The renowned writer of historical novels Walter Scott’s representations of historical figures reach beyond his country of birth. As a man of literature, he imagines the beyond. The Talisman is a product of such excess, but it is not the first in Europe depicting the leader of the Ayyubids Saladin who conquered Jerusalem and settled within the consciousness of the West as a result. Far before romantic orientalism during the nineteenth century, Renaissance was already interested in oriental exoticism. Saladin appeared in Dante’s Inferno, Boccaccio’s Decameron, and Voltaire’s Zaire in varying but positive forms. Scott continued this tradition and created a fictional Saladin who ‘was’ an oriental despot with European virtues. Even though Tariq Ali penned The Book of Saladin one hundred and seventy-three years later, Saladin has always remained a popular fictional figure. He alternates the modernist and orientalist narrations of the East with postcolonial and postmodernist literary techniques, but he falls into the same modernist trap Scott had fallen into while creating an unusual Eastern character for European readers. Their common reluctant orientalism links these two narrations of Saladin inextricably as Eurocentrism haunts their non-Eurocentric depictions ironically. By using reluctant orientalism as a term for the first time and comparing Scott and Ali contrary to the accustomed analyses, this study does more than filling a positivist lacuna. It delays the Absolute meanings of Scott and Ali.
{"title":"The Talisman, The Book of Saladin, and Reluctant Orientalism","authors":"Halil İbrahim Arpa","doi":"10.59045/nalans.2023.5","DOIUrl":"https://doi.org/10.59045/nalans.2023.5","url":null,"abstract":"The renowned writer of historical novels Walter Scott’s representations of historical figures reach beyond his country of birth. As a man of literature, he imagines the beyond. The Talisman is a product of such excess, but it is not the first in Europe depicting the leader of the Ayyubids Saladin who conquered Jerusalem and settled within the consciousness of the West as a result. Far before romantic orientalism during the nineteenth century, Renaissance was already interested in oriental exoticism. Saladin appeared in Dante’s Inferno, Boccaccio’s Decameron, and Voltaire’s Zaire in varying but positive forms. Scott continued this tradition and created a fictional Saladin who ‘was’ an oriental despot with European virtues. Even though Tariq Ali penned The Book of Saladin one hundred and seventy-three years later, Saladin has always remained a popular fictional figure. He alternates the modernist and orientalist narrations of the East with postcolonial and postmodernist literary techniques, but he falls into the same modernist trap Scott had fallen into while creating an unusual Eastern character for European readers. Their common reluctant orientalism links these two narrations of Saladin inextricably as Eurocentrism haunts their non-Eurocentric depictions ironically. By using reluctant orientalism as a term for the first time and comparing Scott and Ali contrary to the accustomed analyses, this study does more than filling a positivist lacuna. It delays the Absolute meanings of Scott and Ali.","PeriodicalId":36955,"journal":{"name":"Journal of Narrative and Language Studies","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79715468","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}
Chaucer’s Cook’s Tale demonstrates the characterization of a riotous apprentice, the narrative depiction of conflict between that apprentice and his master, and that master’s issuing of a questionable “papir” of “acquitance” (4404 & 4411) to suggest provocatively linked definitions of class and depictions of order and transgression specific to the guild-oriented mercantile culture of Chaucer’s fourteenth-century London. Considered within the context of the General Prologue’s depiction of Roger the Cook who tells the tale, and the description of the Four Guildsmen who employ him, the narrative suggests the emergence of the binary pairing of prodigality and hypocrisy, both of which contribute to the breakdown of the social cohesion and concept of “degree” so important to Chaucer’s Canterbury frame tale. Considered against the backdrop of what William Woods’ (1996) analysis of The Cook’s Tale describes as a “social structure defined by commerce” (190), and in relation to general work on Chaucer’s use of language (Cannon 1998) and terminology specific to The Cook’s Tale (Blenner-Hassett 1942; Call 1943), it becomes clear that Chaucer’s fragment indicts both the laterally mobile prodigal apprentice and the decadent hypocrisy of the Master through the linked subversion of license and guild authority.
