Pub Date : 2019-01-01DOI: 10.21608/ttaip.2019.123744
Marwa Essam Eldin Fahmi
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Pub Date : 2019-01-01DOI: 10.21608/ttaip.2019.123809
Nihal Nagi Sarhan
The present paper aims at framing the concept of JIHAD in the light of Barsalou’s (1992b) Frame Theory. Originally a religious concept; JIHAD has been recently used in a multitude of contexts by a variety of, mostly conflicting, parties. The researcher analyses the corpora under investigation to create contrastive semantic frames of the concept of JIHAD as represented in the Holy Qur’anas a reference corpusand enTenTen13, as a parallel corpus. As Barsalou points out, “a frame provides the fundamental representation of knowledge in human recognition” (1992, p.21). These frames are to highlight the basic cooccurring attributes and values of the concept of JIHAD. The enTenTen13-based frame is further studied in the light of critical discourse analysis (CDA), and more precisely in the light of Van Dijk’s (2006) model of triangulated manipulation. Cognitively, Dijk sees “manipulation as mind control [which] involves the interference with processes of understanding, the formation of biased mental models and social representations such as knowledge and ideologies” (p. 359). The researcher concludes that in the enTenTen13-based JIHAD frame, the values of the relevant attributes are differently instantiated from those of the Qur’an-based frame. Considering that the Qur’an provides the prototypical attribute values, these variations in instantiation are proven as ideologically-driven; hence an instance of manipulation.
{"title":"Semantic Framing of JIHAD in the Holy Qur’an and Selected Web Narratives: A Contrastive Discourse Analytic Study","authors":"Nihal Nagi Sarhan","doi":"10.21608/ttaip.2019.123809","DOIUrl":"https://doi.org/10.21608/ttaip.2019.123809","url":null,"abstract":"The present paper aims at framing the concept of JIHAD in the light of Barsalou’s (1992b) Frame Theory. Originally a religious concept; JIHAD has been recently used in a multitude of contexts by a variety of, mostly conflicting, parties. The researcher analyses the corpora under investigation to create contrastive semantic frames of the concept of JIHAD as represented in the Holy Qur’anas a reference corpusand enTenTen13, as a parallel corpus. As Barsalou points out, “a frame provides the fundamental representation of knowledge in human recognition” (1992, p.21). These frames are to highlight the basic cooccurring attributes and values of the concept of JIHAD. The enTenTen13-based frame is further studied in the light of critical discourse analysis (CDA), and more precisely in the light of Van Dijk’s (2006) model of triangulated manipulation. Cognitively, Dijk sees “manipulation as mind control [which] involves the interference with processes of understanding, the formation of biased mental models and social representations such as knowledge and ideologies” (p. 359). The researcher concludes that in the enTenTen13-based JIHAD frame, the values of the relevant attributes are differently instantiated from those of the Qur’an-based frame. Considering that the Qur’an provides the prototypical attribute values, these variations in instantiation are proven as ideologically-driven; hence an instance of manipulation.","PeriodicalId":276703,"journal":{"name":"Textual Turnings: An International Peer-Reviewed Journal in English Studies","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114310313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.21608/ttaip.2019.123717
F. Abdelrahman
Is History moving forward in a progressive manner, or is it circular, repeating itself in an endless cycle of violence and counterviolence? Colum McCann’s novel, Let the Great World Spin, seems to raise this question as it tries to deal with the 9/ 11 trauma by referring back to the Vietnam War. Through an earlier incident that also involves the now famous Twin Towers of the World Trade Center, McCann aspires to dissect the different layers of life in New York. Though the text has been called a novel about New York by many critics, a closer look at the novel reveals that temporal concerns are intertwined with spatial ones to create a very intricate narrative. It thus helps the reader expand his experience of the present to include the past and the future in one circular totality that deems the livable space open for a (re)negotiation of suffering and pain in such traumatic times. TEXTUAL TURNINGS Department of English Journal of English and comparative Studies VOLUME 1, 2019 33 Caught in Circular Time: Spatiotemporal Narrative Concerns in Cloum McCann’s Let the Great World Spin (2009) Fadwa Kamal AbdelRahman This life as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything unutterably small or great in your life will have to return to you ... The eternal hourglass of existence is turned upside down again and again, and you with it, speck of dust. (Nietzsche, The Gay Science, book IV, s. 341) Once Upon a time and long ago, in fact so long ago that I couldn’t have been there, and if I had been there, I couldn’t be here, but I am here, and I wasn’t there, but I’ll tell you anyway: Once upon a time and long ago.... (McCann, Let the Great World Spin 68) 9/11 is a real “semiotic event, involving the total breakdown of all meaning-making systems” (Versluys 8). It has literally shaken the American society, which woke up to the ugly realities of global terrorism hitting home. It has resulted in a “rupture” that marks a real and tangible change both in the American society and the world at large. Its huge impact transcends the direct losses to take on a rather symbolic significance as terrorism surpasses the present moment and acquires a circular character turning into an “echo from the past and a transitional moment which lays the grounds for the future, becoming (again) the origin for another moment in the future and so on” (Borges 5). Though Literature, in general, and fiction in particular, couldn’t have remained mute in relation to such a major event, the resulting works were not up to its enormity and complexity. R.B. London sums up the causes of this deficiency in a number of points that range between the overpowering nature of the event as well as the crises it creates, and that “it's too soon” to write analytically about such a huge event (“After the Unthinkable”). Most of the criticism dealing with
