Abstract This paper1 aims to offer a picture of the darkest period in the history of the Korean women, namely that of the Japanese colonial rule (1910–1945). The only advantage Korean women enjoyed as a result of their country’s annexation to Japan was access to institutional education, even if this was done in Japanese and from Japanese course books. But this came with a price: many of the Korean teenaged females were turned into comfort women (sex-slaves) for the Japanese soldiers before and during the Pacific War. Not only did these girls lose their youth, but they also lost their national and personal identity, as they were forced to change their Korean names into Japanese ones and to speak Japanese. To build the image of the fate of the Korean women during this bleak period, the research method I have used is a simplified version of content analysis, “an analysis of the content of communication” (Baker 1994, 267). I have explored the content of fragments from a couple of novels authored by Korean or American-Korean authors, which cover the historical events in the peninsula leading to the end of WWII (Keller’s Comfort Woman (2019) and Bracht’s White Chrysanthemum (2018), to mention just a few) and which are focused on the topic of comfort women,2 i.e. young women that were sexually exploited by the Japanese military. The results of the analysis indicate that many of the surviving victims became “unpersons” and led a life of solitude and misery until their death.
{"title":"An Image of Korean Women during the Japanese Occupation of the Peninsula, as It Emerges from Literary Masterpieces","authors":"E. Buja","doi":"10.2478/ausp-2021-0006","DOIUrl":"https://doi.org/10.2478/ausp-2021-0006","url":null,"abstract":"Abstract This paper1 aims to offer a picture of the darkest period in the history of the Korean women, namely that of the Japanese colonial rule (1910–1945). The only advantage Korean women enjoyed as a result of their country’s annexation to Japan was access to institutional education, even if this was done in Japanese and from Japanese course books. But this came with a price: many of the Korean teenaged females were turned into comfort women (sex-slaves) for the Japanese soldiers before and during the Pacific War. Not only did these girls lose their youth, but they also lost their national and personal identity, as they were forced to change their Korean names into Japanese ones and to speak Japanese. To build the image of the fate of the Korean women during this bleak period, the research method I have used is a simplified version of content analysis, “an analysis of the content of communication” (Baker 1994, 267). I have explored the content of fragments from a couple of novels authored by Korean or American-Korean authors, which cover the historical events in the peninsula leading to the end of WWII (Keller’s Comfort Woman (2019) and Bracht’s White Chrysanthemum (2018), to mention just a few) and which are focused on the topic of comfort women,2 i.e. young women that were sexually exploited by the Japanese military. The results of the analysis indicate that many of the surviving victims became “unpersons” and led a life of solitude and misery until their death.","PeriodicalId":37574,"journal":{"name":"Acta Universitatis Sapientiae, Philologica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79095002","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}
There is an “impressive diversity of dictionary types” on the dictionary market, a statement found in a recent book on lexicography (Burada–Sinu 2016: 6) . From this perspective, it is no surprise that printed dictionaries are still available although some of them make little sense, especially those that are just a simple collection of monoor bilingual termbases deriving from CAT-tools . However, this is not the case of Dicţionar multilingv de gramatică I (Hu . Többnyelvű grammatikai szótár I; En . Multilingual Dictionary of Grammar I), appeared in 2019 under the guidance of Doina Butiurcă and Réka Suba, published by Institutul European in Iaşi, Romania. The editors are also authors, together with further specialists in various languages: Romanian and French (Doina Butiurcă), Hungarian (Réka Suba), English (Andrea Peterlicean), German (Oxana Chira), and Russian (Inga Druţă), all experts in terminology and translation studies, working at various universities in Romania and the Republic of Moldova . As the “Foreword” announces, the dictionary promises a contrastive-typological perspective of about 200 terms in the field of grammar (A–J), based on authoritative sources representing the latest research in the respective languages: Gramatica limbii române (The Grammar of the Romanian Language), coordinated by Valeria Guţu Romalo (2005, 2008), or Magyar grammatika (Hungarian Grammar), edited by Borbála Keszler (2000). As such, the entries discussed reflect the latest terminology. For example, the authors discuss grade de intensitate ‘degrees of intensity’, but they still mention its oldest version, grade de comparaţie ‘degrees of comparison’ (344–347) . A full entry contains the head term in Romanian, which – in the majority of cases – is followed by its Latin and occasionally its Greek equivalent (e .g . accent, p . 25 ActA UniversitAtis sApientiAe, philologicA, 12, 3 (2020) 202–206