{"title":"[Un]Licensed Riot: Prodigality, Hypocrisy, and Guild Discourse in Chaucer s Cook s Tale","authors":"David Pecan","doi":"10.59045/nalans.2023.9","DOIUrl":"https://doi.org/10.59045/nalans.2023.9","url":null,"abstract":"Chaucer’s Cook’s Tale demonstrates the characterization of a riotous apprentice, the narrative depiction of conflict between that apprentice and his master, and that master’s issuing of a questionable “papir” of “acquitance” (4404 & 4411) to suggest provocatively linked definitions of class and depictions of order and transgression specific to the guild-oriented mercantile culture of Chaucer’s fourteenth-century London. Considered within the context of the General Prologue’s depiction of Roger the Cook who tells the tale, and the description of the Four Guildsmen who employ him, the narrative suggests the emergence of the binary pairing of prodigality and hypocrisy, both of which contribute to the breakdown of the social cohesion and concept of “degree” so important to Chaucer’s Canterbury frame tale. Considered against the backdrop of what William Woods’ (1996) analysis of The Cook’s Tale describes as a “social structure defined by commerce” (190), and in relation to general work on Chaucer’s use of language (Cannon 1998) and terminology specific to The Cook’s Tale (Blenner-Hassett 1942; Call 1943), it becomes clear that Chaucer’s fragment indicts both the laterally mobile prodigal apprentice and the decadent hypocrisy of the Master through the linked subversion of license and guild authority.","PeriodicalId":36955,"journal":{"name":"Journal of Narrative and Language Studies","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74004784","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}
In this research about the comparative studies of the Natural environment and the cities, the author intends to focus on different kinds of literary genres and texts through which the relation between the concept of Nature and different cities would be studied and examined. The author uses various perspectives of seeing different works - especially visual arts and verbal arts – in terms of culture and humanity. By doing so, the author hopes to bring a better understanding towards the true meaning of these selected literary forms and texts. These literary genres and texts were selected and were aimed to observe the relation between Nature and culture, between Nature and the cities, and most importantly, between the animals and the human beings. It is significant to read the relations among the human beings and the natural environment and the animals, because in a way, the human beings would be able to find balance in which the human beings would even be able to find the true meaning of freedom and the true meaning of life through the inspiration of the things around them. In the similar fashion, when the human beings are aware of the conditions in which they are situated in, somehow, they are also able to express humanity through artistic forms and narratives, particularly visually and verbally. Works of painting and works of photography in literary forms – such as in the novels, the poems, the short stories and the dramatic plays – will be appreciated and will be analysed as aesthetic narratives.
{"title":"Seeing Nature and the Cities in Aesthetic Narratives and Literary Forms","authors":"T. Lin","doi":"10.59045/nalans.2023.10","DOIUrl":"https://doi.org/10.59045/nalans.2023.10","url":null,"abstract":"In this research about the comparative studies of the Natural environment and the cities, the author intends to focus on different kinds of literary genres and texts through which the relation between the concept of Nature and different cities would be studied and examined. The author uses various perspectives of seeing different works - especially visual arts and verbal arts – in terms of culture and humanity. By doing so, the author hopes to bring a better understanding towards the true meaning of these selected literary forms and texts. These literary genres and texts were selected and were aimed to observe the relation between Nature and culture, between Nature and the cities, and most importantly, between the animals and the human beings. It is significant to read the relations among the human beings and the natural environment and the animals, because in a way, the human beings would be able to find balance in which the human beings would even be able to find the true meaning of freedom and the true meaning of life through the inspiration of the things around them. In the similar fashion, when the human beings are aware of the conditions in which they are situated in, somehow, they are also able to express humanity through artistic forms and narratives, particularly visually and verbally. Works of painting and works of photography in literary forms – such as in the novels, the poems, the short stories and the dramatic plays – will be appreciated and will be analysed as aesthetic narratives.","PeriodicalId":36955,"journal":{"name":"Journal of Narrative and Language Studies","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80131195","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}
Muhammad Yunus Anis, Abdulaziz Malik, Alif Cahya Setiyadi