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Pub Date : 2019-01-01DOI: 10.21608/ttaip.2019.123734
S. Fam
In a poem entitled “Reading Allowed,” performance poet Taylor Mali says: once upon a time we grew up on stories and the voices in which they were told we need words to hold us for the world to behold us for us to truly know our own souls. In a similar vein, Billy Collins, Poet Laureate of the United States from 2001 to 2003, says that “it's a good thing to get poetry off the shelves and more into public life.” During the past decades, both poetry and personal narrative have found their way to previously restricted territory such as academic research and cognitive science through autoethnography and embodied cognition, respectively. “Autoethnography” is a research method that seeks to describe (graphy) personal experience (auto) within a cultural context (ethno). Eventually, it took different shapes, including “performing autoethnography,” which uses story and poetry as forms of resistance within a profession. Tami Spry calls this type “An Embodied Methodological Praxis,” that bases research on the senses, grounding it in the body. (Spry, 2001) In this respect, Spry agrees with George Lakoff’s theory of embodied cognition that defies the claim of the “disembodied mind,” blurring the line between poetic knowledge and scientific truth. Both Collins and Mali are poets and educators. In 2005, they shared the stage in an event entitled “Page Meets Stage,” embodying their resistance to the established standards in both poetry and teaching. The paper intends to study selected poems by these two authors as examples of performance autoethnograhy in the light of Lakoff’s theory of embodied cognition. TEXTUAL TURNINGS Department of English Journal of English and comparative Studies VOLUME 1, 2019 122 Engaging the Senses to Make Sense: Performing Autoethnography in Selected Poems by Two Poet/Educators
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Pub Date : 2019-01-01DOI: 10.21608/ttaip.2019.123829
N. ElBeheri
The present study aims at creating a level of collaboration between MT and HT in order to obtain more production in translation projects and save time, money and effort for translators, businessmen and any other non-specialist MT users. This can be carried out by applying both preediting and post-editing on the ST before entering to MT, in a specific way. Hence, the present study is based on approaching the techniques in which MT runs and to what extent we can make it more effective and more productive. MT users should understand that MT includes two types; direct and indirect. Direct type works on the word level while indirect types work on higher levels (i.e. phrase, sentence levels). On the other hand, indirect levels are divided into two approaches; transfer approach which is language -dependent and interlingua approach which is nonlinguistic specific. Indirect approaches are capable of translating better than direct approach. A MT user should pay heed to the fact that these approaches run better because they are based on ST analysis and then TT generation. In order to benefit more from MT, facilitate translation process, and make the TT seem as natural as possible, each MT user should pay heed to the fact that the more he simplifies the analysis process, the more he gets more natural translation. A MT user can achieve this simplicity in the analysis process by means of pre-editing ST before submitting it to MT. In fact, pre-editing cannot be performed randomly. Hence, the present study encourages MT users to use the rules of controlling language to simplify and adjust STs according to their business requirements. This, in turn, alleviates the load on post-editing because the ST to be entered to MT becomes easy enough to be understood by MT. TEXTUAL TURNINGS Department of English Journal of English and comparative Studies VOLUME 1,2019 447 Collaboration between Machine Translation and Human Translation for Higher Quality and More Production in Translation
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Pub Date : 1900-01-01DOI: 10.21608/ttaip.2019.123748
Amal Ibrahim Kamel
In the postmodern era, the boundaries of drama have become rather flexible due to the manipulation of oral tradition, storytelling, monologues and narration as integral parts of the dramatic fabric. In his seminal work “Voice and Narration”, Brian Richardson rightly contends that “Narration has long been a basic feature of the twentieth-century stage, and one that ought to be more fully appreciated and extensively theorized”. The fusion of narrative techniques into the dramatic action adds to the idea of experimentation and self-reflexivity on stage. This study proposes to analyze and compare the elements of narration and storytelling in African and Arab drama. The selected texts are Femi Osofisan’s Once Upon Four Robbers that deals with the moral and legal definitions of armed robbery and the inability of the government to solve this problem; and Salah Abdul-Sabur’s Ba’d an Yamut al-Malik (Now the King is Dead) that deals with political oppression and spiritual deprivation. The choice of these works is based on the fact that both dramatists make extensive use of a rich oral tradition and storytelling in an attempt to weave oral tradition and drama. Much emphasis is placed upon narrative techniques as a means of dramatizing societal issues, offering an indirect political commentary on modern Nigerian and Egyptian history and involving audience as well.
