Les Miserables Research Articles

민태원의『레 미제라블』번역 연구 : 일본어 기점텍스트와의 비교를 중심으로

This study aims to reveal the purpose and methods of translation, and transformation of narrative structure by verifying the translational root of Min, Tae-Won`s Aesa(Sad History) which is a translation of Les Miserables, and also comparing it with its source text. In the results of comparing Aesa(Sad History) by Min, Tae-Won with the Japanese translation by Kuroiwa Ruiko as its source text, in the methods of translation, both translators showed the hybrid aspect like domesticating translation of some names of haracters and places. Regarding the transformation of narrative structure, just as the purpose of translation shown in the preface, Kuroiwa Ruiko not only rapidly developed a condensed story focusing on Jean Valjean and main characters for `fun`, but also realized the `social criticism` in the text while Min, Tae-Won focused on the delivery of story by deleting or adding some contents from the Japanese translation by Kuroiwa Ruiko. Such methods of translation and transformation of narrative structure by Min, Tae-Won might be because of the Japanese colonial period when it was tough to show the social/political criticism, which was the political background of forced ruling with severe control over publication.

Investing in Microfinance. Why and How ? The case of Tunisia

After the Tunisian revolution people were hit by the bitter reality of the Tunisian miracle of Ben Ali's regime with an unemployment rate of 20 % and a poverty rate reaching the 25%. With no access to loans, low income people find themselves in a vicious circle of poverty that will lend them either to beg or criminality. Many of the poor people have a heavy life baggage and their personal life could have been ripped from the pages of Les Miserables . Such reality pushed the government toward draconian changes which lead to more liberalization of the microfinance sector to alleviate poverty and enhance social inclusion. Among the new allowed player is a private equity firm InvestCo. The decision has caught the industry by surprise as microfinance sector in Tunisia was always under the scope of nonprofit associations, and far from private equity firms reach. Hence the following inquiries : why a private equity firm would invest in this sector ? Why now ? Is the sector profitable ? Is it competitive ? What will be its strategy ? To answer these questions we followed the whole process that a private equity fund undertakes, i.e. studying the sector competitiveness, analyzing the investment opportunity and finally defining the strategy. We present in this business case the major steps of the approach.

Communities of Dense Weighted Networks

Complex networks are intrinsically modular. Resolving small modules is particularly difficult when the network is densely connected; wide variation of link-weights invites additional complexities. In this article we present an algorithm to detect community structure in densely connected weighted networks. First, modularity of the network is calculated by erasing the links having weights smaller than a cutoff q. Then one takes all the disjoint components obtained at q=qm, where the modularity is maximum, and modularize the components individually using Newman Girvan’s algorithm for weighted networks. The performance of the proposed algorithm is evaluated on four different types of network. Initially taking microRNA (miRNA) co-target network of Homo sapiens as an example, we show that this algorithm could reveal miRNA modules which are known to be relevant in biological context. We also demonstrate the algorithm for scientific collaboration network, character interaction network of the novel Les Miserables, neural network of C. elegans and email communication network among employees of a company. In all these cases this new algorithm could efficiently detect all the relevant modules, particularly the small ones which are very strongly connected.

Maurice Gee’s ‘anti-Cartesian meditations’: narcissism and relational trauma in Plumb

ABSTRACTIn playfully positioning Descartes – recast as ‘Des Cartes’ – as ‘a cousin of Les Miserables’ in his best-known novel Plumb (1978), New Zealand writer Maurice Gee demonstrates that what lurks beneath Western culture’s Cartesian heritage is a disavowed story of pain and misery. Reading the Cartesian cogito’s withdrawal from the world as a narcissistic defence response to relational trauma, this article considers the relational damage that such a withdrawal causes. It argues that the ensuing cycle of intergenerational trauma can be broken only if the narcissistic ego reconnects with what Emmanuel Levinas calls the ‘marvel of exteriority’ – a reconnection that is predicated upon the ego’s ability and willingness to tolerate the kind of vulnerability that Gee’s solitary protagonist persistently disavows. What Gee’s novel therefore offers us, in drawing attention to the ‘misery’ that may be both covered up and caused by such a disavowal of vulnerability, is a provocation to reconsider not just our contemporary cultural values of self-reliance, individualism, etc., but the Cartesian foundations upon which they are based.