This study discusses whether the comprehensive understanding on Arabic phrases have significant role in the process of creative writing development or not. By referring to the two basic genres of creative writing, Arabic literature covers prose and poetry in which their translations are easier if they are constructed with the models of Arabic phrases. The construction of phrases is commonly used in Arabic creative writing. Phrases in Arabic when translated into other languages have various types of translation strategies that are quite unique. The researchers are interested to investigate the following notions: (1) whether the variants of phrases will be based on the creative writing process or not, (2) the translation techniques employed for the variants of Arabic phrases models, and (3) the characteristics of the creative writing strategies based on the translation of Arabic phrases. The data were collected from the modern Arabic proses and poetries from both Zaidan and Adonis. In collecting the data, the researchers: (1) collect the observation-based data, (2) convey the distributional method and content analysis for the data analysis purpose, and finally (3) report the data. The problems of the study were analyzed mainly by using two approaches; the theory of Arabic Phrase (attarkib al-isnadiyyah) and the translation of Arabic phrase “phraseological features”. The hypothesis testing shows that the creative writing in Arabic literature is influenced by the creative ways of translating the phrases. It is found that: (1) the variants of Arabic phrases model in Arabic proses and poetries are: idhāfah (annexation), shifa/na’t (adjective phrases), jār majrūr (prepositional phrase), Adverbial phrase, and Syndectic verb phrase (2) The strategies of Arabic phrases translation in Arabic texts are: the metaphorization strategy for idhāfah (annexation), phrasal reconstruction strategy for shifa/ na’t (adjective phrases), the metaphorical approximation for jār majrūr (prepositional phrase), the phrasal reconstruction for the adverbial phrase strategy, and the morphological packaging for the syndectic verb phrase. Our study strengthens the general theory of Arabic phrases or phraseological features. On the other hand, the previous study has not comprehensively elaborated the translation techniques and translation strategies.
本文探讨了对阿拉伯语短语的全面理解在创意写作发展过程中是否具有重要作用。阿拉伯文学参考了创造性写作的两种基本类型，包括散文和诗歌，如果用阿拉伯语短语的模式来构建，它们的翻译会更容易。短语的结构在阿拉伯语创意写作中很常用。阿拉伯语短语在翻译成其他语言时，有各种各样的翻译策略，这些策略非常独特。本文主要探讨的问题有:(1)短语变体是否基于创意写作过程;(2)阿拉伯语短语变体模型的翻译技巧;(3)基于阿拉伯语短语翻译的创意写作策略的特点。数据收集自现代阿拉伯散文和诗歌从扎伊丹和阿多尼斯。在收集数据的过程中，研究人员:(1)收集基于观测的数据，(2)传达用于数据分析的分布方法和内容分析，最后(3)报告数据。主要采用两种方法对研究中存在的问题进行分析;阿拉伯语短语理论(attarkib al-isnadiyyah)与阿拉伯语短语“短语特征”的翻译。假设检验表明，阿拉伯文学中的创造性写作受到短语创造性翻译方式的影响。研究发现:(1)阿拉伯语短语模式在阿拉伯语散文和诗歌中的变体有:idhāfah(兼并)、shifa/na 't(形容词短语)、jār majrūr(介词短语)、状语短语和合词动词短语。(2)阿拉伯语文本中阿拉伯语短语的翻译策略有:idhāfah的隐喻化策略(兼并)、shifa/ na 't的短语重构策略(形容词短语)、jār majrūr的隐喻化逼近策略(介词短语)、副词短语的短语重构策略、合词动词短语的形态包装策略。我们的研究加强了阿拉伯语短语或短语特征的一般理论。另一方面，以往的研究并没有全面阐述翻译技巧和翻译策略。
{"title":"Developing Creative Writing Process Based on the Translation of Arabic Phrases: Case Study in Arabic Prose and Poetry","authors":"Muhammad Yunus Anis, Abdulaziz Malik, Alif Cahya Setiyadi","doi":"10.59045/nalans.2023.3","DOIUrl":"https://doi.org/10.59045/nalans.2023.3","url":null,"abstract":"This study discusses whether the comprehensive understanding on Arabic phrases have significant role in the process of creative writing development or not. By referring to the two basic genres of creative writing, Arabic literature covers prose and poetry in which their translations are easier if they are constructed with the models of Arabic phrases. The construction of phrases is commonly used in Arabic creative writing. Phrases in Arabic when translated into other languages have various types of translation strategies that are quite unique. The researchers are interested to investigate the following notions: (1) whether the variants of phrases will be based on the creative writing process or not, (2) the translation techniques employed for the variants of Arabic phrases models, and (3) the characteristics of the creative writing strategies based on the translation of Arabic phrases. The data were collected from the modern Arabic proses and poetries from both Zaidan and Adonis. In collecting the data, the researchers: (1) collect the observation-based data, (2) convey the distributional method and content analysis for the data analysis purpose, and finally (3) report the data. The problems of the study were analyzed mainly by using two approaches; the theory of Arabic Phrase (attarkib al-isnadiyyah) and the translation of Arabic phrase “phraseological features”. The hypothesis testing shows that the creative writing in Arabic literature is influenced by the creative ways of translating the phrases. It is found that: (1) the variants of Arabic phrases model in Arabic proses and poetries are: idhāfah (annexation), shifa/na’t (adjective phrases), jār majrūr (prepositional phrase), Adverbial phrase, and Syndectic verb phrase (2) The strategies of Arabic phrases translation in Arabic texts are: the metaphorization strategy for idhāfah (annexation), phrasal reconstruction strategy for shifa/ na’t (adjective phrases), the metaphorical approximation for jār majrūr (prepositional phrase), the phrasal reconstruction for the adverbial phrase strategy, and the morphological packaging for the syndectic verb phrase. Our study strengthens the general theory of Arabic phrases or phraseological features. On the other hand, the previous study has not comprehensively elaborated the translation techniques and translation strategies.","PeriodicalId":36955,"journal":{"name":"Journal of Narrative and Language Studies","volume":"28 5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72699045","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}
