Pub Date : 2022-02-01DOI: 10.31902//fll.39.2022.15
Sanja Ćetković
This paper deals with the use of evaluative devices in police written reports. A police officer, as a representative of an institution, bears in mind the main goal of a report, i.e. presenting and explaining facts to the legal audience and convincing them of the propriety of the decisions s/he made in execution of his duties. As far as his actions and decisions are concerned, s/he expects as low input of contradictory opinions as possible. Police reports ought to be strictly informative. This fact defines their language in terms of impersonality and objective reference to sources of information. In this respect, direct assessments of facts and authorial voice are highly suppressed in the texts, although the reports inevitably reflect personal involvement. Objectivity and distancing are expected and presumed by both the author and the audience. However, this stereotype often confronts with indirect or covert means by which the author positions himself/herself with regard to the information given in the reports. This short analysis has found that police officers are very careful when it comes to expressing their own interpretation of events, other people’s behavior or propositions. They avoid speculating, making subjective judgments without the support of solid evidence. Police officers often rely on perceptual type of evidence for their claims (I could clearly see, hear, smell, observe) and consider such sensory experience more substantial. Also, they are prone to making negative rather than positive evaluations, criticizing rather than affirming other people’s behavior and actions. Such evaluation is rarely given explicitly, but frequently permeates the context.
{"title":"EVALUATION IN POLICE WRITTEN REPORTS IN ENGLISH","authors":"Sanja Ćetković","doi":"10.31902//fll.39.2022.15","DOIUrl":"https://doi.org/10.31902//fll.39.2022.15","url":null,"abstract":"This paper deals with the use of evaluative devices in police written reports. A police officer, as a representative of an institution, bears in mind the main goal of a report, i.e. presenting and explaining facts to the legal audience and convincing them of the propriety of the decisions s/he made in execution of his duties. As far as his actions and decisions are concerned, s/he expects as low input of contradictory opinions as possible. Police reports ought to be strictly informative. This fact defines their language in terms of impersonality and objective reference to sources of information. In this respect, direct assessments of facts and authorial voice are highly suppressed in the texts, although the reports inevitably reflect personal involvement. Objectivity and distancing are expected and presumed by both the author and the audience. However, this stereotype often confronts with indirect or covert means by which the author positions himself/herself with regard to the information given in the reports. This short analysis has found that police officers are very careful when it comes to expressing their own interpretation of events, other people’s behavior or propositions. They avoid speculating, making subjective judgments without the support of solid evidence. Police officers often rely on perceptual type of evidence for their claims (I could clearly see, hear, smell, observe) and consider such sensory experience more substantial. Also, they are prone to making negative rather than positive evaluations, criticizing rather than affirming other people’s behavior and actions. Such evaluation is rarely given explicitly, but frequently permeates the context.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43793915","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 article analyzes the peculiarities of aphorisms functioning in linguistic scientific discourse. Linguistic aphorisms have been identified as individual authorial utterances that reflect subjective interpretation of linguistic terms. Over seven hundred aphoristic utterances were taken from scientific, academic, reference and fiction books, as well as from collections of aphorisms, where the linguistic terms have been presented. They serve as the material for research. Applied here are methods of targeted sampling, cognitive analysis and quantitative analysis, as well as descriptive method. A primary aim was to differentiate between two types of definitions of linguistic terms: scientific ones (i.e. the utterances of the primary nomination) and fictional ones, which serve the purpose of secondary nomination. The scientific definitions render the essential and core features of linguistic terms, while the fictional ones focus on the indirect and peripheral term characteristics determined by author’s communicative and pragmatic goal. Defining of linguistic terms through aphoristic utterances has been viewed as a unity of semantic, pragmatic and cognitive aspects. The research findings distinguish between aphoristic definitions-elucidations and definitions interpretations, depending on either objective-logical or expressive-stylistic information dominance. Aphoristic utterances created by linguists have been viewed as the definitions-elucidations characterized by high level of reference and frequent use of linguistic terminology that bring them closer to the logical designations or scientific definitions. Associative and metaphorical thinking forms the background of definitions-interpretations, typical for writers’ discourse. Therefore, their utterances have been considered as artistic definitions of linguistic terms, that are the means of additional semantization of corresponding notions. Such aphorisms illustrate anthropological approach to the analysis of linguistic phenomena. The secondary aim was to trace the ways of rendering the meaning of linguistic terms through aphoristic utterances. The following types of aphoristic definitions have been singled out considering the modes of explaining linguistic terms: descriptive definitions, comparative definitions (simile), definitions based on either semantic opposition or similarity.
