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Journal articles on the topic 'Contemporary writing style'
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Vermeulen. "Warped Writing: The Ontography of Contemporary Fiction." Style 55, no. 3 (2021): 325. http://dx.doi.org/10.5325/style.55.3.0325.
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Suzuki, Satoko. "Vernacular style writing." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 19, no. 4 (December 1, 2009): 583–608. http://dx.doi.org/10.1075/prag.19.4.04suz.
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This paper shows that some Japanese non-fiction writers are using various structural characteristics of spoken discourse in their writing. Their written discourse includes non-canonical word order and long sentences that are produced by combining a series of clauses. Their sentences may lack case or topic marking particles, but they may contain clause-final particles. Their discourse looks like it may have gone through a dynamic, on-going formation process because it includes reformulation and changes in the structure in midstream. It is proposed that writers who adopt such an approach are deliberately blurring the boundary between speech and writing for multiple reasons. They may be exhibiting their creativity and innovation as well as their anti-establishment ideology. Vernacular style writing may also be an attempt to engage, involve, and connect with their readers. Further, they may be reflecting as well as expressing contemporary society in which orality is viewed favorably and as a result, writing in general has become increasingly more casual than before. The phenomenon discussed in this paper may be viewed as a reflection of erosions and shifting of traditional genres.
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Shim, Hoon. "Narative journalism in the contemporary newsroom." Narrative Inquiry 24, no. 1 (October 28, 2014): 77–95. http://dx.doi.org/10.1075/ni.24.1.04shi.
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This study examines the journalistic discourse in American trade publications toward a storytelling format, competitive in contemporary daily papers, which has long been considered as not appropriate for objective news writing. Thomas Kuhn’s concept of ‘paradigm’ was employed in examining and analyzing narrative discourse in trade journals. The outcome of text-analysis revealed that assenters in narrative news writing outnumbered the dissenters; narrative upholders have vividly attempted to construct a friendly perspective toward a storytelling format by eulogizing the prose style, battering the old form of news production, and distancing the previous literary movement from contemporary narrative news writing. The author concludes that the change of journalistic perception toward the narrative style documents the hierarchical relationship between the occupational ideology and the market ideology within which the journalistic paradigm of news writing can be modified and replaced when the established one — the inverted pyramid news writing — fails to satisfy the concerns of the media industry.
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Thompson, Susannah. "The dress of thought: Form and style in contemporary art writing." Journal of Writing in Creative Practice 10, no. 1 (September 1, 2017): 101–21. http://dx.doi.org/10.1386/jwcp.10.1.101_1.
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Lovell-Smith, Rose. "SCIENCE AND RELIGION IN THE FEMINIST FIN-DE-SIÈCLE AND A NEW READING OF OLIVE SCHREINER’S FROM MAN TO MAN." Victorian Literature and Culture 29, no. 2 (September 2001): 303–26. http://dx.doi.org/10.1017/s1060150301002042.
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BY THE LAST DECADES OF THE nineteenth century, the various aspects of the “Woman Question” had drawn many women into public controversy. Their published writings commonly advance both moral and practical arguments, and often cite supporting statistical evidence and scholarly opinions as well. But not all their writing is of this kind. Feminist1 argument around the turn of the century also generated some fine rhetorical flights which stand out from their more prosaic surroundings. Passages of elevated and figurative persuasive writing are found in essays, monographs, and occasionally novels. Today these writings may be found in the many anthologies of “first-wave” feminist writing, which draw on the London journals, especially the Contemporary Review. Female activists in America often use a similar style. Consistent features in this rhetoric suggest that something like a distinctive feminist authorial position had developed.
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Gottesfeld, Dorit. "One Sky: The Palestinian Writer Liyāna Badr between Two Periods." Arabica 60, no. 1-2 (2013): 178–200. http://dx.doi.org/10.1163/15700585-12341242.
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Abstract The present article illustrates how the change in the geographic location of Liyāna Badr, one of the prominent Palestinian women writers, influenced her writing in thematic and stylistic terms. It shows how Badr’s writing shifts from descriptions of isolation and loneliness, alienation and yearning for the past, to describing feelings of rage and frustration with the reality of Israeli occupation, and how from an innovative and vague writing style she shifts to a realistic, simple, and direct style that reflects the themes of her stories and the messages she wishes to convey. In this way Badr reinforces the connection of her work with Palestinian existence and the reality of occupation, and does not let the contemporary writing directions adopted by the young women authors influence the degree of Palestinian-ness of her texts.