Margaret Atwood’s recent dystopian novel The Testaments (2019) revisits The Handmaid’s Tale by depicturing Gilead’s nightmarish world of the patriarchal order, which is established especially against women’s potency. The sequel reminds the contemporary readers of Offred and her miseries who told the categorised women of Gilead functioning as the Wives, Handmaids, and Marthas. This time, with three different female figures, Baby Nicole, Agnes, and Aunt Lydia, as protagonists/ narrators, who take place on the edges of the Gileadean order, Atwood transforms the events of The Handmaid’s Tale, told by Offred. The novel encircles Offred’s tale by shedding light on the subsequent events told by the second-generation women (Agnes and Nicole) and comprises the prequel parts that Aunt Lydia provides. In this way, to “destabilise [the] unitary vision of the subject and open it up to the multiple and complex reconfigurations of diversity and multiple belongings, so as to [emphasise] … the internal fractures within each subject-position, or the ‘difference within’” with this follow-up text. With the streaming narratives of the three women who set forth the intersected phases to destroy the totalitarian regime and reached “identities of their own,” the sequel maintains the intriguing magic of the Gileadean tales. This article aims to trace the outlooks of different female narrators who procure a dimension of “gynesis” through which the re-exhibited Gilead comes to its end via women who have taken part in the period of dissolution.
{"title":"The Testaments: The Difference within the Gileadean World","authors":"Ela ipek Gündüz","doi":"10.59045/nls.2023.2","DOIUrl":"https://doi.org/10.59045/nls.2023.2","url":null,"abstract":"Margaret Atwood’s recent dystopian novel The Testaments (2019) revisits The Handmaid’s Tale by depicturing Gilead’s nightmarish world of the patriarchal order, which is established especially against women’s potency. The sequel reminds the contemporary readers of Offred and her miseries who told the categorised women of Gilead functioning as the Wives, Handmaids, and Marthas. This time, with three different female figures, Baby Nicole, Agnes, and Aunt Lydia, as protagonists/ narrators, who take place on the edges of the Gileadean order, Atwood transforms the events of The Handmaid’s Tale, told by Offred. The novel encircles Offred’s tale by shedding light on the subsequent events told by the second-generation women (Agnes and Nicole) and comprises the prequel parts that Aunt Lydia provides. In this way, to “destabilise [the] unitary vision of the subject and open it up to the multiple and complex reconfigurations of diversity and multiple belongings, so as to [emphasise] … the internal fractures within each subject-position, or the ‘difference within’” with this follow-up text. With the streaming narratives of the three women who set forth the intersected phases to destroy the totalitarian regime and reached “identities of their own,” the sequel maintains the intriguing magic of the Gileadean tales. This article aims to trace the outlooks of different female narrators who procure a dimension of “gynesis” through which the re-exhibited Gilead comes to its end via women who have taken part in the period of dissolution.","PeriodicalId":36955,"journal":{"name":"Journal of Narrative and Language Studies","volume":"40 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85149622","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}
Duaa Abu Elhija, Naila Tallas-Mahajna, Abeer Asli-Badarneh
This case study aims to compare narratives written in digital media by Arabic native speaking teenagers in Israel. The data was collected from two schools in Kufr Qari’ village in the Triangle region. Of these students, 35 were boys (45%) and 43 were girls (55%). The teenagers are of different ages (13, 15, 17 years old) who wrote stories in their preferred writing system (WS) used in digital media (Arabic, Arabic written with Roman alphabets, or Arabic written in Hebrew letters). Focusing on the macrostructure as well as the microstructure, we investigate differences in narratives among the different age groups across several skills as well as differences across the varied writing systems. In analyzing the narrative texts, we applied several statistical models. All macro and micro element evaluations were compared across ages and language choices within a Generalized Linear Model (GLM) framework. The results show significance by age for the Macrostructures of goal and meta ending as they require deeper thinking skills. Moreover, WS affected the macro- and microstructure of the narrative. Producing a narrative in Arabic script burdened the teens due to the diglossic nature of the language and orthographic complexities. In Arabic script, the use of MSA nouns and verbs added to the quality of the macrostructure. In addition, girls tended to choose Arabic, whereas boys were more likely to choose Hebrew script. This may be ascribed to social factors. Finally, girls regularly generated more micro elements in parallel to the boys’ micro-element production.
