Pub Date : 2023-01-19DOI: 10.26887/style.v2i2.3264
Fenti Vidia
Rangguk dance is an art originating from the Kumun Debai sub-district of Sungai Penuh city which is performed at traditional events such as Kenduri Sko and welcoming regional guests. The clothes worn at the Rangguk Dance are in the form of brackets, skirts from songket fabric along with complements and other accessories. Rangguk dance is performed by women both married and unmarried with a total of 7 to 11 dancers. In 2018 Rangguk Dance has been designated as Indonesia's Intangible Cultural Heritage by the Directorate of Cultural Heritage and Diplomacy. A dance cannot be separated from clothing that can show the characteristics of the dance. Rangguk Dance fashion has a special meaning in the disclosure of the messages to be conveyed through the clothing. This study aims to describe the meaning and symbols contained in rangguk dance clothing.
{"title":"BUSANA TRADISIONAL TARI RANGGUK DI KECAMATAN KUMUN DEBAI KOTA SUNGAI PENUH","authors":"Fenti Vidia","doi":"10.26887/style.v2i2.3264","DOIUrl":"https://doi.org/10.26887/style.v2i2.3264","url":null,"abstract":"Rangguk dance is an art originating from the Kumun Debai sub-district of Sungai Penuh city which is performed at traditional events such as Kenduri Sko and welcoming regional guests. The clothes worn at the Rangguk Dance are in the form of brackets, skirts from songket fabric along with complements and other accessories. Rangguk dance is performed by women both married and unmarried with a total of 7 to 11 dancers. In 2018 Rangguk Dance has been designated as Indonesia's Intangible Cultural Heritage by the Directorate of Cultural Heritage and Diplomacy. A dance cannot be separated from clothing that can show the characteristics of the dance. Rangguk Dance fashion has a special meaning in the disclosure of the messages to be conveyed through the clothing. This study aims to describe the meaning and symbols contained in rangguk dance clothing.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"98 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135392951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-19DOI: 10.26887/style.v2i2.3265
Mirda Aryadi, Irja Irja
Penelitian “Stilisasi Motif Tumbuhan pada Fashion Aksesoris Kalung Media Kuningan“ ini bertujuan untuk membuat varian baru aksesoris pelengkap fashion yang simple dan mewah dengan menggunakan bahan plat kuningan dengan teknik etsa logam yang sumber bahan baku maupun pengerjaan mudah didapatkan dan dikerjakan. Metode penciptaan yang digunakan dalam penelitian ini adalah eksplorasi, perancangan dan perwujudan dengan pendekatan estetika. Pembuatan karya ini diharapkan mampu berkontribusi bagi masyarakat maupun pegiat fashion, dengan memperkenalkan teknik etsa pada penggarapan plat kuningan bertemakan motif stilisasi tumbuhan sebagai aksesoris sebagai upaya memperluas ilmu pengetahuan dengan aspek pendekatan estetis. Hasil dari karya ini berupa kalung bertemakan tumbuhan yang digunakan pada pelengkap busana.