在后现代时代，由于口述传统、讲故事、独白和叙述作为戏剧结构的组成部分的操纵，戏剧的边界变得相当灵活。在他的开创性著作《声音与叙事》中，理查森正确地指出:“叙事一直是20世纪舞台的一个基本特征，应该得到更充分的认识和广泛的理论化。”叙事技巧与戏剧动作的融合增加了舞台上的实验和自我反思的想法。本研究旨在分析和比较非洲和阿拉伯戏剧的叙事和叙事元素。所选文本包括:费米·欧索维桑的《从前有四个强盗》，该书探讨了武装抢劫的道德和法律定义以及政府解决这一问题的无能;以及萨拉赫·阿卜杜勒·萨布尔的《国王已死》(Ba 'd an Yamut al-Malik)讲述了政治压迫和精神剥夺。这些作品的选择是基于这样一个事实，即两位剧作家都广泛使用了丰富的口头传统和讲故事，试图将口头传统和戏剧编织在一起。重点放在叙事技巧上，作为戏剧化社会问题的一种手段，为现代尼日利亚和埃及历史提供间接的政治评论，并吸引观众。
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Pub Date : 1900-01-01DOI: 10.21608/ttaip.2019.123771
R. Khalil
A play has various elements, many of which a skillful playwright can manipulate, the one constant element though in any written text or performance, is space. The analysis of space in drama is complex and revolves around what is visible to the audience and what is not. At the same time, space takes many forms whether architectural, metaphorical, virtual, psychological, geographical or theatrical. This paper analyses through Henri Lefebvre’s theory of space the use and production of space in three plays: Brian Friel’s Translations (1980); Michel Tremblay’s Solemn Mass for a Full Moon in Summer (2009) and Emma Donoghue’s Room (2017). These representative texts by key playwrights use and produce the notions of space in varied ways to critique social, racial and psychological concerns.
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Pub Date : 1900-01-01DOI: 10.21608/ttaip.2019.123728
N. Helmy
Narrative temporality is "the physical coordinates of the location and extension of the event and of its narration on the continuum of time" (Steinby, L. "Time, Space, and Subjectivity in Gérard Genette's Narrative Discourse". 2016: p. 579). Based on Gerard Genette’s model of time which stresses the two concepts of ‘story time’ and ‘discourse time’, the present study is an attempt to investigate Ursula Todd's self-realization of her power to change the course of her life in Kate Atkinson's Life after Life (2013). In his Narrative Discourse (1980), Genette maintains that story time and discourse time are distorted in their duration i.e. they are not the same. Genette calls this sort of playing with time ‘anisochrony’ (86). Temporal elements to be considered in the novel include 'order', 'duration', 'frequency', and 'time and status of the narrating'. The Goodreads Choice 2013 winner, Life After Life follows the numerous lives of an Englishwoman trying to get her own life upright through featuring non-linear timeline and replication of scenes from different points of view. The reincarnation of the protagonist in the novel is a quite selfaware authorial intervention. Through the novel’s temporal structure, Atkinson sharpens our awareness of what can be gained or lost when given the chance to experience one's life events more than once. TEXTUAL TURNINGS Department of English Journal of English and comparative Studies VOLUME 1, 2019 88 Narrative Temporality and the Power to Change in Kate Atkinson's Life after Life
叙事时间性是“事件的位置和延伸及其在时间连续体上的叙述的物理坐标”(斯坦比，L。格文杰内特叙事话语中的时间、空间与主体性2016:第579页)。基于杰拉德·吉内特的时间模型，强调“故事时间”和“话语时间”两个概念，本研究试图探讨厄休拉·托德在凯特·阿特金森(Kate Atkinson)的《来世》(life after life)(2013)中对自己改变人生进程的力量的自我实现。Genette在他的《叙事话语》(1980)中认为，故事时间和话语时间在持续时间上是扭曲的，即它们是不一样的。Genette把这种玩弄时间的方式称为“各向异性”(86)。小说中要考虑的时间要素包括“顺序”、“持续时间”、“频率”和“叙述的时间和状态”。2013年Goodreads精选奖得主，《死后的生活》通过非线性时间线和从不同角度复制场景，讲述了一个英国女人试图让自己的生活回归正轨的无数次生活。小说中主人公的转世是作者自觉的介入。通过小说的时间结构，阿特金森使我们更加敏锐地意识到，如果有机会不止一次地经历一个人的生活事件，我们会得到什么，会失去什么。《凯特·阿特金森的《转世今生》中的叙事时间性和改变的力量》，《英语与比较研究杂志》，2019年第1卷，88页
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Pub Date : 1900-01-01DOI: 10.21608/ttaip.2019.123763
Fadwa Mahmoud Hassan Gad
This paper investigates Roz Chast’s graphic novel Can’t We Talk about Something More Pleasant (2014) and Kawthar Younis’s featurelength documentary “A Present from the Past” (2016). Both works provide narratives of old age based on actual events. Chast’s work chronicles the experience of the famous cartoonist as she takes care of her ageing parents while Younis’ documentary discusses the journey of a daughter with her elderly father in search of his first love who lives in Italy. Created by female artists who confuse the role of creator and character, both works reveal the complexities and ambiguities of ageing through the lenses of gendered story telling. The paper posits the following questions: How can the modes of sequential arts and visual narrative give utterance to new poetics of ageing, particularly