Victor Hugo y las lecturas de "Les Misérables" desde Lamartine hasta Vargas Llosa

Tras su publicación en 1862, Les Misérables de Victor Hugo generó una serie de reacciones negativas de parte de los escritores y críticos de su tiempo. El presente artículo contrasta estas visiones con la contemporánea de Mario Vargas Llosa en La tentación de lo imposible: Victor Hugo y Los Miserables, para analizar las diferentes lecturas de la obra y las cuestiones que las mismas plantean.

From author to saint: the appropriations of Victor Hugo and Les Misérables in colonial Vietnam

This paper argues that during the French colonization of Vietnam the emergence of Les Miserables as a transnational work and Victor Hugo as a global figure can be traced back to their successful and seamless integration into local literature and religion. Based on the concept of appropriation, a process in which the target text “takes over” the source text, subjecting it to different forms of transformation, a rereading of Hugo and his masterpiece will be proposed through three of these forms: a translation of Les Miserables by Nguyen-Van-Vĩnh, an adaptation of the same novel by Hồ-Biểu-Chanh, and an indigenization of Spirit Hugo in Caodaism by Phạm-Cong-Tắc. In the light of anticolonial resistance, this study investigates the extent to which the subversive act of literary and cultural appropriation carried out by these three Vietnamese authors in the 1920s can be seen as a reversed assimilation that transgresses the boundaries between dominant and dominated, colonizer and the colonized.

Mobbing in Oliver Twist

Abstract The appearance and study of child abuse is a phenomenon that may seem very current. As typical of the way of life and the development of the XX and XXI centuries. But it is not, they have always existed and to prove it, we just have to resort to literature, where it appears in all periods of history. From the bible or the Celestina, to the realism of Victor Hugo in Les Miserables. Of all the literary works, Oliver Twist is selected for being the best known and most accurate way of describing child abuse, and due to its proximity in time, as it takes place during the Industrial Revolution. The methodology has been based on analyzing the characters in the text and their circumstances. Being the result that child abuse form the past century isn’t so distant to nowadays’ one. Even if there is greater awareness among the public opinion and legal standards to combat it.

A Study on the Japanese-Korean Translation of “Les Miserables”

A Study on the Japanese-Korean Translation of “Les Miserables”

‘Les Miserables’ in Colonial Chosun and the Implantation Farm of Chosun in Daegu

‘Les Miserables’ in Colonial Chosun and the Implantation Farm of Chosun in Daegu

Microbes in the Water Infrastructure: Underpinning Our Society.

How do you feel when you hear the words “wastewater,” “sludge,” “sewer,” and “sewage”? These words may make you feel uncomfortable. However, as Victor Hugo wrote in “Les Miserables,” these words are inevitably related to human society (16):

“Les Miserables”: Comparative Biographies of Ukrainian and “Novorossiyan” Commanders

“Les Miserables”: Comparative Biographies of Ukrainian and “Novorossiyan” Commanders

Face with Tears of Joy Is Word of the Year: Are Emoji a Sign of Things to Come in Health Care?