{"title":"STILISASI MOTIF TUMBUHAN PADA FASHION AKSESORIS KALUNG MEDIA KUNINGAN","authors":"Mirda Aryadi, Irja Irja","doi":"10.26887/style.v2i2.3265","DOIUrl":"https://doi.org/10.26887/style.v2i2.3265","url":null,"abstract":"Penelitian “Stilisasi Motif Tumbuhan pada Fashion Aksesoris Kalung Media Kuningan“ ini bertujuan untuk membuat varian baru aksesoris pelengkap fashion yang simple dan mewah dengan menggunakan bahan plat kuningan dengan teknik etsa logam yang sumber bahan baku maupun pengerjaan mudah didapatkan dan dikerjakan. Metode penciptaan yang digunakan dalam penelitian ini adalah eksplorasi, perancangan dan perwujudan dengan pendekatan estetika. Pembuatan karya ini diharapkan mampu berkontribusi bagi masyarakat maupun pegiat fashion, dengan memperkenalkan teknik etsa pada penggarapan plat kuningan bertemakan motif stilisasi tumbuhan sebagai aksesoris sebagai upaya memperluas ilmu pengetahuan dengan aspek pendekatan estetis. Hasil dari karya ini berupa kalung bertemakan tumbuhan yang digunakan pada pelengkap busana.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135392954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-19DOI: 10.26887/style.v2i2.3266
Muna Lathifah, Toyibah Kusumawati, Suryo Tri Widodo
The creation of this Final Project is titled “Dawet Bayat and Palm Trees in Vintage” is a from of ideas and appreciation developed by individuals with the aim of understanding the concept of making batik motifs by taking a dawet Bayat idea. The process and embodiment of batik works with dawet Bayat batik motif with remasol color substances, which are processed by individuals to create batik that has an aesthetic value and feelings from the author conveyed to the connoisseur of work, and as well as being the urge to keep the author. Dawet Bayat and plam trees are the art value in a work of batik motif can be channeled directly to the community, especially the people in the Bayat area. Everything is poured directly by the author into Batik art works and visual art to be a work that is acceptable to the public, and the creation of batik works that have difference from batik spread in Indonesia. The media used in fashion is the cotton cloth. This work realization process uses a method of creation that can help the process of work. Creation methods include data collection, data analysis, work designer, and labor embodiment. In the embodiment this final task, it makes 4 works, the entire collection of works is called “Dawet Wigunani” which is inspired by the Dawet Bayat and palm tree.
这个Final Project的创作名为“Dawet Bayat and Palm Trees in Vintage”，是一个个人的想法和欣赏，目的是通过Dawet Bayat的想法来理解蜡染图案的概念。蜡染作品的制作过程和体现，蜡染主题与remasol色物质，由个人加工而成的蜡染作品，具有作者向作品鉴赏家传达的审美价值和感受，同时也是对作者的一种挽留。巴亚特和棕榈树是蜡染作品中具有艺术价值的主题，可以直接传递给社区，特别是巴亚特地区的人们。作者将一切都直接注入到蜡染艺术作品和视觉艺术中，成为大众可以接受的作品，创作出与印尼蜡染传播不同的蜡染作品。在时尚中使用的媒介是棉布。本作品的实现过程采用了一种有助于作品过程的创作方法。创作方法包括数据收集、数据分析、作品设计、劳动体现。在这个最后的任务中，它制作了4件作品，整个作品集被称为“Dawet Wigunani”，灵感来自Dawet Bayat和棕榈树。
{"title":"DAWET BAYAT DAN POHON AREN DALAM BUSANA VINTAGE","authors":"Muna Lathifah, Toyibah Kusumawati, Suryo Tri Widodo","doi":"10.26887/style.v2i2.3266","DOIUrl":"https://doi.org/10.26887/style.v2i2.3266","url":null,"abstract":"The creation of this Final Project is titled “Dawet Bayat and Palm Trees in Vintage” is a from of ideas and appreciation developed by individuals with the aim of understanding the concept of making batik motifs by taking a dawet Bayat idea. The process and embodiment of batik works with dawet Bayat batik motif with remasol color substances, which are processed by individuals to create batik that has an aesthetic value and feelings from the author conveyed to the connoisseur of work, and as well as being the urge to keep the author. Dawet Bayat and plam trees are the art value in a work of batik motif can be channeled directly to the community, especially the people in the Bayat area. Everything is poured directly by the author into Batik art works and visual art to be a work that is acceptable to the public, and the creation of batik works that have difference from batik spread in Indonesia. The media used in fashion is the cotton cloth. This work realization process uses a method of creation that can help the process of work. Creation methods include data collection, data analysis, work designer, and labor embodiment. In the embodiment this final task, it makes 4 works, the entire collection of works is called “Dawet Wigunani” which is inspired by the Dawet Bayat and palm tree.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135392952","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-19DOI: 10.26887/style.v2i2.3267
