Ljerka Šimunković, Problematika prevođenja povijesnih dokumenata na talijanskom jeziku
Review of: Ljerka Šimunković, Problematika prevođenja povijesnih dokumenata na talijanskom jeziku
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Review of: Ljerka Šimunković, Problematika prevođenja povijesnih dokumenata na talijanskom jeziku
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This paper is about three ancient grammars authored by Dionysius Thrax (Art of Grammar), Marcus Terentius Varro (On Latin Language), and Pāṇini (Eight Chapters). The paper gives relevant information on authors, the content of their works, and most importantly about the extent to which these works have been preserved to the present day. Further on, it explains facts surrounding the transmission of ancient works as well as the accompanying problems. The aim of this paper is to explain two paradoxes. First, that the oldest grammar is best preserved, namely Pāṇini's. And second, that it is preserved almost intact despite being transmitted by oral tradition.
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Assuming that the travelogue style of Alija Isakovića characterizes the frequency and heterogeneity of relations with texts of different genres, this paper examines the ways in which Isakovic exploits the intertextual potential in creating his own travelogue style. The work shows from which genres, that is, textual types, the travel writer most often takes the intertextual templates, how they serve him when designing the travel text and its contents, and how they are meaningfully and stylistically reactivated in the author's travelogue as in the new textual environment. The paper focuses on the research of quotations as representative intertextual stilemas in the transmission of both objectively and subjectively conceptualized travelogue reality. In the function of objectification of travelogue contents, out of aesthetic quotations of the interverbial and interlingual type are researched. Considering interverbal quotations, they are particularly emphasized by densely intertwined quotes from the diary style and journalistic style; in the function of tematizing everyday life, the quoted advertising slogans, slogans and messages that are realized as interlingual quotes are often displayed. When it comes to interliterary quotes, it has been shown that they have an important stylistic role in creating a poetic-psychological and thoughtful upgrade of the basic travelogue theme. Isaković establishes an intertextual connection with literature, and the western and eastern cultural circles through the epigraph; in the description of the landscape he often quotes the verses of local and world poets which specifically reflects his own audible-visual sensations in the perception of travelogue reality; with quotes establishes metatekstual reminiscences on other travel texts; the specificity of Isaković's interliterary procedures is also reflected in the application of reconstructive intertextuality. The heterogeneity of Isaković's intertextual style is contributed by phraseologized allusions that appear as links to antiquity, biblical tradition, and oral literary tradition. As a self-referential signals with a special poetic and psychological value, metaphorized allusions to the proto-text are realized, which complements Isakovic's travelogue and makes it richer in painting style. Quotations as intertextual stilemas frequently complement and develop both levels of discourse in travelogue by Isakovic; its factual and its imaginative display travelogue reality. Their frequency, diversity and the specificity of their combinations and their resemantisation in the current travel textual environment make the travelogue style of Alija Isakovic recognizable.
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In der vorliegenden Arbeit wurden zwei Märchen der Brüder Grimm und jeweils eine englische Übersetzung dieser beiden Märchen analysiert und miteinander verglichen. Es handelt sich um die Märchen Die Gänsehirtin am Brunnen und Tischchen deck dich, Goldesel und Knüppel aus dem Sack. Es wurde von der Annahme bzw. Hypothese ausgegangen, dass der Übersetzer bzw. die Übersetzerin eine zielsprachlich bzw. an die zielsprachliche Leserschaft orientierte Übersetzungsstrategie gewählt hat. In Anlehnung an Toury wurde von einer acceptable (akzeptablen) Übersetzung bzw. von einer Umfeldübersetzung als Hauptmethode und kulturell einbürgernden Übersetzung als deren Untertyp im Sinne von Schreiber ausgegangen. Um die Hypothese auf ihre Richtigkeit prüfen zu können, wurde als erstes ein grober Gesamtüberblick des Ausgangs- und Zieltextes gegeben. Danach wurden einige in Bezug auf das Übersetzen von Märchen besonders interessante Textstellen näher untersucht, mit dem Ziel festzustellen, welche Übersetzungsverfahren bei den herausgesuchten Beispielen gewählt wurden, um daraus auf die wahrscheinlich gewählte Übersetzungsstrategie bzw. –methode schließen zu können. Abschließend konnte mittels Analyse festgestellt werden, dass der Übersetzer bzw. die Übersetzerin in den untersuchten Beispielen größenteils Übersetzungsverfahren gewählt hat, die es ermöglicht haben, einen an den zielsprachlichen Leser angepassten Text zu produzieren.