{"title":"Representation of Arabic Narratives in Digital Media - A Case Study","authors":"Duaa Abu Elhija, Naila Tallas-Mahajna, Abeer Asli-Badarneh","doi":"10.59045/nalans.2023.4","DOIUrl":"https://doi.org/10.59045/nalans.2023.4","url":null,"abstract":"This case study aims to compare narratives written in digital media by Arabic native speaking teenagers in Israel. The data was collected from two schools in Kufr Qari’ village in the Triangle region. Of these students, 35 were boys (45%) and 43 were girls (55%). The teenagers are of different ages (13, 15, 17 years old) who wrote stories in their preferred writing system (WS) used in digital media (Arabic, Arabic written with Roman alphabets, or Arabic written in Hebrew letters). Focusing on the macrostructure as well as the microstructure, we investigate differences in narratives among the different age groups across several skills as well as differences across the varied writing systems. \u0000In analyzing the narrative texts, we applied several statistical models. All macro and micro element evaluations were compared across ages and language choices within a Generalized Linear Model (GLM) framework. The results show significance by age for the Macrostructures of goal and meta ending as they require deeper thinking skills. Moreover, WS affected the macro- and microstructure of the narrative. Producing a narrative in Arabic script burdened the teens due to the diglossic nature of the language and orthographic complexities. In Arabic script, the use of MSA nouns and verbs added to the quality of the macrostructure. In addition, girls tended to choose Arabic, whereas boys were more likely to choose Hebrew script. This may be ascribed to social factors. Finally, girls regularly generated more micro elements in parallel to the boys’ micro-element production.\u0000","PeriodicalId":36955,"journal":{"name":"Journal of Narrative and Language Studies","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74460626","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}
The function of conveying a culture’s myth to its younger generation is a very delicate process. Myth is a mixture of fact and fantasy and it is the duty of an adult reteller to convey the right ideas in a right manner to the children. Creating mythological retellings for children involves a multi-levelled process: filtering the myth to make it child-appropriate, structuring it in an attractive format and delivering a content relatable for the kids. Roopa Pai, an Indian writer for children, came out with a book titled Gita: For Children (2015), which retells the Bhagvad Gita of the Mahabharata. The Bhagvad Gita, being a book of complex philosophies, is difficult enough to be explained to adults. Hence, it takes a deeper understanding of the source text and also the psyche of children to come out with a work like that. The objective of this paper is to analyse the narrative technique that Pai has followed in Gita: For Children in order to break down a culture’s mythology into a digestible form for the younger generation. The methodology for the study would be a narrative analysis of the primary text. It was identified from the study that Pai constructs a three-layered structure in the text: a) a background insight into the story, where she describes the context and adds additional information on elements seen in the story b) the narration of the story c) explaining the facts of the story with examples relatable for the children. This third structure involves a concept called Applied Mythology. It explains how myth is applicable in the contemporary world. It is also observed that there are three parallel conversations throughout the text: a) the one between Krishna and Arjuna b) the one between Sanjaya and Dritarashtra and c) the one between Pai and her readers. In this third category, Pai uses the technique called ‘breaking the fourth wall’. Here, Pai comes out of her veil as a distant narrator and directly talks to her target audience, the children. While most authors claim it is more difficult to write for children than for adults, this study shall help understand the different narrative strategies that Pai employs in the text to simplify complex philosophies of life for children.