Indah Erda Ningsih, Dini Yanuarmi, Rahmad Washinton, Mirda Aryadi, Fadri Rahmat
The coffee plant has a taproot, straight down, short and strong. The taproot is approximately 45-50 cm long, which basically has 4-8 side roots that descend down 23 cm. Coffee leaves are long, striped to the sides, wavy, dark green, and tapered at the ends. Leaves grow and are arranged side by side in the armpits of the stems, branches and twigs. A pair of leaves located in the same plane and branches that grow horizontally.The shape of the coffee plant that has been described, the creators make it as a source of ideas as an ornamental motif. The coffee plants that are used as motifs are the flower parts, leaves, fruit, and twigs that are applied to the balango taluak. Taluak balango is clothing for men in Minangkabau, the hallmark of the taluak balango shirt is using seams on the side of the shirt where there is a siba with a length below the waist, a round neck without a collar and slightly slit to the chest. The balango taluak shirt is usually worn with a trouser suit, worn in events, traditional ceremonies, religious and other formal events. The method used in the creation of this work is the method of exploration, design and embodiment with an aesthetic approach. This work is expected to be able to contribute to the wider community, by introducing the depiction of coffee plant motifs on balango taluak. The balango taluak used and used in the Minangkabau area does not have specific provisions related to its decorative motifs.
{"title":"MOTIF TANAMAN KOPI PADA BAJU TALUAK BALANGO","authors":"Indah Erda Ningsih, Dini Yanuarmi, Rahmad Washinton, Mirda Aryadi, Fadri Rahmat","doi":"10.26887/style.v2i2.3267","DOIUrl":"https://doi.org/10.26887/style.v2i2.3267","url":null,"abstract":"The coffee plant has a taproot, straight down, short and strong. The taproot is approximately 45-50 cm long, which basically has 4-8 side roots that descend down 23 cm. Coffee leaves are long, striped to the sides, wavy, dark green, and tapered at the ends. Leaves grow and are arranged side by side in the armpits of the stems, branches and twigs. A pair of leaves located in the same plane and branches that grow horizontally.The shape of the coffee plant that has been described, the creators make it as a source of ideas as an ornamental motif. The coffee plants that are used as motifs are the flower parts, leaves, fruit, and twigs that are applied to the balango taluak. Taluak balango is clothing for men in Minangkabau, the hallmark of the taluak balango shirt is using seams on the side of the shirt where there is a siba with a length below the waist, a round neck without a collar and slightly slit to the chest. The balango taluak shirt is usually worn with a trouser suit, worn in events, traditional ceremonies, religious and other formal events. The method used in the creation of this work is the method of exploration, design and embodiment with an aesthetic approach. This work is expected to be able to contribute to the wider community, by introducing the depiction of coffee plant motifs on balango taluak. The balango taluak used and used in the Minangkabau area does not have specific provisions related to its decorative motifs.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135392955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-19DOI: 10.26887/style.v2i2.3268
Anisa Giantari, Dini Yanuarmi, Taufik Akbar, Wirma Surya
The Nias parrot is an endangered species native to Nias, North Sumatra. The body of the Nias parrot is black, a little white on the wings, earlobes and legs are yellow. The distinctive features of the Nias parrot with other parrots are its larger body size and united earlobes. The concept of the creation of the Nias parrot is taken from the life of this animal, in the form of freedom to fly in nature because many Nias parrots are caught, this concept also tells about the activity of tree branches. The production process of this work uses a theoretical basis that includes form, function, motif, creation and colour. The process of producing this work goes through three stages which are the exploration stage which is finding sources of ideas through library sources or interviews, designing which is pouring ideas into alternative sketches which then become the chosen design, the embodiment stage which is the process. the embodiment of the work that has been designed, the technique used is the batik technique, with silk cotton fabric and using reactive dyes, after the batik process is completed, the material is sewn into men's clothes.
