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Schwartz, Michael. „Catcher in the Rye: J. D. Salinger Dead at Age 91“. Journal of American College Health 59, Nr. 1 (27.07.2010): 1. http://dx.doi.org/10.1080/07448481.2010.483720.
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Abdulbaqi, Inst Mohammed Sabbar. „On Transitory Stage: Vacillation in J. D. Salinger's Catcher in the Rye“. South Asian Research Journal of Arts, Language and Literature 4, Nr. 4 (04.09.2022): 117–23. http://dx.doi.org/10.36346/sarjall.2022.v04i04.001.
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This study is a critique of a transitional state of mind and a comment on a juncture of indecision in J. D. Salinger's The Catcher in the Rye (1951). It is about a teenage boy who got expelled from his school and avoided going to his home for a few days. Lonely, on the cusp of adulthood, Holden Caulfield reclusively vacillates between what he was and what he is going to be. Since its publication till present, J. D. Salinger's Catcher is perceived as one of the perceptible novels to protrude from post-World War II. It revolves around the mettle of a troubled boy, called Holden Caulfield, towards a revelation. Tracking Holden's biography allows Salinger to wander into the minds of his peer adolescents and create a microcosm for them. The analysis will, therefore, be designated as a coming of age novel and as a trauma of World War II. The paper aims at examining the psychological structure of adolescence and what lies beyond and of the trauma of war and what did leave behind. The notions of Holden's angst and alienation justify the concept of vacillation and deepen the psychological and mental disorder of his oscillatory time and age. In short, this article aims to give a comprehensive account of the ambience of adolescents and how certain psychological and social conditions are crystalized behind their vacillation.
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Tamás, Péter. „“Phony” and “Poshlost” : The Ordinary as Moral Concept in Vladimir Nabokov’s Lolita and J. D. Salinger’s The Catcher in the Rye“. Freeside Europe Online Academic Journal, Nr. 12 (2021): 1–18. http://dx.doi.org/10.51313/freeside-2021-8.
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According to philosopher Stanley Cavell, “what philosophy is dissatisfied with is inherently the everyday” (1988: 171). The everyday is also an ambiguous but central concept in Nabokov’s and Salinger’s most famous novels. Their narrators mock and criticize the vulgarity of whatever they associate with everyday life – clichés, stock ideas, routines. This seemingly harmless mindset has serious ethical consequences: Holden and Humbert start associating the concept of the everyday with moral depravity. They become blind to the redeemable qualities of the ordinary, which leads them to consider the Other merely as a product of clichés. Both Nabokov and Salinger imply that one cannot acknowledge the alterity of the Other without making peace with ordinariness of everyday life. However, there is an important difference between the two novels: while Salinger sets out to depict how the everyday can be reclaimed and the Other acknowledged, Lolita employs a narrator who never manages to re-evaluate his approach to the ordinary.
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Pires de Magalhães, Flávia Denise. „The catcher in the rye: um histórico editorial das primeiras publicações do livro de J. D. Salinger nos Estados Unidos (1951-1963) e de sua edição no Brasil (1965 e 2019)“. Em Tese 26, Nr. 1 (19.11.2020): 299. http://dx.doi.org/10.17851/1982-0739.26.1.299-315.
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Este ensaio busca traçar a história editorial brasileira de The catcher in the rye, romance de J. D. Salinger. Partimos da publicação original nos Estados Unidos (editora Little, Brown and Company, em 1951), mapeando edições dos primeiros doze anos do livro no país, até a versão da editora Bantam (1963). Em sequência, traçamos a história editorial do livro no Brasil, que têm edições feitas pela Editôra do Autor (a partir de 1965) e pela editora Todavia (2019). É feita uma análise da influência do autor nos processos editoriais do livro à luz de D. F. McKenzie. Por fim, é feita uma análise comparativa da primeira edição brasileira e da edição da Todavia.
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Semenenko, Aleksei. „Smuggling the other“. Contexts of Russian Literary Translation 11, Nr. 1 (31.03.2016): 64–80. http://dx.doi.org/10.1075/tis.11.1.04sem.
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The first Russian translation of J. D. Salinger’s novel The Catcher in the Rye (1951) was produced in 1960 by Rita Rait-Kovaleva, a renowned translator of contemporary Western literature (English, French, German) in the Soviet Union. This essay examines Rait’s translation of The Catcher in the Rye in the context of the problem of censorship and translation, focusing on several instances of Rait’s translation of profanities and sex-related passages of The Catcher in the Rye. It demonstrates how the creative strategies of the translator not only helped her overcome censorship barriers but also transformed a foreign text into a new cultural model.
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Hermes, Ernani Silverio. „Living in a phony world: character figuration in J. D. Salinger's The catcher in the rye“. Babel: Revista Eletrônica de Línguas e Literaturas Estrangeiras 11 (21.12.2021): e12519. http://dx.doi.org/10.69969/revistababel.v11i.12519.
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The Catcher in the Rye, a 1951 novel by J. D. Salinger, highlights the construction of the character as the leading role of the narrative. The fictional character has provoked closer looks on the part of the Literary Studies, mainly on Narrative Studies field, which analyses the fictional figure considering its ideological, social, and identity aspects. Therefore, in this article, I aim to discuss character figuration in the cited novel, focusing on the main character, Holden Caulfield, through the lens of his figuration dynamics. For the analysis, I consider the themes through which the constitutive material of the fictional figure is constituted, namely: his relation to time, childhood, innocence, and sexuality. The theoretical framework is shaped through authors such as Ian Watt, Mikhail Bakhtin, Michel Zéraffa, E. M. Forster, Carlos Reis, and Maria da Glória Bordini.
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Mgallad, Ali Hamada. „Satirizing Some Or All? A Comparative Study In J. D. Salinger's The Catcher in the Rye And Kingsley Amis's Lucky Jim“. Journal of Tikrit University for Humanities 25, Nr. 10 (20.10.2018): 1–12. http://dx.doi.org/10.25130/jtuh.25.10.2018.24.
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This paper deals with satire in two novels: The Catcher in the Rye and Lucky Jim by J. D. Salinger and Kingsley Amis, respectively. It aims at considering the elements encompassed in the process of satirizing in both works and each writer's manipulation of them, taking into consideration the differences.Making use of characterization, style, humor, irony, ridicule and even fallacy as tools of satire, both writers intended to criticize, occasionally, all society under the title of social satire, and in other occasions, some certain aspects of society or certain establishments and enterprises. Through a synchronic perspective, the research is to underline, analyze and assess the use of satire in both works and how far each writer has come to his aims by means of it.The conclusion at the end of the paper sums up each writer’s use of satire. The results of the comparisons, analysis and assessment of the two novels show that the writers varied in their use of satire. J. D. Salinger tends to satirize all around him. As for Kingsley Amis, he satirizes the academics who betray and the milieu and motivations leading to make them as such.