将一种文化的神话传递给年轻一代是一个非常微妙的过程。神话是事实和幻想的混合体，成年人的责任是以正确的方式向孩子们传达正确的思想。为孩子们复述神话需要一个多层次的过程:过滤神话使其适合儿童，以有吸引力的形式组织它，并为孩子们提供与之相关的内容。印度儿童作家鲁帕·派伊(Roopa Pai)出版了《Gita: for children》(2015年)，重新讲述了《摩诃婆罗多》中的《博伽梵歌》(bhagad Gita)。《薄伽梵歌》是一本关于复杂哲学的书，很难向成年人解释清楚。因此，要创作出这样的作品，需要对原著和孩子们的心理有更深入的了解。本文的目的是分析派在《给孩子的歌》中所采用的叙事技巧，以便将一种文化的神话分解成年轻一代易于理解的形式。这项研究的方法将是对主要文本的叙述分析。研究发现，Pai在文本中构建了一个三层结构:a)对故事的背景洞察，在这里她描述了故事的背景，并添加了故事中看到的元素的额外信息;b)故事的叙述;c)用与孩子相关的例子解释故事的事实。第三个结构涉及到一个叫做应用神话的概念。它解释了神话如何适用于当代世界。我们还观察到，全书中有三个平行的对话:a)奎师那和阿尔诸那之间的对话;b)桑迦亚和德里塔拉斯特拉之间的对话;c)派和她的读者之间的对话。在第三类中，Pai使用了一种叫做“打破第四堵墙”的技巧。在这里，Pai从她的面纱中走出来，作为一个遥远的叙述者，直接与她的目标受众，孩子们交谈。虽然大多数作者认为为儿童写作比为成人写作更难，但这项研究将有助于理解Pai在文本中采用的不同叙事策略，以简化儿童复杂的生活哲学。
{"title":"Mythology in Children s Literature: A Narrative Study on Roopa Pai s Gita","authors":"R. T","doi":"10.59045/nalans.2023.7","DOIUrl":"https://doi.org/10.59045/nalans.2023.7","url":null,"abstract":"The function of conveying a culture’s myth to its younger generation is a very delicate process. Myth is a mixture of fact and fantasy and it is the duty of an adult reteller to convey the right ideas in a right manner to the children. Creating mythological retellings for children involves a multi-levelled process: filtering the myth to make it child-appropriate, structuring it in an attractive format and delivering a content relatable for the kids. Roopa Pai, an Indian writer for children, came out with a book titled Gita: For Children (2015), which retells the Bhagvad Gita of the Mahabharata. The Bhagvad Gita, being a book of complex philosophies, is difficult enough to be explained to adults. Hence, it takes a deeper understanding of the source text and also the psyche of children to come out with a work like that. The objective of this paper is to analyse the narrative technique that Pai has followed in Gita: For Children in order to break down a culture’s mythology into a digestible form for the younger generation. The methodology for the study would be a narrative analysis of the primary text. It was identified from the study that Pai constructs a three-layered structure in the text: a) a background insight into the story, where she describes the context and adds additional information on elements seen in the story b) the narration of the story c) explaining the facts of the story with examples relatable for the children. This third structure involves a concept called Applied Mythology. It explains how myth is applicable in the contemporary world. It is also observed that there are three parallel conversations throughout the text: a) the one between Krishna and Arjuna b) the one between Sanjaya and Dritarashtra and c) the one between Pai and her readers. In this third category, Pai uses the technique called ‘breaking the fourth wall’. Here, Pai comes out of her veil as a distant narrator and directly talks to her target audience, the children. While most authors claim it is more difficult to write for children than for adults, this study shall help understand the different narrative strategies that Pai employs in the text to simplify complex philosophies of life for children.","PeriodicalId":36955,"journal":{"name":"Journal of Narrative and Language Studies","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88809868","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}
J.M. Coetzee is directly or indirectly always concerned with the multi-layered narrative texts problematising the concept of authorship and narration. This study treats the two novels as “textual narratives” and “narrative dramas” at a time. From a postclassical narratological perspective, the study investigates the narrators and narrative levels in J. M. Coetzee’s Elizabeth Costello (2003) with authors without authority. The characters in the novel occupy the roles of authors, narrators and characters having remarkable intellectual, self-conscious and reflective capabilities. The implied author, playing with the evasive links between the biographical connotations and fictional denotations, elucidates the fictional status of the novels regarding various narrative and authorial strategies. The study aims to reveal that it complicates the narrative levels and narrative voices and further incorporates them with that of the implied author. The study, therefore, foregrounding the narratological insights into literary representation of the characters, narrators and fictional authors, explores how Coetzee questions the notions of fiction, history, metatextual narrative and narrative drama amalgamating the elements of narrative representation, ideology and morality, politics (ecopolitics) and literary theory, writing as a semiotic praxis and writing as performance. The paper concludes that Coetzee undermines the hierarchical concepts and binary oppositions (textual, fictional, cultural, historical) assumed or produced through the act of writing or representation.