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Ziel der vorliegenden Arbeit ist es, referentiell reflexive Konstruktionen im Deutschen am Beispiel des selbst erstellten Korpus aus ausgewählten deutschen Tageszeitungen zu beschreiben. In der vorgenommenen Untersuchung werden gebrauchsorientierte Untersuchungsmethoden (Korpuslinguistik, Textlinguistik und Konstruktionsgrammatik) verwendet. Die Untersuchung sollte Informationen zur Häufigkeit, syntaktischen und kommunikativ-pragmatischen Funktionen der referentiell reflexiven Konstruktionen in den Textsorten Bericht und Kommentar, erschienen in der Rubrik Politik der ausgewählten deutschen Tageszeitungen, geben.
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Metonymy and polysemy are traditionally considered to be figures of speech. These representatives of figurative language, the language of poets and writers, have often been attributed the mere function of decorating the written word. What linguists realized, with the emergence of cognitive semantics, is that the role of certain figures of speech in language is more important than previously assumed, and also that they probably have a crucial role in the deciphering of human cognitive processes. This idea is primarily connected to the Conceptual Metaphor Theory, whose origins we can find in George Lakoff and Mark Johnson’s work Metaphors We Live By. And although the basic premise of this theory is primarily based on another stylistic figure, metaphor - not only as a figure of speech, but also as the basis of language and thought (Evans and Green 2006, 286), the aim of this paper is to present metonymy and polysemy within the framework of the Conceptual Metaphor Theory. The theoretical framework is largely based on Vyvyan Evans and Melanie Green’s work Cognitive Linguistics an Introduction.
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William Shakespeare’s Othello as being representative example of the interpretations in which I tried to discover how the institutions such as court and church fashioned the society and politics of Shakespeare’s age including several key political and social issues – the tumultuous political events and power, family relations, the question of religion, discriminations and prejudice – that also represent the current issues of the modern age in which we live. In Othello, Shakespeare, in addition to affective excesses of credulity which can be fatal, emphasized the importance of the issues of marriage, race and prejudice. This tragedy revolves around many eternal themes, raises the question of political order, power relations and the terrible role that each individual has in such a politicized maze.
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Gilles Deleuze and Félix Guattari in the study entitled „Kafka“, define the novels of this author as minor literature. The reason for this is that Kafka, with architecture of the space in his novels makes the meanings within them impossible to tighten and fix. The main characteristic of these novels is their rhizome structure. By the existence of some parallel universes within these novels, there is an endless slip and slipping of meanings. This work searches and reviews semantic levels of „The Castle“, trying to show all the possible interpretations as only those which are offered or imposed, not as the ultimate and only possible Truth. The main openness of this novel will be seen in its double ambiguity; material incompleteness and endless polyphony of struggle and confrontation of different interpretations of Kafka's novel. By reading the novel „Castle“ through the prism of Bakhtin's theory, important notions of Bakhtin's theoretical setting will be clarified. Applying them to the universe of the Kafka's „The Castle“ will reveal the places of openness and closure in the theory of the novel and in the novel itself.