Oxford Dictionary Word of the Year (WOTY) is not a word but a pictograph, Face with Tears of Joy. For those of you who are not familiar with this pictograph, it is one of the many emoji available for use on your cell phones, tablets, and other devices. In case you missed it, we transitioned from emoticons [;-)] to emoji in the late 1990s.Face with Tears of Joy was chosen as WOTY because it reflected the ethos, mood, and preoccupations of 2015 (Oxford Dictionaries, 2015). Oxford University Press worked with SwiftKey, a mobile technology company, to analyze usage statistics across the world. This emoji was chosen among several competitors because it made up 20 percent of the emoji used in the United Kingdom and 17 percent of those used in the United States.Even the word emoji has tripled in use since it emerged in 1997. You are probably aware of the smiley faces you get on text messages or how your adolescents order pizza at Dominos. To test your knowledge of emoji, visit the Learning Network at the New York Times (http:// learning.blogs.nytimes.com/2014/08/05/test-yourself-emoji/?_r=0).A BRIEF HISTORYShigetaka Kurita developed the concept of emoji while working for a Japanese company, Docomo, was creating a mobile Internet platform to provide news, weather, email, and reservations. According to Blagdon (2013), The lack of visual cures made the service more difficult to use...and could benefit majorly from some extra characters to show contextual information.I was intrigued by how Kurita viewed the new technology and its impact on communication. According to Kurita, the Japanese traditionally wrote long letters for communication, and the brevity of more casual email sometimes led to miscommunication. Kurita also noticed face-to-face and phone conversations also provided cues to assess mood or feelings. He concluded that the promise of digital communication - being able to stay in closer touch with people - was being offset by this accompanying increase in miscommunication (Blagdon, 2013). Hence, emoji were born as a mechanism to provide contextual information and emotions. Although it took awhile for global acceptance, emoji were eventually adopted into Unicode, a computing industry standard for consistent encoding, representation, and the handling of text expressed in most of the world'swriting systems. Emoji made their international debut in 2011 when they were released on Apple'siOS5.From Blagdon's (2013) article, I was able to link to some interesting websites, for example, Narratives in Emoji (http://narrativesinemoji. tumblr.com/) with Les Miserables. I also found an emoji version of Moby Dick (http://blogs.loc.gov/loc/2013/02/a-whale-of-an-acquisition/) and an emoji zine by Womanzine (http://issuu.com/lindseyweber5/docs/ emoji_by_womanzine).Sternbergh (2014) wrote elasticity of meaning is a large part of the appeal and, perhaps, the genius of emoji. Emoji can express emotion on a small screen in an easy manner, making it easier for those of us who find using our thumbs for text messaging to be a challenge. These seemingly infantile cartoons are instantly recognizable, which makes them understandable even across linguistic barriers.IMPLICATIONS FOR RESEARCH, EDUCATION, AND HEALTH CAREIf emoji are recognizable across boundaries, what are their implications for research, education, and health care? To answer this question, I ventured forward to learn more, beyond my simple use of smiley faces. I discovered a growing use of emoji in marketing, education, and, yes, even health care.A research article (Pavalanathan & Eisenstein, 2015) examines whether emoji will replace ASCII character emoticons. Using a causal inference model, Pavalanathan and Eisenstein compared a treatment group (those using emoji for a specified time) to a control group (those who did not use emoji), with emoticon usage as the dependent variable. They found a statistically significant difference in the use of emoticons, with the treatment group using less and less. …

An Interpretation of Les Miserables with Dermatopathology

Dermatology holds many wonderful parallels and can be related to the arts, opera, musicals and life around us in general. In the musical, Les Miserables, one of Victor Hugo’s characters is Thenardier; the crooked innkeeper who acts without conscience, mistreats an orphaned Cosette, and is seen to scheme to obtain more profits for himself by first extracting payment from Fantine, his guests, and Jean Valjean.

