scholarly journals Underground Games: Surface Translation and the Grotesque

2018 ◽  
Vol 29 (2) ◽  
pp. 99-128
Author(s):  
Ryan Fraser
Keyword(s):  
Art History ◽  
Translation Studies ◽  
Art Forms ◽  
Linguistic Interference ◽  
Surface Translation ◽  
Positive Step ◽  
The Grotesque

Referenced by theory for seemingly contradictory purposes, the practice of “surface translation” has an ambivalent status within Translation Studies. This is not surprising, as the principle of ambivalence informs both its composition and its conversation with its reader. Nevertheless, a positive step toward a more productive conception of surface translation was accomplished by Jean-Jacques Lecercle (1990), who defined it as a formin extremisof linguistic interference or mixing. Guided by this conception, I would argue here that the practice is in all respects identifiable with the Classical and Medieval ornamental style known by art history as the “grotesque.” This is the first study to identify surface translation with the grotesque. Five specific points of comparison are leveraged here: 1) Both surface translation and grotesque art are created through the proscribed mixing of incompatible materials; 2) Both are peripheral art forms involving play with margins; 3) Both aspire toward the “perverse,” “comic,” and/or “monstrous” in their mixes; 4) Both tend to be explained as the product of impulsive thinking; 5) The experience that these mixtures are designed to produce is “ambivalence.”

scholarly journals The grotesque as it appears in Western art history and in Ian Marley’s creative creatures

Literator ◽  
2009 ◽  
Vol 30 (1) ◽  
pp. 31-54
Author(s):  
R. Swanepoel
Keyword(s):  
Art History ◽  
Western History ◽  
Western Art ◽  
History Of Art ◽  
History Of ◽  
The Grotesque

This article presents a theoretical exploration and reading of the notion of the grotesque in Western history of art to serve as background to the reading of the original creatures in the “Tracking creative creatures” project.1 These creatures were drawn by Marley, based on imaginary creatures narrated by his five year-old son, Joshua. The focus in this article is on the occurrence of the grotesque in paintings and drawings. Three techniques associated with the grotesque are identified: the presence of imagined fusion figures or composite creatures, the violation and exaggeration of standing categories or concepts, and the juxtaposition of the ridiculous and the horrible. The use of these techniques is illustrated in selected artworks and Marley’s creatures are then read from the angle of these strategies.

Dealing with adaptation: the Courtauld classification scheme

2011 ◽  
Vol 36 (4) ◽  
pp. 26-33
Author(s):  
Deborah Lee
Keyword(s):  
Art History ◽  
Classification Scheme ◽  
Fitness For Purpose ◽  
Geographic Boundaries ◽  
New Directions ◽  
Art Forms

Creating an adapted classification scheme is a solution frequently adopted by art libraries to arrange their collections. However, writing the scheme is only the start: an adapted scheme needs continuous updating to maintain its fitness for purpose. With new art forms, new directions in art history research, new geographic boundaries and new physical formats, there is no shortage of work to be done on an adapted art classification scheme. Using examples from the Courtauld classification scheme, this article explores some of the issues involved in dealing with an adapted classification, and charts the fluctuating relationship between the adapted scheme and its original. The author concludes that once an adapted scheme has been selected for an art library, this represents a lifetime commitment to adaptation.

scholarly journals English-Russian Hybrid Words in Translated Text: On Linguistic Interference and Norms of Translation

2020 ◽  
pp. 86-98
Author(s):  
Liliya Nefedova ◽  
Ekaterina Krasnopeyeva
Keyword(s):  
Qualitative Study ◽  
Open Source ◽  
English Language ◽  
Translation Studies ◽  
Direct Result ◽  
Sociology Of Translation ◽  
Linguistic Interference ◽  
The Subject ◽  
Descriptive Approach ◽  
Positive Interference

The article discusses the influence of Russian-English functional bilingualism of IT and tech specialists on the formation of translation norms in the corresponding field. The research is carried out within the framework of sociology of translation and descriptive approach in translation studies. It investigates the patterns in the usage of hybrid lexemes combining Russian and English graphemes, e.g. IoT-устройство (IoT-device), API-интерфейс (API-interface) and Open Source-приложение (open source application) in translations. Methodologically, the study resorts to the theoretical stance of sociology of translation, namely the concepts of translation norm, represented in the works by G. Toury and A. Chesterman, translator's habitus and the field of translation, as well as corpus-based methodology. It utilizes a comparable corpus of translated and non-translated articles published by Russian IT business magazines itWeek, Computerworld and Novosti Elektroniki (Electronics News) in 2017. Hybrids are shown to be more common in non-translated text, which can be viewed as an aspect of the expectancy norm. Qualitative study revealed the following patterns in hybrid usage in translation. Most of the hybrids used in translation are the direct result of the transfer of original English analytical structures. Hybrids are also used in translation as part of pragmatic positive interference, which shows the translator's reliance on the recipient's extensive background knowledge of the subject, as well as command of the English language. Interference, both positive and negative, is argued to be the aspect of the expectancy norm present in the field of technology-oriented media translation.

