the polysystems theory a theory that could describe the process of translation, as well as understanding changes within literary, language, and cultural systems. The fundamental concept in the descriptive studies and introduced by Tynjanov, the idea of polysystems, “Its purpose is to make explicit the conception of a system as dynamic and heterogeneous in opposition to the synchronistic approach. ” (EVEN-ZOHAR, 1990: 12). This concept is developed in order to better comprehend literary genres and traditions
3.1 Research Approach This research applies qualitative approach or qualitative methodology. The qualitative approach is applied for the data of the research taken from one English narrative textbook and its Indonesian translation stated in the data source section. Observation method is used in collecting the data. Translational identity method is used for the analysis of the data. Formal and informal methods are used to present the result of the data analysis formally in descriptive sentences and
Lynn Kozak, Experiencing Hektor: Character in the Iliad (2016) documents the experience of Hektor through the Iliad 's serial storyline. It studies how the mechanics of serial narrative construct the character of Hektor. Kozak exhibits a chary scene-by-scene breakdown and investigation of the Iliad, focusing especially on Hektor. In doing so, she confronts and subverts popular and scholarly suppositions about both ancient epic and
regional languages of India. Mahasweta Devi’s novels and short stories that deal with tribal life are an important and incomparable contribution to the literary and cultural legacy of India’s tribal/non-tribal interface. Mahasweta Devi is today acknowledged as a writer of international stature and the English translations of her literary works have been read in the larger context of postcolonial studies. Her works are an outcome of the three inter-twining concerns of her life- social activism
3.1 Introduction This study is a comparative study on literary translation which aims at investigating the strategies in translation at semantics, sentence, stylistics and discourse level of the three Thai translated versions of The Catcher in the Rye. This chapter embodies materials, data collection, and data analysis and conceptual framework. 3.2 Materials 3.2.1 The original English version of The Catcher in the Rye, written by J.D. Salinger in 1951, was the source text. 3.2.2 The
take the domination place in the literary textual criticism and this approach is the social construction approach. Before the domination of the social construction approach there was a debate between the two textual approaches; each side of the debate tried to prove that his approach is the most valid for textual criticism and at the same
Shafiah A.SatyaPhaniKumari Literary translation or translation in literature is not a new word. From time immemorial people have retold stories, translated from one language to other language. Without translations we would be caged in a mono-cultural realm, knowing neither our own ancient heritage, nor the heritage of other cultures. We would never think about the ‘Global Village’ which unites all the cultures and traditions of various countries. Literary translations multiply the intellectuality
The rich diversity of human community cannot be appreciated or even understood without the essential tool of translation and it plays an important role in the literary life of India which in its multilingual, multicultural nature, is a microcosm of the whole world. The marginalization of the Dalits in India by the hierarchical upper-castes and the resultant sorrows and sufferings, their culture and beliefs which had been hitherto unrevealed in the mainstream literature is now exposed to the world
The term ‘narrative’ is diversely understood in popular culture and in the field of social research. By and large the term ‘narrative’ is understood as narration of events and/or stories. According to Hinchman & Hinchman, “Narratives (stories) in the human sciences should be defined provisionally as discourses with a clear sequential order that connect events in a meaningful way for a definite audience and thus offer insights about the world and/or people’s experiences of it” (Goodson and Gill, 4)
In other words, the first-person narrator is in the story and is takes an active part in actions (Lothe 2003: 15) he is dynamic in the story and its development. The first-person narrator has both functions of narrator and character. The third-person narrator is outside the plot, although he is in the story. He does not participate in an action; he is there just to communicate. While Stanzel presents a difference between these types of narrator at the existential level, Todorov justifies this distinction