Original Literary Works Research Articles

Роль супергероя в формировании отечественного социокультурного пространства

Данная статья посвящена анализу репрезентации образа супергероя в культуре и политике 1990-х - 2010-х гг., а также выявлению причин интереса к образу у современной российской молодёжи. Цель исследования: определение зон востребованности модели супергероя в современной отечественной культуре и политике, а также в формировании личной идентичности у молодежи и подростков в повседневной жизни. Выявлено, что при почти полном отсутствии образов супергероев в оригинальных литературных и отечественных кинематографических произведениях для подростков в Российской Федерации в последнее десятилетие, данная модель востребована и активно воплощается в образах их самодеятельного литературного творчества (например, в фанфиках), в интернациональной индустрии компьютерных игр, а также реализуется молодежью в реальной жизни. Сфера функционирования образов, реализующих модернистскую (и романтическую) модель супергероя наиболее полно, – мир современной российской политики, российские кинофильмы о спорте высоких достижений, мюзиклы с участием представителей спорта высоких достижений в роли персонажа-супергероя, самодеятельное литературное творчество молодежи, повседневная жизнь молодежи и подростков. В данном исследовании используются термины литературоведения, педагогики, социологии, психологии, в том числе кросс-культурной, а также термины, возникшие внутри молодежной среды для обозначения новых жанров субкультуры, уже общепринятые как в сообществах, так и в исследованиях (фанфик, стрим).

Writing and Power in the Roman World: Literacies and Material Culture

Writing and Power in the Roman World: Literacies and Material Culture

Nonce words by J. Joyce in Ukrainian Translation

The paper focuses on the specifics of reproducing nonce units coined by the author of the original literary work into Ukrainian. Nonce formations are topical and promising object of translation studies due to the whole range of reasons. First, a variety of their representations is of great interest in terms of their interpreting. In most cases, interpretation of nonce units is complicated as their morphemic structure is vague. Second, nonce units belong to the words with no direct equivalents in other languages, which greatly complicates the ways of their reproducing in the target language. Thus, dealing with each particular nonce formation in the source language, the translator has to apply non-standard approaches to selecting/coining its equivalent in the target language. So, the great contribution of the translator, his/her importance compared to that of the author of the literary work is proven. Ulysses abounds with nonce formations, making the whole piece of writing extremely challenging for translators. We classify Joyce’s nonce formations by their word-building patterns into two groups: phonographic (coined by means of combining phonemes) and morphological (coined by means of random combining morphemes or their segments). This makes it possible to conclude that the morphological structure of nonce units impacts both interpreting and coining their equivalents. However, the universal approach or strategy to their reproducing in the target language does not exist. In every case the translator should take into account the whole range of factors including but not limited to rendering pragmatic intentions of the author of the original literary work and uniqueness of his/her individual style. While reproducing nonce words of the novel Ulysses into Ukrainian, in most cases translators applied calque (loan translation) and compensation rather than transcoding. Their choice of the domestication strategy can be explained by their attempts to make one of the most difficult novels more accessible to Ukrainian readers.

Лемкiвскiй язык з перспектывы 30-лiтя

Lemko Language from a 30-Year Perspective
 From the very moment the Lemko Association was established in 1989, the promotion of Lemko language usage, primarily through schooling, has been one of its most important statutory goals. The publication of the grammar of the Lemko language in 2000, preceded by preliminary descriptions by Miros³awa Chomiak, and soon also the Lemko-Polish and Polish-Lemko dictionary by Jaros³aw Horoszczak is recognized as an act of codification of the modern Lemko language. The paper presents various forms of linguistic activity of the Lemkos in their mother tongue (primarily in the area of mass- and media-communication: publication of original literary works and translations, magazines, Internet sites, radio programs, audiobooks, etc.) that have shaped the modern Lemko language over the past 30 years and have necessitated relevant corrections in its codification. As part of the language revitalization program, the spelling rules are currently being clarified and the most comprehensive monolingual dictionary of the Lemko language so far is ready for publication.