库切一直直接或间接地关注着对作者和叙事概念提出质疑的多层叙事文本。本研究将两部小说同时视为“文本叙事”和“叙事戏剧”。本文从后古典叙事学的角度，考察了库切(J. M. Coetzee, 2003)的《伊丽莎白·科斯特洛》(Elizabeth Costello, 2003)中没有权威的作者的叙述者和叙事层次。小说中的人物扮演着作者、叙述者和人物的角色，他们具有非凡的智力、自我意识和反思能力。隐含作者利用传记性内涵与虚构外延之间的模糊联系，从不同的叙事策略和创作策略上阐释小说的虚构地位。本研究旨在揭示它使叙事层次和叙事声音复杂化，并与隐含作者的叙事声音进一步融合。因此，本研究将叙事学的视角置于人物、叙述者和虚构作者的文学表征的重要位置，探讨库切如何将叙事表征、意识形态和道德、政治(生态政治)和文学理论、作为符号学实践的写作和作为表演的写作等要素结合起来，对小说、历史、元文本叙事和叙事戏剧的概念提出质疑。本文的结论是，库切破坏了通过写作或表现行为假设或产生的等级概念和二元对立(文本的、虚构的、文化的、历史的)。
{"title":"The author on the stage with multiple hats in J. M. Coetzee s Elisabeth Costello","authors":"Nimetullah Aldemir","doi":"10.59045/nls.2023.1","DOIUrl":"https://doi.org/10.59045/nls.2023.1","url":null,"abstract":"J.M. Coetzee is directly or indirectly always concerned with the multi-layered narrative texts problematising the concept of authorship and narration. This study treats the two novels as “textual narratives” and “narrative dramas” at a time. From a postclassical narratological perspective, the study investigates the narrators and narrative levels in J. M. Coetzee’s Elizabeth Costello (2003) with authors without authority. The characters in the novel occupy the roles of authors, narrators and characters having remarkable intellectual, self-conscious and reflective capabilities. The implied author, playing with the evasive links between the biographical connotations and fictional denotations, elucidates the fictional status of the novels regarding various narrative and authorial strategies. The study aims to reveal that it complicates the narrative levels and narrative voices and further incorporates them with that of the implied author. The study, therefore, foregrounding the narratological insights into literary representation of the characters, narrators and fictional authors, explores how Coetzee questions the notions of fiction, history, metatextual narrative and narrative drama amalgamating the elements of narrative representation, ideology and morality, politics (ecopolitics) and literary theory, writing as a semiotic praxis and writing as performance. The paper concludes that Coetzee undermines the hierarchical concepts and binary oppositions (textual, fictional, cultural, historical) assumed or produced through the act of writing or representation.","PeriodicalId":36955,"journal":{"name":"Journal of Narrative and Language Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77812180","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}
Black-Atlantic writer Caryl Phillips portrays slavery as an experience of trauma, an experience of death and survival leading to the suppression of and the demand for an assertion of Black identity. The protagonist Cambridge is liberated and resold into plantation slavery; so, his life is sealed by the Middle Passage which drifts him from the shores of Guinea to the Caribbean of the 19th century. His passage represents Africans’ never-ending trauma of slavery that continued even after the trade became illegal. As a survivor, he feels responsible for the Blacks. By exploring Shoshana Felman’s “the burden of the witness,” this paper reads Cambridge as a neo-archival retelling of the history of slavery.
