Сарматская археология возникла в советской науке как самостоятельное направление в конце 40-х годов XX века на основе парадигмы савромато-сарматского историко-культурного единства. В силу политических условий, идея о тождестве и исторической преемственности савроматов и сарматов, трактовалась изначально как стадиальная концепция автохтонного развития культур и противопоставлялась миграционной идее формирования культур сарматского круга. Тождество и преемственность савроматов и сарматов не было доказано, а было декларировано как концептуальная установка. Вся последующая линия развития сарматологии шла по линии размывания и компромиссов между реальным историческим материалом и желанием сохранить главную парадигму. В настоящее время уже признано, что исторические савроматы не имеют отношения к археологическим памятникам Приуралья и Поволжья VI-IV в. до н. э. Сохраняется лишь некое условное наименование этих древностей "савроматскими", исключительно как археологический слэнг. Не выдерживает критики и идея о том, что культура ранних сарматов формировалась в Приуралье и Поволжье на базе преемственности традиций предшествующего времени. В настоящее время нет никаких чётких представлений о памятниках III первой половины II в. до н. э. в этих регионах. Самые ранние и выразительные сарматские памятники, сопоставляемые с эпонимными древностями южной группы Прохоровских курганов, датируются второй половиной II началом I в. до н. э. Они не имеют местных корней в Приуралье и принесены сюда широким потоком номадов, двинувшихся в середине II в. до н. э. из глубин Азии. В археологическом материале этот горизонт памятников маркируется погребениями воинов с церемониальным, отделанным золотом, клинковым оружием прохоровского типа и большим количеством ювелирных изделий, выработанных в художественных традициях южной, средней и центральной Азии. Этот горизонт древностей хорошо уловим на пространствах от Китая до Причерноморья и позволяет говорить предметно о сарматской истории I в. до н. э. ; Sarmatian archeology emerged in the Soviet science as a separate branch in the late 1940s on the basis of the paradigm of the Savromath-Sarmatian entity. Given the political conditions, the idea of identity and historical succession of the Savromaths and the Sarmatians was originally interpreted as the stage-bound strategy of autochthonous development of the cultures which was contrasted to the idea of migration as the basis of forming cultures of the Sarmatian range. The identity and the historical succession of the Savromaths and the Sarmatians were not proved. Instead, that assumption was pronounced as the conceptual one. The following development line of Sarmatian studies was following the path of pro-gradation and compromises between the available historical material and the desire to preserve the main paradigm. Nowadays it is universally recognized that the historically known Savromaths have nothing to do with the archeological sites of the Urals or the Volga Region of the 6th-4th centuries B.C. There is still a conventional name common for all those "Savromath" antiquities that exists exclusively as archeological slang. Nor does any slight criticism bear the idea that the culture of the early Sarmatians on the Urals or in the Volga Region was based on succession of traditions of the previous times. At the present time there is no exact knowledge of the sites of the 3d the early 2d century B.C. The earliest and the most expressive Sarmatian sites which are comparable to the eponymous antiquities of the southern group of Prokhorovka burial mounds date back to the late 2d the early 1st century B.C. They have no common roots on the Urals, having been brought by a wide stream of nomads who had started off in the mid 2d century B.C. from the depths of Asia. Amidst the archeological material, this horizon is marked by burials of warriors with ceremonial Prokhorovka-type gold-encrusted saber bayonets and a huge amount of jewelry made up in the best traditions of South and Central Asia. This horizon of antiquities is very well recognizable on the vast areas stretching from China to the Black Sea, which makes it possible to speak about the Sarmathian history of the 2d 1st century B.C.
Surrealism is central to understanding twentieth century Peruvian cultural production, yet some of its complexities remain under-studied, including the impact of the political demands that both inspired and inhibited its proponents, or how they championed surrealism as a fundamental tool for modernizing not only Peruvian literature, but also visual art and even society. Based on new interpretations and fresh archival work, this dissertation explores the specific ways in which José Carlos Mariátegui, Xavier Abril, and César Moro engaged with the surrealist spirit, as André Breton articulated it: "'Transform the world,' said Marx; 'change life,' said Rimbaud: for us these two slogans are one and the same."Chapter 1 focuses on Mariátegui, Peru's most important Marxist thinker, by exploring the unresolved tension between his two distinct approaches to surrealism. In the context of the communist demand for a socialist realist literature, at times Mariátegui perceived surrealist endeavors as evidence of the cultural confusion that announced a revolutionary period. Yet Mariátegui concurrently backed surrealism from another perspective that configured his aesthetic heterodoxy: in his essays and his only novel, La novela y la vida. Siegfried y el profesor Canella (which has received scant critical attention), he viewed surrealism as a form of liberation via fantasy, the unconscious, and love, all valid means for renovating literature and connecting it with real life. Chapter 2 explores how Abril initially used surrealism as an eclectic label that appropriated the repertoire of earlier vanguard movements to position himself and other young Peruvian poets as legitimate, up-to-date voices in both local and transatlantic settings. I also explain how Abril's initial attempt to renew Peruvian literature was realized and expanded to the social realm in his short novel El autómata, where he finally achieved a mature surrealist imagery. In this text, from which I present two unpublished fragments, Abril employs surrealism to convince the reader that madness is the path to overcoming the castrating demands of bourgeois society, and subsequently create what he calls a "surrealist class" and a "surrealist culture." Chapter 3 is devoted to Moro, one of the most representative surrealist poets in Latin America, and the most important in Peru. Focusing on his collages and paintings, this chapter shows the centrality of Moro's work as a visual artist to his brand of surrealism. I demonstrate that one of the most powerful surrealist statements in Peru is Moro's attempt to contentiously persuade his spectators through visual means that poetry and dream are the ways to overcome antiquated artistic expectations and obtain "clairvoyance"—the capacity to appreciate and engage with the new expressive language of contemporary times: surrealism.
The paper is devoted to analysis of the problem of the influence of totalitarian ideology on the spiritual and cultural life of society as well as of the reflection of these processes in the lexicographical works of the Soviet era. In recent years a scientific interest in the problems of interrelation between the language and ideology increased. However, the processes of the ideologization of the lexical items related to the sphere of art have become beyond the attention of researchers. The paper is aimed to reveal the peculiarities of the influence of Soviet ideological attitudes on the formation of the dictionary definitions of the nominative units related to the sphere of art, on the example of the names of art movements and streams recorded in the Dictionary of the Ukrainian Language in 11 volumes (1970–1980). The investigation uses the descriptive method and the component analysis method as the best suited to this study. The techniques for the classification and systematization of lexical material are also involved. Special attention is paid to the enlightenment of the official policy in the sphere of culture and art, namely to the imposition of a single method of the artistic reflection of reality, the socialist realism, and to the organization of revelatory campaigns against artists. Literature and art under the party control implemented the ideological and aesthetic programmes, needed to ensure the dictatorship of the Communist party. The whole history of the development of Soviet art was marked by opposition to global achievements, total domination of socialist realism, destruction of dissent, complete ideologization of art and its subordination to the requirements of the political order. It is proven that these processes are reflected in the dictionary interpretation of the semantics of the names of art movements and streams. Among the analyzed lexical items only the word "realism" is fixed in the dictionary having a positive appraisal meaning, while all the others with distinctly negative ones. A special role in giving negative connotations to the words belongs to the adjective of "formalistic", which is used in almost every dictionary entry of the studied concepts. This word performs the expressive function in that context that indicates its desemantization. The negative connotation of the lexemes was amplified by using illustrative material, chosen from various authoritative sources that demonstrated the features of the functioning of the words in the language. The use of ideological markers in the definitions and illustrative material as well as important for the Communist ideology citations indicates the ideologization and politicization of lexemes related to the sphere of art. It proves in addition that in the Soviet times the ideology influenced not only on the social and political nominative items, but also on other thematic groups of vocabulary.