An examination of the extent of equivalence of an author’s literary stylistic features in two Turkish translations of a short story in English

A distinctive personal literary style, unique to
 every author, is the foremost characteristic that gives a literary work its
 literary quality. Each style is a composite of syntactic and semantic
 components that evidence the literary identity of an author. In Translation
 Studies, style is the element that poses a great difficulty to translators with
 regard to establishment of equivalence between the source text and its
 translation. Readers who are able to read a text both in its original language
 and its translation are well aware of this fact as they notice the degree of
 losses of the stylistic features of the original text in its translated
 version. Thus, inaccurate or inadequate transfer of stylistic elements leads to
 a decrease in the flavor of the original literary work. The problem arises from
 the fact that sometimes in the translation process, not all elements which
 altogether create the exclusive style of an author, are given the due attention
 by translators who do not primarily intend to achieve a reasonable level of
 stylistic equivalence between the two texts. In this
 study, two Turkish translations of a short story titled The Denunciation
 by the American author Ernest Miller Hemingway will be compared with the
 original text and with each other in respect to the level of stylistic
 equivalence. The two translations and the source-text will be subjected to
 a descriptive stylistic analysis to highlight the necessity of equivalent
 transfer of stylistic features of a literary text in the translation process in
 order to preserve the original literary savor.

Translation as a Barrier Between the Original Narrative and the Reader: A Case Study of Power Relations and Address forms in two Crime Fiction Novels

Summary The role of the translator as a mediator in literary translation has been a salient topic since the late twentieth century; however, more recent research signifies that instead of mediating, the translator sometimes affects the literary work translated, shifting the focus of such studies onto the reader. This article aims at investigating the possible effects the literary translator has on readers by examining the translation of address forms, the linguistic markers of social status into Lithuanian and the use of polite or familiar second-person pronouns in two crime fiction novels, Agatha Christie’s (1962) The Mirror Crack’d from Side to Side and John Grisham’s (1992) The Pelican Brief. The literary translator may grapple with the issue of translating social interactions which derives from cultural differences present in the source and target societies. Subsequently, containing a plethora of realistically depicted social interactions adherent to the societies represented, crime fiction provides Lithuanian literary translators with the issue of deciphering power relations based on the contexts they occur in and choosing accordant polite or familiar second-person pronouns, a distinction not present in English. As this study has shown, the translator sometimes misinterprets power relations or favours the social norms of the target culture, affecting the narrative, creating effects discordant with the writer’s intentions, and in some cases, entailing a contingent barrier between the reader and the original literary work.

FROM UNSUNG HERO TO SAVAGE HERO: SHAPING CHARACTERS’ ROLES IN THE ADAPTATION BETWEEN LITERARY WORKS AND MOBILE LEGENDS: BANG BANG! MOBA

This paper examines adaptation study of famous heroes from various literary works (such as Mahabharata, Arthurian legend, Journey to the West) and a Multiplayer online battle arena (MOBA) ‘Mobile Legends: Bang Bang!’ (MLBB) by Moonton. This paper focuses on how fictional heroes and divine figures like Gatotkaca, Lancelot, Freya and Sun Go Kong are presented and shaped into different in-game roles. Mobile Legends: Bang Bang! a game designed for mobile phones, provides two opposing teams fighting one another to reach and destroy the enemy’s base while defending their own base for control. Descriptive analytical method with documentation obtained from books and research journals was used to analyze the media; in addition, the theory used was based on Damono’s theory of adaptation (2012) and Elleström’s modalities (2010) by analyzing the element changes in the adaptation study. The conclusion is that the heroes’ roles are shaped differently due to their true nature and motives from the original literary works.

Handling Semantic Repetition when Translating Arabic Short Stories: The Case of Excerpt from The Book of The Dead

The translation of literary texts into another language is undoubtedly a challenging task, especially when dealing with a combination of languages that are linguistically, stylistically and culturally different. The main purpose of this paper is to examine the translation of one of the devices of creative writing used in the construction of Arabic short stories, namely semantic repetition. The analysis is based on comparing the occurrences of semantic repetition in the Arabic short story صفحة من كتاب الموتى Excerpt from The Book of The Dead with their translations in the target text. This literary work, by Ahmad Faqih, has been selected for analysis mainly because it contains a significant number of repetition instances that serve various pragmatic functions. The main concepts and aspects of Toury’s theory of norms and other taxonomies of translation strategies will be used to identify translation shifts and strategies adopted by the translators. The analysis reveals that the translators resorted to four main strategies when translating semantic repetition into English: retention, compression, grammatical shift and deletion. The analysis also reveals that instances of semantic repetition are often omitted or modified in the English translation, and consequently their functions are sacrificed. This will certainly affect the representation of the original literary work and offer the target readers a slightly different version of the text. Keywords: Semantic repetition; literary translation; translation norms; Arabic short stories; translation strategies