through exploring the interaction between the generic features of these modes (such as temporality, comedy, and journeying) and aspects of the ageing experience such as resilience, infantilisation, defiance of ageing, and perception of the ageing body. The paper further contends that, through their intergenerational dimension, these stories reevaluate the underlying, fixed patterns of the perception of old age. Finally, the paper investigates the insights offered through a cross cultural examination of works about ageing that belong to different cultures, in this case Middle East and American. Surveying earlier literary works by female writers in which ageing people take precedence such as Simone de Beauvoir’s La Vieillesse and Latifa El Zayat’s Ageing, the first part of the paper attempts a theoretical framework that synthesizes this survey with the givens of critical gerontology (which encompasses literary gerontology and narrative gerontology) as suggested by Holstein (2007), Hepworth (2000), Woodward (2006), and WyattBrown as well as theories of visual narrative and documentary genres structures proposed by Eisner (1996) and Cohn (2013) . The second part of the paper explores the techniques of storying adopted by Chast and Younis as they relate to their respective modes/genres. The final part of the paper examines the gender, intergenerational and cross cultural aspects in both works thus evaluating the interplay of the subjective with the global aspects of old age. Taking these issues into consideration the paper attempts to prove that a consideration of ageing narratives across modes and genres enhances Simone de Beauvoir’s remark that “it is this old age that makes it clear that everything has to be reconsidered, recast from the very beginning. That is why the whole problem is so carefully passed over in silence: and that is why this silence has to be shattered”. TEXTUAL TURNINGS Department of English Journal of English and comparative Studies VOLUME 1, 2019 217 Roz Chast’s Can’t We Talk about Something More Pleasant (2014) and Kawthar Younis’s “A Present from the Past” (2016) as Multimodal Narratives of Old Age Fadwa Mahmoud Hassan Gad
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Pub Date : 1900-01-01DOI: 10.21608/ttaip.2019.123723
H. Bayoumy
Narration plays an important role in dramatic works. Classic critics, most prominently Aristotle, have always focused on acting despite narration playing a significant role, often presented through flashbacks, news, brief or long interludes. Brian Richardson, well-known for his articles on narrativity and drama strongly affirms that “drama, like the novel, is and always has been a mixture of mimetic and diegetic representation” (193). Fludernik also asserts that “it is ... customary to analyse not only the novel and the film as narrative genres but also drama, cartoons, ballet and pantomime” (4). Drama and film thus combine “seeing” and “narrating” side by side. Narration is often used by playwrights and scriptwriters to shed light on important functions/messages: creating an alienating effect, storytelling, interrupting and/or commenting on the events. Such functions highlight the presence of the narrator who emerges as a figure worthy of analysis given the fact that he takes different forms and names: messenger, chorus, or even a character. In plays and films for young adults, the narrator is of extreme importance as he has a centralised role in introducing and ending the play/film and often intervening for commentary. The narrator’s identity and his vital and diverse roles can be clearly seen in two works for young adults (a film and a play): Lemony Snicket’s A Series of Unfortunate Events (2004) and Qarun (2018). These works have been selected because they have not been critically dealt with and because narration is interwoven with the events of the works and is, therefore, strongly present. Moreover, the narrators perform different, but significant roles that, in turn, influence the way the event, story or tale being told. For a thorough reading and analysis of these roles, the paper will employ the principles of narratology as a theoretical framework to approach the selected works in order to highlight the significant roles of the narrators and how they effectively present the events of the plays and film to the young adult audience/viewers.
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