[eng] This study proposes a novel approach to understanding the contribution that consumer action makes to social change, both at the level of conceptual generalisation and when applied to institutionalised practices in particular historical settings. Conceptually, I develop an anthropologically generalisable account of consumption, drawing especially on Marshall Sahlins' pioneering Culture and practical reason (1976). Against economistic understandings of consumer agency, we do better to defend a more culturally self-aware and ethically articulate mode of explanation. From this perspective, I argue, it is the expressive potential of consumer practices that most fundamentally sets them apart from productive practices. In making this argument I nonetheless avoid the excessive culturalism that arises when ignoring both the effect of economic variables on consumer agency and the manner in which consumption is tied up with relationships of power. When analysing the institutional dimension of consumption, most existing literature approaches it as a form of action limited to the market, while taking the market to be synonymous with the economic domain as such. This way of approaching the subject draws attention to significant forms of consumption but obfuscates the historically specific and contingent complexity of human livelihoods even in societies in which market exchange and capitalist forms of market-oriented production are firmly established. In particular, such approaches tell us very little about how those poor in financial resources consume, both within societies characterised by comparatively high average income and beyond. Consumption is better approached as a form of action exercised within all three institutional spheres of the "human economy" discussed in Karl Polanyi's later work: not only the market, but also redistribution and reciprocity. Prima facie significant fields of consumption can then be analysed in terms of their ability to create, alter or destroy widespread forms of social integration and political mobilisation, but such analysis must proceed in a manner that is fully alive to the peculiarities of given social formations. Drawing on both political-economic and ethnographic literature, I illustrate this approach by examining three fields of consumption in South Africa from 1948 to the present: clothing, housing and faith healing. These consumer practices have been dynamically bound up with both class and racial power dynamics, while leading to the formation of novel forms of solidarity of the sort commonly discussed in terms of sub-cultures, new social movements and sects or kinship groups. In light of these case studies, it is necessary to challenge three misleading but pervasive claims about consumption that continue to inform contemporary critical social theory. Firstly, the economistic dogma that the market form of integration, and market-oriented production in particular, has the capacity to systematically structure consumer practices offers little purchase on how people really behave when consuming. Secondly, conceptualising consumption as a form of reproduction of an entire social order is a functionalist canard that critical social theory still needs to disown. We encounter this tenet even in the sophisticated work of Pierre Bourdieu, which remains enormously influential throughout the contemporary social sciences and which is invoked in all major studies of consumption. A third problem, also perpetuated by Bourdieu's thinking on the subject, is the critical tendency to reduce all consumer agency to a form of instrumental domination. This can only be sustained as a valid generalisation by offering a flattened account of consumer motivation that ultimately negates agency and that collapses qualitatively distinct ethical modes of evaluation and action into one another. While such an approach is of some limited use for unmasking the domination that reciprocity can entrench, the price one pays for generalising such claims is, ultimately, an inability to recognise the gift when one sees it.
Содержание актуализировано значимостью выработки подходов к обучению чтению, совершенствованию его практик в условиях образовательно-воспитательных и культурных учреждений. С междисциплинарных позиций, включающих исторический, педагогический, культурологический, книговедческий и читателеведческий подходы, автор на обширном историческом материале показал, что особенности обучения чтению в различные периоды развития США зависят от ряда социально-политических факторов: состояние религиозной жизни, становление государственных основ и нации, формирование общественной морали, индустриализация, особенности культурной жизни, войны, международные конфликты, миграционные процессы, состояние системы образования и др. Так, в религиозный период (1607-1776 гг.) молодые поселенцы в основном обучались многократному чтению вслух отрывков из Библии, в национально-моралистический (1776-1840 гг.) делался акцент на чтение историко-географических и морально-патриотических текстов, а в интеллектуальный период (1840-1880 гг.), который называют временем становления американской демократии, впервые были поставлены цели обучения восприятию художественных текстов, развития литературного вкуса, интеллекта читателя, формирования познавательных интересов. В четвертом периоде, связанном с созданием культурного достояния страны (1880-1910 гг.), получили развитие новые методы обучения чтению: синтетический, рационального чтения, обучения чтению «предложений и историй» и «фонетический». Для обучения чтению отбирались исключительно содержательные высокохудожественные тексты. В период научных исследований (1910-1925 гг.) обучение чтению и совершенствование его практик ставилось на исследовательскую основу: внимание уделялось пониманию смысла читаемого материала, скорости чтения и точному произнесению слов при чтении вслух. В так называемое золотое десятилетие (1925-1935 гг.), когда процветание страны стало напрямую связываться с успехами в образовании, особо значимым в процессе чтения считалось развитие мышления, познавательной активности учащихся, формирование читательского опыта, интереса и мотивации к чтению. В период международных конфликтов (1935-1950 гг.) в качестве материала для обучения чтению использовались преимущественно патриотические, националистические тексты, что сопровождалось общим упадком образования и снижением качества чтения. Золотое десятилетие в образовании и характерные для этого периода практики обучения чтению и его совершенствования выдвинули США на лидирующие позиции в мире. ; A search for approaches to literacy instruction, development of reading practices in educational and culture organizations makes the article actual. The author used interdisciplinary intersections including historic and educational, cultural, bookand reader-centered fields to show the specifics of reading instruction in various historic periods of the USA. They include a set of socio-political factors, such as: the state of religious and public life, morals, industrialization, peculiarities of culture, international conflicts, migration, education. Young settlers were taught oral multiple rereading with close attention of the extracts from the Bible in a religious period (1607-1776); historic, geographic and patriotic texts became major reading materials in a nationalistic-patriotic period (1776-1840), the aims of teaching reading as an expressive art of literary texts, intellectual reading as well as intellectual development of readers and their literary taste were first set in an intellectual period (1840-1880), which is characterized as the period of formation of American democracy. Innovative classroom practices in reading instruction such as phonetic, synthetic, rational reading, reading of sentences and "storiesˮ occurred in the fourth period which was connected with forming cultural basis of the country. Only high quality literary texts were chosen for teaching. The period of scientific research (1910-1925) emphasized both study and best practices: reading comprehension, speed of reading and accuracy of oral reading were in focus. In the so-сalled "Golden decadeˮ prosperity of the country was directly linked with success in education so development of thinking and cognitive development, reader's experience, interests and motivation to reading became most important. During the period of international conflicts (1935-1950) reading material was primarily changed to patriotic and nationalistic texts; decline in education and lifestyle accompanied reading instruction. The author showed that particularly "Golden decade" in education, its good practices in reading instruction and their development put the USA into its leading position.