最近一本关于词典编纂的书(Burada-Sinu 2016: 6)指出，词典市场上“词典类型的多样性令人印象深刻”。从这个角度来看，印刷词典仍然可用也就不足为奇了，尽管其中一些没有什么意义，特别是那些只是从cat工具派生的单一或双语术语库的简单集合。然而，Dicţionar multilingv de gramatici I (Hu)的情况并非如此。Többnyelvű grammatikai szótár 1;En。《多语言语法词典I》于2019年在多伊娜·布蒂乌尔卡和雷姆卡·苏巴的指导下出版，由罗马尼亚ii的欧洲研究所出版。编辑们也是作者，还有其他不同语言的专家:罗马尼亚语和法语(Doina butiurcei)、匈牙利语(r2013.ka Suba)、英语(Andrea Peterlicean)、德语(Oxana Chira)和俄语(Inga Druţă)，他们都是术语和翻译研究方面的专家，在罗马尼亚和摩尔多瓦共和国的各所大学工作。正如“序言”所宣布的那样，词典承诺对语法领域(a - j)的约200个术语进行对比-类型研究，基于代表各自语言最新研究的权威来源:Gramatica limbii rom(罗马尼亚语语法)，由瓦莱里亚Guţu Romalo(2005, 2008)协调，或Magyar grammatika(匈牙利语语法)，由Borbála Keszler(2000)编辑。因此，所讨论的条目反映了最新的术语。例如，作者讨论了grade de intensive的“强度程度”，但他们仍然提到了最古老的版本grade de comparaţie的“比较程度”(344-347)。一个完整的条目包含罗马尼亚语的首词，在大多数情况下，后面跟着它的拉丁语和偶尔的希腊语对等词(例如。重音，p。[25]智能大学学报，语言学，12,3 (2020):202-206
{"title":"Doina Butiurca, Réka Suba (eds.) Dicţionar multilingv de gramatică I Többnyelvű grammatikai szótár Multilingual Dictionary of Grammar, 2019. Iaşi: Institutul European. 395 pp.","authors":"Attila R. Imre","doi":"10.2478/ausp-2020-0033","DOIUrl":"https://doi.org/10.2478/ausp-2020-0033","url":null,"abstract":"There is an “impressive diversity of dictionary types” on the dictionary market, a statement found in a recent book on lexicography (Burada–Sinu 2016: 6) . From this perspective, it is no surprise that printed dictionaries are still available although some of them make little sense, especially those that are just a simple collection of monoor bilingual termbases deriving from CAT-tools . However, this is not the case of Dicţionar multilingv de gramatică I (Hu . Többnyelvű grammatikai szótár I; En . Multilingual Dictionary of Grammar I), appeared in 2019 under the guidance of Doina Butiurcă and Réka Suba, published by Institutul European in Iaşi, Romania. The editors are also authors, together with further specialists in various languages: Romanian and French (Doina Butiurcă), Hungarian (Réka Suba), English (Andrea Peterlicean), German (Oxana Chira), and Russian (Inga Druţă), all experts in terminology and translation studies, working at various universities in Romania and the Republic of Moldova . As the “Foreword” announces, the dictionary promises a contrastive-typological perspective of about 200 terms in the field of grammar (A–J), based on authoritative sources representing the latest research in the respective languages: Gramatica limbii române (The Grammar of the Romanian Language), coordinated by Valeria Guţu Romalo (2005, 2008), or Magyar grammatika (Hungarian Grammar), edited by Borbála Keszler (2000). As such, the entries discussed reflect the latest terminology. For example, the authors discuss grade de intensitate ‘degrees of intensity’, but they still mention its oldest version, grade de comparaţie ‘degrees of comparison’ (344–347) . A full entry contains the head term in Romanian, which – in the majority of cases – is followed by its Latin and occasionally its Greek equivalent (e .g . accent, p . 25 ActA UniversitAtis sApientiAe, philologicA, 12, 3 (2020) 202–206","PeriodicalId":37574,"journal":{"name":"Acta Universitatis Sapientiae, Philologica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85294554","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}
Abstract The present study aims to gain insight into the translation of audiovisual humour displayed in the verbal manifestations of Officer Crabtree, the fictional character in the BBC sitcom ‘Allo ‘Allo! (1982–1992), especially focusing on its Hungarian dubbed version of the series. Being a research domain with insights from audiovisual translation (AVT), humour studies, and discourse analysis, the article introduces the reader to AVT, more particularly, to dubbing, to research carried out in the domain of audiovisual humour, and to humour studies, especially focusing on incongruity and superiority theory. These theoretical elements are applied in the analysis of the corpus comprising the English voice track as source text (ST) and its Hungarian counterpart as target text (TT), highlighting the humorous effects achieved in both of them and especially pointing at the creative solutions translators resorted to in rendering the idiosyncratically mangled English texts into Hungarian. The analysis aims to provide counterexamples to the frequent claim that verbal humour is untranslatable.
