جستجوی مقالات مرتبط با کلیدواژه « &ldquo » در نشریات گروه « ادبیات و زبان ها »

In this research, we try to figure out the transfer and also to discuss cultural concepts in literary translation by taking into account the linguistic and cultural differences. Therefore, as the corpus of this research, we will examine some examples from the translations of two works by Eric-Emmanuel Schmitt in different eras and we will analyze the methods that are used by translators for translating some of cultural elements, relying on the theory of Peter Newmark. The applicability of this theory over time and the perspective of its efficiency based on three indicators which are objectives, possibilities and obstacles will be examined. With the expansion of mastery over artificial intelligence and the application of a new generation of translation software by young translators, which always provide more accurate versions of the original content in more languages, we are witnessing the emergence of a generation of translators who ignore the relevance of translation theories regarding the representation of cultural themes. Since the meaning of words or phrases is derived from the culture of a language, understanding the meaning requires complete knowledge of the culture of the language which it originated from, so the translation software alone cannot be effective in obtaining accurate translation. Thus, in this essay, we try to indicate for the next generation of translators the importance of the application of translation theories in the field of literary translation, especially concerning translating cultural elements.

Fiction is full of non-verbal cues, including body language cues. Examining stories from the perspective of non-verbal communication, especially body language, which is a chain of extensive cues and messages are received according to the context of communication, can lead to a new reading of the text. Azhar Gerjis in the novel“sleeping in the cherry Field” has used the signs of body language, including the language of the eyes, hands, head, touch, limbs and physical appearance. This research intends to use descriptive-analytical method based on semiotic approach to analyze the role and position of body language and their function in this novel.Research findings show Gerjis messages such as; Astonishment, anxiety, anger and rage, forgetfulness, fear, etc. are conveyed to the audience through body language, the unveiling of which plays an important role in discovering the message hidden in the text. Among the non-linguistic behaviors mentioned in the novel, eye language with (32%) has the most role during message transmission and language of physical appearance (facial hair) with (2%) has the least role and body language in this novel is more, alternative and substitute. It has become verbal communication but in some cases it has emphasized more to complete the verbal message or verbal messages. The use of body language in this novel has increased the theatrical capacity of the story.

Young adult novels are the realm of adolescent encounters with situations, concepts, and themes Which is sometimes related to her age and sometimes untimely experiences. "Call me Ziba" is a novel written by Farhad Hassanzadeh, which shows a teenage girl trying to overcome an unwanted situation..In revolt theory, in textual action and social action, Kristova discusses the encounter of the semiotic and the symbolic in literary texts as well as in the entertainment society..This research interprets and analyzes the novel with a descriptive and interpretive approach based on Kristova's theory of revolt and other opinions that are related to this theory..In this novel, the semiotic and the symbolic are expressed in newspapers and stories, which have an intertextuality link, respectively.."Ziba", the novel's teenage character who lives in an orphanage, tries to revolt against the society of the entertainment, which has deprived her of her home and identity.Rebellion against the symbolic, but this rebellion is finally realized on another level with the author entering the story, breaking the symbolic and returning to the semiotic, in the literature as a house, identity and immortality .

The concept of "body" goes beyond a set of organs and functions that are regulated by the laws of anatomy and physiology. The body, above all, has a symbolic structure that provides a medium for the projection of cultural forms in their broadest forms. In this study, examples of this assumption will be followed in the study of plays produced in the Iranian dramatic literature of the Sixties and Seventies. An era that was accompanied by fundamental changes. In the mid-1970s, two-thirds of the country's population was young people under the age of 30. The country's education system also grew slightly to threefold. Influenced by the "post-colonial" discourse that flourished after World War II, this broad class at one point turned to the leftism; And turned to jihad in opposition to the regime of the time. The objection manifested in the literary / artistic productions - which are considered works in praise of the mass uprising -. This resistance is manifested in different levels of works; Among these, the "body" will be considered in the present study. Among the works of Art/Literary, an outstanding play by Gholam-Hossein Saedi, “Chub be Dast-haye Varsail” will be analyzed. In order to analyze the various aspects of the "body" in this play, first of all "gender; Appearance" is considered. In the next part, "body movements", and after that, "body stillness and creating illusion and imagination of movement" and its implications will be discussed. Finally, we will consider a topic that is specific to this play. the unique aspect of ‘body’, which has shown itself in the "Metamorphosis of the body”. Results indicate that the process of emphasis on the certain dimensions of body, helped the writer to alienate some characters. This process is possible by usage of the body's capabilities, for example by transforming shape of the body towards the animal figure.

“nɑme”-last complex words have rarely been examined in Persian morphology. In this study, examining the function of “nɑme” in the word-formation of Complex words which is embedded as a shared constituent, the polysemous patterns have been analyzed in the framework of construction morphology (Booij, 2010). To fulfill this purpose, 102 “nɑme”-last complex words have been gathered from 3 Persian dictionaries including Zansoo (1994), Sokhan (2003), and Dehkhoda (1999) which have been classified in 12 extensions of meaning, adopting generalized holistic constructional schema which govern less abstract subschemas as meaning extensions derived from conceptual mechanisms. Achievements depicted that image schemas, metonymy, and metaphor are the chief forces in getting “nɑme”, polysemous in the examined complex words. Additionally, the other possibilities such as bound meaning in terms of constructional idiom, hierarchical lexicon, and default inheritance contributed by construction morphology indicated that “nɑme”-last complex words are governed by the so-called constructional idiom as a kind of constructional schema in which a fixed lexical unit with bound meaning is embedded. This justifies how “nɑme” is positioned in the fuzzy boundary between compounding and derivation as a “affixoid” which is grammaticalizing.

Meaning-making in the Deleuze-Guattari semantic region is a revolutionary and artistic schizophrenia, contrary to the conventional process of semantics of conventional reason. Revolutionary means minor literature, and artistic means poetic. The poetics of meaning in poetry is held silently as an event similar to the poetic thought event in Heidegger's philosophy of art. Poetry's vow of silence is the creating place of recurring and different meanings that appear in the successive turns and intensities of body without organs. In this way, poetry uses meaning and truth as an event out of habit and as a dignity of existence. Hence, the eventfulness of poetry coincides with its meaning. Surprisingly, Archibald MacLeish builds beingness of poetry in ‘Ars Poetica’ by arranging the paradigms of silence, stillness, and wordlessness on familiar meaning-making. In this way, poetry does not tolerate the conventional meaning because it is concerned with different and intensified eventful meanings as being in the world. The present study is a Deleuzian-Heideggerian reading of MacLeish’s poetic art in the light of the above concepts and considers poetry as an event focused on pure and unfamiliar meaning and truth.