В статье ставится задача реконструкции доминантных черт восприятия окружающей действительности в традиционной народно-речевой культуре. Анализируются лексикон, спонтанная устная речь и метатексты сибирской крестьянки В.П. Вершининой. Выявлены такие особенности мировидения диалектоносителя, как антропоцентричность, приоритет личного опыта, опирающегося на сенсорные впечатления, по отношению к логическим умозаключениям, конкретность, образность и оценочность. Соотнесенность этих характеристик с наблюдениями и выводами диалектологов, изучающих русские говоры и речь отдельных говорящих, позволяет считать их типологическими для диалектной языковой личности. ; Worldview is seen as a set of attitudes of society and its individuals which determines reality perception patterns. Reconstruction of mental traits of a dialect speaker was based on the analysis of an idiolexicon, spontaneous texts and metatexts of a particular representative of the Siberian old-timer dialect. The vocabulary and the system of figurative means (metaphors, comparisons, phraseologisms) shows the predominance of units connected with the sphere "person", which indicates the anthropocentric view of the world in the folk-speech culture. Its special case is corporeality manifested in the broad use of figurative units with a somatic component. A broad lexical-semantic field of sensory perception and a large group of figurative elements the semantics of which includes perceptual basis prove the priority of personal experience which relies on sensory perception in the knowledge of reality. In the texts of folk-speech culture the truth is only something seen, heard, experienced. Knowledge logically derived from certain assumptions is questioned as unsubstantiated and is accompanied by markers of presumption. Concreteness of reality perception of the dialect speaker is reflected in the asymmetry of concrete and abstract vocabulary, names of physical and psychological characteristics of the person, the prevalence of comparisons of something specific with the specific. The texts present the common themes of morality, politics, history, language through descriptions of the life and deeds of persons of the inner circle, through comments to certain words. The narrative abounds in details: names of real people, reference to their speech, indications of time and space, quantity parameters, etc. The world is perceived through images, which is proved by the abundant lexical-phraseological units, metaphors, hyperboles based on visual or auditory images, the frequency of comparatives reflecting the proposition view of the situation through a number of compared features. The application of reciprocal models with the transfer of human properties on the rest of the world and vice versa, and the use of the same images for the living and the nonliving, human and natural phenomena shows traces of the archaic worldview, in which all aspects of the macrocosm are perceived in their indissoluble unity. On the textual level it is typical to represent a situation by sound and visual images (the story from different persons' view, imitation of speakers' pronunciation, gestures and facial expressions, sounds of living beings and objects), in metatexts it is reproduction of typical sentences with the word. The multiplicity of expressive emotional units with a wide range of connotative meanings, speech genres containing evaluation, and metatexts which assess compliance with the norms of speech proves the evaluative character of the dialect worldview with prevalence of the emotional type of evaluation. The identified features of the Siberian peasant's worldview correlate with the data of dialect dictionaries, corpora of texts of different regions and observations of dialectologists, which allows them to be considered as typological for the dialectal language personality.
ANALYSIS OF THE UNTRANSLATIBILITY IN DIRECT – SPEECH TRANSLATION: TOWARDS TINTIN IN THE LAND OF SOVIETS Prafita Isti Wardani S1 – Sastra Inggris Faculty of Arts and Language State University of Surabaya wardaniprafita@gmail.com Dian Rivia Himmawati English Literature Faculty of Arts and Languages State University of Surabaya dianrivia@gmail.com Abstrak Abstrak ini memuat tentang analisis ketidakterjemanan yang terjadi pada penerjemahan ucapan dalam Tintin di Tanah Sovyet dari Bahasa Inggris kedalam Bahasa Indonesia. Analisis ini dilakukan untuk mengetahui kemunculan ketidakterjemahan ucapan dalam penerjemahan komik popular. Tujuan dari analisis ini adalah untuk mengetahui bagaimana ketidakterjemahan penerjemahan ucapan dalam Tintin di Tanah Sovyet muncul. Analisis ini dilakukan dengan menggunakan metode kualitatif yaitu observasi sehingga data temuan dibandingkan dengan beberapa teori seperti teori penerjemahan oleh Nida dan teori ketidakterjemahan oleh Nababan. Selanjutnya, beberapa teori lain seperti tipe ketidakterjemahan oleh Beker, proses penerjemahan oleh Muchali dan komik oleh Duncan juga menjadi acuan analisis. Teori tentang cara, orientasi dan prosedur penerjemahan oleh Newmark menjadi teori utama untuk mengetahui faktor penyebab ketidakterjemahan. Setelah analisis dilakukan, ada tiga jenis ketidakterjemahan yang terjadi pada penerjemahan Tintin di Tanah Sovyet yaitu (1) konsep spesifik budaya, (2) bahasa sumber yang rumit dan (3) perbedaan penerjemahan ekspresif. Acuan penerjemah tidak dapat hilang dari konteks Bahasa Inggris. Dengan kata lain, hasil penerjemahan masih berorientasi pada Bahasa Inggris. Hasil penerjemahan tidak sesuai dengan konteks Bahasa Indonesia. Untuk menghasilkan makna yang sesuai, penerjemah seharusnya menggunakan metode penerjemahan yang berorientasi pada bahasa target. Selain itu, ucapan merupakan salah satu unit kecil dalam bahasa yang seharusnya diterjemahkan menggunakan prosedur penerjemahan dalam proses diversi dan rekonstruksi. Kata kunci: Penerjemahan, Ketidakterjemahan, Ucapan, Komik. ABSTRACT This study investigates the untranslatability which appears in direct – speech translation towards Tintin in the Land of Soviets from English translation into Indonesian translation. This study was conducted because of the appearance of the untranslatability in a translated booming comic. The purpose of this study is to know how the untranslatability of direct – speech translation in Tintin in the Land of Soviets appears. This study was conducted using observation of qualitative method to compare the data found through Nida's theory about translation and Nababan's theory about the untranslatability. Then, some related theories were used, such as: type of the untranslatability by Beker, process of translation by Muchali and comic by Duncan. Then, method, orientation and procedure of translation by Newmark were also stated to analyze some factors affected the appearance of the untranslatability. This study found that the untranslatability appears from (1) cultural – specific concept (2) SL systematically complex (3) differences in expressive meaning. The translator was not out from English translation (SL). In the other word, the orientation of the translation was emphasizing in English translation (SL). Indonesian translation (TL) produced was inappropriate. To produce an appropriate meaning, the translator has to choose method of translation which orientation is emphasizing in target language (TL). Then dealing with direct – speech as the minimal unit of language, the translator should use procedure of translation to replace English translation into Indonesian translation in diversion and reconstruction process of translation. Keywords: Translation, Untranslatability, Direct – Speech, Comic Introduction Translation comes to solve people's problem who want to know some literary works which do not use their language. House (2009, p. 3) states that translation is a replacement from an original text (SL) into another text (TL) which can be seen as a service that is used to serve people whom need to understand the world with the language confines them. Translation is not only about the replacement of text. It takes part to mediate between language, literature and society. The difference of variety in language sometimes appears the untranslatability unexpected in English-Indonesian translation because the translators do not only have to focus in translating between those two languages, but also they have to deal with cultural context. That is way translators have to have enough experience in translating cultural context to make TL appears as natural as SL. An experience translator from English into Indonesian like Donna Widjajanto who has translated many literary works which are published by Gramedia still gets the untranslatability in translating comic dealing with culture context which can be seen in the example below. Figure 1.1 The example of the untranslatability in English - Indonesian translation Translation English Indonesian (…) "Don't make my mouth water, Tintin!" Jangan membuat liurku terbit, Tintin! Table 1.1 English – Indonesian translation inside linguistic images (…) Like an example of the untranslatability above, this study analyzes direct - speech which is expressed directly between each character in Tintin in the Land of Soviets as an object of the study. Comic is taken to know how an experience translator translates the untranslatability in direct-speech dealing with culture context from SL into target language TL. While, the reason why this study chooses Tintin in the Land of Soviets as the source of data is because the comic is popular comic translated which has been translated into many languages unexpected English into Indonesian translation. For those reasons, Tintin