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The Bosnian literary scene from the 90s of XX century onwards is characterized by the so-called anti-warwriting which, born out of rebellion against the often biased and bestowed interpretation of the war, is realized as a literary testimony of war apocalypse. The subject of this paper is the connection between the fictional world of BH anti-war prose and BH war faction. Starting from the hypothesis that the Bosnian war prose is based on the continuous process of merging of fiction and faction which positively affects its poetic establishment, this paper, finding the instantiation in prose creation by Faruk Šehić and fallowing the theory of Mieke Bal and Mikhail Bakhtin, indikates the poetic characteristics and peculiarities of the Bosnian anti-war prose in general and the position of Faruk Šehić within the Bosniancontemoporary literature and seeks to highlight the way in which the anti-war prose combines these two realities. From the work arises conclusion that the Bosnian anti-warwriting is characterized that da Bosnian anti-war prose is characterized by a close encounter of fiction and faction which caused its foundation on two (interrelated and conditioned) poetics: poetics of testimony that is primarily reflected in the selection of narrativ instance and the characterization of character and poetics of exsperience focused on the author as the holder of out-text reality
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The lexeme park should be characterized as an international word. While examining its form and semantics, it is necessary to make references to other languages, primarily to Indo-European ones. A Latin source is pointed out by Jaqueline Picoche – the word parc is derived from Lat. parrĭcus, registered in the 8th century, which was a derivative of the pre-Latin *parra ‘pole, rod’. In this case it is worth asking the following question: what is the source of the root of the word park in the Indo-European Latin language? The form of the word makes us suspect that it is a borrowing from a Semitic language, most likely Arabic. In the Arabic language قرف FRQ carries the meaning ‘to separate, to set apart’, and further nominal formations which are derived from it include farq – ‘separation, division’ and firq ‘part, division; group, herd, set’. The development of the present meaning of the word park represents a broader array of issues associated with the semantic shift. The observation of the lexical material, not only of Polish material, demonstrates the following direction: ‘enclosure → ‘an enclosed (closed) area’ → ‘an area which is not necessarily enclosed’. Such a regularity is observed also in the Old French jardin, in the English garden, in the Slavic words gród (Ch. hrad, Russ. город, OCS гродъ etc.); ogród (ob-gród), kraj (‘end, limit’ → ‘an area within some boundaries’). Today the meaning park ‘garden’, which is a link in the semantic chain, occupies the first place; other meanings are secondary, and the original ‘enclosure’ has become obsolete.
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It is impossible to imagine London without its royal parks. One of the most beautiful among them is Kensington Gardens, forever connected with the figure of a boy who didn’t want to grow up: Peter Pan. This article provides an interpretation of James Matthew Barrie’s novel „Peter Pan in Kensington Gardens” (1906), centred mainly around literary portrayals of garden space, which becomes an embodiment of the paradise of childhood: Arcadia, a pleasant place, locus amoenus, allowing one to exist beyond evanescence, growing up and sadness. Kensington Gardens are London’s green island, primeval Neverland, where the fairy-tale and the magic are rooted: during a day it creates a playing space for “human children,” whereas at night it goes under the rule of Queen Mab and mysterious fairies. The outline of various interpretation paths which can be followed in Kensington Gardens are accompanied by the reproductions and analyses of Arthur Rackham’s illustrations, which in an outstanding way capture the whimsical genius of the author of „Peter Pan”.
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Based on the fourth part of Pamela Lyndon Travers’s series of children’s books, „Mary Poppins in the Park”, the article proposes a view of a park as a dychotomic place: subjected to some rules, yet simultaneously a real and magic space which stirs one’s imagination. Following this double understanding, it can be stated that a park ideally matches the title character of the novel, who cares (often too much) about her children’s appropriate behaviour, but at the same time displays her predilection for children plays and imagination games. The conclusion highlights the two-dimensionality of the park, which by welcoming adults and children, becomes the space of both the real and the imaginary.