{"title":"Verbal Humour in Screen Translation: Officer Crabtree’s Case with the Fronch and Hungarian Longwodge","authors":"Zsuzsanna Ajtony","doi":"10.2478/ausp-2020-0011","DOIUrl":"https://doi.org/10.2478/ausp-2020-0011","url":null,"abstract":"Abstract The present study aims to gain insight into the translation of audiovisual humour displayed in the verbal manifestations of Officer Crabtree, the fictional character in the BBC sitcom ‘Allo ‘Allo! (1982–1992), especially focusing on its Hungarian dubbed version of the series. Being a research domain with insights from audiovisual translation (AVT), humour studies, and discourse analysis, the article introduces the reader to AVT, more particularly, to dubbing, to research carried out in the domain of audiovisual humour, and to humour studies, especially focusing on incongruity and superiority theory. These theoretical elements are applied in the analysis of the corpus comprising the English voice track as source text (ST) and its Hungarian counterpart as target text (TT), highlighting the humorous effects achieved in both of them and especially pointing at the creative solutions translators resorted to in rendering the idiosyncratically mangled English texts into Hungarian. The analysis aims to provide counterexamples to the frequent claim that verbal humour is untranslatable.","PeriodicalId":37574,"journal":{"name":"Acta Universitatis Sapientiae, Philologica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81855937","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}
Abstract Humour has various faces and forms, deriving from double meanings, situations, wordplay, often with hidden or obvious cultural references. It may also be subjective; the same things may seem humorous for some people and not funny at all for others. Probably most translators would agree that translating humour is definitely a very challenging task, especially when it is strictly related to the language itself or to a certain culture or community. However, there are certain forms of humour, especially situational or anecdotal, which focus on universal aspects or elements of human life, and therefore may be understood and considered as funny by people from different cultures. In this study, we discuss some theories, principles, recommended techniques and strategies related to translating jokes, wordplay, and humorous idioms which in our opinion may be included in the translator-training curriculum. We also examine the strategies and techniques used by a group of translator trainees in their second year of studies in translating humour from English into Hungarian, focusing on the difficulties they encountered, in order to assess their needs and include more practice and useful tips in the training process.