{"title":"APHORISMS AS MEANS OF INTERPRETING OF LINGUISTIC TERMS: PECULIARITIES OF DEFINING","authors":"H.Yu. Odyntsova, T. Kondratieva","doi":"10.31902/fll.39.2022.10","DOIUrl":"https://doi.org/10.31902/fll.39.2022.10","url":null,"abstract":"The article analyzes the peculiarities of aphorisms functioning in linguistic scientific discourse. Linguistic aphorisms have been identified as individual authorial utterances that reflect subjective interpretation of linguistic terms. Over seven hundred aphoristic utterances were taken from scientific, academic, reference and fiction books, as well as from collections of aphorisms, where the linguistic terms have been presented. They serve as the material for research. Applied here are methods of targeted sampling, cognitive analysis and quantitative analysis, as well as descriptive method. A primary aim was to differentiate between two types of definitions of linguistic terms: scientific ones (i.e. the utterances of the primary nomination) and fictional ones, which serve the purpose of secondary nomination. The scientific definitions render the essential and core features of linguistic terms, while the fictional ones focus on the indirect and peripheral term characteristics determined by author’s communicative and pragmatic goal. Defining of linguistic terms through aphoristic utterances has been viewed as a unity of semantic, pragmatic and cognitive aspects. The research findings distinguish between aphoristic definitions-elucidations and definitions interpretations, depending on either objective-logical or expressive-stylistic information dominance. Aphoristic utterances created by linguists have been viewed as the definitions-elucidations characterized by high level of reference and frequent use of linguistic terminology that bring them closer to the logical designations or scientific definitions. Associative and metaphorical thinking forms the background of definitions-interpretations, typical for writers’ discourse. Therefore, their utterances have been considered as artistic definitions of linguistic terms, that are the means of additional semantization of corresponding notions. Such aphorisms illustrate anthropological approach to the analysis of linguistic phenomena. The secondary aim was to trace the ways of rendering the meaning of linguistic terms through aphoristic utterances. The following types of aphoristic definitions have been singled out considering the modes of explaining linguistic terms: descriptive definitions, comparative definitions (simile), definitions based on either semantic opposition or similarity.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44046817","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}
Along history, sociology and literature have formed various associations with each other. From the sociology of literature that has considered literature as a social production to the usages of sociological perspectives as literary theories or the usage of literature as illustration of sociological abstract notions, literature and sociology have been constantly and interrelatedly studied. Nevertheless, this study aims at revealing another interrelation between literature and sociology by referring to the beginning of the twentieth century when the replacement of religious thinking with secular ideas was dominant in modern society. Sociologists like Emile Durkheim detected and studied this shift in modern society and later on literary authors of the time followed the promotion of secularism in their literary works. However, T.S. Eliot reacted to this replacement in his poem "The Love Song of J. Alfred Prufrock". He wrote the poem while he was reviewing Durkheim’s The Elementary Forms of the Religious Life in the journal the Westminster Gazette. This paper argues that T.S. Eliot’s "The Love Song of J. Alfred Prufrock" is written with a mindset loaded by Durkheim’s sociological perspectives such as the notions of the sacred and the profane to further conclude that T. S. Eliot’s creation of Prufrock is consistent with the view that the modern man is unable to establish himself in a society which is devoid of the notions of sacred and profane and that he may consider committing suicide to save himself as the final resort.