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The work presents an interpretation of Wawrzyniec Żuławski’s „Wędrówki alpejskie” [Wandering in the Alps], a book which is regarded as an example of classic mountain literature, republished several times. The author focuses her reflections on the description of the Alps, noticing in it three key ways of presenting this mountain range: as “a park of parks”, a playground and a neighbourhood. The analysis of Wawrzyniec Żuławski’s exceptional style unravels the author’s attempts to capture in words “the beauty of mountain experiences.” However, while reading „Wędrówki alpejskie”, what comes to the foreground is the book’s factual dimension. In his accounts of the expeditions from the 1930s and 1940s, a passionate mountaineer and an artist (a writer and a composer) reports on the changes in civilisation which took place in the area of the most important (in cultural terms) European mountain range as a result of the process of park creation. Moreover, Żuławski depicts in his notes significant cultural transformations in the consciousness of people coming to mountain national parks and in their attitude to the mountainous landscape. On the one hand, what seems to be striking in the accounts which are the subject of our interpretation are the tensions between the ideals of protecting “wild” nature and the development of mass tourism. On the other hand, what is particularly thought-provoking is the sense of melancholy, caused by the awareness of the old “romantic” alpinism being displaced by a sport model, aimed not at “metaphysics of the mountain”, but at achievements and records.
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A park is described in this article as a scene of public life where members of the modern society develop their shared forms of behaviour. This is also the perspective of interpretation for the final scene of Witold Gombrowicz’s short story „Lawyer Kraykowski’s Dancer”. A humorous portrait of manners drawn by the author could constitute a peculiar commentary to the nightlife of the Warsaw parks of the 1920s. A park seems to be a suitable metaphor chosen to tell the story of a lawyer and “a dancer”, as well as of the complex social relations determined by humanizing actions and the feeling of uncertainty about human nature which constantly evades them. The authors of the article are particularly interested in this “uncertain” aspect of nature inscribed in the figure of an urban garden, which reminds us that all our calls for regulation are just an appearance, a veil hiding an always distant phantasm.
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The article is an attempt at providing an interpretation of Natalia Malek’s work „Kord” in the context of sculpture and materiality. Starting from outlining a definition of a sculpture as a situation and a meeting, the author tries to demonstrate how a poetical language stages the sculptural, departing from the tradition of concrete poetry in favour of openness and potentiality of a poem. The essential contexts for the following argument are both elements of the study of objects and the feminist approach to corporality, which stimulate thinking in terms of the matter and materiality and enable us to interpret Malek’s project as addressing dualisms of Western metaphysics, as well as calling for a different type of reading. The category of “material vision” (de Man) is for the author of the article a point of departure, however, in result, it turns out to be insufficient and gives way to the project of reading understood as a “sculptural situation”.
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V appeared in 2002, distributed across an invertible two-in-one print book from Penguin, V: WaveSon.nets / Losing L’una, and two online locations: the first, V: Vniverse, a Director project with Cynthia Lawson, and the second, Errand Upon Which We Came, a Flash piece with M.D. Coverley. The print book contained at its center the url for the Vniverse site. This print book was re-issued February 2014 in a new edition by SpringGun Press as V: WaveTercets / Losing L’una. The truncation from Son.nets to Tercets was driven by limitations and affordances that we encountered as we set out to modify the Vniverse Director project to run as an app on iPad. The original Vniverse was created, not using Director’s timeline, but all in one frame. This choice took advantage of the speed of imaging Lingo to control both animation and interaction, permitting swift gestural command of the appearance of language emerging without lag from “the sky.” Since mobile devices support an entirely different suite of gestures, we needed to re-implement Vniverse as an app for a smaller screen and a different gestural repertoire. The re-education of hand and mind, the gestural translation, that such a project entails is our focus in this article which addresses the loss of hover as gesture, the loss of location—a point is no longer a place—and the loss of overview, or revelation, as sweeping gestures no longer reveal, but re-scale. Emotional coloring is shifted when exchanging a click for a tap imposes a required time-delay, when an expansive swing-sweep of mouse is substituted by contractive pinch-zoom, or when legibility can be gained only through granulation (losing the sense of fades between whole poems against which active sky stars can be activated), or through text compression and/or suppression (son.nets to tercets). These losses are in part compensated by other gains.