in the Land of Soviets is the first comic which content tells about Soviets culture which language used is emphasizing in SL cultural context. Based on the problem above, this study reaches two research questions. They are, 1) about how the untranslatability of direct-speech translation in Tintin in the Land of Soviets appears, 2) about factor affected the untranslatability of direct-speech in Tintin in the Land of Soviets. The project had three related research goals to be addressed following the importance of the research described in above section, namely: 1) To show how untranslatability of direct-speech appears from factor of translation in Tintin in the Land of Soviets, 2) To identify factors of translation affected the untranslatability of direct-speech in Tintin in the Land of Soviets. This study uses some theories dialed with the research questions. Translation in this study refers to Nida's which states that it is a replacement of SL into TL which has to be dialed in a term of meaning and followed by style (2004: 153-167). However in translating two fifferent languages, the translator often gets the untranslatability which language used in SL has no meaning in TL (Nababan, 1999: 93). Each data is observed using some related theories to know about what factor affected the appearance of the untranslatability, namely: orientation of translation (Muchali, 2000: 44), method of translation (Newmark, 1998: 45) and comic (Duncan, 2004: 4). Then, each data is categorized depend on type of the untranslatability in word level (Baker, 1992: 21-26). This study analyzes about the untranslatability which can gives come experiences how to be a good translator. Besides, the reader will learn knowledge about translation to avoid the untranslatability in translating direct - speech. It is expected to be able to provide better understanding about translation. Moreover, this study contributes a good understanding about some factors affected the appearance of the untranslatability, especially in Tintin in the Land of Soviets. RESEARCH METHOD Descriptive qualitative approach is used for this study which reveals analysis of the untranslatability in direct – speech translation. The data found is analyzed and interpreted systematically depends on some related theories used in this study. From analyzing and interpreting, structures, patterns, and how something are become three main factors that have to be done by the researcher when doing this study (Litosseliti, 2010: 33). The researcher is as the basic instrument who can conduct this study. The data which is analyzed in this research is direct – speech which is uttered directly by each character in Tintin in the Land of Soviet English – Indonesian translation. Direct – speech is taken from Tintin in the Land of Soviet English translation published by Pan-American and Universal Copyright Convention and Indonesian translation published by Gramedia Pustaka Utama. In the process of collecting data, the researcher only uses observation to collect the data. It is used in order to answer two research questions: 1) about how the untranslatability of direct-speech translation in Tintin in the Land of Soviets appears, 2) about factor affected the untranslatability of direct-speech in Tintin in the Land of Soviets. The final part of this chapter is data analysis. It presents some steps how to analyse the data. In this case, Miles and Huberman's (1994: 10-12) data analysis model is applied. There are three steps to analyse the data. They are data reduction, data display and conclusion and verification. RESULT AND DISCUSSION Tintin in the Land of Soviets is a comic because it is told using picture. In comic, picture is generally divided into two parts: callout which shows an utterance utters by each character consider to direct – speech and picture which shows character image followed by place surrounding. Both of them cannot be separated. Some data found in Tintin in the Land of Soviets from English into Indonesian translation shows the untranslatability. The untranslatability in direct – speech which is uttered by each character is caused by the translator who does not find an appropriate meaning related to the pictures in Indonesian context. There are three factors influencing the untranslatability in translating Tintin in the Land of Soviets. Method of translation In translating, the translators can choose what method which appropriates to the literary works which are translated. Method is a way that is used by the translator to translate (Machali, 2000, p 49). There are two groups of translation method which are categorized depend on the orientation of translation (Newmark 1998, p. 45). In this case, the translator uses method which is inappropriate to produce target language (TL) as natural as source language (SL). Most of the untranslatability identified only deal with a term of meaning, however not style of target language (TL) which has to be followed. A good translation produced has to deal with the term of meaning then followed by style although it is not identity in detail (Nida, 2004, pp. 153-167). Three types of the untranslatability which appear in translating direct-speech of Tintin in the Land of Soviets belong to cultural – specific concept, systematically complex source language (SL) and differences in expressive meaning (Baker, 1992: 21-26). Most of the appearance of the untranslatability is caused by method used by the translator to translate direct-speech of Tintin in the Land of Soviets. Cultural – specific concept appears when the word of source language (SL) cannot be replaced into target language (TL) because of cultural concept. The intended words belong to customs, religious or meals' name (Nababan 1999, p. 99). Although the word "a kopek" does not refer to cultural specific concept however it cannot be replaced. If it is replaced, the atmosphere of Soviets cannot be gotten by the readers. In cultural – specific concept, each translation is processed using literal method. All words are diverted word by word then reconstructed into Indonesian structure (Nababan, 1999: 32-33). However, the unfamiliar word is left translated such as "a kopek". The translator has changed "a kopek" into sekopek in Indonesian translation. However, most Indonesian never uses the word sekopek to give a beggar a pity. The word sekopek is chosen by the translator to stand in Soviets atmosphere. The translator uses the words naturally which belong to cultural – specific concept followed by notes, including footnote (Nababan 1999: 99). Footnote is put to give additional information dealing with the mentioned words (Nida, 1964: 237-239). Systematically complex source language appears when the meaning of target language (TL) cannot be understood (Beker, 1992: 21-26). It does not consider to the Indonesian cultural contexts (Nababan, 1992: 22). English translation is inappropriate if it is replaced into Indonesian translation without paying attention to Indonesian cultural context. In systematically complex source language, each translation is also processed using literal method which all words are diverted to word by word then reconstructed into Indonesian structure (Nababan, 1999: 32-33). It can be seen in translation (01) in the utterance "one of the best remedies yet discovered for curiosity" replaced into salah satu obat terbaik yang belum ditemukan bagi rasa ingin tahu. Indonesian translation produced by the translator still emphasizes source language (SL) (Newmark, 1998: 45). Indonesian translation produced is difficult to be understood in Indonesian cultural context so that the untranslatability occurs. Systematically complex source language can be understood in Indonesian if it is replaced using modulation procedure in diversion and reconstruction process (Newmark, 1988: 89). There is no equivalent word in Indonesian translation although the meaning can be delivered. Indonesian translation inside linguistic images has to be replaced into another word which is inappropriate to explain what pictorial means. To find an appropriate meaning in Indonesian translation, modulation of translation procedures is needed. The messages both in English and Indonesian translation are similar but the translation produced is far from source language, English translation (Newmark, 1988, p. 89). Indonesian translation inside linguistic images and pictorial means have to be considered using modulation to replace the word Salah satu obat terbaik yang belum ditemukan bagi rasa ingin tahu into Ini dapat menuntaskan rasa penasaranku. Ini, which means "this" in English, belongs to a boom held by a man in pictorial. In this case, Ini dapat menuntaskan rasa penasaranku is more appropriate to show that the man is going to use the boom to get rid his enemy of. Differences in expressive meaning come caused by the translator cannot translate the word as expressive as source language (SL) (Beker, 1992: 21-26). Each word has prepositional meaning both in source language (SL) and target language (TL), however not in expressive meaning. In this case, expressive meaning has to be translated using deeper understanding about what is meant by each character especially in comic. Direct-speech in comic has to be translated with showing expressive meaning to show each character's emotion mentioned in Indonesian translated as natural as English translated although they are not identity in detail (Nida 2004: 153-167). This type of the untranslatability can be seen in translation (06) in the word "great snakes". It is replaced into wah which cannot show expressive meaning to swear a character that does craftiness. In