Teaching with luck: Uma proposta de ensino de língua inglesa baseada no conto Luck, de Mark Twain

Neste trabalho, apresenta-se uma proposta de ensino de língua inglesa que se utiliza do conto “Luck”, do autor norte-americano Mark Twain, com o intuito de demonstrar como uma obra literária original, provinda da literatura de língua inglesa, pode ser trabalhada em turmas de ensino médio de uma escola pública regular, vinculando o ensino da língua estrangeira ao ensino da literatura de língua inglesa, de maneira dinâmica e diferenciada, mediada por diversificados recursos visuais e interativos. O recorte aqui apresentado pertence a uma sequência didática que foi aplicada em duas turmas de segundo ano do ensino médio de uma escola pública regular, as quais mostraram-se participativas e engajadas com as atividades propostas. Um questionário foi aplicado ao final da aplicação da proposta, por meio do qual foi possível averiguar as percepções positivas dos alunos quanto à prática. O trabalho escrito sobre o processo de desenvolvimento e de aplicação dessa proposta de ensino foi aportado em autores como Bezerra (2010), Bordini e Aguiar (1993), Gantier (1974), Polidório (2004), Roulet (1978), Smith (1967), dentre outros.

ІДІОСТИЛЬ АВТОРА В ХУДОЖНЬОМУ ПЕРЕКЛАДІ

Introduction. The article deals with author’s individual writing style translation as one of the problems of modern translation studies. Aiming to identify the factors that influence the quality of individual author’s style rendering a literary text is considered to bear its author views, concepts, experience, value principles and guidelines, other individuality features that are genetically, culturally and socially determined. The phenomena of author’s individual style is defined as a system of content and form lingual-image characteristics of the works of one author who implements his own lingual-aesthetic impressions in a unique way.Purpose. The present paper aims to investigate original would-be-translated individual style of an author as his lingual personality and individualized speech of his personages through the prism of their reconstruction in translation process as well as to prove the necessity of scientific approach to practical translation and reveal the factors that make an impact on its adequacy. Methods. The multi-faceted and complex nature of author’s individual writing style, the diversity of its linguistic realizations and the aims set above have determined it necessary to employ translatological method being a complex of methods and techniques of analysis.Results. Major attention in the article is focused on creativity principles and functional tendency of the author’s worldview word representation as the most important basement for individual writing style research. Basing on those principles author’s individual style translation strategies are subordinated to the aim of adaptation to the style of the literary piece being translated. And to reach stylistic balance of source and target texts an absolute equal stylistic value of original literary work should be preserved in translation.The strategic essence of literary translation is viewed here through the light of work structure transformation and literary translation process is considered to be the work image-stylistic structure reimplementation by the target language means through the structure image components, linguistic and extra linguistic contextual relationship reconstruction.Originality. The originality of the present article is seen in the generalized research of essentials that form individual writing style of the source work author and the problem of its reproduction in translation as well as in identifying factors that make an impact on the translation adequacy.Conclusion. Profound analysis of all the composites of the image-stylistic structure of the source literary work as well as their reimplementation within the limits of this structure by the target language means provided compulsory reconstruction of their linguistic and extra linguistic contextual relationships may endow with full value stylistically equal translation which is always dependent on adequate rendering of the author individual writing style as a whole.

Rendering Lexical Units with Cultural Reference in the Narrative “Obelisk” by V. Bykov from Belarusian into Russian

Rendering lexical units with cultural reference plays an important role in retaining cultural colouring of the original literary work in translation, thus making cross-cultural communication through translating fiction possible in the contemporary global environment. Adequate means of rendering realias as culturally marked lexical units are the focus of attention in this article. The term “realia” is introduced, a categorization system for realias is presented, means of rendering Belarusian realias in the narrative “Obelisk” by Vasil Bykov are analyzed, and correlation between the nature of realia and the means of rendering it in the Russian language is proved. Continuous sampling, as well as statistical, parametric, descriptive-comparative and contextual analysis methods were used to achieve the research goals.