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Ganieva, R. R. „Syntactic Relations Reflected by Word Order in "The Catcher in the Rye" by J. D. Salinger and "Fates and Furies" by L. Groff“. Bulletin of Kemerovo State University 21, Nr. 4 (31.12.2019): 1078–85. http://dx.doi.org/10.21603/2078-8975-2019-21-4-1078-1085.
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The research features syntactic structure in the twentieth century "The Catcher in the Rye" by J. D. Salinger and the twenty first century "Fates and Furies" by L. Groff. The research objective was to study the nature of syntactic relations expressed by word order in speech of narrators and characters. The paper outlines the rules of word order in the English sentence and reviews related studies in the field of syntax. The author analyzed the syntactic structure of sentences in the speech of narrators and characters in the two novels. The analysis was based on the descriptive method and techniques of observation, interpretation, comparison, and generalization. There were numerous examples of omission of auxiliary verbs in interrogative sentences in characters' speech, as well as interrogative sentences with affirmative structure. In "The Catcher in the Rye", affirmative sentences obecame interrogative with the help of interjections eh and ah. Both novels contained sentences where adverbial modifiers, objects, or attributes preceded the main parts – in the narrators' speech. A lot of one-member and contextually incomplete sentences were used to describe events and personages in both novels. In "The Catcher in the Rye", the narrator's speech revealed few cases of violations of word order rules, mostly in sentences with direct word order. The characters' speech appeared to contain much more cases of word order violations, since the novel features colloquial speech of twentieth century American teenagers. The speech of adult personages was characterized by correct word order. In "Fates and Furies", the narrator's speech demonstrated a significant number of elliptical sentences where auxiliary verb to be was omitted in simple verbal predicate with the verb in Present Continuous, as well as in compound nominal predicate and in passive voice. A comparative study of syntactic structure contributed to a deeper understanding of the nature of syntactic relations reflected by word order in the English sentence, grammatical structure of the English language, and popular types of sentences. In addition, the study showed the way native speakers express their ideas and thoughts by linguistic means and violate linguistic norms. The results can be used in various grammar courses and compiling textbooks.
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Lipustina, Ol’ga Mikhailovna, Tat’yana Ivanovna Shchelok und Natal’ya Grigor’evna Vinogradova. „EMOTIVE VOCABULARY IN J. D. SALINGER’S NOVEL “THE CATCHER IN THE RYE”“. Philological Sciences. Issues of Theory and Practice, Nr. 4 (April 2019): 55–59. http://dx.doi.org/10.30853/filnauki.2019.4.11.
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Andújar Moreno, Gemma. „La traducción al castellano y al catalán de algunos adjetivos sentimentales en The Catcher in the Rye. Una aproximación a las divergencias de punto de vista e intensidad semántica“. TRANS. Revista de Traductología, Nr. 13 (04.10.2017): 163. http://dx.doi.org/10.24310/trans.2009.v0i13.3164.
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Los mecanismos lingüísticos que expresan sentimientos y emociones poseen unos contornos semánticos difusos que, aunque puedan englobarse en unas categorías semánticas universales, no siempre tienen correspondencia exacta en otras lenguas. En este trabajo proponemos el análisis contrastivo de dos categorías de adjetivos ingleses (los calificativos happy y sad; y los intensificadores goddam y damn) en un corpus de textos literarios formado por la novela The Catcher in the Rye (1958), de J. D. Salinger, dos versiones de la traducción al castellano (1978 y 2006) y dos traducciones al catalán (1965 y 1996). El estudio tiene por objetivo describir las técnicas de traducción que se plasman en las traducciones para evaluar si se han producido divergencias en términos de punto de vista e intensidad semántica. Finalmente, se extraen las posibles consecuencias que dichas divergencias podrían implicar para los lectores de las traducciones.
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Brandt, Stefan L. „“One of Those Guys in the Movies”: Juvenile Rebellion and Carnal Subjectivity in J. D. Salinger’s The Catcher in the Rye“. Polish Journal for American Studies, Nr. 10 (2016) (29.08.2023): 49–64. http://dx.doi.org/10.7311/pjas.10/2016.04.
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J. D. Salinger’s classical initiation novel The Catcher in the Rye starts out with a scene of blatant rejection of traditional Hollywood movies. “If there’s one thing I hate,” the first-person narrator Holden Caulfield tells us in the book’s opening passage, “it’s the movies.” Despite – or maybe because of – this harsh initial claim, the novel continues to nourish the impression that the narrative voice is, in fact, enthralled by the world of cinema. In my essay, I will argue that the love-hate-relationship between the protagonist and the cinema is vital to an understanding of the literary aesthetics of The Catcher in the Rye. Furthermore, I want to show to what extent the paradoxical notion of resistance to / love of movie images is connected to the concept of juvenile rebellion cultivated throughout the novel. Interestingly enough, Catcher not only mimics its protagonist’s tentative acceptance of a “movie-made” environment. It also, quite literally, absorbs and reconstructs the aesthetic patterns attributed to cinema via its vivid re-enactment of the character’s personality. Cinematic texts, film scholar Vivian Sobchack holds, are capable of producing sensations in the audience that go far beyond the level of visualization. In The Catcher in the Rye, I argue, a “cinematic” process of involvement of the recipient is set in motion. The act of reading here becomes an act of passionate interaction with the novel which unleashes not only the figurative potential of the text but also the creative abilities of our own imagination. While perusing the novel, we are led to believe that we are actually there when Holden undertakes his odyssey through the city. By deploying sophisticated strategies of spontaneous activation and visceral involvement – techniques also used in film to achieve an effect of reality – the novel thus literally operates as a film.
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Bratož, Silva. „A Stylistic Analysis of Four Translations of J. D. Salinger's The Catcher in the Rye“. ELOPE: English Language Overseas Perspectives and Enquiries 1, Nr. 1-2 (31.12.2004): 95–104. http://dx.doi.org/10.4312/elope.1.1-2.95-104.
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The paper looks at stylistic differences between four translations of J. D. Salinger’s Catcher in the Rye – two Slovene translations, a Serbo-Croatian, and an Italian translation. Firstly, stylistic components relevant to the novel in question are identified. In this respect, the translation of teenage speech and idiom appears to be not only the most conspicuous stylistic feature of the original but also the hardest to translate. Secondly, the ways in which the different translations have rendered certain formal and lexical features of style are compared by determining and describing their function. A large number of examples have been submitted to critical scrutiny, of which only a few representative ones are listed and explained in the paper. Finally, this paper points to some particular difficulties of the four translators in their attempts to reproduce the stylistic components of the original.
