Alle Publikationen
- <<
- <
- 1
2017
-
(2017): Translating the FAITH Frame. A Study of Two Translated Egyptian Novels. In: Complutense Journal of English Studies 25, S. 125-142. DOI: 10.5209/CJES.57598
DOI: https://doi.org/10.5209/CJES.57598 Abstract: This study, which is part of a larger study on the use of frame semantics in the translation of cultural elements from Arabic into English, isolates the instances where the characters from two modern Egyptian novels use language to identify themselves as members of a particular religious group, which corresponds to the frame generic→faith, and examines the manner in which these instances are translated into English. In this sense, faith is a generic frame because it dictates a particular set of behaviors, both linguistic and ideological, that is enforced by the faith community and practiced by the individuals within it. This faith community is a subset of the language community that uses a set of expressions considered typical of this community to the point where its members are recognizable through the use of these expressions. The translation issue at hand is that the TL may not offer the same possibilities to evoke a similar frame reflecting religious identity.
Keywords: Arabic literature, English translation of, faith/religion, frame generic, frame semantics, Frame-Semantik, generic frame, generic frames, Glaube, Identität, Identitätsstiftung, Kognitionswissenschaft/Social Sciences/Humanities, Kultur, Linguistik und Ideologie, Literaturwissenschaft, Religion, semantic frames, Soziale Angemessenheit, translating religious expressions, Ideologie, "Faith Frame" 2016
-
(2016): ’Je ne voudrais prononcer ces mots’. The influence of the French Fabliau on two scenes from Henry V. In: CAHIERS ELISABETHAINS (91), S. 34-50
Abstract: Catherine’s language lesson in Henry V turns on the use of two bawdy French words, foutre and con – or rather, on the English words foot and gown which, when pronounced by the French speakers, sound like the bawdy words. In the courtship scene, Harry and Catherine avoid such words, yet each desires what they signify; both play a linguistic game in which they attempt to achieve what decorum prevents them from naming. Instead of direct and clear expression, this linguistic game involves figurative language and euphemism. A source for the linguistic principles underpinning both scenes is the medieval French fabliau.
2013
-
(2013): McGahern, Austen, and the Aesthetics of Good Manners. In: Essays in Criticism 63 (2), S. 203-222. DOI: 10.1093/escrit/cgt007
Abstract: "Now her only interruptions were rare telephone calls – and when her reading brought her face to face with some affection or sharp memory. ‘She had done more than she wanted to, less than she ought.’ She found herself repeating the sentence long after she had closed the book, seeing elements of her own life and people she knew reflected in it, elements of that life seen and given a moral sweetness that was close to smiling." MRS WALDRON in ‘Creatures of the Earth’ is quoting – misquoting, in fact – from chapter 20 of Jane Austen's Emma. Austen was one of the authors whom John McGahern most admired. He had been reading and rereading her novels from an early age,2 and they remained an important part of his literary imagination until the very end of his life. (McGahern brought only one book with him during his final stay in the Mater Hospital in Dublin, where he died in late March 2006, and that book was Mansfield Park.3) Yet the two writers are rarely connected in the minds of his readers, and the possibility that he may have assimilated aspects of her work in writing his own novels and stories has not been pursued in a systematic way by critics.
2010
-
(2010): Mystic Excess. Extravagance and Indecorum in Richard Crashaw. In: CAMBRIDGE QUARTERLY 39 (4), S. 350-369
Abstract: This essay, a re-evaluation and partial justification of the traditionally controversial eccentricities of Richard Crashaw's poetry, examines the function of ‘excess’ in his work. ‘Excess’ is taken to mean both stylistic extravagance and transgression of the normal boundaries of decorum. The first section characterises Crashaw's stylistic extravagance, partly in terms of ‘revisional flux’, and explores Pseudo-Dionysian semiotics and the notion of ‘incongruity’. The second section introduces George Bataille's theory to explain the extravagance in erotic and mystical terms. The third section moves on to ‘indecorum’ of several kinds, including the use of financial and appetitive, or sensual, imagery. The final section offers observations about Crashaw's tonal ambiguity, use of irony, and combination of wit with seriousness.