{"title":"Translating Humour – A Didactic Perspective","authors":"Gabriella Kovács","doi":"10.2478/ausp-2020-0013","DOIUrl":"https://doi.org/10.2478/ausp-2020-0013","url":null,"abstract":"Abstract Humour has various faces and forms, deriving from double meanings, situations, wordplay, often with hidden or obvious cultural references. It may also be subjective; the same things may seem humorous for some people and not funny at all for others. Probably most translators would agree that translating humour is definitely a very challenging task, especially when it is strictly related to the language itself or to a certain culture or community. However, there are certain forms of humour, especially situational or anecdotal, which focus on universal aspects or elements of human life, and therefore may be understood and considered as funny by people from different cultures. In this study, we discuss some theories, principles, recommended techniques and strategies related to translating jokes, wordplay, and humorous idioms which in our opinion may be included in the translator-training curriculum. We also examine the strategies and techniques used by a group of translator trainees in their second year of studies in translating humour from English into Hungarian, focusing on the difficulties they encountered, in order to assess their needs and include more practice and useful tips in the training process.","PeriodicalId":37574,"journal":{"name":"Acta Universitatis Sapientiae, Philologica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91148720","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 need for an unequivocal linguistic terminology has been observed since the early 1920s. At that time, several linguists faced difficulties in drafting their work, either making lexicographic tools (see Ştefănoaia 2015) or designing new theoretical frameworks. As the French linguist of the time, Henri Frei, pointed it out in the introductory note of his La grammaire des fautes [The Grammar of Mistakes] ([1929] 2007), “linguistic terminology is in full anarchy in all countries” (Frei 2007: 9) . Since then, not only terminology has enriched in number, alongside the emergence of new scientific fields and linguistic schools, but old terminology has been reassigned as different research domains have come to blend on the interface of interdisciplinarity. Nowadays, linguistic terminology is probably as heterogeneous as never before . This lack of unity has resulted in a great deal of uncertainty in using specific terms, confusing uninitiated readers, and occasionally making even specialists difficult to understand each other.1 Given this circumstance, the trilingual dictionary of applied linguistics we are reviewing particularly comes in handy when one is engaged in finding certain interlingual consistency. The volume in question aims not only at satisfying the
自20世纪20年代初以来，人们就注意到需要一个明确的语言术语。当时，一些语言学家在起草他们的工作时遇到了困难，要么是制作词典编纂工具(参见Ştefănoaia 2015)，要么是设计新的理论框架。正如当时的法国语言学家亨利·弗雷(Henri Frei)在他的《错误的语法》(La grammaire des fautes)([1929] 2007)的引言中指出的那样，“语言术语在所有国家都处于完全无政府状态”(Frei 2007: 9)。从那时起，随着新的科学领域和语言流派的出现，不仅术语的数量丰富了，而且随着不同的研究领域在跨学科的界面上融合，旧的术语也被重新分配。如今，语言术语的多样性可能前所未有。这种不统一导致在使用特定术语时存在很大的不确定性，使不熟悉的读者感到困惑，有时甚至使专家也难以相互理解在这种情况下，我们正在审查的应用语言学三语词典在寻找某种语际一致性时特别有用。所讨论的音量不仅旨在满足
{"title":"Erika-Mária Tódor et al. (eds) Alkalmazott nyelvészeti szótár","authors":"Enikő Pál","doi":"10.2478/ausp-2020-0019","DOIUrl":"https://doi.org/10.2478/ausp-2020-0019","url":null,"abstract":"The need for an unequivocal linguistic terminology has been observed since the early 1920s. At that time, several linguists faced difficulties in drafting their work, either making lexicographic tools (see Ştefănoaia 2015) or designing new theoretical frameworks. As the French linguist of the time, Henri Frei, pointed it out in the introductory note of his La grammaire des fautes [The Grammar of Mistakes] ([1929] 2007), “linguistic terminology is in full anarchy in all countries” (Frei 2007: 9) . Since then, not only terminology has enriched in number, alongside the emergence of new scientific fields and linguistic schools, but old terminology has been reassigned as different research domains have come to blend on the interface of interdisciplinarity. Nowadays, linguistic terminology is probably as heterogeneous as never before . This lack of unity has resulted in a great deal of uncertainty in using specific terms, confusing uninitiated readers, and occasionally making even specialists difficult to understand each other.1 Given this circumstance, the trilingual dictionary of applied linguistics we are reviewing particularly comes in handy when one is engaged in finding certain interlingual consistency. The volume in question aims not only at satisfying the","PeriodicalId":37574,"journal":{"name":"Acta Universitatis Sapientiae, Philologica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76612373","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}
Abstract In this paper, I put forward a comparative/contrastive analysis of ethnic identity on the basis of humorous texts about Romanians and Hungarians living in Romania within the framework of the Script-Based Semantic Theory of Humour (SSTH). The corpus contains fifty jokes taken from websites and social media, books and recordings in which the Romanians are at the centre and the Hungarians are the butt and vice versa. The overall purpose of the study is to illustrate the main topics and stereotypes used in ethnic jokes. In this research, I will show that Romanians and Hungarians joke about similar topics, the most common ones being the “ownership” of Transylvania, rejection of the other, and language distortion but also friendship among Hungarians and Romanians. I also conclude that stereotypes can be attributed to one ethnic group, but there are also shared stereotypes, and some of them can switch from one group to the other depending on the perspective.