Significance of Literary Ecranization in the Development of the Nation’s Character

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Przepisywanie Beowulfa: J.R.R. Tolkiena meandry przekładu

Rewriting Boewulf: J.R.R. Tolkien’s Meandering Translation J.R.R. Tolkien’s works related to translation include both translations and adaptations in the form of pastiche. All of them have been published as posthumous editions, equipped with detailed critical commentaries and edited by the writer’s son, Christopher Tolkien. Among recent publications in English and Polish, one that deserves particular attention is a 1926 prose translation of the Old English poem Beowulf (2014, Polish ed. 2015). This edition presents Tolkien performing a few roles, acting as a translator, translation critic, editor, commentator, literary scholar, linguist, and creative writer. In fact, “translation” becomes a textual hybrid in which one can observe the work of a translator from the initial phase of close reading of a source text through three variants of prose translation (two from 1926 and one from 1942); alternative fragmentar translations in alliterative verse; a detailed philological and cultural commentary composed of lecture notes; original literary works inspired by Beowulf, which include the short story Sellic Spell (in two English versions and as a back translation into Old English); and two versions of the original poem The Lay of Beowulf. As a result, the 2014 edition of Tolkien’s Beowulf realizes the ideal of a translation once described by Vladimir Nabokov: the text of translation emerges from multilayered commentary, which, in Tolkien’s work, crosses the boundaries of languages and genres.

DESIRING FROM A DISTANCE: CINEMATIC THEATRICALITY AND SOUTH KOREA’S COLD WAR GAZE IN MADAME FREEDOM (1956)

Han Hyŏng-mo’s Madame Freedom (Chayu puin, 1956) is often overshadowed by Chŏng Pi-sŏk’s novel of the same title, which provoked public debates about representations of the moral decadence and practices of individual freedom of the upper class after the Korean War. Shifting critical attention from its relation to the original literary work to its cinematic achievements, this article elucidates how the particular mode of address intervenes in the spectator’s viewing experience. I first propose the concept of “cinematic theatricality,” which I coin from theatricality, but the concept goes beyond its association with the theater and theatrical performance, to discuss the display–spectator relationship that the film suggests. Second, I explore the political implications of the cultural Otherness of female dancing bodies by investigating public discussions of social dance in the 1950s. Finally, closely analyzing ‘Madame Freedom’ Sŏn-yŏng’s gaze and the gazes upon her, I demonstrate how the film encourages the spectator to become aware of the act of viewing while creating a distance between the spectator and the displayed. I argue that by exploring cinematic theatricality, Madame Freedom invites the spectator to observe the gendered and ethnocultural gaze that emerged in mid-1950s South Korea and the attempt of the Cold War mechanism to place the individual body and desire under surveillance

품사 분포 분석을 활용한 동일 원문에 기초한 번역문 간 문체 차이 연구

The paper suggests a novel method of analyzing parts-of-speech (POS) as a tool for investigating stylistic differences between translations of the same original literary work. The method consists of two stages: (1) analysis of differences in overall POS distribution and (2) in-depth investigation of POS categories with prominent differences. The method is illustrated by a case study involving two English translations of a Korean novel. Following Stage 1 analysis of differences in overall POS distribution, nouns were selected as a case for in-depth investigation to explain the marked difference observed in that category between the translations. The analysis shows that the key source of the difference is in the degree to which the two translations rely on nominalization, namely nouns derived from verbs and adjectives.

Läsa utan raderna

Reading Without Lines. Transformations of Literary Texts in Textbooks
 While textbooks and teaching materials within the high-school subject of Swedish have been the focus of several studies, the transformations that literary works undergo as they are incorporated into teaching materials warrant further consideration.
 Research has shown that the subject of Swedish in schools has been subject to fragmentation as its scope has expanded. Such fragmentation has also been shown to affect the way learning materials such as textbooks and anthologies present literary works to pupils. This article considers the textual transformations that literary texts undergo in their transition from originals to textbook material, with a particular emphasis on processes such as remediation, fragmentation, exclusion and hybridization. What kind of text are pupils in schools actually reading when they open their textbooks? What is the relationship between the original literary work and the excerpt commonly found in textbooks and anthologies? While empirical studies of classroom situations have yielded considerable insight into learning processes, as well as literacy and reading, this study focuses on the text itself by describing and theorizing the implications of textual transformations for the study of literature.
 Through an analysis of literary works from three different schoolbooks in the subject of Swedish for year 7, 8, and 9, the article illustrates and problematizes various aspects of textual transformations as it relates to the curriculum, Lgr 11.