黑人大西洋作家卡里尔·菲利普斯(Caryl Phillips)将奴隶制描述为一种创伤的经历，一种死亡和生存的经历，导致了对黑人身份的压制和要求。主人公坎布里奇被解放，并被转卖为种植园奴隶;因此，他的一生被从几内亚海岸漂流到19世纪加勒比海的中间航道所封印。他的这段文字代表了非洲人对奴隶制的永不止息的创伤，即使在奴隶制成为非法贸易之后，这种创伤仍在继续。作为幸存者，他觉得对布莱克一家负有责任。通过探索肖莎娜·费尔曼(Shoshana Felman)的《证人的负担》(the burden of the witness)，本文将剑桥解读为奴隶制历史的新档案重述。
{"title":"Reclaiming the Past in Caryl Phillips s Cambridge","authors":"Attiye Hilal Şengenç","doi":"10.59045/nalans.2023.6","DOIUrl":"https://doi.org/10.59045/nalans.2023.6","url":null,"abstract":"Black-Atlantic writer Caryl Phillips portrays slavery as an experience of trauma, an experience of death and survival leading to the suppression of and the demand for an assertion of Black identity. The protagonist Cambridge is liberated and resold into plantation slavery; so, his life is sealed by the Middle Passage which drifts him from the shores of Guinea to the Caribbean of the 19th century. His passage represents Africans’ never-ending trauma of slavery that continued even after the trade became illegal. As a survivor, he feels responsible for the Blacks. By exploring Shoshana Felman’s “the burden of the witness,” this paper reads Cambridge as a neo-archival retelling of the history of slavery.","PeriodicalId":36955,"journal":{"name":"Journal of Narrative and Language Studies","volume":"2192 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91392864","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}
Language reflects the environment and culture, and it also represents a dialectic expression between the author and the social condition. The language of the Quran undergoes a dialectic process along with various factors around, by socio-historical (asbāb al-nuzūl) and situational (asbāb al-dhurūf) context. This study aimed to discover the contextual and situational background, referring to the diction, language style, or euphemism of the Quran regarding the relationship of husband and wife. It employed sociolinguistic approach as language was a prominent medium for cultural heritage discovery and apprehension. It found that the Quran exercised the use of adjective, verb, and verb phrase to demonstrate expressive and referential function, and to avoid taboo words. It also pointed out that Arabic society in the pre-Islamic era geographically and culturally lived within an unconducive environment. They enjoyed nomadic lifestyle, unwilling to be bounded by rules. Therefore, the Quran used subtle dictions when it came to the topic of spouse relationship. the Quran employed 18 types of diction in 8 surahs, mainly discussing about: 1) disobeying commands, 2) telling the story of the Muslims’ habits in the past, 3) giving suggestion after enforcing prohibition, and 4) providing explanation about women in nature. The subtle diction was intended to avoid any filthy imagination and lust among the Arabs back then.
{"title":"Sexual Euphemistic Expressions of The Holy Quran: A Sociolinguistic Approach","authors":"A. Muzakki","doi":"10.59045/nalans.2023.8","DOIUrl":"https://doi.org/10.59045/nalans.2023.8","url":null,"abstract":"Language reflects the environment and culture, and it also represents a dialectic expression between the author and the social condition. The language of the Quran undergoes a dialectic process along with various factors around, by socio-historical (asbāb al-nuzūl) and situational (asbāb al-dhurūf) context. This study aimed to discover the contextual and situational background, referring to the diction, language style, or euphemism of the Quran regarding the relationship of husband and wife. It employed sociolinguistic approach as language was a prominent medium for cultural heritage discovery and apprehension. It found that the Quran exercised the use of adjective, verb, and verb phrase to demonstrate expressive and referential function, and to avoid taboo words. It also pointed out that Arabic society in the pre-Islamic era geographically and culturally lived within an unconducive environment. They enjoyed nomadic lifestyle, unwilling to be bounded by rules. Therefore, the Quran used subtle dictions when it came to the topic of spouse relationship. the Quran employed 18 types of diction in 8 surahs, mainly discussing about: 1) disobeying commands, 2) telling the story of the Muslims’ habits in the past, 3) giving suggestion after enforcing prohibition, and 4) providing explanation about women in nature. The subtle diction was intended to avoid any filthy imagination and lust among the Arabs back then.","PeriodicalId":36955,"journal":{"name":"Journal of Narrative and Language Studies","volume":"272 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76424651","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：