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Baer, Leonard D., und Wilbert M. Gesler. „Reconsidering the concept of therapeutic landscapes in J D Salinger's The Catcher in the Rye“. Area 36, Nr. 4 (Dezember 2004): 404–13. http://dx.doi.org/10.1111/j.0004-0894.2004.00240.x.
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Cardoso, Tiago. „Harvesting new realities in Portugal: literary retranslation and J. D. Salinger’s The Catcher in the Rye“. Translation Matters 3, Nr. 1 (2021): 76–92. http://dx.doi.org/10.21747/21844585/tm3_1a5.
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Retranslation –in this case literary –is a practice that, despite existing for centuries, only started to be discussed in Translation Studies in the 1990s. Indeed, its very definition has proved problematic. With the purpose of contributing to the debate on this subject, this article aims to explore the reasons behind the retranslation of literaryworks, showing at the same time how it can be observed in practice. To achieve this, a comparison will be made of two Portuguese translations of J. D. Salinger’s novel TheCatcher in the Rye(1951a): one of them by João Palma Ferreira (1962), written during the Estado Novo regime, and the other by José Lima (2005), produced in more recent democratic Portugal. The differences found illustrate the idea that when a country goes through several transformations at the sociopolitical and cultural level, translations are susceptible to change too.
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Izvolenskaya, Anna S. „On the Harmony Between the Cognitive Linguistic and Lexical-Stylistic Components in Literary Translation (a Case Study of J. D. Salinger’s “The Catcher in the Rye”)“. NSU Vestnik. Series: Linguistics and Intercultural Communication 18, Nr. 1 (2020): 132–43. http://dx.doi.org/10.25205/1818-7935-2020-18-1-132-143.
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In this paper we shall focus on the two most well-known Russian versions of J. D. Salinger’s 1951 “The Catcher in the Rye”, produced by Rita Rait-Kovaleva and Maxim Nemtsov. Although Salinger’s magnum opus was rendered into Russian four times within only 12 years (1998–2010), it is in its old, yet still relevant Rait-Kovaleva’s version that Holden Caulfield’s voice resonates with the Russian reader. Moreover, none of the new translations has received enthusiastic reviews from interpreters or critics thus far. Nor has any of those updated and upgraded renditions won recognition of philologists. While Rait-Kovaleva’s “Over the Abyss in Rye” (back-translated) is by default considered more adequate, the comparative linguistic analysis tends to revolve around the single issue of the novel’s stylistically marked language. New versions often draw criticism due to the crude manner in which the outdated teenage slang is conveyed in them. That is especially true for Nemtsov’s version, which provoked furious public response when it came out, which is why we have opted for it to be compared against Rait-Kovaleva’s. No less significant, but more neglected is the question of the novel’s moral and philosophical value and the role it should be assigned in translation. The cognitive analysis of both texts, conducted with due regard to the original’s “stratum of schematized aspects” (R. Ingarden), has revealed conformity of Rait-Kovaleva’s text to the essential messages in Salinger’s novel. This proves she had succeeded in capturing the novel’s unfading merit. This assertion is substantiated by the comparative study of the two renditions, Rait-Kovaleva’s and Nemtsov’s. More importantly, the research has demonstrated the rightful priority the text’s moral and philosophical value should be assigned in translating a classic, which Salinger’s novel definitely is.
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Kim, Do-Kyung. „Lacanian Reading of J. D. Salinger’s The Catcher in the Rye -Focusing on the symptoms of obsessive-compulsive disorder“. STUDIES IN HUMANITIES 72 (31.03.2022): 31–52. http://dx.doi.org/10.33252/sih.2022.3.72.31.
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Szymkowska-Bartyzel, Jolanta. „The catcher in an imaginary America: The perverse domestication of American reality in Krzysztof Zanussi’s Holden (1961)“. Journal of Adaptation in Film & Performance 15, Nr. 3 (01.12.2022): 227–47. http://dx.doi.org/10.1386/jafp_00080_1.
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The year 2021 marked the seventieth anniversary of the publication of J. D. Salinger’s The Catcher in the Rye, and the sixtieth of what is to date the only film adaptation of the novel. In 1961 the 22-year-old Krzysztof Zanussi made from behind the Iron Curtain, a short film entitled Holden, which referred directly to the novel’s characters and events. He did this despite Salinger’s ban on any form of adaptation of his work. The film, although faithful to the source novel, had a perversely Polish flavour. This article takes a translation studies approach to the discussion of how the specific sociopolitical circumstances in which the adaptation was made resonate in Zanussi’s picture. The focus is on the ways in which the concept of an imaginary America, so vivid and emotionally powerful among the Polish youth of the 1960s, determined the film’s narrative and domesticated the source text.
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Taylor, Bryce A. „Holden Caulfield: Sort of a Christian“. Religion and the Arts 18, Nr. 5 (2014): 653–71. http://dx.doi.org/10.1163/15685292-01805003.
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Many critics have remarked on the deeply religious character of J. D. Salinger’s The Catcher in the Rye; the novel has been discussed, for example, in terms of Zen Buddhism and Gnosticism. Catcher’s treatment of Christianity, however, has received little attention. This omission is regrettable given the characteristic acuity with which its narrator, Holden Caulfield, addresses Christian sources and themes. The aim of this article, therefore, is to consider in detail Holden’s conflicted attitude toward Christianity. It contends that despite Holden’s biting complaints against Christians (e.g., that many are hypocritical, cliquish, or ostentatious), he manifests an affinity for Christ and an attraction to Christian forms of religious life. This approach to the novel makes much of Holden’s allusion to the story, found in the Synoptic Gospels, of Legion, the Gerasene demoniac. Holden, like Legion, seems ostracized, masochistic, and obsessed by death, but in the novel’s climactic scene at the carousel, he finds healing. Furthermore, in the carousel scene especially, one can detect parallels between Catcher and the Divine Comedy. Just as Dante is guided from hell, through purgatory, to the beatific vision, so Holden is led (principally by his deceased brother Allie and his sister Phoebe) from misery, through purgation, to a moment of ineffable joy. The novel therefore may be read, this article contends, as a religious quest in which Holden comes to perceive the fundamental goodness of the world and its Creator.
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Makowska, Kaja. „Young adult literature in translation: The state of research“. Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, Nr. 16/4 (11.12.2019): 179–94. http://dx.doi.org/10.26881/bp.2019.4.07.