Praises of Household Happiness in Social Turmoil: <i>Lady General Hua Mulan</i>(1964)

The relationship between film and culture can be seen from the adaptations that historical fiction films make on these original ancient stories or literary works under the influence of concurrent cultural contexts. In other words, these films are always used to reflect and react on the times in which they are made, instead of the past in which they are set. Therefore film makers add abundant up-to-date elements into traditional stories and constantly explore new ways of narration, an effort that turns their productions into live records of certain social and historical periods, combining macro and micro approaches to cultural backgrounds, both audible and visual. Pinning on this new angle of reviewing the old days, this paper aims to uncover the identity crisis of Hong Kong residents under the mutual influence of nostalgia and rebellious ideas in the 1960s reconstructed in the Huangmei Opera film Lady General Hua Mulan (1964) together with the analysis of the social historical reasons hidden behind. The director’s intention to steer a middle course between traditional Chinese culture and British colonial culture is also discussed to show the reaction of film on cultural development.

Some Questions of Linguocultural Specificity Communication at the English Humour Translation

This problem is relevant today because it is necessary to study the issues of the correlation of language, culture and translation, so far as translation is a link between linguistic cultures speakers. Obvious lack of researches in the field of linguocultural specificity affects the quality of the translation and the adequacy of reflection of ethno-linguistic worldview in the minds of other languages speakers. The objective of the article is to identify the degrees of interaction of language and culture in the translation process to provide a deep penetration in the national associated meanings of original literary works. Leading approach to the study of this problem is the analysis that was carried out on basis of descriptive, comparative methods, on the method of a literary text description, involving elements of linguistic and cultural analysis. Methodological basis became researches in linguistics, intercultural communication and translation studies. The paper revealed that linguocultural humour study suggests the priority coverage of the values that are relevant for the compared cultures. These values may get different expression in humorous texts. English humour includes relevant characteristics of universal humour and humour of those social groups that make up the English nation. The article materials may be useful for further research in this area, for effective translation techniques development.

Інтерпретаційний портрет Тараса Шевченка у форматі сучасної медіа-культури

We are talking about a kind of “embodiment” of the image of a Ukrainian classic in modern media text. We are considering examples of contemporary popular media culture, transforming the image of Taras Shevchenko. Advertising is one of the genres of modern mass culture that actively reformats literature, including and Shevchenko’s canon. For the most part, Shevchenko’s image is embodied in the so-called social advertising. Its purpose and objective is to proclaim and strengthen moral, ethical, aesthetic values of the Ukrainian people through the image of Kobzar. It is symptomatic that the next input of Taras Shevchenko’s image in the socio-political context takes place at the time of the Orange Revolution and during Euromaidan. This update is based primarily on harmony of Kobzar’s value orientations with those of modern Ukrainian society: fellowship, freedom, patriotism – these are the key programs upon which the dialogue of generations is build. The image of the classic is embodied in various forms of popular media culture, actualizing a kind of dialogue with the classic via language of the recipient. The embodiment of Taras Shevchenko’s image in the new art forms actively takes place in urban literary topos. A new form of modern pop art, which is called for embodying the image of the classic, is the so-called digital painting. A whole block of modern media texts is being created under the laws of the postmodern game with program irony, parody and pastiche. Another kind of transfer of classical paradigm through the media language is the creation of literary works based on original literary works (fanfic). Members of Taras Shevchenko’s fandom diversely reassess Kobzar’s image as a personality. The examples considered here motivate the modern receptive “Shevchenko’s portrait”. Numerous examples of popular literature through the game, intertextual and intermedial techniques, parody and others involved in the creation of a new myth. This myth can be called „Our Shevchenko”, it becomes a sign and evidence of continuous dialogue between classics and the present.

A Cloud of Vapour, the Cool of the Cellar: the Horror Genre in Latvian Literature

The paper gives an insight into the horror fiction genre in Latvian literature, from folklore to modern literary works. Although the horror genre is represented by only a few works in Latvian literature, these works manifest several national characteristics. These characteristics are the main focus of the present study. Although Latvian folklore offers plenty of material for the horror genre, in the form of ghost stories and legends, very few writers have actually exploited these rich sources in their creative work. The first attempts to incorporate horror motifs into original literary works appear only at the beginning of the 20th century and, surprisingly, they are found in poetry rather than prose. The first elements of the horror genre in drama appeared in a play by Jānis Rainis. Prose was the last literary form where elements of horror fiction appeared. Short story writers first used elements of legend and folklore in a symbolic and allegorical manner, and only as late as the 1920s did they start to incorporate the supernatural without explaining it away rationally. Under the Soviet regime development of the horror genre stopped altogether, since it was unacceptable to the ruling system. The next traces of the horror genre began to appear in Latvian literature only in the 1970s and 1980s. New horizons opened when national independence was regained in 1990.