{"title":"Constructing Ethnic Identity in Transylvania through Humour","authors":"Noémi Tudor","doi":"10.2478/ausp-2020-0018","DOIUrl":"https://doi.org/10.2478/ausp-2020-0018","url":null,"abstract":"Abstract In this paper, I put forward a comparative/contrastive analysis of ethnic identity on the basis of humorous texts about Romanians and Hungarians living in Romania within the framework of the Script-Based Semantic Theory of Humour (SSTH). The corpus contains fifty jokes taken from websites and social media, books and recordings in which the Romanians are at the centre and the Hungarians are the butt and vice versa. The overall purpose of the study is to illustrate the main topics and stereotypes used in ethnic jokes. In this research, I will show that Romanians and Hungarians joke about similar topics, the most common ones being the “ownership” of Transylvania, rejection of the other, and language distortion but also friendship among Hungarians and Romanians. I also conclude that stereotypes can be attributed to one ethnic group, but there are also shared stereotypes, and some of them can switch from one group to the other depending on the perspective.","PeriodicalId":37574,"journal":{"name":"Acta Universitatis Sapientiae, Philologica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87951132","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}
Abstract Part of a larger research, initially thought and written as an essay, our paper is a transdisciplinary approach on Elmar Salmann’s idea of the novel as the modern depository of humanity’s religious and philosophical legacy, which would otherwise not find a way to express itself nowadays. As a support, we are using the one and only novel of a profound religious Romanian writer – V. Voiculescu’s Zahei Orbul (Zahei the Blind) –, trying to reveal Jean-Luc Marion’s concept of “distance” but also Milan Kundera’s view regarding the matter as it is discussed in The Art of the Novel. As stated before, in our deductive approach, we are using Basarab Nicolesco’s “the hidden third”, the basic concept in transdisciplinary research. Our conclusion is that Voiculescu’s novel is constructed on the grounds of God’s “absence”, as He retreats in the “distance”. This “absence” is supported by a net of Christian symbols on which the modern world’s elements are being interwoven in Midrash style, as Constantin Jinga states.
{"title":"V. Voiculescu’s Novel: A Modern Depository of the Traditional Beliefs","authors":"Sorin Suciu","doi":"10.2478/ausp-2020-0023","DOIUrl":"https://doi.org/10.2478/ausp-2020-0023","url":null,"abstract":"Abstract Part of a larger research, initially thought and written as an essay, our paper is a transdisciplinary approach on Elmar Salmann’s idea of the novel as the modern depository of humanity’s religious and philosophical legacy, which would otherwise not find a way to express itself nowadays. As a support, we are using the one and only novel of a profound religious Romanian writer – V. Voiculescu’s Zahei Orbul (Zahei the Blind) –, trying to reveal Jean-Luc Marion’s concept of “distance” but also Milan Kundera’s view regarding the matter as it is discussed in The Art of the Novel. As stated before, in our deductive approach, we are using Basarab Nicolesco’s “the hidden third”, the basic concept in transdisciplinary research. Our conclusion is that Voiculescu’s novel is constructed on the grounds of God’s “absence”, as He retreats in the “distance”. This “absence” is supported by a net of Christian symbols on which the modern world’s elements are being interwoven in Midrash style, as Constantin Jinga states.","PeriodicalId":37574,"journal":{"name":"Acta Universitatis Sapientiae, Philologica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81244107","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}
Abstract This paper discusses the potential of humour in understanding and deconstructing gender inequalities and analyses the representation of some feminist issues in two Spanish-speaking artists’ works. The theoretical framework explores the interpretation of laughter by feminist authors as well as different approaches of feminist humour in the context of cultural studies. The definition of humour presented here is that it can function as an open space where we can safely observe social structures and experiment with our imagination. In the second part of the paper, some examples from Quino’s comic series Mafalda and Flavita Banana’s vignettes are discussed. In the interpretation of these artworks, the paper highlights two types of feminist discourse and, specifically, of feminist humour. The first one, exemplified through Quino’s Mafalda, uses subversive strategies in order to expose social injustice and sexism. However, these strategies are sometimes still not able to propose an alternative to the existing status quo. The second type of feminist discourse and humour, characteristic of Flavita Banana’s art, also starts from depicting the consequences of patriarchy. However, her approach is not only subversive but also empowering and liberating, constructing a safe imaginative space through humour.