{"title":"T. S. ELIOT AND EMILE DURKHEIM: SACRED AND PROFANE IN \"THE LOVE SONG OF J. ALFRED PRUFROCK\"","authors":"Muhammad Hussein Oroskhan, Hossein Jahantigh","doi":"10.31902/fll.39.2022.2","DOIUrl":"https://doi.org/10.31902/fll.39.2022.2","url":null,"abstract":"Along history, sociology and literature have formed various associations with each other. From the sociology of literature that has considered literature as a social production to the usages of sociological perspectives as literary theories or the usage of literature as illustration of sociological abstract notions, literature and sociology have been constantly and interrelatedly studied. Nevertheless, this study aims at revealing another interrelation between literature and sociology by referring to the beginning of the twentieth century when the replacement of religious thinking with secular ideas was dominant in modern society. Sociologists like Emile Durkheim detected and studied this shift in modern society and later on literary authors of the time followed the promotion of secularism in their literary works. However, T.S. Eliot reacted to this replacement in his poem \"The Love Song of J. Alfred Prufrock\". He wrote the poem while he was reviewing Durkheim’s The Elementary Forms of the Religious Life in the journal the Westminster Gazette. This paper argues that T.S. Eliot’s \"The Love Song of J. Alfred Prufrock\" is written with a mindset loaded by Durkheim’s sociological perspectives such as the notions of the sacred and the profane to further conclude that T. S. Eliot’s creation of Prufrock is consistent with the view that the modern man is unable to establish himself in a society which is devoid of the notions of sacred and profane and that he may consider committing suicide to save himself as the final resort.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41733053","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 the work of Franz Kafka, there is an intertwining of two poetics — one is the poetics of details, which are of the realistic type, while the other is the poetics of the surreal. At the linguistic level, the poetics of detail is very precisely emphasized, with numerous linguistic expressions and descriptions that are carved as if they were a diamond. However, the intertwining is not a mixture, but rather a penetration of one poetics into the other. The poetics of detailing, no matter how thorough, in the end, is still not enough. Kafka points out that language as such is not quite ready to express directly and indirectly our thoughts, feelings, and anything related to our inner states. The poetics of the surreal and the super-real merged into the poetics of detail and made realistic poetics not only magical but also gave itself, as a surreal poetics, a basis, and a reference. The reader has found themself between the text, between the words, not always finding their way in every part. References elude, and what remains is a deconstructionist game between different forms of referentiality. The poetics of realism supports the poetics of the surreal, and the poetics of the surreal gives meaning to the poetics of realism. Penetration and intertwining remain as threads of textual fabric that the reader needs to unravel, revealing the laws of the text and adding their own threads. Kafka raised many a question, out of which many have been given answers to through a careful deconstructionist reading of the novel itself and the short story, which is simultaneously a part of the novel and a part that functions independently. Such is the entirety of Kafka’s opus, metaphorically speaking — an image that should be carefully observed, because in some corners lies the author’s intention, or a sign that had been looked for in order to uncover literature and the literary in the secret.
{"title":"FRANZ KAFKA BEFORE THE LAW OF FICTION","authors":"Milena Vladić Jovanov","doi":"10.31902/fll.39.2022.7","DOIUrl":"https://doi.org/10.31902/fll.39.2022.7","url":null,"abstract":"In the work of Franz Kafka, there is an intertwining of two poetics — one is the poetics of details, which are of the realistic type, while the other is the poetics of the surreal. At the linguistic level, the poetics of detail is very precisely emphasized, with numerous linguistic expressions and descriptions that are carved as if they were a diamond. However, the intertwining is not a mixture, but rather a penetration of one poetics into the other. The poetics of detailing, no matter how thorough, in the end, is still not enough. Kafka points out that language as such is not quite ready to express directly and indirectly our thoughts, feelings, and anything related to our inner states. The poetics of the surreal and the super-real merged into the poetics of detail and made realistic poetics not only magical but also gave itself, as a surreal poetics, a basis, and a reference. The reader has found themself between the text, between the words, not always finding their way in every part. References elude, and what remains is a deconstructionist game between different forms of referentiality. The poetics of realism supports the poetics of the surreal, and the poetics of the surreal gives meaning to the poetics of realism. Penetration and intertwining remain as threads of textual fabric that the reader needs to unravel, revealing the laws of the text and adding their own threads. Kafka raised many a question, out of which many have been given answers to through a careful deconstructionist reading of the novel itself and the short story, which is simultaneously a part of the novel and a part that functions independently. Such is the entirety of Kafka’s opus, metaphorically speaking — an image that should be carefully observed, because in some corners lies the author’s intention, or a sign that had been looked for in order to uncover literature and the literary in the secret.