{"title":"KREASI BURUNG BEO NIAS SEBAGAI MOTIF KEMEJA BATIK","authors":"Anisa Giantari, Dini Yanuarmi, Taufik Akbar, Wirma Surya","doi":"10.26887/style.v2i2.3268","DOIUrl":"https://doi.org/10.26887/style.v2i2.3268","url":null,"abstract":"The Nias parrot is an endangered species native to Nias, North Sumatra. The body of the Nias parrot is black, a little white on the wings, earlobes and legs are yellow. The distinctive features of the Nias parrot with other parrots are its larger body size and united earlobes. The concept of the creation of the Nias parrot is taken from the life of this animal, in the form of freedom to fly in nature because many Nias parrots are caught, this concept also tells about the activity of tree branches. The production process of this work uses a theoretical basis that includes form, function, motif, creation and colour. The process of producing this work goes through three stages which are the exploration stage which is finding sources of ideas through library sources or interviews, designing which is pouring ideas into alternative sketches which then become the chosen design, the embodiment stage which is the process. the embodiment of the work that has been designed, the technique used is the batik technique, with silk cotton fabric and using reactive dyes, after the batik process is completed, the material is sewn into men's clothes.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135392956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-19DOI: 10.26887/style.v2i2.3269
Tastail Amelia, Dini Yanuarmi, Taufik Akbar, Mega Kencana
The banana plant is a fruit plant consisting of roots, stems, leaves, a banana heart and fruit. Banana leaves are often used to wrap food. Banana leaves consist of a petiole, leaf blade and midrib in the middle of the leaf. Banana leaves were created as a motif in the creation of the kuruang basiba shirt. The concept of creating a banana leaf shape creation through a study of the shape of a banana leaf which is realized in the design of textile craft works as a kuruang basiba shirt. The creation method begins with the exploration stage, the planning stage, and the embodiment stage. The creation of artwork uses the theoretical basis of form, function, aesthetics, creation, motif, and colour. This work is done with Mayang embroidery techniques and ribbon and thread embroidery, which is used to unite all pieces of cloth into a kuruang basiba shirt with the motif applied to the work, namely the creation of a banana leaf shape. The result of the product of embroidery work with the motif of the banana leaf shape is manifested on the kuruang basiba shirt.
{"title":"KREASI DAUN PISANG PADA BAJU KURUNG BASIBA","authors":"Tastail Amelia, Dini Yanuarmi, Taufik Akbar, Mega Kencana","doi":"10.26887/style.v2i2.3269","DOIUrl":"https://doi.org/10.26887/style.v2i2.3269","url":null,"abstract":"The banana plant is a fruit plant consisting of roots, stems, leaves, a banana heart and fruit. Banana leaves are often used to wrap food. Banana leaves consist of a petiole, leaf blade and midrib in the middle of the leaf. Banana leaves were created as a motif in the creation of the kuruang basiba shirt. The concept of creating a banana leaf shape creation through a study of the shape of a banana leaf which is realized in the design of textile craft works as a kuruang basiba shirt. The creation method begins with the exploration stage, the planning stage, and the embodiment stage. The creation of artwork uses the theoretical basis of form, function, aesthetics, creation, motif, and colour. This work is done with Mayang embroidery techniques and ribbon and thread embroidery, which is used to unite all pieces of cloth into a kuruang basiba shirt with the motif applied to the work, namely the creation of a banana leaf shape. The result of the product of embroidery work with the motif of the banana leaf shape is manifested on the kuruang basiba shirt.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135392953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article reads David Foster Wallace’s short story “The Soul Is Not a Smithy” (2004) as a sample of covert multimodality—implementation of several sensorial and/or semiotic modes in an apparently monomodal medium. Unlike the thoroughly theorized genre of the multimodal novel, Wallace’s narrative does not materially incorporate any visual images, remaining “purely” verbal—even hyperverbal, considering the author’s reputation for supplemental detours and deferrals. In “The Soul Is Not a Smithy,” one narrative strand is a comic strip the schoolkid protagonist pictures entirely in his head, projecting it onto a classroom windowpane while other events transpire. Alternating between reports of imaginary comic panels and fragments from other subplots, Wallace stimulates the reader’s capacity to visualize layered literary storyworlds. Because our “sensations,” in Lars Elleström’s nomenclature, matter more than material “sense-data” in the establishment of a multimodal experience, the comic provides the narrative with a distinct visual interface.