2009
-
(2009): The Function of Decorum at the Present Time. Manners, Moral Language, and Modernity in ’an Oscar Wilde Play’. In: MODERN DRAMA 52 (2), S. 145-167
Abstract: In the distinctive, epigrammatic idiom of his society comedies, where dialogue is shaped by the formulae of conventional instructional maxims about what one should and shouldn't do, Oscar Wilde inverts and aestheticizes the assumed ethical basis of a code of conduct that relies on the language of decorum. His drama suggestively articulates a considerable degree of slippage between manners, on the one hand, and morals, on the other. This essay argues, in fact, that Wildean aphoristic speech playfully rewrites late-Victorian etiquette literature, exploiting the ironic distance between moral assumptions and a more formulaic reality.
Keywords: Beispiel, Code of conduct, decorum, humor, Kunst, Literaturwissenschaft, manners, Moral, Morals, Oscar Wilde, Regelwerke, Werte 2008
-
(2008): Charles Lamb on Romantic Reading and Social Decorum. In: WORDSWORTH CIRCLE 39 (3), S. 79-85
Abstract: This article discusses topics related to Charles Lamb on Romantic reading and social decorum. It states the for Lamb, reading is essentially an indoor, private activity for pleasure rather than duty. It explains that Lamb cares for the physical condition and appearance of his books and believes that reading entails appreciating its social and cultural status. In addition, Lamb dislikes hearing written and printed works being read aloud, especially newspapers, wherein he states that reading aloud in public is a tedious and potentially embarrassing activity because most readers are slow readers and because their private pleasure is rarely suitable for public exposure.
2003
-
(2003): Defining dirt. Three early modern views of obscenity. In: TEXTUAL PRACTICE 17 (2), S. 253-275
Abstract: This essay examines the workings of bad language in the early modem period, along with its social and political contexts - why and under what circumstances some words were deemed inappropriate for polite or moral discourse and literature. In early modern English, words such as "shit' or "fuck' were not considered "swearing', but rather occupied a separate category of "wanton' or "obscene' language. Thomas Elyot's The Boke Named the Governour , Desiderius Erasmus' De Copia and George Puttenham's The Arte of English Poesie pay particular attention to this category. They investigate it from different perspectives, but reach similar conclusions: obscene words have an offensive power in excess of their literal meaning, exposing body parts and actions that should be concealed to a greater degree than do their more decorous synonyms. These texts also agree that the rules of decorum which govern obscenity are extremely flexible, so much so that obscene words may be the most useful and even the most appropriate terms in certain circumstances.
Keywords: Angemessenheit, Appropriateness, Appropriateness of inappropriateness, decorum, Fehlverhalten, fluchen, Grenzen, Grenzüberschreitung, Gruppenverhalten / Joint Action, Höflichkeitsforschung, (Im)Politeness Research, Inappropriateness, Interaktion, Konventionen, Literaturwissenschaft, Modelle/Theorien, Normen, Observablen/Kriterien für sozial angemessenes Verhalten und dessen Bewertung, Obszönität, Respekt, Sprache, Sprachgebrauch, Status / biologische Marker, swearing, Umgangsformen, Unangemessenheit 1977
-
(1977): Blake and the Artistic Machine. An Essay in Decorum and Technology. In: PMLA 92 (5). DOI: 10.2307/461845Keywords: Aufklärung, Blake, decorum, geschriebene Sprache, gesprochene Sprache, Ideengeschichte, Im (wissenschaftlichen) Diskurs, Kunst als Technik, Kunstgeschichte, Kunstmaschinen, Literaturwissenschaft, Maschinenkunst, Mechanismus, Mechanismus und Organismus, mechanistisches Weltbild, Mechanizismus, Mensch und Maschine, Mensch/Maschine (Maschinetheorie des Lebens), Mensch-Technik-Relationen (MTR), Ontologische Differenzierungen: Tier, Mensch, Maschine, Reflexionen über MTR, Schrift, Schriftkultur, Sprache, Sprachtheorie, Technikgeschichte, Technologie, Verschriftlichung
- <<
- <
- 1