A Conversation with Brooke Ciardelli

Brooke Ciardelli was the founding artistic director of Northern Stage, a regional nonprofit theater located on the border of Vermont and New Hampshire, where she directed over sixty productions. Brooke has been honored by the New England Theatre Conference's Moss Hart Awards for Excellence in Theater three times, for All My Sons (2004), Les Miserables (2008), and Hamlet (2009). She directed a staged reading of Arthur Miller's then-unpublished Resurrection Blues with the playwright himself in residence. She has directed Patrick Stewart and Lisa Harrow in Who's Afraid of Virginia Woolf? and worked with playwright Sonja Linden on the American Premiere of The Strange Passenger.Ciardelli has also directed regional premieres of Wit, The Beauty Queen of Leenane, Pride's Crossing, and No Orchids For Miss Blandish, as well as a significant number of large-scale musicals. As a creator, Ciardelli has adapted a number of classical pieces for the stage including Ovid's Metamorphoses, O Myths, and The Shrew Tamer by Shakespeare and John Fletcher. She is working on a stage adaptation of Boccaccio's Decameron for international production.Ciardelli received the Miller Estate's permission to create and direct a Muslim/Syrian version of A View from the Bridge. The production received its world premiere in a staged reading on Saturday evening, October 17, 2015, at the Arthur Miller Centennial Conference at St. Francis College. This interview took place February 6, 2015.Stephen Marino: Welcome. On behalf of the readership of The Arthur Miller Journal, I would like to thank you for your willingness to be here today to discuss your insight in directing Miller plays, particularly this exciting, new version of A View from the Bridge.I would like to start with your experiences as the founding artistic director at Northern Stage. You certainly cast a wide net in the plays you selected up there. I don't know if eclectic is quite the right word, but you staged classic tragedies from Agamemnon to Macbeth; many other plays are drawn from the twentieth-century dramatic repertoire, and you have done a fair share of musicals. I would like to know how, as an artistic director, you select those plays. Then how does that affect your work as a director working in such a mixture of styles and genres?Brooke Ciardelli: I do plays that I love. What I call great plays. If you are an artistic director, you are hired for your taste, your personal taste. So you have to start there, read the plays, and wow-give this as a present to the audience every night. It's a feeling of when you buy someone a really special birthday gift and it's wrapped up in the box. You know what's in it; you know how much they're going to like it, but they haven't opened it yet. So that's what I want to find in a play. To have that feeling about it. I ran the company for sixteen years and we did between seven and eight shows every year.SM: That is a lot of shows.BC: Yes, that is a lot of shows. They all ran three weeks; some of them ran as long as five. The area where the theater is located is fairly rural with a very large subscriber base. It is only one of four theaters in America that has such a small population density yet produces its own work at this level, which some may argue doesn't work. You don't have quite enough people.SM: So how do the preferences of your rural, but engaged, audience affect your choices?BC: It's a very smart community. My audience base did not grow up in the area. They maybe went to Dartmouth; maybe they wintered and did ski vacations in Vermont. They went out, lived their lives all over the world, and chose to come back and retire. Many of them are fairly young. It meant that they had seen world-class culture offerings and had established levels of expectations. When you deal with a subscriber audience-we had a very large subscriber base-that is very good for a theater. One person buys every show in the beginning of the season so the plays are not reviewed. …

Investing in Microfinance: The Case of Tunisia

After the Tunisian revolution, people were hit by the bitter reality of the Tunisian miracle of Ben Ali’s regime: an unemployment rate of 20% (INS [2013]) and a poverty rate reaching 25%. With no access to loans, low-income people find themselves in a vicious circle of poverty that will lead them to either begging or criminality. Many of the country’s poor people carry heavy life baggage; the stories of their personal life lives could have been ripped from the pages of Les Miserables . Such realities pushed the government to make draconian changes leading to more liberalization of the microfinance sector, in an attempt to alleviate poverty and enhance social inclusion. Among the new players allowed into the market are private equity (PE) firms. The decision to allow PE participation caught the industry by surprise, since the Tunisian microfinance sector had always been restricted to nonprofit associations, far from the reach of PE firms. The change gave rise to numerous questions: Why would a private equity firm invest in the micro-finance sector? Why now? Is the sector profitable? Is it competitive? What is the investment strategy?

The Effects of Color Hue-Tone on Recognizing Emotions of Characters in the Film, Les Misérables

This study investigated whether people experience a correspondence between color hue-tone and the main characters’ emotions in the 2012 British musical drama film, Les Miserables through three practical experiments. Six screen images, which represent the characters’ different emotions (Parrot’s six primary types including love, joy, surprise, anger, sadness, and fear) were selected. For each screen image, participants were asked to judge the degree of the character’s dominant emotions evoked from 17 varied screen images, which consisted of original chromatic and achromatized images as well as 15 color-filtered images (5 hues X 3 tones of the IRI color system). These tasks revealed that a chromatic color scheme is more effective to deliver the characters’ positive emotions (i.e. love and joy) than an achromatic one. In addition, they proved that the hue and tone dimensions partially influence the relationships between the character emotions and colors.