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The aim of the article is to examine the concept of young adult literature, provide its historical timeframe, identify its key components, and, finally, discuss young adult literature in translation by presenting the state of research on the topic. After analysing the concept of a young adult, the article moves on to provide a brief summary of adolescent fiction’s history, concluding that J. D. Salinger’s The Catcher in the Rye and S. E. Hinton’s The Outsiders largely contributed to the recognition of the genre. The paper mentions characteristic style choices employed by the authors of young adult fiction, the most prominent being the blend of registers or ‘code-switching’ between teen and adult speech, as acknowledged by Penelope Eckert and Chuck Wendig. Code-switching constitutes one of the main translation problems and is discussed at large in two compelling papers on the topic of young adult literature translation, namely Translating Young Adult Literature. The High Circulation Rate of Youth Language and Other Related Translation Problems in “The Catcher in the Rye” and “The Outsiders” by Saskia Tempert and Translating Young Adult Literature: Problems and Strategies. John Green`s “An Abundance of Katherines” by Loana Griguta. Both dissertations analyse the language of adolescent novels (in the twentieth and the twenty first century) and devise a list of strategies dedicated to adequately rendering English source versions into Dutch and Romanian, respectively. These writings indicate a growing interest in the field of young adult literature translation. The article expresses the hope that more scholars will elaborate on the topic.
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Edelsburg, Chen. „The Catcher in the Killing Field: The Birth of Spoken Hebrew and Its Appropriation in the Literature of the Anti-Psychiatry Movement“. Iyunim Multidisciplinary Studies in Israeli and Modern Jewish Society 12 (10.09.2023): 209–33. http://dx.doi.org/10.51854/bguys-12a110.
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J. D. Salinger's novel The Catcher in the Rye (1951) was twice published in Hebrew translation: first in the limited edition of 1954, and second in 1975, when it became a best-seller that ran to seventeen editions. This article considers the acceptance of Salinger's novel in Israel and argues that the second publication coincided with an ideological change that not only paved the way for the acceptance of the language and content of the American text but immediately thereafter, appropriated both the syntax and rhetoric of the early translation in the literature of the anti-psychiatry movement. This circular acceptance was expedited by the publication in 1973 of I Don’t Give a Damn by Dan Ben Amotz, a novel that marks a turning point in the literary use of spoken Hebrew. Through Salinger's mediation, Ben Amotz was able to shake off the ornate Hebrew style typical of the 1970s, and create a new literary language, which became more prevalent in the 1990s. Ben Amotz who had been exposed to the anti-psychiatry movement during his stay in the United States, and even participated in a film on the subject, was drawn to Salinger's book and ended up writing a local version that launched the Israeli genre of anti-psychiatry literature.
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Brovina, Anna V., und Elizaveta Iu Malenko. „The Catcher in the Rye by J. Salinger“. SibScript 26, Nr. 1 (22.02.2024): 117–29. http://dx.doi.org/10.21603/sibscript-2024-26-1-117-129.
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Gender aspects have been attracting linguistic attention for quite a while now, raising discussions about the so-called male and female languages. However, the effect of gender on translation remains understudied. This research featured expressive vocabulary in Jerome Salinger’s The Catcher in the Rye and its Russian translations performed by Rita Rait-Kovaleva (1960) and Maxim Nemtsov (2008). The objective was to determine the effect of gender on translation. The authors believe that the translator’s gender may affect literary images and modify the author’s message. They conducted a comparative analysis of the way translators of different genders transferred stylistically-marked and emotional vocabulary, colloquialisms, slang, and jargon into Russian. The standard methods of analysis, synthesis, comparison, generalization, systematization, and description revealed some differences in the translation styles, the image of the main character, translation pragmatics, and Salinger’s rather remarkable style. Rita Rait-Kovaleva seemed to soften some harsh statements, neutralize emotional aspects, and avoid colloquial vocabulary by using equivalents, which did not quite fall into the stylistic framework. Her Holden Caulfield turned out to more educated, intelligent, confident, emotional, and gentle. Maxim Nemtsov adhered to a single strategy: he did his best not to deviate from the original. In his attempt to preserve colloquialisms and substandard vocabulary, he often gave neutral words stylistic markers, emotional coloring, or a negative connotation. However, he managed to maintain the original syntax.
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Lemes, Karen. „Translating poetry, or the poetry of translating“. Manuscrítica: Revista de Crítica Genética, Nr. 51 (31.12.2023): 40–51. http://dx.doi.org/10.11606/issn.2596-2477.i51p40-51.
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This research aims to study rhythm as an element – considered essential and indispensable to analyse when examining the poetic verse – which also arises as a concrete concern to those who write and translate prose. More than intuitively approaching the material or worrying about stablishing or reproducing the tones and sounds in a work of art, dealing with rhythm can be a systematic part of the making, another literary element to compose and constitute the textual materiality. Thus, throughout our route, we are reflecting on the matter of rhythm in prose while analysing “carta do tradutor” – or “a translator’s letter” –, an open letter written by Brazilian translator Caetano Waldrigues Galindo to Marcia Copola, who would later proofread his translation of J. D. Salinger’s The Catcher in the Rye. Our observations are made according to the critical lens of the creative process, a line of reasoning which allows us to see literary translation as a creative and, therefore, continuous act. Furthermore, this study believes that even though it has its materiality, the text is a malleable organism which depends on its readings to stay fixed – or even to keep its moving nature. Therefore, while applying such theoretical principles to our object of study analysis, we reason regarding the translation practice and the possibility of it being traversed by the matter of rhythm and rhythmic patterns.
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Полубиченко, Л. В. „Linguotoxicology through the prism of artistic translation“. Cherepovets State University Bulletin, Nr. 1(118) (17.02.2024): 123–42. http://dx.doi.org/10.23859/1994-0637-2024-1-118-9.
