dealing with literary texts, descriptions are often used in the function of a wide array of interpretative strategies of depiction; in some aspects, they are used as a mere glimpse into a piece of art with the goal of visually associating, evoking or minutely symbolizing the incorporeal frame of an artist’s mind or of the wider social context. In other aspects, the artworks are richly and meticulously presented with regard to their importance and credibility as they, according to Krleža, possess an “ethical intelligence” and “ethical conscience”. Only Krleža’s prose is researched here, and this is done on two levels. We take a look at examples where real art is incorporated into fictional texts in order to determine the significance and meaning of a certain dialogue, mise-en-scène or situation. This is most commonly found in the author’s plays, novels and novellas. On the other hand, we can trace a completely opposite method by which artworks enter these texts, where, due to their historic determination and already established worth/status, they thus re-enter reality, as seen from the perspective of Krleža’s life and work, so as to yet again test art history’s credibility through the matrix of contemporaneity. This approach is most often found in Krleža’s essays, critiques and diary entries.

LEGAL INNOVATION IN DEUTERONOMY XXI 18-20

2003 ◽  
Vol 53 (3) ◽  
pp. 311-327 ◽  
Author(s):  
Joseph Fleishman
Keyword(s):  
Male Child ◽  
The Other ◽  
Other Hand ◽  
Legal Innovation ◽  
The Law

AbstractIt is proposed in this paper that the law in Deut. xxi 18-21 constitutes a legal inno-vation in its denition of the "wayward and deant" child who should be put to death because of denial of his parents' authority. The protasis (v. 18) presents the custom-ary law regarding the denition of the disobedient male child and, in essence, is sim-ilar to the law of Exod. xxi 17. The first part of the apodosis (vv. 19-20), on the other hand, redenes it. In the innovation, only the son who disobeys his father and mother and refuses to cease his gluttony and drinking is the disobedient son who should be put to death by stoning.

scholarly journals T.T. Cloete as literary critic, theorist and literary historian (Part 2): T.T. Cloete as theorist of literary history

Literator ◽  
2016 ◽  
Vol 37 (1) ◽  
Author(s):  
Hendrik Van Coller
Keyword(s):  
Literary History ◽  
Literary Work ◽  
The Other ◽  
Literary Texts ◽  
Personal View ◽  
Work Of Art ◽  
Other Hand ◽  
Literary Work Of Art ◽  
The One ◽  
Literary System

It had already been stated that Siegfried Schmidt (in Hjort 1992) discerned four ‘roles’ within the Literary System, that of literary production, dissemination, reception and literary processing. According to this definition, T.T. Cloete, the well-known author and critic, had played all of these roles. In this second part of a two-part article the focus is on Cloete as a literary historian and in particular on his theoretical (methodological) perceptions pertaining to literary history. It is abundantly clear that in all of his different roles a historical awareness was always present. For Cloete the literary work of art was inbedded in a historical timeframe which imposed hermeneutical imperatives on the critic; on the other hand the literary work of art is present in the here and now and accessible to any skilled reader. One of the objectives of this study is to argue that there was thus an implied dichotomy in Cloete’s thinking on literary history. On the one hand there had been a relativistic view that positioned literary texts in the past, and on the other hand a normative view that implied that certain texts (due to inherent qualities like integration and complexity) could gain a certain permanence. In the last part of this article-true to the narrative approach, an implied confrontation with Cloete’s (methodological) views of literary history lead to a personal standpoint as a confrontation with the self (cf. Sools 2009:27). This explication of a personal view on the writing of a literary history (as an implied homage to Cloete) concluded the article.

scholarly journals Rewriting and Appropriating Francesco Guicciardini’s Storia D’Italia in Elizabethan England: Geoffrey Fenton’s Translation and Shakespeare’s Henry V

2016 ◽  
Vol 3 (1) ◽  
pp. 60-71
Author(s):  
Oana-Alis Zaharia
Keyword(s):  
Early Modern ◽  
The Other ◽  
Literary Texts ◽  
Henry V ◽  
Other Hand ◽  
The Creation ◽  
Historical Periods ◽  
Ideological Context

Abstract The exploration of the multifarious ways in which cultural reworkings and translations have been involved in the transmission and circulation of various discourses, concepts and ideas in different historical periods and places, has become one of the most productive fields of inquiry in Early Modern Studies. Both translation and cultural reworking have been understood as forms of rewriting that involve altering, reinterpreting and adapting texts (Fischlin&Fortier, 2000; Lefevere, 1992). The main difference between the two concepts lies in their relation to the text/texts they are supposed to rewrite. Thus, translations are related to more direct and evident means of appropriation and rewriting, most often acknowledging themselves as attempts to render a specific text from one language/culture into another. Cultural reworkings, on the other hand, presuppose the appropriation and remaking of various texts and discourses in a more indirect manner, without necessarily pointing to the particular texts that are being rewritten. They represent threads that can be identifiable or at times altered beyond recognition, frequently leading to the creation of a completely different text. Therefore, cultural reworking involves the appropriation, rewriting and recontextualization - more or less explicit- of literary and non-literary texts and discourses that belong to the, cultural, political and ideological context of a certain work.