scholarly journals Revisitando o grotesco: O indefinível como transgressão na arte

2020 ◽  
Vol 3 (2) ◽  
pp. 55-70
Author(s):  
Júlia Almeida de Mello
Keyword(s):  
Visual Culture ◽  
Fifteenth Century ◽  
Contemporary Art ◽  
Art History ◽  
Gender Issues ◽  
Political Strategy ◽  
Political Identities ◽  
The Uncanny ◽  
Dominant Discourses ◽  
The Grotesque

This article presents an analysis of the grotesque as a transgressive element of artistic canons, norms and dominant discourses, considering different periods in the art history(ies). From its manifestation as an aesthetic category in descriptions of Domus Aurea in fifteenth century to the disordered bodies that confront categorizations in contemporary art, the grotesque is constantly in motion and although it cannot be classified it is immediately identified as provocative. Approaches linking Visual Culture to gender issues and political identities are made by emphasizing works that incorporate the excess, the “abnormal”, the “uncanny”, the ambiguity and other grotesques’ manifestations to break boundaries. The results reveal that the grotesque can be seen as a political strategy in different contexts, including its dialogue with the current proposals of provocation of the dissent in contemporary art.

Translating Indigenous Civic Ecologies

1969 ◽  
Vol 3 (1) ◽  
Author(s):  
Jessica Rachel Jacobson-Konefall
Keyword(s):  
Civil Society ◽  
Indigenous Knowledge ◽  
Art History ◽  
Translation Studies ◽  
Care Work ◽  
New Materialism ◽  
Relational Practices ◽  
Art Works ◽  
Civic Ecology ◽  
Liberal Citizenship

Art exhibits by the artists Jude Norris and Nadia Myre present Indigenous civic ecology as multifaceted relationships with animals and land. These perspectives translate liberal citizenship and civil society into visions of Indigenous civic ecology conveying related relational practices. Winnebago theorist Renya Ramirez emphasizes emotion, relationships, care work, and vernacular understandings of belonging as gendered aspects of Native citizenship exceeding and troubling liberal logic. Norris and Myre’s art works extend Ramirez’ human-focused discussion into civic ecology frameworks. These works develop Ramirez’s theory of translocal Native citizenship in an Indigenist materialist vein (Kalbfleisch and Robinson 52), while at the same time showing the ways that theories of new materialism in art history and translation studies remain settler colonial when they do not centre Indigenous knowledge.

Art History as Genetic Epistemology

1985 ◽  
Vol 30 (12) ◽  
pp. 962-964
Author(s):  
Pavel Machotka
Keyword(s):  
Art History ◽  
Genetic Epistemology

IHWAL PENERJEMAHAN

ALQALAM ◽  
2008 ◽  
Vol 25 (2) ◽  
pp. 232
Author(s):  
Ilzamudin Ma'mur
Keyword(s):  
Translation Studies

Penerjemahan, kendati secara akdemis mempakan fenomena bam-bam ini saja, Sejatinya merupakan tindak komunikasi yang telah dilakukan orang dan berlangsung selama berbadad. Peminatnya meliputi tidak saja para linguis dan sastrawan tetapi juga para pakar dalam bidang yang semakin menjauh seperti antroplogi, psikologi hingga matematika. Kenyataanya penerjemah telah memainkan peran krusialnya di sepanjang peradaban umat manusia mulai dari masa klasik, abad pertengahaan, hingga zaman modern sekarang. Selain itu, dari sudut kajian teoretis, peredebatan apakah penerjemahan itu ilmu, teori, seni, keterampilan atau selera masih terus bergulir sebagaimana direfleksikan oleh beragamnya judul buka tentang penerjemahan. Namun demikian, perkembangan terahir nampaknya, istilah translation studies lebih banyak digunakan para teoretisi dan praktisi penerjemahan, suatu istilah payung, karena mencakup penerjemahan dan penjurumbahasaan, yang diperkenalkan pertama kali oleh James Straton Holmes.Kata Kunci: Penerjemahan, penerjemah, Sejarah penerjemahan

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