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Лингвотоксикология как часть эколингвистики занимается выявлением и описанием разнообразных элементов, загрязняющих литературный язык. В художественной литературе, однако, элементы такого рода выполняют ряд важных художественных функций, в связи с чем целью проведенного исследования было определить, применимо ли понятие лингвотоксичности к художественному дискурсу. Слова, которые принято считать токсичными (коллоквиализмы, сленгизмы, вульгаризмы, жаргонизмы, обсценизмы и иная субстандартная лексика), рассматриваются в статье как социокультурные знаки и средство создания ярких художественных образов в ряде классических англоязычных произведений, прошедших через стадию цензурных запретов из-за своей токсичности – в романе Д. Г. Лоуренса “Lady Chatterley’s Lover”, повести Дж. Д. Сэлинджера “The Catcher in the Rye”, а также в рассказах представителей контркультурной литературы. Методами функционально ориентированной сопоставительной стилистики английские субстандартные лексемы сопоставляются с их эквивалентами в разных переводах рассматриваемых литературных произведений на русский язык, а также со словарными определениями и содержащимися в них стилистическими пометами. Новизну составляют сделанные выводы: 1) о неприменимости понятия лингвотоксичности к языку литературных произведений, где токсичность табуированной лексики нейтрализуется ее использованием в художественных целях; 2) о применимости понятия лингвотоксичности к языку переводов, не учитывающих культурных различий в отношении к субстандартной лексике в исходном и переводящем языках либо не различающих социолекты и стоящие за ними маргинальные субкультуры и тем самым грубо искажающих созданную писателем художественную картину мира. Linguotoxicology as a part of ecolinguistics deals with identification and description of various elements that pollute literary language. In fiction, however, elements of this kind fulfil a number of important artistic functions. Therefore, the aim of this study was to determine whether the concept of linguotoxicity is applicable to artistic discourse. The words that are usually considered toxic (colloquialisms, slang, vulgarisms, jargon, obscenities and other substandard vocabulary) are viewed in the article as socio-cultural markers and a means of creating vivid artistic images in a number of classical works of British and American literature that have undergone a stage of banning due to their “toxicity” (e.g. D. H. Lawrence's “Lady Chatterley's Lover”, J. D. Salinger's “The Catcher in the Rye”, works of counterculture writers). Using the methods of functionally oriented comparative stylistics, English substandard lexemes have been compared with their equivalents from different Russian translations of these literary works, as well as with dictionary definitions and stylistic labels contained in them. The novelty of the study consists in the following conclusions: 1) the inapplicability of the concept of linguotoxicity to the language of literary works where the toxicity of taboo vocabulary is neutralised by its use for artistic purposes; 2) the applicability of the concept of linguotoxicity to the language of translations if they do not take into account cultural differences in the perception of substandard vocabulary in the source and target languages or do not distinguish between sociolects and the marginalised subcultures behind them, thus grossly distorting the original writer's artistic worldview.
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Ferguson, Michael. „The Catcher in the Ryeby J. D. Salinger“. Journal of Homosexuality 57, Nr. 6 (30.06.2010): 810–18. http://dx.doi.org/10.1080/00918369.2010.485887.
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Nazki, Dr Sameeul Haq. „Law and Literature: To Kill a Mockingbird as a Legal Thriller“. June-July 2024, Nr. 44 (27.06.2024): 1–11. http://dx.doi.org/10.55529/jls.44.1.11.
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This study carefully analyses J. D. Salinger’s 1951 novel The Catcher in the Rye to investigate the historical and close ties between law and literature. Law and literature both have an impact on societal norms, moral values, and notions of justice. Reading literature promotes critical thinking and empathy and challenges social norms. It serves as a mirror for examining legal ideas and moral quandaries. Literature may explore a wealth of topics related to the nature of laws and how they take preceding decisions into account. This link between law and literature is validated by Harper Lee’s To Kill a Mockingbird. Because of its legal aspects, it becomes an engaging addition to the legal thriller genre. The book is praised for its literary quality, but many find it fascinating as a legal thriller story as well. Due to its in-depth analysis of the legal system and its philosophical take on morality, bias, and justice, it has enthralled readers. Harper Lee’s masterwork goes beyond simple narrative to provide insightful analysis of the intricacies of the contemporary legal system. This research looks at how jurisdictive arrangements are rendered, examining the drama in the courtroom and the struggles of the actors against social injustices. It also demonstrates how the book enthralls readers as a gripping murder mystery in addition to being a literary masterpiece. Atticus’s defence of Tom presents a challenge to the careful scrutiny of the judicial proceedings surrounding Tom Robinson’s trial and the broader societal background of racial tensions in 1930s Alabama. In the book, Atticus stands in contrast to the darkness of prejudice and perverse social ideals as a moral beacon.
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MSHVIDOBADZE, Natia. „A Shift from Didactic Approach to Rebel Spirit in American Young Adult Literature“. Journal in Humanities 10, Nr. 2 (01.02.2022): 116–20. http://dx.doi.org/10.31578/hum.v10i2.459.
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The purpose of the article is to compare the protagonists of the three pieces of young adult literature ‘’Paul’s Case’’ by Willa Catherpublished in 1905, “The Catcher in the Rye’’ by Salinger D. published in 1951 and “Stargirl” by Jerry Spinelli first published in 2000. Theselection of the novels with 50 years interval in their publications has not been random. The article aims to emphasize that the topic ofadolescents’ struggle with identity and society is timeless and universal. The objectives of the article is to expose the dynamics of therebel protagonists and their impact on adolescent readers.Keywords: Young adult literature, psychological development, alienated protagonist, society
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Kuchukova, Zukhra A., Burkhan A. Berberov und Liana B. Berberova. „Jerome Salinger and Heinrich Böll: experience of transcultural creativity“. Philological Sciences. Scientific Essays of Higher Education 2, Nr. 6 (November 2020): 280–91. http://dx.doi.org/10.20339/phs.6-20.280.
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The article examines one of the notable in the history of world literature experiences of transcultural creativity on the material of the novels by the American J. Salinger “The Catcher in the Rye” and the German G. Böll “Through the Eyes of the Clown”, linked not only by intertextual calls, but also by the name of R. Wright-Kovaleva, who translated both novels into Russian. Within the framework of such three-dimensional intercultural communication, a wide range of issues related to the phenomena of literary translation, palimpsest, prototext, comparative studies, game poetics are considered. The cultural codes identified by the method of continuous sampling include “the child as a narrator”, “infantilization of society”, “the disease of historical time”, “the lack of culture of Eros”, “art as a spiritual poison”.
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Tulupov, Oleg, und Eva Kirichenko. „Profanity in English-Ukrainian translation: creativity vs censorship“. 96, Nr. 96 (28.12.2022): 52–60. http://dx.doi.org/10.26565/2786-5312-2022-96-07.
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This article rethinks the rendering of profanity from a cultural translation perspective. Profanity is broadly recognised as one of translation problems but its study has been mostly concentrated on language issues, namely stylistic ones. When viewed in terms of linguistic analysis, profanity is described as low words including argot, slang, jargon, etc. In terms of translation studies these language units are characterized as limited in usage non-normative ones, marked both culturally and emotively and coming in three varieties: abusive, socially and territory conditioned lexis. This study concentrates on the Ukrainian translation of J. D. Salinger’s novel The Catcher in the Rye, which naturally limits profanity to the first two varieties. The methodological underpinning of the research brings into the fore the interdependence and interconnections between translator’s creativity and his ideological stance restricted by censorship. The first edition of the Ukrainian translation by O. Logvynenko was published back in 1984 and it was a fully valued one, judging from a number of republications and Ukrainian readers’ high response. The translator’s mastery however needs consideration in the social-political context of his activity. The censorship limitations in the Soviet Union of the early 1980-s, though not as strict as they used to be earlier, were still there and included among others the requirement to regard the Russian translation made several decades before as the example to follow. In his obvious willingness to render profanity as an important distinctive feature of the hero’s psychological state, O. Logvynenko had to take it into account. He rendered profanity of the source text in about a half of all the fragments of the target text employing full or partial (functional) equivalents which allowed to preserve emotive connotations. In other cases that constitute a little more than a half of all under study, he sometimes resorted to compensation which had the same effect. Still, in a number of target text fragments emotive connotations are lost as profanity is substituted with normative language units or omitted. A glance into the nature of such cases brings us to the conclusion that they were caused not by the lack of translation decisions but by ideological considerations, namely censorship constraints.