这篇文章把大卫·福斯特·华莱士的短篇小说《灵魂不是铁匠》(2004)作为隐蔽的多模态的一个例子——在一个明显的单模态媒介中实现几种感觉和/或符号模式。与完全理论化的多模态小说类型不同，华莱士的叙事没有实质性地包含任何视觉图像，而是“纯粹”地保留了语言——甚至是超语言，考虑到作者在补充弯路和延迟方面的名声。在《灵魂不是铁匠》(The Soul Is Not a smith)中，一个叙事线是一个连载漫画，学生主角完全在他的脑海中想象，当其他事件发生时，他把它投射到教室的窗玻璃上。华莱士在虚构的漫画面板和其他次要情节的片段之间交替报道，激发了读者想象分层文学故事世界的能力。因为我们的“感觉”，在Lars Elleström的术语中，在建立多模式体验时比物质的“感觉数据”更重要，漫画为叙事提供了一个独特的视觉界面。
{"title":"“Popping into Your Mind’s Eye”: Covert Multimodality in David Foster Wallace’s “The Soul Is Not a Smithy”","authors":"I. Delazari, J. Polley","doi":"10.5325/style.56.4.0413","DOIUrl":"https://doi.org/10.5325/style.56.4.0413","url":null,"abstract":"\u0000 The article reads David Foster Wallace’s short story “The Soul Is Not a Smithy” (2004) as a sample of covert multimodality—implementation of several sensorial and/or semiotic modes in an apparently monomodal medium. Unlike the thoroughly theorized genre of the multimodal novel, Wallace’s narrative does not materially incorporate any visual images, remaining “purely” verbal—even hyperverbal, considering the author’s reputation for supplemental detours and deferrals. In “The Soul Is Not a Smithy,” one narrative strand is a comic strip the schoolkid protagonist pictures entirely in his head, projecting it onto a classroom windowpane while other events transpire. Alternating between reports of imaginary comic panels and fragments from other subplots, Wallace stimulates the reader’s capacity to visualize layered literary storyworlds. Because our “sensations,” in Lars Elleström’s nomenclature, matter more than material “sense-data” in the establishment of a multimodal experience, the comic provides the narrative with a distinct visual interface.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43580691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This is a study of the covert narrator in Brian Friel’s plays and is part of a growing interest in narratology in theater. The covert narrator is revealed to readers by means of stage directions, divided into two types: those that can reach the audience and those that must stay with the reader. The character of the covert narrator is revealed principally in directions that are impossible to carry out, which contain free indirect discourse and which editorialize—things only readers can fully appreciate but which are still relevant to the production of the play since the covert narrator is in effect a character in the play. The article presents a close reading of plays from virtually all stages of Friel’s career to demonstrate that it is at those points when communication between on-stage characters breaks down that the covert narrator comes closest to revealing his hand.