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43735810","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 paper strives to introduce terminology tools in creating a German Slovak terminology database of the relevant specialized terms used in hunting in the context of the diversity of available resources and verification tools such as the German and Slovak national corpora. The focus will be on corpora as verification tools and their role in creating a terminology database. In addition, we will consider the principle of the diversity of existing sources. The theoretical basis is grounded in corpus linguistics, technical language, terminology work, and semantics. The authors of the study being presented have explored corpora as a relevant tool in terms of quantity and quality. The German and Slovak national corpus serves as an indicator of rare terms – with a low occurrence presupposing a higher professional level of specialized lexemes. The approach of common or zero occurrence in national corpora needs to be implemented into terminology work and creating terminology databases. Thus, the authors of the study use, compare, and analyze the German federal corpus – DWDS (Digitales Wörterbuch der Deutschen Sprache) and the Slovak national corpus (SNK). In the process of terminological search in the canons, they have applied homogenous search criteria. As a result of the analysis underpinned with concrete examples from the hunting field, they demonstrate a procedure for creating a terminological database of a specialized domain. Overall, they attempt to deliver an innovative approach combining the latest knowledge in linguistics and terminology work.
{"title":"CREATING A GERMAN-SLOVAK HUNTING TERMINOLOGY DATABASE","authors":"Jozef Štefčík, Zuzana Gašová","doi":"10.31902/fll.39.2022.16","DOIUrl":"https://doi.org/10.31902/fll.39.2022.16","url":null,"abstract":"The paper strives to introduce terminology tools in creating a German Slovak terminology database of the relevant specialized terms used in hunting in the context of the diversity of available resources and verification tools such as the German and Slovak national corpora. The focus will be on corpora as verification tools and their role in creating a terminology database. In addition, we will consider the principle of the diversity of existing sources. The theoretical basis is grounded in corpus linguistics, technical language, terminology work, and semantics. The authors of the study being presented have explored corpora as a relevant tool in terms of quantity and quality. The German and Slovak national corpus serves as an indicator of rare terms – with a low occurrence presupposing a higher professional level of specialized lexemes. The approach of common or zero occurrence in national corpora needs to be implemented into terminology work and creating terminology databases. Thus, the authors of the study use, compare, and analyze the German federal corpus – DWDS (Digitales Wörterbuch der Deutschen Sprache) and the Slovak national corpus (SNK). In the process of terminological search in the canons, they have applied homogenous search criteria. As a result of the analysis underpinned with concrete examples from the hunting field, they demonstrate a procedure for creating a terminological database of a specialized domain. Overall, they attempt to deliver an innovative approach combining the latest knowledge in linguistics and terminology work.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46713928","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}
Modernism is a literary movement which appeared around 1914. New technologies and the horrible effect of World War I, made many authors question the future of this modern machine (human being) who declined any kind of tradition for the sake of the new sentiment. Modernist fiction used two significant tools: one is the stream of consciousness to reveal the inner self of the characters, and the other one is employing the symbol to reflect hidden reality through the life of the characters. Virginia Woolf is considered as one of the most prominent modernist authors who employ the various modern techniques in her fictions such as To the Lighthouse. The aim of this article is followed in two different steps: first, the discussion of the roles of different symbols and signs through the whole work to reflect how these symbols function in the novel as a web of signs; and second, the exploration of the centripetal movement of various symbols and colors to show an unattainable concept of reality in modern life.