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Walters, Frank D. "Scientific Method and Prose Style in the Early Royal Society." Journal of Technical Writing and Communication 23, no. 3 (July 1993): 239–58. http://dx.doi.org/10.2190/xue0-7frb-4bnh-511w.
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This article discusses two conflicts occurring during the first decade of the Royal Society (1660–1670). One conflict concerned the proper method of scientific experimentation, the other the proper writing style for communicating scientific knowledge. Following the method proposed by taxonomists, language would be a vehicle for representing the order of reality in its undisturbed state. Following the method proposed by conjecturalists, language would be a means for constructing a theory and arguing for its validity. Members of the Society were divided over these crucial questions, as evident in scientific documents of the period as well as in Thomas Sprat's History of the Royal Society. Parallels to this division are present in contemporary issues in technical writing, and this article closes by discussing some implications for teaching, practice, and theory.
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Monaco, Leida Maria. "Was late Modern English scientific writing impersonal?" International Journal of Corpus Linguistics 21, no. 4 (November 28, 2016): 499–526. http://dx.doi.org/10.1075/ijcl.21.4.03mon.
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This paper focuses on the use of certain linguistic features conveying impersonal style in late Modern English scientific prose (1700–1900). Samples are taken from two subcorpora of the Coruña Corpus of English Scientific Writing, one from the humanities (Philosophy) and the other from natural sciences (Life Sciences). The methodology applied is based on Biber’s (1988) Multidimensional Analysis, consisting of a study of register variation as manifested through sets of co-occurring linguistic features with a shared discursive function. The aim of the present study is to detect variation across scientific disciplines, genres, and subject matter. Findings are compared to those found in both diachronic and contemporary reference corpora.
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Hua, Meng, and Jun Li. "A rare glimpse into the Chinese novella." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 17, no. 1 (July 26, 2019): 120–25. http://dx.doi.org/10.1075/forum.17010.hua.
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Abstract The Chinese novella has been playing an important role in the evolution of modern Chinese literature. To provide English readers with a rare glimpse into the heart of contemporary Chinese fictional writing, this paper introduces the content and style of a book titled By the River: Seven Contemporary Chinese Novellas, and comments on its English translation from perspectives of a reader. This book is a handsomely recommended production for readers who are interested in Chinese literature or novellas.
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Kočan Šalamon, Kristina. "Translating Culture: Contemporary African American Poetry." ELOPE: English Language Overseas Perspectives and Enquiries 12, no. 2 (December 29, 2015): 211–24. http://dx.doi.org/10.4312/elope.12.2.211-224.
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The paper interrogates cultural specifics of contemporary African American poetry and exhibits translation problems when translating this poetic work. African American writers have always included much of their cultural heritage in their writing and this is immediately noticed by a translator. The cultural elements, such as African American cuisine, attire and style in general, as well as spiritual and religious practices, often play a significant role for African American poets who are proclaiming their identity. Moreover, the paper presents the translation problems that emerge when attempting to transfer such a specific, even exotic, source culture into a target culture, like Slovene. The goal is to show to what extent contemporary African American poetry can successfully be translated into the Slovene language and to highlight the parts that inevitably remain lost in the translation process.
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Riach, Graham K. "“Concrete fragments”: An interview with Henrietta Rose-Innes." Journal of Commonwealth Literature 55, no. 1 (June 4, 2018): 111–20. http://dx.doi.org/10.1177/0021989418777021.
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South Africa has a long and rich tradition of short story writing, stretching from the early oral-style tale (MacKenzie, 1999), through the writing of the “fabulous fifties” (Driver, 2012; R. Gaylard, 2008), to the most recent post-apartheid texts. In this interview, Henrietta Rose-Innes describes her practice as a short story writer, noting how it differs from that of writing novels or poetry. For Rose-Innes, the short story offers a way to capture her view of the world; that is, in sudden, intense moments, rather than in wholly narrative terms. Combining a number of short stories into a collection, Rose-Innes suggests, can offer some perspective on the plurality of contemporary South African life. Over the course of the interview, she discusses her exploration of conventional gender categories, her unconscious use of Gothic tropes, and the possibilities for political writing in contemporary South Africa. Throughout, there is a concern for how her works negotiate questions of space and place, particularly in the context of South African writing.
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Islam, Mohammad Shafiqul. "Bangladeshi Poets Writing in English." Journal of World Literature 6, no. 1 (October 22, 2020): 65–83. http://dx.doi.org/10.1163/24056480-20201003.