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Ostapenko, L. „The Biblical Code in the Novel «Windows on the World» by Frédéric Beigbeder“. Literature and Culture of Polissya 106, Nr. 20f (12.12.2022): 63–75. http://dx.doi.org/10.31654/2520-6966-2022-20f-106-63-75.
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The article represents the interpretation of the novel "Windows on the World" by the modern French writer Frédéric Beigbeder from the point of view of the biblical code. The author of the article distinguishes two levels of the presence of biblical components: explicit and implicit. The author inventories the Old Testament and New Testament images and motifs marked in the work, and she determines their functionality. The author proves that it is the components of the biblical code that perform content-creating and form-creating functions in the novel. The biblical code defines the structure of the novel as parabolic and deepens its dystopian content, giving it an eschatological dominant. The author pays special attention to the transformation of the biblical story about the Tower of Babel in the novel. The author proves that the Old Testament motifs of creation and destruction, which are associated with the image of the Tower of Babel, characterize the consequences of economic and cultural globalization in the novel by Frédéric Beigbeder and acquire an apocalyptic dimension. The writer assigns a special role in the process of globalization to marketing as a means of promoting mass culture, which produces a profaned image of the world and brings humanity closer to its end. The author analyzes the novel’s intertextual connections, which are related to its biblical code. The image of the Catcher from the novel "The Catcher in the Rye" by J. David Salinger deepens the semantics of the biblical code in the novel "Windows on the World." The writer demonstrates that the messianism of the "broken generation" of America, which was represented by JD Salinger, later turned into "superheroism", and the path of spiritual ascent was profaned by the construction of skyscrapers. The author proves that with the help of the biblical code, the writer builds his own eschatological vision of the world, which deviates from the metanarratives of Christianity and globalism and takes away humanity’s last hopes. The apocalypse that Frédéric Beigbeder recreates in the novel "Windows on the World" provides redemption, but it does not guarantee salvation. His "Savior" reminds mankind only of death and it does not promise eternal life to anyone.
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Feeny, Thomas. „The possible influence of J. D. Salinger'sThe Catcher in the Rye upon Lorenza Mazzetti'sCon rabbia“. Neohelicon 12, Nr. 2 (September 1985): 35–46. http://dx.doi.org/10.1007/bf02093318.
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Yazdanjoo, Morteza, Mahmoud Reza Ghorban Sabbagh und Hesamoddin Shahriari. „Stylistic Features of Holden Caulfield’s Language in J. D. Salinger’sThe Catcher in the Rye: A Corpus-Based Study“. English Studies 97, Nr. 7 (23.08.2016): 763–78. http://dx.doi.org/10.1080/0013838x.2016.1198122.
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Ohme, Andreas. „Der heterodiegetische Präsensroman – ein Fall von unreliable narration?“ Journal of Literary Theory 12, Nr. 1 (26.03.2018): 93–112. http://dx.doi.org/10.1515/jlt-2018-0006.
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Abstract Research has shown that the present-tense novel poses significant logical problems of narrative mediation. For this reason, the current essay addresses the question of whether, due to these problems, the heterodiegetic present-tense novel is a case of unreliable narration. To this end, the essay first discusses the sustainability of the concept of unreliability. Its point of departure is the observation that researchers have created significant confusion by applying a characterological concept to literary phenomena. Despite an overwhelming amount of pertinent essays and monographs on the topic, the central questions raised by this concept are still highly contested: To which narrative instances can we plausibly apply the category of unreliability? Precisely which narratological aspects of the mediating instance can we account for using the category of unreliability? Using the example of Holden Caulfield, the narrating protagonist from J. D. Salinger’s novel The Cather in the Rye, this essay demonstrates which difficulties arise when we impute unreliability to a complex narrative instance. The lack of conceptual precision which comes to light in this novel not only leads – as in the case of Catcher in the Rye – to contradictory assignments of the category of unreliability in one and the same text but also to the constitution of a text corpus that is primarily characterized by its heterogeneity. This undermines the intersubjective use of concepts and, as a result, further literary knowledge. Therefore, this essay argues that we should abandon the concept of unreliability in favor of more precise analytic categories, instead of making the discussion of this category even more unwieldy than it already is by adding new definitions and thereby impeding agreement within the scientific community. In order to more precisely define the logical problems of narrative mediation of the heterodiegetic present-tense novel, the essay will first define the speech acts of narration, taking the temporal relation between the narrative procedure and the narrated events as the identifying feature. In the process, the use of the simple-past tense proves to be constitutive, not only because of experience in daily life with the speech act of narration but also and above all for logical reasons. Here, the preterit retains its deictic function of referring to the past. In terms of genre, the present-tense novel resembles drama, since there too the mediating instance makes use of the present tense as the marginal text does in drama. This is why we can also no longer refer to a narrative speech act in the case of the present-tense novel. Rather, the present-tense novel creates the same impression as the speech act of live reportage in daily life. Connected to this, however, are perspectival restrictions of the spatial and temporal type (predominantly zeitdeckende Vermittlung, where narrating time matches narrated time; uncertainty about the future, spatial fixity), but primarily with respect to the representation of another consciousness (extremely limited introspection). However, because the mediating instance in the present-tense novel tends not to adhere to these restrictions, we are confronted with a paradoxical form of narrative mediation. Depending on the design of a text, the reader can either become aware of this paradox or it can remain hidden from him or her. The latter is the case in Andrea Camilleri’s crime novel Il tuttomio (2013), which aims to make the recipient as focused on the plot as possible and hence to heighten the suspense that is constitutive for the genre of the crime novel. It is probably for this reason that the present tense emerges more frequently in recent crime novels. This is also the case for Stefan Slupetzky’s novel Das Schweigen des Lemming (2006), although in this text the form of narrative mediation – in contrast to Camilleri’s text – is extremely conspicuous. The rhetorical prominence of the mediating instance and the technique of montage, coupled with the use of the present-tense, work to disrupt the illusion. Accompanying the suspense on the level of the plot is a meta-fictional layer that prompts the reader to reflect upon the conventions of the crime novel. The essay then briefly presents two texts which, each in a different way, legitimate the use of the present tense, so that the impression of a paradoxical form of narrative mediation does not at all arise. In Wojciech Kuczok’s novel Senność (2008), the mediating instance repeatedly creates the impression, through its particular behavior, that the present text is a screenplay, a genre for which the present tense is constitutive. In Vladimir Makanin’s short novel Laz (1991), on the other hand, the present tense functions as the tense which signals timelessness, thus underscoring the allegorical character of the text. Even when such strategies of legitimation significantly attenuate the paradoxical effect of present-tense usage, we nonetheless have to remain cognizant of the fact that the transgression of its restrictions raises fundamental logical problems of narrative mediation, since we cannot plausibly explain the accompanying enlargement of the mediating instance’s perceptual perspective. In this sense, we could regard the specific form of narrative mediation in the present-tense novel as a case of unreliable narration. This would entail, however, that we broaden even more the umbrella term of unreliability, as scholars have already been doing for some time now. But that would accomplish precisely the opposite of what scientific concept-building should in fact strive for: namely, to describe textual phenomena with the greatest terminological precision and thereby to ensure agreement within the scientific community.