{"title":"TO THE SELFHOUSE: THE CENTRIPETAL MOVEMENT OF SYMBOLS IN VIRGINIA WOOLF'S TO THE LIGHTHOUSE","authors":"Susan Poursanati, Yasaman Taheri","doi":"10.31902/fll.39.2022.3","DOIUrl":"https://doi.org/10.31902/fll.39.2022.3","url":null,"abstract":"Modernism is a literary movement which appeared around 1914. New technologies and the horrible effect of World War I, made many authors question the future of this modern machine (human being) who declined any kind of tradition for the sake of the new sentiment. Modernist fiction used two significant tools: one is the stream of consciousness to reveal the inner self of the characters, and the other one is employing the symbol to reflect hidden reality through the life of the characters. Virginia Woolf is considered as one of the most prominent modernist authors who employ the various modern techniques in her fictions such as To the Lighthouse. The aim of this article is followed in two different steps: first, the discussion of the roles of different symbols and signs through the whole work to reflect how these symbols function in the novel as a web of signs; and second, the exploration of the centripetal movement of various symbols and colors to show an unattainable concept of reality in modern life.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41495235","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 article investigates lexical, semantic and grammatical peculiarities of the language and style of Anna Gavalda’s novel “La Consolante” and their reproduction in the Spanish and Ukrainian translations. The objective of the research focuses on the translation of the French novel into Spanish and Ukrainian, taking into account that French and Spanish are closely related languages from the group of Romance languages, and French and Ukrainian are distant languages that belong to a different language group, having different grammatical structures. The paper identifies the fragments, which present difficulties for the translation, and provides options for correct and adequate translation. In this article, the results of an exploratory study (contextual, contrastive, qualitative, and descriptive) carried out on the novel “La Consolante” by Anna Gavalda and two translations into Ukrainian and Spanish. Famous translator, winner of Hryhoriy Skovoroda and Maksym Rylskiy Prices, Petro Tarashchuk, translated it into Ukrainian. “La Consolante” was edited by the Kharkiv publishing house “Folio” in 2015. This novel, in Spanish translation, was translated by Isabel González-Gallarza and published in 2008 by the publishing house “Seix Barral” in Barcelona. We studied the procedures and transformations of translation from related and distant languages, to demonstrate how to overcome the difficulties of translation and to achieve the equal pragmatic effect of translated text as that of the original. The analysis clearly indicates that the translations of Anna Gavalda’s novel “La Consolante” by Petro Taraschuk and Isabel González-Gallarza are perceived as holistic works that convey French culture and the realities of French life and reproduce them adequately in the Spanish and Ukrainian translations.
{"title":"THE PECULIARITIES OF LANGUAGE AND STYLE OF ANNA GAVALDA’S NOVEL “LA CONSOLANTE” AND THEIR REPRODUCTION IN SPANISH AND UKRAINIAN TRANSLATIONS","authors":"L. Diachuk, Iryna Nichaenko","doi":"10.31902/fll.39.2022.12","DOIUrl":"https://doi.org/10.31902/fll.39.2022.12","url":null,"abstract":"The article investigates lexical, semantic and grammatical peculiarities of the language and style of Anna Gavalda’s novel “La Consolante” and their reproduction in the Spanish and Ukrainian translations. The objective of the research focuses on the translation of the French novel into Spanish and Ukrainian, taking into account that French and Spanish are closely related languages from the group of Romance languages, and French and Ukrainian are distant languages that belong to a different language group, having different grammatical structures. The paper identifies the fragments, which present difficulties for the translation, and provides options for correct and adequate translation. In this article, the results of an exploratory study (contextual, contrastive, qualitative, and descriptive) carried out on the novel “La Consolante” by Anna Gavalda and two translations into Ukrainian and Spanish. Famous translator, winner of Hryhoriy Skovoroda and Maksym Rylskiy Prices, Petro Tarashchuk, translated it into Ukrainian. “La Consolante” was edited by the Kharkiv publishing house “Folio” in 2015. This novel, in Spanish translation, was translated by Isabel González-Gallarza and published in 2008 by the publishing house “Seix Barral” in Barcelona. We studied the procedures and transformations of translation from related and distant languages, to demonstrate how to overcome the difficulties of translation and to achieve the equal pragmatic effect of translated text as that of the original. The analysis clearly indicates that the translations of Anna Gavalda’s novel “La Consolante” by Petro Taraschuk and Isabel González-Gallarza are perceived as holistic works that convey French culture and the realities of French life and reproduce them adequately in the Spanish and Ukrainian translations.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45317955","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}