translating this type of the untranslatability, the translator uses literal and semantic method. Literal method means all words are diverted word by word then reconstructed into Indonesian structure (Nababan, 1999: 32-33). Then, semantic method is used more flexible and not depend on source language (SL) at all (see Machali, 2000: 52). However, both of them are still not appropriate used to translate. Indonesian translation produced still appears the untranslatability with context follows. The translator has to process Indonesian translation using componential analysis (Newmark, 1988b: 83). This process is done with making sense both in English and Indonesian then looking for a new word which can represent what is meant in Indonesian. Orientation of translation In translating, the translators can choose what method which is appropriate to the literary works depends on the orientation of translation, emphasizing in source language (SL) or target language (TL). The selected orientation depends on for whom translation is designed (Machali, 2000: 44). Method is a way that is used by the translator to translate. There are two groups of translation method which are categorized based on the orientation of translation, source language (SL) or target language (TL) (Newmark, 1998: 45). In this case, the translator uses literal and semantic method in translating direct-speech of Tintin in the Land of Soviets. Both of them are not appropriate used to produce a good translation because the orientation produced emphasize source language (SL). Translation should be designed for Indonesian however it still refers to English which stands as a source language (SL). The meaning of Indonesian translation cannot be out of English cultural context. That is way it is difficult to be understood by Indonesian. Only analyzing linguistic images Tintin in the Land of Soviets belongs to comic which is a volume of fiction organized into a book using picture, which is divided into two kinds: pictorial and linguistic image (Duncan, 2009: 4). Pictorial is a part by part of picture which consists of each character and place surrounding. Pictorial cannot stand itself. It has to be followed by linguistic image which shows character's utterance. However, the translator only analyzes linguistic images which contain direct-speech uttered by each character. Pictorial has to be considered to translate linguistic images. Not only linguistic images, but pictorial also becomes one of context follows in translating which has to be noted to build a storyline clearly. Indonesian translation produced has to show what pictorial means. In this case, most Indonesian translation produced is inappropriate to tell what pictorial means. QUOTATIONS AND REFERENCES The data which appears the untranslatability found is dialed with some related theories. Each related theory is used to compare the data found. Then, the bibliography dealing with each theory is included in the last part of this article to show that each theory stated is taken from reference not plagiarism. GREATFUL All praises belong to the almighty Allah SWT for His blessing, guidance, live and help, so that this article entitled "ANALYSIS OF THE UNTRANSLATIBILITY IN DIRECT – SPEECH TRANSLATION: TOWARDS TINTIN IN THE LAND OF SOVIETS" can be finished completely. The writer would like to express the deep appreciation, best regard and gratitude to the advisor Mrs. Dian Rivia Himmawati, S.S., M.Hum. for her advice, motivation and patience to guide me in finishing this article. I also would like to give regards and thanks for all people helped and supported in the process of finishing this article because without them this thesis would not be able to be accomplished. They would be: 1. Drs. Slamet Setiawan, M.A., Ph.D. as the head of English Department 2. All lecturers of English Department 3. All friends of English Literature 2010 CONCLUSION There are some direct-speeches which appear the untranslatability produced by an experience translator in translating Tintin in the Land of Soviets. The untranslatability is caused by the translator who only replaces English translation (SL) into Indonesian translation without paying attention in some factors which have to be followed to produce a good Indonesian translation (TL). Before English translation (SL) is translated, it has to be processed using process of translation: analysis, diversion and reconstruction. Analysis is done with paying attention in English translation (SL) meant. Then, the translator translates each direct – speech word by word. In reconstruction process of translation, word by word translation is reconstructed into Indonesian structure however Indonesian cultural context produced is not considered. From process of translation, there are three factors which affect the untranslatability in translating Tintin in the Land of Soviets: 1) Method of translation used which belong to literal and semantic method, 2) Orientation of translation which is influenced by method designed for English translation (SL), 3) Analyzing only in linguistic images without paying attention in pictorial as the factor has to be followed in comic. That is way Indonesian translation (TL) produced is inappropriate used in Indonesian cultural context because it only deal with a term of meaning not style follows. SUGGESTION Based on some factors affected the untranslatability of direct – speech translation in Tintin in the Land of Soviets, there are some suggestions which can be used by other translators who want to translate some literary works dealing with direct – speech translation in comic. The translators should use method of translation which orientation is emphasizing in target language (TL). Dealing with comic, pictorial is considered as the significant factor. Then to find an appropriate meaning of target language (TL) considers to cultural context follows, direct – speech of source language (SL), as the minimal unit of language, has to be processed using process of translation. For the next researchers who want to analyze the untranslatability in translating direct – speech, syntax can be included in analyzing process. Using syntax analysis, the next researchers can give more understanding about word formation which has to be considered by the translator to produce an appropriate target language (TL) dealing with meaning and style which belong to cultural context follows. REFERENCE . Kopek. (2013). Retrieved April, 5th, 2014, from http://en.wikipedia.org/wiki/Kopek (刘珏), J. L. (2013). A Prosperous Year of the Snake Retrieved April, 5th, 2014, from http://www.theworldofchinese.com/2013/02/a-prosperous-year-of-snake/ Alison Wray, K. T., Aileen Bloomer, Shirley Reay, Christ Butler. (1998). Project in Linguistics. China: Edward Arnold. Baker, M. (1992). In The Other Words. New York: Routledge. Belovski, R. Z. (2009). The Philosophy of the Snake Retrieved April 5th, 2014, from http://www.aish.com/tp/i/sms/62574167.html Catford, J. C. (1965). A Linguistic Theory of Translation. Oxford: Oxford University Press. Compass, D. (2008). Lenin's Beard, from http://dodgy-compass.deviantart.com/art/Lenin-s-Beard-80441452 Duncan, R. (2009). The Power of Comics: History, Form and Culture. United States of America: Library of Congress. Hatim, B. (2001). Teaching and Researching Translation. England: Pearson Education Limited. Hornby, A. S. (Ed.) (1948) Advanced Learner's Dictionary (7th ed.). Oxford: Oxford University Press. House, J. (2009). Translation. Oxford: Oxford University Press. Hurford, J. R. (1994). Grammar: A Student's Guide. Cambridge: Cambridge University Press. Jacobson, R. (1959). On Linguistic Aspect of Translation. Cambridge: Oxford University Press. Joshi, M. (2013). Direct and Indirect Speech. Bloomington: Booktango. Litosseliti, L. (2010). Research Method in Linguistic. London: Continuum. Machali, R. (2000). PedomanBagiPenerjemah. Jakarta: Grasindo. McMillan, J. H. (1992). Educational Research. New York: Harper Collins Publisher Inc. Miles, M. H. M. (1994). Qualitative Data Analysis. California: Sage Publication Inc. Nababan, R. (1999). Teori Menerjemah Bahasa Inggris. Yogyakarta: Pustaka Pelajar. Newmark, P. (1988b). Approaches to Translation. Hertfordshire: Prentice Hall. Newmark, P. (1998). A Textbook of Translation. London: Prentice-Hall. Nida, E. A. (1964). Towards a science of translation, with special reference to principles and procedures involved in Bible translating. Leiden: Brill. Nida, E. A. (2001). Contexts in Translating (Vol. 41). Amsterdam: John Benjamins Publishing Company. Nida, E. A. (2004). Principles of Correspondence. London: Routledge. Nugroho, A. S. (2012). Goceng, Goban, Gopek. ApaanTuh???? Retrieved April, 6th, 2014, from http://edukasi.kompasiana.com/2012/05/02/goceng-goban-gopek-apaan-tuh-454374.html Ordudari, M. (2007). Translation Procedures, Strategies and Methods Retrieved February 18th, 2014, from http://translationjournal.net/journal/41culture.htm Serafino, J. (2012). The 20 Best Politican Beards and Mustaches Retrieved April, 5th, 2014, from http://www.complex.com/pop-culture/2012/11/20-best-politician-beards-and-mustaches/vladimir-lenin Sugiyono. (2010). Metode Penelitian Kuantitatif R & D. Bandung: Alfabeta. Zakhir, M. (2003). Translation Procedures Retrieved February 25th, 2014, from http://www.translationdirectory.com/articles/article1704.php Zimboiant, M.-A. (2013). No Grammar Tears (Vol. 3). Ghana: Author House.
The purpose of the article is to reveal the peculiarities of the creativity of folk-instrumental ensembles in the second half of the XX — the beginning of the XXI centuries in the cultural locus of Kharkiv.