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„REPRESSED SEXUALITY AND QUEST FOR IDENTITY IN THE CATCHER IN THE RYE BY J. D. SALINGER“. GAP BODHI TARU - A GLOBAL JOURNAL OF HUMANITIES, 07.01.2020. http://dx.doi.org/10.47968/gapbodhi.31002.
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To create a fulfilling life, any young adult needs to embark on a journey of transformation and self-discovery, but such a healthy development was hampered in the life of the protagonist Holden in the story The Catcher in the Rye by J. D. Salinger due to unexpected conflicts or maladjustments crept into his life. The present study investigates the psychic turbulence of the protagonist to trace the teenage problems, especially the hidden sexuality and quest for identity. By applying psychoanalytical methods and gender theory, the study has tried to serve some moral and spiritual enlightenment and also reveal the pathetic plight of a young adult caught in labyrinth repression. Troubled young adults like Holden can attain self-realization and social adjustment only thorough love, kindness, and support from humankind.
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YILDIZ, Firat. „J. D. Salinger'in Çavdar Tarlasında Çocuklar ile H. R. Gürpınar'ın Ben Deli Miyim? Romanlarında Uyumsuz Karakterler“. Batman Üniversitesi Yaşam Bilimleri Dergisi, 16.06.2022. http://dx.doi.org/10.55024/buyasambid.1051311.
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Comparative literature is a discipline that examines two different works in terms of subject, thought or form, and deals with the similar and different aspects of these works. In this regard it allows comparing the works of authors from various eras and locations. The authors discussed in this study are authors of different times and places. J. D. Salinger is an American author who was born in United States in 1919. On the other hand, Hüseyin Rahmi Gürpınar is an author who was born earlier, in 1864, in Istanbul. Despite the fact that they are authors from different eras and places, there are certain similarities in their works. Regardless of the differences between them, the fact that they have common aspects in their works has created the feeling that it is worth working on. This similarity is primarily based on protagonists of the novels. One of the first points that draw attention in common in both novels is that the protagonists of both novels accuse people of certain characteristics. While Holden is annoyed by people's phoniness, Şadan criticizes people's perceptions of themselves as extremely intelligent. Another feature the two characters have in common is that they both have their own truths. They have their own distinct worldviews and perspectives on events and people. Both characters complain about the artificiality and hypocrisy that surrounds them. The mental health of both characters is not that good. In this regard it becomes essential to compare both authors due to the common features. This study aims to compare Salinger’s The Catcher in the Rye and Gürpınar’s Ben Deli Miyim?
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Mashhady, Habibollah, und Maryam Pourgalavi. „Slang Translation: A Comparative Study of J. D. Salinger’s “The Catcher in the Rye”“. Journal of Language Teaching and Research 4, Nr. 5 (01.09.2013). http://dx.doi.org/10.4304/jltr.4.5.1003-1010.
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Ulvydienė, Loreta, und Brigita Abramovaitė. „Literary Style in Translation: Slang in J. D. Salinger’s The Catcher in the Rye“. Studies About Languages, Nr. 20 (07.06.2012). http://dx.doi.org/10.5755/j01.sal.0.20.1776.
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Pučiliauskaitė, Saulenė. „LAIŠKAI HOULDENUI: FILOSOFINĖ JAUNYSTĖS SĄVOKOS INTERPRETACIJA“. Problemos 71 (01.01.2007). http://dx.doi.org/10.15388/problemos.2007..2532.
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Straipsnyje bandoma eksponuoti ir paaiškinti jaunystės sąvoką. Tai atliekama pasitelkus du literatūros kūrinius: J. D. Salingerio romaną „Rugiuose prie bedugnės“ bei W. Shakespeare’o tragediją „Romeo ir Džuljeta“. Eksplikacijoje kertinė yra įrodymo sąvoka, kuri gretinama su jos taikymu matematikoje. Analizėje žymios paralelės tarp Wittgensteino matematikos filosofijos bei konceptualios jaunystės sąvokos analizės. Galiausiai apibrėžiama, kad jaunystė, suvokiama kaip savęs paties įrodymas, visai nėra apibrėžiama biologiškai. Pavyzdžiui, šio straipsnio autorė pati save įrodo epistoline rašymo praktika. Straipsnyje tyrinėjama riba tarp fikcijos ir tikrovės. Parodoma, kaip dažnai fikcijos mūsų gyvenimuose atlieka tikrovės vaidmenį. Pagrindiniai žodžiai: jaunystė, maištas, meilė, įrodymas, fikcija, tikrovės forma.Letters to Houlden: Philosophical Interpretation of the Concept of YouthSaulenė Pučiliauskaitė Summary The article exposes and explains the concept of ‘youth’. This aim is achieved by analysing two works of literature: the novel of J. D. Salinger ‘The Catcher in the Rye’ and W. Shakespeare’s tragedy ‘Romeo and Juliet’. The key-concept of the explication is the concept of ‘proof’, the explication being compared with the application of the concept of ‘proof’ in mathematics. The parralel with Wittgenstein’s mathematical philosophy is advanced and continued. In the end it is defined that the youth is the proof of one’s self, which is not defined biologically. The practice of writing is revealed as the way to prove the author’s self. The article investigates the limit between fiction and reality and shows how often fictions play the role of ‘real reality’ in our lives.Keywords: youth, revolt, love, proof, fiction, form of reality.>
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García Serrano, Ana Isabel. „The Catcher in the Rye y la escritura terapéutica: análisis de dos traducciones al español (Carmen Criado, 1978; 2006)“. Alfinge. Revista de Filología, 31.01.2024, 163–87. http://dx.doi.org/10.21071/arf.v35i.16365.