Haplotypes and textual types: Interdisciplinary approaches to Viking Age migration and mobility

2021 ◽  
pp. 146960532199650
Author(s):  
Judith Jesch
Keyword(s):  
Ancient Dna ◽  
Interdisciplinary Approach ◽  
Large Datasets ◽  
The Other ◽  
Literary Texts ◽  
Viking Age ◽  
Other Hand ◽  
Interdisciplinary Approaches ◽  
Ancient Texts

When geneticists became interested in Viking Age migration and mobility, about 20 years ago, their evidence was drawn from the DNA of modern populations. More recently, ancient DNA (aDNA) techniques have been refined to the extent that evidence from archaeological skeletons is now being brought into the discussions. While modern DNA can provide large datasets, it remains a question how well these represent populations of over a thousand years ago. On the other hand, aDNA is indeed ancient, but the datasets are small and therefore also not necessarily representative. The historical and literary texts about Viking Age migration and mobility also suffer from doubts about how representative they are. This common characteristic of texts and genetics indicates that an interdisciplinary approach would be fruitful. This paper will explore intersections between ancient texts and aDNA to suggest some ways forward.

scholarly journals Hidden Ekphrasis in the Works of Miroslav Krleža

2017 ◽  
Vol 11 (1) ◽  
pp. 118-133
Author(s):  
Nataša Lah
Keyword(s):  
Social Context ◽  
Art History ◽  
The Other ◽  
Literary Texts ◽  
Other Hand ◽  
Mise En Scene ◽  
The Matrix ◽  
Miroslav Krleza ◽  
The Rich ◽  
The One

Throughout the entire literary oeuvre of Miroslav Krleža we are faced with a great number of credible descriptions, describing real historic events, or real artists and artworks belonging to the rich resources of European art history. By applying a cryptographic method of incorporating descriptions into his texts, Krleža on the one hand hid his sources, while on the other also revealed them. He hid them in the tissue of fictional texts, and unmasked them using a key work only those familiar with the source could identify. We term this method the use of “belletristic cryptograms”, and can further categorise it into thematic subgroups of concealed artwork descriptions, naming this whole method the use of hidden ekphrasis. The choice of artworks Krleža describes in his work is comprehensive, diverse and each described differently. Since we are dealing with literary texts, descriptions are often used in the function of a wide array of interpretative strategies of depiction; in some aspects, they are used as a mere glimpse into a piece of art with the goal of visually associating, evoking or minutely symbolizing the incorporeal frame of an artist’s mind or of the wider social context. In other aspects, the artworks are richly and meticulously presented with regard to their importance and credibility as they, according to Krleža, possess an “ethical intelligence” and “ethical conscience”. Only Krleža’s prose is researched here, and this is done on two levels. We take a look at examples where real art is incorporated into fictional texts in order to determine the significance and meaning of a certain dialogue, mise-en-scène or situation. This is most commonly found in the author’s plays, novels and novellas. On the other hand, we can trace a completely opposite method by which artworks enter these texts, where, due to their historic determination and already established worth/status, they thus re-enter reality, as seen from the perspective of Krleža’s life and work, so as to yet again test art history’s credibility through the matrix of contemporaneity. This approach is most often found in Krleža’s essays, critiques and diary entries.

scholarly journals Praktik Seksualitas Menyimpang Masyarakat Muslim-Minangkabau: Kajian Neo-Historisisme terhadap Film Titian Serambut Dibelah Tujuh

2020 ◽  
Vol 4 (2) ◽  
pp. 160
Author(s):  
Dedi Arsa
Keyword(s):  
Cultural Context ◽  
Social Reality ◽  
Public Spaces ◽  
The Other ◽  
Literary Texts ◽  
Space And Time ◽  
Old Order ◽  
Other Hand ◽  
History Of ◽  
Deviant Sexuality

<p><em>This article discusses the practices of deviant sexuality in the Muslim-Minangkabau community depicted in early Indonesian films in relation to the socio-cultural context in the film as well as the socio-cultural context when the film was produced. The film in question is </em>Titian Serambut Dibelah Tujuh<em> by Asrul Sani. In this film some of the deviant practices of sexuality depicted are homosexuality, lesbianity, and hypersexuality (through the practice of rape). Using a neo-historicalism approach, which looks at the relation of literary texts (films) to their historical space and time, the narratives in this film relate to the context of their presence in the midst of Indonesian social reality and the setting of the film itself: this film exists as a critique of moral decadence The Old Order, which celebrates sexuality in public spaces and on the other hand, also describes the background society (which is also where the writer of the scenario came from) where the practices of sexuality diverged have their own traces in the history of this society.</em><em></em></p><p>Artikel ini membahas praktik-praktik seksualitas menyimpang di tengah masyarakat Muslim-Minangkabau yang digambarkan dalam film Indonesia awal dalam relasinya dengan konteks sosial-budaya dalam film maupun konteks sosial-budaya ketika film ini diproduksi. Film yang dimaksud adalah <em>Titian Serambut Dibelah Tujuh</em> karya Asrul Sani. Dalam film ini beberapa praktik seksualitas menyimpang yang digambar adalah homoseksualitas, lesbianitas, dan hiperseksualitas (lewat praktik perkosaan). Dengan menggunakan pendekatan neo-historisisme, yang melihat relasi teks sastra (film) dengan ruang dan waktu historisnya, narasi-narasi dalam film ini terkait dengan konteks kehadirannya di tengah realitas sosial Indonesia dan latar filmnya itu sendiri: <em>f</em><em>ilm ini hadir sebagai kritik atas dekadensi moral Orde Lama yang merayakan b</em><em>i</em><em>nalitas-seksualitas di ruang publik</em><em> dan d</em><em>i sisi lain,</em><em> </em>juga menggambarkan masyarakat latar (yang juga dari mana si penulis skenarionya berasal) di mana praktik-praktik seksualitas menyimpang punya jejaknya tersendiri dalam sejarah puak ini.</p>

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