Considering the fact that there are certain similarities between the cultural endeavours of the early Chinese modernists and Italian futurists, at first glance, it seems strange that futurist ideas mostly failed to take root in Chinese literary modernism. From the outset, Chinese literary modernism was a heterogeneous movement, but the common denominator in these different movements in post-dynastic China was a radical antitraditionalism that bears similarities to the goals of Italian futurism that was often called the down-with-the-past movement (antipassatismo). Contemporary literary studies usually recognize three distinct waves of Chinese modernism: the first wave refers to the new literary scene in China’s Republican era (1911-1949), but due to the eclecticism of early Chinese modernists who were deriving inspiration and ideas from a broad and diverse range of sources, this initial stage of Chinese modernism includes the authors whose work was inspired by the pre-modern Western movements such as romanticism, symbolism etc. The second wave of Chinese modernism emerged on Taiwan in the 1950s, and the final wave brought modernism back to mainland China at the end of the 1970s. This paper attempts to examine the reception of Italian futurism in early Chinese modernist literature, therefore our research is chronologically focused on the first wave of Chinese modernism.
{"title":"A SOULLESS CAMERA: THE PERCEPTION OF ITALIAN FUTURISM IN EARLY CHINESE MODERNIST POETRY","authors":"Zoran Skrobanović","doi":"10.31902/fll.39.2022.5","DOIUrl":"https://doi.org/10.31902/fll.39.2022.5","url":null,"abstract":"Considering the fact that there are certain similarities between the cultural endeavours of the early Chinese modernists and Italian futurists, at first glance, it seems strange that futurist ideas mostly failed to take root in Chinese literary modernism. From the outset, Chinese literary modernism was a heterogeneous movement, but the common denominator in these different movements in post-dynastic China was a radical antitraditionalism that bears similarities to the goals of Italian futurism that was often called the down-with-the-past movement (antipassatismo). Contemporary literary studies usually recognize three distinct waves of Chinese modernism: the first wave refers to the new literary scene in China’s Republican era (1911-1949), but due to the eclecticism of early Chinese modernists who were deriving inspiration and ideas from a broad and diverse range of sources, this initial stage of Chinese modernism includes the authors whose work was inspired by the pre-modern Western movements such as romanticism, symbolism etc. The second wave of Chinese modernism emerged on Taiwan in the 1950s, and the final wave brought modernism back to mainland China at the end of the 1970s. This paper attempts to examine the reception of Italian futurism in early Chinese modernist literature, therefore our research is chronologically focused on the first wave of Chinese modernism.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48984297","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 Emperor's New Clothes (1837) by Hans Christian Andersen is a classic of children's literature, but also holds an emblematic position in the sphere of world literature and culture in general – it is one of the most translated stories/fairy tales, published in numerous languages all around the world and transposed into various media, but it is also a story with a rich semantic potential which allows for diverse and stratified interpretations. The focus of this paper is the comparative analysis of the famous Andersen story, and the eponymous feature film by the Croatian and Yugoslav director Ante Babaja, filmed in 1961. The screenplay was written by Božidar Violić, who adapted Andersen's story for film. The Emperor's New Clothes is the first feature film by this renowned director, and also the first Croatian feature film in colour. The unusual adaptation by Babaja is interesting on several levels and for several reasons – both strictly poetic reasons (the approach is atypical, where the standard scenography is absent, and white surfaces take its place along with the so-called high-key film photography, done by Oktavijan Miletić), and reasons of a wider scope, related to reception. Babaja's film enables different readings than the ones based on Andersen's template by intervening into the motif and narrative dimensions of the original story, but also through transgressions at the stylistic level (intermedial contact with stage acting), and, especially, the socio-political context in which the film originated (socialist Yugoslavia). More precisely, Babaja's The Emperor's New Clothes reinterprets Andersen's story by adding to it a concrete socio-political allegory of (not only) former Yugoslavia, while at the same time not discarding the central space of Andersen's story – the relation between collective conventions and individual consciousness, cowardice and courage, submission and freedom, as the archetypical spaces of human communities.