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Resumen: The Catcher in the Rye (1951) de J. D. Salinger es un clásico tanto de la literatura estadounidense como de la universal. Hasta el momento, las dos únicas traducciones al castellano publicadas en España son las realizadas por Carmen Criado en 1978 y 2006. Teniendo en cuenta el hecho de que uno de los aspectos de la novela más analizados es la posible idea de que Holden relata la historia como terapia, el objetivo del presente artículo es, por tanto, analizar hasta qué punto la novela original parece contener una finalidad terapéutica y cómo esta posible finalidad ha sido plasmada en ambas traducciones al castellano disponibles en España. El análisis comparativo de ambas traducciones muestra que, pese a que la traducción de 2006 consigue plasmar el estilo coloquial y oral de la novela original de forma más fidedigna, esta mantiene, no obstante, rasgos como la traducción del pronombre “you” de apelación al lector por “ustedes”. Esto disminuye las posibilidades de que los lectores meta, a diferencia de los lectores origen, interpreten que los hechos son narrados como forma de terapia. Palabras clave: Escritura terapéutica. Teoría de la Relevancia. Estilo coloquial, Apelación al lector. Relevancia y traducción.
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Zavari, Gholam Abbas, Maryam Pourgalavi und Habibollah Mashhady. „Translation of Slangs in Idiolects: The Case of J. D. Salinger’s “The Catcher in the Rye”“. Theory and Practice in Language Studies 3, Nr. 3 (01.03.2013). http://dx.doi.org/10.4304/tpls.3.3.508-514.
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Veckrācis, Jānis. „Various planes of retranslation: J. D. Salinger’s The Catcher in the Rye in Russian and Latvian“. Journal of Baltic Studies, 12.06.2023, 1–23. http://dx.doi.org/10.1080/01629778.2023.2224296.
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Puel, Blandine. „Étudiants hors les murs dans La disubbidienza (1948) d’Alberto Moravia et The Catcher in the Rye (1951) de J. D. Salinger : la marginalisation adolescente au miroir de la fiction littéraire“. Motifs, Nr. 3 (01.10.2019). http://dx.doi.org/10.56078/motifs.406.
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Nohovska, Svitlana. „CORPORA APPROACH TO TRANSLATION STUDIES (THE PECULIARITIES OF IDIOSTY LE REPRODUCTION IN O. LOGVINENKO UKRAINIAN TRANSLATION OF J. D. SALINGER’S NOVEL “THE CATCHER IN THE RYE”)“. Young Scientist 5, Nr. 69 (Mai 2019). http://dx.doi.org/10.32839/2304-5809/2019-5-69-81.
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Classen, Alexander. „"I'm the most terrific liar you ever saw in your life."“. kids+media : Zeitschrift für Kinder- und Jugendmedienforschung 7, Nr. 2 (01.09.2017). http://dx.doi.org/10.54717/kidsmedia.7.2.2017.3.
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Holden Caulfield is a noticeable narrator. As the protagonist in J. D. Salinger’s novel The Catcher in the Rye, he displays a multitude of narrative idiosyncrasies: he contradicts himself, exaggerates his recount of events, and often leaves the reader half-informed on his motivations and emotional life. Much of his narrative style hints at him as a potentially unreliable narrator, although it is widely impossible to determine when his narrative account is unreliable and when it is not. This creates interpretative problems as the reader can never know for sure whether they are supposed to take Holden’s account literally or to look for a veiled meaning beyond his statements.
This essay explores the consequences of potentially unreliable narration in a specific episode of the novel: Holden’s night-time encounter with his former teacher Mr Antolini. When Holden sleeps on Mr Antolini’s sofa after spending exhausting days in Manhattan, he awakes to find Mr Antolini petting his head. Holden interprets this behaviour as a “flitty pass,” as a sexual transgression on his former teacher’s part, stating that “[t]hat kind of stuff’s happened to me about twenty times since I was a kid.” But what exactly is Holden referring to, and can the reader trust this statement, considering that Holden’s narration regularly borders unreliability?
Considering the fact that the text rarely reveals the truth behind Holden’s account, I argue that multiple interpretations of this chapter are not only possible but are at the stylistic heart of the novel. On the one hand, this reading of the novel offers an interpretation of a key episode, by considering a history of sexual abuse in Holden’s biography. On the other hand, it indicates that Holden’s account mirrors the mode of narration that would be expected from a troubled and disoriented adolescent – a factor that despite the potentially unreliable mode of narration adds to the sense of authenticity in the novel.
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د.عبدالحميد احمد ناصر المدري. „النفاق في رواية «الحارس في حقل الشوفان» للروائي جي دي سالينجر: تحليل أطر المحادثة“. المجلة العلمية - جامعة إقليم سبأ 2, Nr. 2 (16.01.2022). http://dx.doi.org/10.54582/tsj.2.2.9.
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تعد أطر المحادثة إحدى الإنجازات الرئيسية لبول غرايس في مجال التداولية، حيث تلعب دورا هاما في العديد من المجالات ومنها الأدب. إن الإستخدام الفعال لهذة الأطر يجعل عملية التواصل ناجحة. يهدف البحث الحالي إلى تحليل أطر المحاثة التي تضمنتها رواية «الحارس في حقل الشوفان» للروائي جي دي سالينجر، وكيف إن إستخدام هذة الأطر في الرواية يعكس قصد الكاتب في إيصال أفكار معينة كالنفاق والتضليل. إضف إلى ذلك أن هذة الأطر تثري المعاني في الرواية وتجعل عملية التواصل بين الشخصيات فعالة، وتساعد القراء على فهم طبيعة العلاقة بين الشخصيات عن طريق فهم الرسائل الضمنية، وأن الإخلال بهذة الأسس الكلامية في الرواية يشير إلى أن العالم الذي يعيش فيه بطل الراواية هولدن عالم يسوده الغموض والإختلال والشذوذ والزيف والنفاق، وأن عالم كهذا لا يقدر أطر وقيم الكلام يمكن أن يكون عالم تنقصه القيم الأخلاقية، ويزعم بشكل مزيف أنه يمتلك مبادئ سامية.
The Conversational Principle is one of Paul Grice’s major achievements in the field of pragmatics. It plays a very significant role in different fields among which is the field of literature. The effective employment of maxims of conversation makes the process of communication successful. The objective of this research paper is to analyze the maxims of conversation in J. D. Salinger’s The Catcher in the Rye and examine how the use of the maxims reflects the writer’s intention to communicate certain thoughts such as hypocrisy and disinformation. The manipulation of maxims of conversation enriches the meanings in the novel and makes the process of communication between the characters effective. It also helps the readers understand the nature of the relationship among characters through the comprehension of hidden messages. Violations of the maxims of the conversation throughout the novel reflects that Holden lives in an ambiguous, disorderly, irregular, false and hypocritical world. And such a world that shows no respect to the maxims and values of speech is possibly a world that lacks moral values and falsely claiming high principles.