{"title":"From Subversive Strategies to Women’s Empowerment","authors":"Orsolya András","doi":"10.2478/ausp-2020-0021","DOIUrl":"https://doi.org/10.2478/ausp-2020-0021","url":null,"abstract":"Abstract This paper discusses the potential of humour in understanding and deconstructing gender inequalities and analyses the representation of some feminist issues in two Spanish-speaking artists’ works. The theoretical framework explores the interpretation of laughter by feminist authors as well as different approaches of feminist humour in the context of cultural studies. The definition of humour presented here is that it can function as an open space where we can safely observe social structures and experiment with our imagination. In the second part of the paper, some examples from Quino’s comic series Mafalda and Flavita Banana’s vignettes are discussed. In the interpretation of these artworks, the paper highlights two types of feminist discourse and, specifically, of feminist humour. The first one, exemplified through Quino’s Mafalda, uses subversive strategies in order to expose social injustice and sexism. However, these strategies are sometimes still not able to propose an alternative to the existing status quo. The second type of feminist discourse and humour, characteristic of Flavita Banana’s art, also starts from depicting the consequences of patriarchy. However, her approach is not only subversive but also empowering and liberating, constructing a safe imaginative space through humour.","PeriodicalId":37574,"journal":{"name":"Acta Universitatis Sapientiae, Philologica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88125360","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}
{"title":"Claudia Elena Stoian The Discourse of Tourism and National Heritage: A Contrastive Study from a Cultural Perspective Newcastle upon Tyne: Cambridge Scholars Publishing, 2015","authors":"Daniel Dejica","doi":"10.2478/ausp-2020-0032","DOIUrl":"https://doi.org/10.2478/ausp-2020-0032","url":null,"abstract":"","PeriodicalId":37574,"journal":{"name":"Acta Universitatis Sapientiae, Philologica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87491003","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}
Abstract In this study, our purpose is to establish a link between the concept of cultureme and a very intriguing type of specialized discourse: scientific texts belonging to the field of pomology (horticultural sciences). At least a segment of apple (and other fruit) varietal or cultivar names (especially those restricted to a certain geographical and cultural area or region) can be considered from a linguistic and translational viewpoint lexemes which carry cultural meaning. In our research, we focus on the apple varietal names which are specific to the region of Transylvania. We intend to see the way Romanian specialized literature observes or flouts the mentioning of Hungarian terms related to pomology (i.e. apple varietal names which are culturemes) as synonyms of the currently promoted Romanian versions. We also examine whether Hungarian specialists tend to mention the Romanian versions of Hungarian apple varietal names in their works. In fact, this research is, to a certain degree, an analysis of the attitude specialists display with regard to the scientific terminology and the long-established terms of the proximal culture.
{"title":"Apple Varietal Names as Culturemes: Translation Issues in Scientific Textual Environments","authors":"I. Nagy","doi":"10.2478/ausp-2020-0030","DOIUrl":"https://doi.org/10.2478/ausp-2020-0030","url":null,"abstract":"Abstract In this study, our purpose is to establish a link between the concept of cultureme and a very intriguing type of specialized discourse: scientific texts belonging to the field of pomology (horticultural sciences). At least a segment of apple (and other fruit) varietal or cultivar names (especially those restricted to a certain geographical and cultural area or region) can be considered from a linguistic and translational viewpoint lexemes which carry cultural meaning. In our research, we focus on the apple varietal names which are specific to the region of Transylvania. We intend to see the way Romanian specialized literature observes or flouts the mentioning of Hungarian terms related to pomology (i.e. apple varietal names which are culturemes) as synonyms of the currently promoted Romanian versions. We also examine whether Hungarian specialists tend to mention the Romanian versions of Hungarian apple varietal names in their works. In fact, this research is, to a certain degree, an analysis of the attitude specialists display with regard to the scientific terminology and the long-established terms of the proximal culture.","PeriodicalId":37574,"journal":{"name":"Acta Universitatis Sapientiae, Philologica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76077404","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}
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