The relevance of the article is determined by the dissonance between the intensity of artistic practice, the variety of ways of testing innovations, the permanent reinvention of genre, style, timbre, expressive parameters of folk-instrumental ensembles in the cultural locus of Kharkiv, and the discreteness of researching their activities in the musicological discourse. Comparative methodology is based on the guidelines of system analysis, historical approach, musical interpretation method and generalization method.
The results. The article outlines the conceptual, genre and stylistic, repertoire guidelines of such poly-timbral and mono-timbral folk-instrumental ensembles of Kharkiv of the second half of the XX–XXI centuries, such as "Korobeinyky", "Rozmai", "Yarmarok", "Stozhary", "TsymBanDo", "3+2", "Hrotesk", "Grey Folk", "Vesela Banda", "Koloryt", duets of accordionists I. Lypnytskyi and L. Hura, O. Mishchenko and I. Sniedkov, female bandurist trio "Kupava" and "Zoredana", Kharkiv Guitar Quartet.
The scientific novelty of the article lies in identifying such specific features of the creative activity of folk-instrumental ensembles of Kharkiv, such as: variability of forms and compositions; virtuosity; the trend to expand timbral, sonorous, textural horizons, reinventing the technical and performing arsenal; testing of new improved modifications of traditional instruments and timbre-textural versions of classical world and national heritage; expansion of genre and stylistic horizons with original works of modern Ukrainian, in particular, Kharkiv artists; preservation of authentic music-making guidelines, establishment of the significance of the folklore and repertoire dominant idea; the significance of the academicization trend and the establishment of new sound images of folk instruments; timbral experi-mentalism, acting theatricalization of performance, tending to the aesthetic dimensions of World music and crossover, that are consonant with multiculturalism and ironic metamodernism; combination of perfor-mance, composition, research, pedagogical and methodical activities of its representatives.
Conclusions. The revealed peculiarities of the creative activity of folk-instrumental ensembles in the cultural space of Kharkiv testify to the establishment of the academic status of the national folk-instrumental ensemble art as a bearer of mentally marked traditional guidelines for instrumental music-making and a reflection of the multicultural essence of metamodernism, the sphere of transformation of aesthetic, genre and stylistic, timbre and technical and performative parameters of folk-instrumental ensemble art based on the diffusion of folklore, academic and variety music, a mediator between cultures in diachrony and synchrony, the bearer of the mission of raising folk-instrumental traditions and finding innovative ways of their embodiment.
The practical significance of the article is outlined by the heuristic application of its results in pedagogical-methodical, theoretical-practical and performance activities.
The article considers the system of v erbalization of the REFORM concept on the example of contemporary political discourse, which has recently attracted the attention of scientists in connection with the high level of informativity and manipulative behavior. It is proved that the concept is a multifunctional phenomenon in terms of the content of expression and form of presentation, which manifests the need to study its verbal representative nature. On the basis of the analyzed actual material, it is proved that the concept is a minimal package of information, the plan of expression of which is a two-way word mark with unlimited archiving of the contents, which determines a diverse system of ways of its verbalization. The classification approaches in the algorithmization of verbal constituents o f concepts that represent its linguistic and cultural nature are systematized. National specific features of objective and subjective representation of the concept REFORM are revealed, based on the interpretation of the corresponding language means that are verbalizing it, the main universal and cultural-specific ways of actualization of the REFORM concept that represent the peculiarities of Ukrainian linguistic culture are formulated. The mental image, content and functional structure of the conceptual sig n REFORM are presented, which is expressed verbally on different language levels and with the help of various language dominants. The role of lexical, syntactic and phraseological objectification is defined, that makes expressive the regularity of the implementation of the concept in the system of modern discourses. The metaphorical, synonymous and allusive forms of conceptual representation are described, which are related to the accentuation of its associative -figurative and connotative components. The prospect of researching the concept of REFORM in the aspect of the relevance of its use in the structure of modern political discourse is determined. ; У статті розглянуто систему засобів вербалізації концепту «реформа» на прикладі сучасного політичного дискурсу, що останнім часом дедалі частіше привертає увагу науковців у зв'язку з високим рівнем інформативності та маніпулятивності. Доведено, що концепт являє собою поліфункціональний феномен у плані змісту вираження та форми презентації, що увиразнює необхідність дослідження його вербальної репрезентативної природи. Виявлено національно-специфічні ознаки об'єктивної та суб'єктивної репрезентації концепту «реформа», на основі інтерпретації відповідних мовних засобів, що його вербалізують, сформульовано основні універсальні та культуроспецифічні шляхи актуалізації концепту «реформа», що репрезентують особливості української лінгвокультури. Представлено ментальний образ, зміст та функціональну структуру концептуального знака «реформа», що виражається вербально на різних мовних рівнях та за допомогою різних мовних домінант. Визначено роль лексичної, синтаксичної та фразеологічної об'єктивації, що увиразнює регулярність реалізації концепту в системі сучасних дискурсів. Схарактеризовано метафоричну, синонімічну та алюзивну форми репрезентації концепту, що пов'язані з акцентуацією його асоціативно-образної та конотативної складових. Визначено перспективність дослідження концепту «реформа» в аспекті актуальності його вживання в структурі сучасного політичного дискурсу.
This article examines instances of a U.S.–Mexican transnational youth honing his critical translingual literacy skills through his engagement with corridos, Mexican balladry in Spanish that often emphasizes injustice and border strife. The author relies on ethnographic classroom observations, the student's journals, and semistructured interviews to provide a glimpse into the complexities and sophistication of the bilingual youth's everyday language and literacy practices in an era of vehement anti-immigrant rhetoric. This inquiry asks, (a) What do literacy practices deeply rooted in corridos look like? (b) How does one youth read and engage with the Mexican musical genre of corridos to make sense of his social and political world? and (c) What are the environments and educational settings that supported this literacy development? Findings detail a transnational youth's corridista (balladeer) consciousness and its concomitant language and literacy practices that shape and are shaped by his participation in both his Tijuana communities of origin and his Los Angeles communities. Specifically, this study showcases a student's uses of literary devices, including allegory, to describe myriad forms of oppression and resistance found in corrido lyrics and throughout the lives of U.S.–Mexican transnational youths. Attention to literary genres that are often unsanctioned in traditional English-medium classrooms and recognizing the complex cognitive abilities of bilinguals can harvest critical insight about literacy education in and out of school. Implications from this study highlight meaningful learning contexts for transnational adolescents' literacies and how engagement of these literacies might be (re)conceptualized through an ethnic studies and Chicanx/Latinx Studies lens.