Les Misérables Гюго и формирование семантики отверженности в русск

The historic-semantic vectors in the development of the Slavonic lexicon and lexicography are often influenced and determined by the cultural and linguistic reception of the Western European literatures. The French cultural tradition played during the 18th-19th centuries in Russia, a special role in the development of social and artistic ideas. However, the role of the “French prototype” remains in the Russian philological tradition and also in the history of the Russian language on the periphery of lin- guistic interest. The present paper is dedicated to the question of the influence of the French literature on the development of the semantics of the Russian lexicon. The paper examines the reception of Victor Hugo’s novel “Les Miserables” (1862), its translations and its key-role in the building of the semantic field of the word miserable in the Russian culture of the 19th cen- tury. The study uses the Russian translations of Hugo’s novel (1862-1917), the data of the online-corpus Nacional’nyj korpus russkogo jazyka (National Corpus of the Russian Language, http://www.ruscorpora.ru/), and dictionaries of the Russian language. The study shows that the original meaning of the word miserable in Russian changed under the influence of the reception of Hugo’s novel in Russia. The main semantic transformation of the concept miserable concerns the change of the religious pressed, high stylistic meaning – via the denomination of the antisocial and asocial groups – to the heroic societal and even revolutionary pressed meaning, with a positive connotation in the Russian political discourse of the 19th-20th centuries.

Os miseráveis de Victor Hugo: a invisibilidade através do nome

Os miseráveis de Victor Hugo, de 1862, é uma das obras mais adaptadas para outros suportes. Neste trabalho se quer demonstrar que a invisibilidade das personagens é paradoxalmente revelada pela mudança de seus nomes, os quais se transformam dependendo das oportunidades de se amalgamar na multidão. As alcunhas adotadas são apropriadas às situações dramáticas desenvolvidas na obra e nas adaptações, desde a arte sequencial a adaptações operísticas e cinematográficas. E se Os miseráveis é uma obra do século XIX, vê-se que, ainda hoje, é ecoada em personagens reais, que têm ceifadas suas vidas por causa de crimes primários e, ao contrário do anonimato, se escondem através de novas identidades na multidão contemporânea.

“Toute la misère du monde”: Eli Lotar’s Aubervilliers and a Sense of Place

Research Article| January 01 2014 “Toute la misère du monde”: Eli Lotar’s Aubervilliers and a Sense of Place Steven Ungar Steven Ungar University of Iowa Search for other works by this author on: This Site Google Romanic Review (2014) 105 (1-2): 37–51. https://doi.org/10.1215/26885220-105.1-2.37 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Steven Ungar; “Toute la misère du monde”: Eli Lotar’s Aubervilliers and a Sense of Place. Romanic Review 1 January 2014; 105 (1-2): 37–51. doi: https://doi.org/10.1215/26885220-105.1-2.37 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsRomanic Review Search Advanced Search The text of this article is only available as a PDF. Copyright © 2014 The Trustees of Columbia University2014 Article PDF first page preview Close Modal You do not currently have access to this content.

무대의상에 나타난 다원적 절충주의 경향에 관한 연구 - 세계 4대 뮤지컬을 중심으로 -

The purpose of this study is to examine the trend of plural eclecticism in costumes appearing on the stages of the world's top 4 musicals based on the general researches and establishments made of the mentioned concept. The conclusions of this study are as follows. First, the aspects of eclectics appearing in overall pieces can be defined as situational eclecticism. It can be attributed to the dramatic elements contrasted in the storyline of the musical and occurs in mixture with various situations. Showing combinations of costumes from varying situations at once in the same stage makes the audience feel the dynamic elements of the piece. Second, the aspect of temporal eclecticism, which can be seen in the 'Phantom of the Opera' regarding mixture of crinoline style and art nouveau style, resulted from the partial mixture of classical elements for maximizing visual beauty in the historical pieces. Third, the aspect of spatial eclecticism can be observed in the musical 'Miss Saigon', which used costumes that combined multicultural elements by exposing different spaces and cultures such as America and Vietnam. It eclectically expresses the unique cultures and costumes of each country. Fourth, 'Les Miserables' shows the aspect of situational eclecticism, through its use of mixture of situations in various aspects, and in particular, the male and female costumes that blur the boundaries of life, death, and costume, the mixture of people's costume and aristocrat's costume, and the situational elements where the good and evil are contrasted are integrated eclectically to make the story dramatic.