{"title":"THE EMPEROR'S NEW CLOTHES, A STORY BY HANS CHRISTIAN ANDERSEN AND A FILM BY ANTE BABAJA: INTERMEDIAL STORYTELLING AS AN OBSTACLE COURSE FOR POLITICAL ALLEGORY","authors":"Andrijana Kos-Lajtman, Damir Radić","doi":"10.31902/fll.39.2022.8","DOIUrl":"https://doi.org/10.31902/fll.39.2022.8","url":null,"abstract":"The Emperor's New Clothes (1837) by Hans Christian Andersen is a classic of children's literature, but also holds an emblematic position in the sphere of world literature and culture in general – it is one of the most translated stories/fairy tales, published in numerous languages all around the world and transposed into various media, but it is also a story with a rich semantic potential which allows for diverse and stratified interpretations. The focus of this paper is the comparative analysis of the famous Andersen story, and the eponymous feature film by the Croatian and Yugoslav director Ante Babaja, filmed in 1961. The screenplay was written by Božidar Violić, who adapted Andersen's story for film. The Emperor's New Clothes is the first feature film by this renowned director, and also the first Croatian feature film in colour. The unusual adaptation by Babaja is interesting on several levels and for several reasons – both strictly poetic reasons (the approach is atypical, where the standard scenography is absent, and white surfaces take its place along with the so-called high-key film photography, done by Oktavijan Miletić), and reasons of a wider scope, related to reception. Babaja's film enables different readings than the ones based on Andersen's template by intervening into the motif and narrative dimensions of the original story, but also through transgressions at the stylistic level (intermedial contact with stage acting), and, especially, the socio-political context in which the film originated (socialist Yugoslavia). More precisely, Babaja's The Emperor's New Clothes reinterprets Andersen's story by adding to it a concrete socio-political allegory of (not only) former Yugoslavia, while at the same time not discarding the central space of Andersen's story – the relation between collective conventions and individual consciousness, cowardice and courage, submission and freedom, as the archetypical spaces of human communities.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44209255","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 hegemony of English has been explored in several studies since the wake of the twentieth century. Drawing on works of leading linguists, we have drawn our attention to the status of English as a dominating world language that exerts its influence on peripheral literatures of the world. This paper seeks to examine the hegemony of the English language in literary studies, more significantly, in the circulation of world literary pieces. The article discusses how English, at the center of literary production and circulation, distorts the real essence and concept of ‘borderless world literature.’ The author begins with a brief discussion about the Gramscian concept of hegemony and its implications and consequences on the world circulation of literary pieces. It proceeds to interrogate the existing model of translation flow in the international book market and proposes an alternative approach to resist English hegemony, followed by the conclusion.
{"title":"THE HEGEMONY OF ENGLISH AND WORLD LITERATURE: A STUDY OF TRANSLATION FLOW AND LITERARY CIRCULATION","authors":"Sonali Ganguly, Lipika Das, Tanutrushna Panigrahi","doi":"10.31902/fll.39.2022.9","DOIUrl":"https://doi.org/10.31902/fll.39.2022.9","url":null,"abstract":"The hegemony of English has been explored in several studies since the wake of the twentieth century. Drawing on works of leading linguists, we have drawn our attention to the status of English as a dominating world language that exerts its influence on peripheral literatures of the world. This paper seeks to examine the hegemony of the English language in literary studies, more significantly, in the circulation of world literary pieces. The article discusses how English, at the center of literary production and circulation, distorts the real essence and concept of ‘borderless world literature.’ The author begins with a brief discussion about the Gramscian concept of hegemony and its implications and consequences on the world circulation of literary pieces. It proceeds to interrogate the existing model of translation flow in the international book market and proposes an alternative approach to resist English hegemony, followed by the conclusion.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42574329","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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