The article is focused on identifying local and speech strategies (tactics) that are subjected to the global strategy of demagoguery in American political discourse. The article concerns analysis of the definitions and synonyms of the term demagoguery. Such analysis confirmed the appropriateness of considering demagoguery as a specific strategy of political discourse. The results of the research ascertain that the term demagoguery is perceived differently in Ukrainian and English linguistic cultures. Ukrainians perceive demagoguery as a tool for deceiving and manipulation, while Englishmen think of it as of a method of leading a political game and broadening the voter base. The recipients of demagoguery in Ukrainian linguistic culture are uneducated groups of people, while in English linguistic culture the recipient is the people as a whole. Demagoguery as a specific strategy of political discourse is mainly used to influence the electorate through appealing to the feelings, instincts, and prejudices and through forming required political views and preferences. The analysis of the American sociologists' works enabled us to identify the main features of demagoguery. They are the following: the focus on broadening the audience, using propaganda for manipulating the masses and entertaining character. Analysis of empirical evidence, Donald Trump's thankful speech, which was given at the Republican national convention in 2016, allows us to single out local strategies of demagoguery. The local strategies of demagoguery, which are typical for American political discourse, are the following: populism, manipulation, subjectivation, fascination, and information simplification. Moreover, the article identifies and describes speech tactics that are typical for each local strategy. Among them, there are tactics of empty promises, lies, accusing, ridicule, using slogans, vulgarization, intimidation, and a tactic of finding a scapegoat. The research also concerns analysis of the linguistic means used for the realization of every local strategy and speech tactic. The most frequently used linguistic means are usage of expressive language with positive and negative meaning, repetition, anthroponomy, and subjectivation. ; В статье определены локальные и речевые стратегии (тактики), подчиненные глобальной стратегии демагогии в американском политическом дискурсе. Проанализировано дефиниции и синонимичный ряд понятия демагогия, что позволило подтвердить целесообразность рассмотрения демагогии как специфической стратегии политического дискурса. Было выяснено, что понятие демагогии по-разному воспринимается в украиноязычной и англоязычной лингвокультурах. Украинцы воспринимают демагогию как способ обмана и манипулирования, в то время как для англичан это всего лишь прием ведения политической игры и увеличения электората. Реципиентом демагогии в украинской лигнвокультуре являются необразованные версты населения, а в английской лингвокультуре – весь народ. Демагогия как специфическая стратегия политического дискурса направлена на целевое влияние на электорат с помощью апеллирования к чувствам, инстинктам и предубеждениям, а также – формирование необходимых политических взглядов и предпочтений. На основании проанализированных работ американских ученых-социологов было выделено основные признаки стратегии демагогии: нацеленность на расширение аудитории, использование пропаганды с целью манипулирования массами, развлекательный характер. Анализ эмпирического материала, а именно – благодарственной речи Дональда Трампа, произнесенной на Республиканской национальной конвенции в 2016 г., позволил выделить такие локальные стратегии демагогии, характерные для американского политического дискурса: популизм, манипуляция, субъективация, фасцинация и упрощение информации. Было освещено речевые тактики, характерные для каждой стратегии, среди которых тактики пустых обещаний, лжи, обвинения, насмешек, использования лозунгов, вульгаризации, запугивания и нахождения «козлов отпущения». Было проанализировано речевые средства, которые были использованы для реализации каждой выделенной локальной стратегии и речевой тактики демагогии. Наиболее употребляемыми среди них есть использование экспрессивной лексики с положительным и отрицательным значением, художественный повтор, антропонимы и субъективация. ; У статті встановлюються локальні та мовленнєві стратегії (тактики), які підпорядковані глобальній стратегії демагогії в американському політичному дискурсі. Проаналізовано дефініції та синонімічний ряд поняттядемагогія, що дозволило підтвердити доцільність розгляду демагогії як специфічної стратегії політичного дискурсу. Встановлено, що поняття демагогії по-різному сприймається в україномовній та англомовній лінгвокультурах. Українці сприймають демагогію як спосіб обману та маніпулювання, тоді як для англійців це лише прийом для ведення політичної гри та збільшення електорату. Реципієнтом демагогії в українській лінгвокультурі є неосвічені верстви населення, в англійській – увесь народ. Демагогія як специфічна стратегія політичного дискурсу спрямована на цільовий вплив на електорат за допомогою апелювання до почуттів, інстинктів та упереджень та формування необхідних політичних поглядів і вподобань. На основі проаналізованого доробку американських вчених-соціологів виділено основні ознаки стратегії демагогії: спрямованість на розширення аудиторії, застосування пропаганди з метою маніпулювання масами, розважальний характер. Аналіз емпіричного матеріалу, а саме – подячної промови Дональда Трампа, виголошеної на Республіканській національнійконвенціїу2016 р., дозволив виокремити такі локальні стратегії демагогії, характерні для американського політичного дискурсу: популізм, маніпуляція, суб'єктивація, фасцинація та спрощення інформації. Висвітлено мовленнєві тактики, характерні для кожної стратегії, серед яких тактики пустих обіцянок, брехні, звинувачення, насмішки, використання лозунгів, вульгаризації, залякування та знаходження «цапів-відбувайлів».Проаналізовано мовні засоби, що були використані для реалізації кожної виділеної локальної стратегії і мовленнєвої тактики демагогії. Найбільш уживаними серед них є використання експресивної лексики з позитивним та негативним забарвленням, художні повтори, антропоніми та суб'єктивація.
The myth of Ernest Hemingway – matured in the most enlightened and critical environments of Italian culture since the years of Fascism but fully asserting itself in the years immediately following the Second World War – appears, from the time of its first reception, as the actual synecdoche (as well as the most accomplished expression) of the myth of American Literature as characterized by a "miraculous expressive immediacy", by a "native sense of the earth and the real" (Pavese 1947); and together, by an irrepressible and even "cosmic" libertarian tension capable of converting itself into the ways of a "stylization"open and autonomous, as well as modeling. So much modeling, that there were those who polemically summarized (but with a certain precision) the literary style of the neorealist generation as directly derived from a Hemingway rib, in particular from A Farewell to Arms, as an "autobiographical and almost journalistic chronicle elevated to lyric level" (Moravia 1990). The essay follows in its various and often controversial critical-theoretical and political junctions, the unfolding of a choral as well as articulated intellectual history. The one for which (for the generation of writers formed in the early 40s, thanks certainly to the partisan struggle but even more perhaps to the opening horizons made possible by the publication of the anthology of rupture Americana) the civil commitment could primarily coincide with the definition of a new style, made of "images and words, shooting, attitude, style, disdain, challenge" (Calvino 1964): that the Italian writers developed, each according to their "individual inflections", taking up the American lesson of Ernest Hemingway. ; Il mito di Hemingway, maturato presso gli ambienti più illuminati e critici della cultura italiana fin dagli anni del Fascismo ma affermandosi appieno negli anni immediatamente successivi alla seconda guerra mondiale, appare, fin dal tempo della sua prima ricezione, come la effettiva sineddoche – oltre che l'espressione maggiormente compiuta – del mito d'una letteratura (quella americana) caratterizzata da una "miracolosa immediatezza espressiva", da un "nativo senso della terra e del reale" (Pavese, 1947), e da una insopprimibile e persino "cosmica" tensione libertaria in grado di tradursi nei modi di una "stilizzazione" aperta e autonoma e, non meno, modellizzante. Al punto che vi fu chi riassunse polemicamente (ma con una certa precisione) lo stile letterario della generazione neorealista come direttamente scaturito da una costola di Hemingway, in particolare da A Farewell to Arms, in quanto "cronaca autobiografica e quasi giornalistica elevata a livello lirico" (Moravia, 1991).Il saggio segue, nei suoi vari e a tratti controversi snodi critico-teorici non meno che politici, lo svolgersi di una storia per cui – per la generazione degli scrittori formatisi nei primi anni '40, grazie certo alla lotta partigiana ma ancor più forse all'apertura di orizzonti resa possibile dalla pubblicazione dell'antologia di rottura Americana, – l'impegno civile poté primariamente coincidere con la definizione di uno stile come "immagini e parola, scatto, piglio, stile, sprezzatura, sfida" (Calvino, 1964), che gli scrittori italiani svilupparono, ciascuno secondo le proprie "inflessioni individuali", facendo propria la lezione americana di Ernest Hemingway.