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Abstract This article observes that Kaiser Haq has made an immense contribution to Bangladeshi poetry in English, leading the school of English poetry of the country from the front. A relatively new field, Bangladeshi writing in English has started becoming a part of world literature, and its scope, no doubt, is expanding rapidly. The article also focuses on the legacy of Bangladeshi writing in English to demonstrate how Bangladeshi poetry in English has simultaneously progressed. The article argues that Haq’s enormous contributions justify his position as the best English-language poet in Bangladesh. For his poetry, the poet takes material from his motherland and its rich culture, and his style, technique, and diction resonate with those of prominent poetic voices of the world. The article also sheds light on how Haq presents Bangladesh, depicting numerous shades of reality, and how he still dominates in the contemporary scene of Bangladeshi poetry in English.
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Do, Thi Cam Van. "Inter-genres in contemporary Vietnamese historical novels." Ministry of Science and Technology, Vietnam 63, no. 4 (April 30, 2021): 56–59. http://dx.doi.org/10.31276/vjst.63(4).56-59.
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In the development process and social movements, the literary genres do not exist independently but have interaction with each other. Novels are capable of performing genres interaction because “the novel allows to put into it many different genres, including artistic genres (short stories, lyric poems, epics, speech plays...) and non-artistic genres (literature in daily life, rhetoric, science, religion...)”[1]. Novels with traditional writing style about contemporary Vietnamese history (prominent writers such as Nguyen Xuan Khanh, Vo Thi Hao, Nguyen Mong Giac...), the interaction among literary genres is considered as the most common form. Typical forms of genre interaction in novels with historical themes are the interaction between short stories and novels, poetry and novels... Genre interaction expresses the writer’s sense of creativity and experience in the innovation requirement of literary life practice.
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Swenson, Joseph. "Saying What One Means." Southwest Philosophy Review 37, no. 1 (2021): 169–78. http://dx.doi.org/10.5840/swphilreview202137118.
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Few would dispute that Nietzsche writes differently than most philosophers, especially when judged by the standards of contemporary philosophical writing. There is plenty of dispute, however, about why Nietzsche has chosen to present his thinking in the ways that he does. When one turns to much recent Nietzsche scholarship, it would appear that the literary quality of his writing is often treated as something that is merely accidental rather than integral to his philosophical project. Here one finds a working assumption that it is possible to paraphrase Nietzsche’s unconventional style of writing into more conventional forms of philosophical prose without losing sight of the philosophical goals that he is trying to achieve. This paper argues that this working assumption underappreciates the fact that Nietzsche’s chosen style of writing is intended to perform a variety of functions within his philosophy. One underappreciated function of Nietzsche’s writing, I will argue, aims to promote a radical disruption and revaluation of his readers’ basic habitual attitudes towards their experience of their own lives. Such therapeutic and transformative experiences, I conclude, are not only basic to Nietzsche’s philosophical project but are also intimately connected to the literary quality of his writing and cannot easily survive philosophical paraphrase.
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Janusz, Joanna. "La stiva e l’abisso di Michele Mari. Romanzo fra favola e metanarrazione." Romanica Silesiana 17 (June 29, 2020): 151–63. http://dx.doi.org/10.31261/rs.2020.17.12.
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From the moment of his literary debut in 1989, Michele Mari is considered to be the representative of classic tendencies in contemporary Italian literature. One of the most noticeable characteristics of his writing is the presence of autobiographic elements which appear in all his works with different intensity, but also the archaization of style and language, literary references and metaliterary reflexions. This article aims at showing how the 1992 novel La stiva e l’abisso connects two of those aspects of Mari’s writing: intertextuality and literary references to adventure novel genre, as well as it reflects on the role and value of the literature for the contemporary people. It analyses basic narrative instances, that is the narrator, narrative structure, place and time of events, in order to show how they result in metaliterary reflexion.
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Barra, Luca, and Massimo Scaglioni. "Paratexts, Italian style." Critical Studies in Television: The International Journal of Television Studies 12, no. 2 (June 2017): 156–73. http://dx.doi.org/10.1177/1749602017698477.