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With reference to the categories of affectivity and intentionality, the Author considers some of the various research perspectives that can be brought to bear upon the category of literariness in biotextual projects. She therefore introduces the concepts of “technotext” (Hayles), “physio-cybertext” and “biopoetry” (Kac), and “partly non-discursive affectivity” (Knudsen and Stage). The author primarily considers the role of non-human actors in constructing biotextual projects; this includes bacteria and other living cells that display the kinds of goal-oriented behavior (or intentionality) that bring about causal changes in biotextual works. Moreover, non-human actors are considered to be a physiological, affective force capable of altering the physical shape of such works. Introducing her own concept of “inside-body actors” (meaning the functioning of the body’s organs, hormones and other biochemical changes in the organism), the Author demonstrates how these “actors” are crucial to the medium. Her article presents three examples of (trans)literary works that were created in a corporal, affective and biological context: The Breathing Wall by Kate Pullinger (with Stefan Schemat and Chris Joseph); Diane Gromala’s BioMorphic Typography (part of a larger scientific and artistic initiative entitled “Design for the Senses”); and Christian Bök’s Xenotext. This last example is one of the most recent works to combine digital text with the biological functioning of microorganisms in a constantly evolving process.
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Electronic literature has expanded its limits, going beyond issues of definition, genre, and poetics, and developing into something more than literature. The goal of this paper is to address problems related to the discussion and meaning of electronic literature, something that elides a precise definition and clear-cut boundaries. Pawlicka’s article is based on the conviction that electronic literature has developed from a field that was institutionalized by the Electronic Literature Organization into a set of practices. The first part reflects upon changes in electronic literature, changes that compel researchers towards new considerations. This section refers to questions posed by N. Katherine Hayles and Dene Grigar and leads to a vital question, “Electronic Literature: How Is It?”. The question of “how” suggests a shift towards the idea of process; a fresh perspective is implied, one that is related to notions of action, practice, and application. This paper therefore introduces an innovative approach to researching electronic literature, namely a processual approach that is open to changes, revisions, and explorations. It in turn goes far beyond seeing electronic literature as simply a narrow field of literature within digital culture. Instead of that, it offers a new perspective on electronic literature, which is considered as a platform for digital research, textuality, art, and other forms of expression. These ideas are covered in the last part, which presents electronic literature as a platform for textual, artistic, and technological experiments, undertaken by writers, artists, designers, and programmers. This incorporates digital creative writing and creative programming, as well as trans/interdisciplinary research.
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The article analyzes the complex and intangible relationship between myth and metaphor in creative writing. In contemporary literary studies the function of myth, similarly to metaphor,metonymy or symbol, is studied by substitution theories in the area of figures of speech and primarily on the semantic and linguistic level. The boundaries between metaphor, metonymy,myth and symbol are very subtle and often indistinguishable at first sight in literature and the arts, which gives scholars a wider creative space for interpretation. The modern interpretation of myth as artefact has been formed in discussion with theories of 20th century culture,where mythology is studied following an interdisciplinary principle (methodological plurality of the approaches of ethnology, social anthropology, philosophy and religious studies, history of mentalities, poetics, aesthetics and art history, comparative studies, etc.). The article will therefore focus on the function of mythology as the departure point for the formation of literary forms and genres in the area of the theory of archetypes (the concepts of Jung, Frye,Campbell, Meletinsky, etc.), as paradigms for the differentiation of literary protagonists and narrative situations (Lévi-Strauss), overlaps of the theory of myth and the theory of symbols(Cassirer) and symbolic communication (Frye).
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This paper deals with metaphors (fad-words and travelling concepts) as encountered in the field of musicology, highlighting how and when certain concepts and ideas were borrowed and/or appropriated from other disciplines. It is claimed that by creating its unique jargon(abounding with discipline-specific metaphors) musicology has proved the facilitating role of metaphors in the communication between musicologists, music lovers, music critics etc.It is also argued that while transgressing the borders of disciplines, metaphors have helped to establish and ossify typically musicological methodology and tools of analysis.
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