Nel rapporto tra due leader politici quali Donald Trump e Kim Jong-un le rispettive acconciature colpiscono per la loro originalità. In questo articolo ho cercato di eseguire un'analisi semiotica delle due pettinature, considerate dei testi costruiti e enunciati come elementi della presentazione di sé in pubblico. Ho evidenziato, nel caso del leader nordcoreano, il fatto che la lettura della sua immagine comporta problemi di trans-culturalità. L'acconciatura è un elemento del vestito, secondo la definizione di Barthes e della sociologia dell'abbigliamento. Nell'analisi ho adottato i concetti della semiotica interpretativa nei seguenti passi: livello espressivo; dimensione paradigmatica; livello dell'interpretante nelle tre fasi della teoria di Peirce. Ho adottato un approccio al vestito come discorso prevalentemente fatico secondo le posizioni di Malinowski/Jakobson/Goffman. Propongo una teoria degli inganni palesi per spiegare gli accordi di reciproco riconoscimento delle mascherature quali la tinta dei capelli e il make-up in generale. L'acconciatura di Trump si spiega come l'adozione di un idioletto di presentazione di sé, mentre quella di Kim costituisce un caso di linguaggio dinastico. La sua interpretazione risulta molto diversa in Corea del Nord e in Occidente. I capelli di Trump evidenziano una sorta di 'autismo nella presentazione di sé', mentre nel caso di Kim questa separazione è estesa alla sua cultura nel complesso. In conclusione, le conseguenze congiunte di queste caratteristiche dei due personaggi portano a ipotizzare che il dialogo che hanno intrapreso possa restare a livello di esibizione del contatto e non arrivare mai a un vero sostanziale confronto. ; In the relationship between two political leaders such as Donald Trump and Kim Jongun, both the hairstyles strike attention for their originality. In this article I have tried to perform a semiotic analysis of the two hairdos, considered as texts constructed and enunciated as elements of self-presentation in public. In the case of the North Korean leader, I highlighted the fact that the reading of his image entails problems of trans-culturality. The hairstyle is an element of the dress, according to the definition of Barthes and the sociology of clothing. In my analysis I adopted the concepts of interpretive semiotics in the following steps: expressive level; paradigmatic dimension; interpretant level in the three phases of Peirce's theory. I have adopted an approach to dress as a predominantly phatic discourse according to the positions of Malinowski/ Jakobson/Goffman. I propose the theory o f e xposed deception to explain the agreements of mutual recognition of masking such as hair dye and make-up in general. Trump's hairstyle is explained as the adoption of an idiolect of self-presentation, while Kim's is a case of dynastic language. He is interpreted in very different ways in North Korea and the West. Trump's hair suggests a kind of 'autism in self-presentation', while in Kim's case the separation extends to his culture as a whole. In conclusion, the combined consequences of these characteristics of the two personalities lead to the hypothesis that the dialogue they have undertaken may remain less a true substantial confrontation than a mere display of contact.
Durante principios de los 90's entramos en contacto con el arte del papel hecho a mano como una manera de experimentar nuevos soportes. Poco a poco al redirigir nuestra motivación hacia el papel de plantas, nos fuimos acercando cada vez más a la naturaleza. Esto significó el estudio y observación de sus ciclos de vida, clasificación y constitución; los recursos naturales también fueron jugando un rol importante en esto (el agua, el sol, el fuego, etc), pues cada vez nos fuimos adentrando en el mundo antiguo del papel donde se aprovechaban los ciclos y cualidades del entorno natural, así como también comprender el rol que cumplió el papel en las culturas principalmente de extremo Oriente y Japón en particular, que dan cuenta de un método de trabajo más meditativo y conectado profundamente con la naturaleza. Todo esto fue transformando la percepción en nuestro quehacer artístico, trasladando el proceso creativo desde antes de plasmar alguna imagen sobre algún soporte, considerando el trabajo de transformación de la materia, como los primeros pasos hacia la conformación de la obra, que en conjunto con el desarrollo o más bien despojo de todo elemento innecesario de la imagen, van dando vida a un lenguaje expresivo que está profundamente ligado a un modo de vivir el arte y en el arte. Un camino o dō (dao o Tao), que derivando del concepto del camino del arte del Budismo Zen, Geidō, lo hermanamos con la palabra referida al papel, Kami, para denominar nuestro camino de investigación, enseñanza y creación a través del papel como Kami-dō.Kami-dō, experiences around research, learning and practice in the art, trough papermaking.During the early 90's we came into contact with the art of handmade paper as a way to experiment a new media. Gradually by redirecting our motivation towards papermaking from plants, we went closer and closer to nature. This meant the study and observation of their life cycles, classification and constitution; natural resources were also playing an important role in this (water, sun, fire, etc.), as we went deeper into the ancient world of papermaking where cycles and qualities of the natural environment were used, as well as understand its role fulfilled in cultures mainly from Far East and Japan in particular, to realize a method of work more meditative and deeply connected with nature. All this was transforming the perception in our artistic work, transferring the creative process before capturing an image on a support, considering the work of transformation of matter, as the first steps towards the creation of the work, which together with the development or rather eliminating unnecessary element of the image, are giving life to an expressive language that is deeply tied to a way of living art and in the art. A way or dō (dao or Tao), which derive from the concept of the way of Art from Zen Buddhism, Geidō; we twin with the word referred to the paper, Kami, to describe our way of research, teaching and creation through the art of papermaking, as Kami-dō,
Татья посвящена выявлению лингвистической содержательности источников, сообщающих о поездке томского казака Ивана Петлина в Китай в 1618 г. : двух росписей, расспросных речей, сказки служилых людей. В ней отмечена жанрово-содержательная специфика документов, указаны их источниковедческие возможности в освещении некоторых вопросов истории русского языка. Ходом анализа доказывается, что изучение лексической презентации инокультурного мира, особенностей номинативного и грамматического варьирования языка конца старорусского периода наиболее перспективные направления исследований на материале этих документальных источников. ; The end of the 16th 17th centuries is a period of active commercial and diplomatic contact development of Russia with Asian countries including China. In 1618 a small cossack detachment headed by Ivan Petlin was sent there from Tomsk. His trip account was the first reliable document about the Russians' visit to China, it enriched the world science with geographical and ethnographic data about that country. Already in the 17th c. it was translated into some European languages and included into G. Milton's "The Treatise about Moscowia". In 1969 the full set of documents concerning that mission was published in the collection Russian-Chinese Relations for the first time. Three versions of the report and "skazka" ("tale") of civil people contain the main information about the trip. It is a narration about the detachment's way from Tomsk to Great China (Beijing), a description of the Russian mission stay in the capital. The businesslike laconism of the document is combined with the lively natural speech of a Siberian cossack in the text, which makes it an informative source for different aspects of linguistic investigations. One of the most perspective subjects with this material is the perception of a foreign culture by a Russian. These texts have both detailed descriptions of foreign things, direct indications about the impossibility to name them in Russian ("I don't know their names"), expression of the general emotional impression ("astonishing wonder", "it is frightening"). A widespread way of nomination is comparison ("like we have", "in the Russian way"), sometimes there is a translation ("it is 'ruble' in Russian and 'liang' in Chinese"). The report vocabulary is interesting, it adds a number of lexical units to The Russian Dictionary of ll-17th cc., for example, idolopoklonstvo ('idolatry'), irdeni (a precious stone) etc., elaborates on the meaning and time of existing of some words. Military, administrative, nature, everyday words are represented most completely. The variants of the report texts allow to study the synonymy of the expressive methods of the 17th c. Russian: chudo divo ('miracle wonder'), tsar' khan ('czar khan'), mnogo net chisla (a lot endless), etc. Our manuscripts demonstrate the variation of the language of the time in the declinations of nouns and pronouns, the interaction of the types of singular noun declinations and the unification of declinations in the plural. The transitional condition of the Russian syntax system is illustrated by compound sentences in which condition and consecutive relations are expressed by the combination of coordinative conjunctions with the subordinative ones: a. ino, i. ino, da. ino.