{"title":"Stage Directions and the Insistent Narrator in Brian Friel","authors":"R. Looby","doi":"10.5325/style.56.4.0374","DOIUrl":"https://doi.org/10.5325/style.56.4.0374","url":null,"abstract":"\u0000 This is a study of the covert narrator in Brian Friel’s plays and is part of a growing interest in narratology in theater. The covert narrator is revealed to readers by means of stage directions, divided into two types: those that can reach the audience and those that must stay with the reader. The character of the covert narrator is revealed principally in directions that are impossible to carry out, which contain free indirect discourse and which editorialize—things only readers can fully appreciate but which are still relevant to the production of the play since the covert narrator is in effect a character in the play. The article presents a close reading of plays from virtually all stages of Friel’s career to demonstrate that it is at those points when communication between on-stage characters breaks down that the covert narrator comes closest to revealing his hand.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46450090","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jewish-American poet Charles Reznikoff’s 1975 book Holocaust takes as its basis the transcripts of the Nuremberg trials and the Eichmann trial. Among the various subtle interventions on the way from source material to “documentary verse,” the least theorized but most dramatic is Reznikoff’s decision to lineate the original courtroom prose of the survivors. Reznikoff’s prose in chopped-up lines offers a unique opportunity to engage in the larger question of the poetic force of lineation, while considering the specific advantages and risks that it entails in the case of Holocaust. This article argues that lineation is central to Reznikoff’s book because it allows him twice to straddle the line between conflicting goals: (1) lineation signals that the text is poetic while avoiding overt aestheticization that is often associated with lyrical poetry; (2) lineation implies Reznikoff’s response to the tragic material, while avoiding explicit, over-bearing authorial presence and sentimentality.
{"title":"On the Verge of Verse: Charles Reznikoff’s Lineations in Holocaust","authors":"Roi Tartakovsky","doi":"10.5325/style.56.4.0351","DOIUrl":"https://doi.org/10.5325/style.56.4.0351","url":null,"abstract":"\u0000 Jewish-American poet Charles Reznikoff’s 1975 book Holocaust takes as its basis the transcripts of the Nuremberg trials and the Eichmann trial. Among the various subtle interventions on the way from source material to “documentary verse,” the least theorized but most dramatic is Reznikoff’s decision to lineate the original courtroom prose of the survivors. Reznikoff’s prose in chopped-up lines offers a unique opportunity to engage in the larger question of the poetic force of lineation, while considering the specific advantages and risks that it entails in the case of Holocaust. This article argues that lineation is central to Reznikoff’s book because it allows him twice to straddle the line between conflicting goals: (1) lineation signals that the text is poetic while avoiding overt aestheticization that is often associated with lyrical poetry; (2) lineation implies Reznikoff’s response to the tragic material, while avoiding explicit, over-bearing authorial presence and sentimentality.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43781176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Shakespeare’s sonnets are widely loved and very popular in China, and major poet-translators such as Tu An and Liang Zongdai devoted a lifetime to their task of translation. The translation of the Bard’s sonnets involves cross-cultural understanding. In terms of poetic style, Shakespeare’s sonnets may be rendered in two styles, either modern or classical. Both styles have their pros and cons, but the general tendency leans toward the modern. In the course of over a century, the sonnet form has successfully been indigenized, and the Chinese sonnet has largely been developed from the reading and transplantation of Western sonneteers including Shakespeare and Milton. Among others, Shakespeare has exerted a significant impact on modern Chinese poetry by contributing new content and new form. This article aims to survey the reading, translation, and rewriting of Shakespeare’s sonnets in China and demonstrate how the Bard’s sonnets influenced the scene of modern Chinese poetry.
{"title":"The Reading, Translation, and Rewriting of Shakespeare’s Sonnets in China","authors":"Tianhu Hao","doi":"10.5325/style.56.4.0461","DOIUrl":"https://doi.org/10.5325/style.56.4.0461","url":null,"abstract":"\u0000 Shakespeare’s sonnets are widely loved and very popular in China, and major poet-translators such as Tu An and Liang Zongdai devoted a lifetime to their task of translation. The translation of the Bard’s sonnets involves cross-cultural understanding. In terms of poetic style, Shakespeare’s sonnets may be rendered in two styles, either modern or classical. Both styles have their pros and cons, but the general tendency leans toward the modern. In the course of over a century, the sonnet form has successfully been indigenized, and the Chinese sonnet has largely been developed from the reading and transplantation of Western sonneteers including Shakespeare and Milton. Among others, Shakespeare has exerted a significant impact on modern Chinese poetry by contributing new content and new form. This article aims to survey the reading, translation, and rewriting of Shakespeare’s sonnets in China and demonstrate how the Bard’s sonnets influenced the scene of modern Chinese poetry.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45904865","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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