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In recent years, the completed transition towards a fully developed multichannel environment and the growth of non-linear offers has brought to the Italian television (TV) landscape unprecedented attention on the ways in which programmes are communicated to the audience and their images and identities are carefully built. The preparation and circulation of promos have therefore grown in importance and relevance in the national TV industry, as new original practices emerged and a long-lasting tradition was challenged by new formats and goals. Building on a set of in-depth interviews with professionals involved in the writing, production and distribution of promos, and analysis of other production materials, the article reconstructs the ‘promotional cultures’ of Italian broadcasters, analysing the main production processes, the different kinds of promos and the various skills involved, and the logics and constraints involved in the making of these ephemeral paratexts that more and more are pervading both the structure of programming flow and the experience of national TV viewers. Thus, the article investigates the professional practices and logics of contemporary commercial and pay TV programme promotion in Italy, defining the role played by national private broadcasters and transnational groups in shaping an Italian promotional space on TV. The ‘Italian style’ of TV show promotion emerges as a constant negotiation between local historical traditions and clichés, on the one hand, and international trends in promo production and aesthetics, on the other, with a solid path shared with other countries and broadcasters, and some peculiar specificities.
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Spani, Giovanni. "Francesco Petrarca Between the Gotica and Littera Antiqua: the Graphic Reform of Script and the Humanist Aesthetic." Futhark. Revista de Investigación y Cultura, no. 8 (2013): 263–77. http://dx.doi.org/10.12795/futhark.2013.i08.15.
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The present article discusses the fundamental role of Petrarch’s script evolution in the graphic reform carried out by Italian Humanists of the 15th century from the gothic script to humanist miniscule. His exposure to the various scripts in use – from the Tuscan chancery style to the gotica libraria style of universities and monasteries – afforded Petrarch the perspective to develop his own model of writing, one which more capably responded to his philological and practical conception of writing. The contemporary gloss script known as the scriptura notularis, whose essential elements were based on the Carolingian model, provided the foundation for a style which Petrarch developed, through imitatio, into a more elegantly refined form in an attempt at greater clarity and spaciousness. Inevitably, this gloss script reform moves toward a textual script reform, whose motivation lies in Petrarch’s intimate knowledge of scribal practices along with the importance he places on philological concerns for which most scribes of his day had little regard. It is also founded in the elementary need for a more clear and legible text than provided by the cramped, gothic script. Petrarch discerned a possible solution to the deficiencies of contemporary book scripts in the Carolingian model: the Caroline miniscule satisfied the poet’s criteria for an ideal script, and thus he modified the form to fit his goals of clarity, equilibrium, and simplicity. It is Petrarch’s intermediary, semi-gothic script that was used as the foundation of the Italian Humanist script reform.
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Schenk, Ronald. "Voices of the rational and aesthetic in Jung: thermodynamics resonating into complexity." International Journal of Jungian Studies 10, no. 2 (May 4, 2018): 103–21. http://dx.doi.org/10.1080/19409052.2017.1402801.
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ABSTRACTJung's writing displays many perspectives, each of which is undergirded by a distinct set of assumptions, style of language, and sensibility of world and psyche. This paper traces some of these perspectives with an eye toward showing how the contemporary cutting edge science of complexity, in fact, is anticipated by and embodied in Jung's work, especially that which gives expression to the psyche as an aesthetic enterprise, particularly alchemy.
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Liu, Jin. "Deviant writing and youth identity." Chinese Language and Discourse 2, no. 1 (May 27, 2011): 58–79. http://dx.doi.org/10.1075/cld.2.1.03liu.
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This paper examines the emergence of the representation of dialect with Chinese characters (fangyan wenzihua) on the Internet. The online dialect writing is primarily identified as a subject of Internet language and youth language study. The CMC discourse as a hybrid register mixing spoken and written language features facilitates the written use of oral dialect on the Internet. Deviating from the standard Chinese writing system, the Internet-savvy youth transcribe their native dialects on an ad hoc basis, which celebrates multiplicity, creativity, individuality and resists uniformity, standardization, and institutionalization. Taking the SHN website (www.shanghaining.com) as a case study, the paper discusses how the written Shanghai Wu words are explored to mark a distinct visual style and to articulate a distinct local youth identity. Furthermore, this paper examines the dominant strategy of phonetic borrowing in dialect transcription on the Internet. It is argued that diachronically, the youth’s phonocentric obsession tapped into the May Fourth tradition of the baihua vernacular movement that was heavily influenced by the European logocentrism; and synchronically, the celebration of dialect sound on the Internet echoes the contemporary soundscape of local dialects formed in the mass media in recent years.
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Muradyan, Gayane. "Syntagmatics of Nominative Collocations in Modern English Essay." Armenian Folia Anglistika 4, no. 1-2 (5) (October 15, 2008): 6–15. http://dx.doi.org/10.46991/afa/2008.4.1-2.006.
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The study of syntagmatic collocations reveals that these linguostylistic units are based on some language prototypical syntagmatic patterns and their systemic application largely conditions the functional-stylistic orientation of this or that expression of speech. Syntagmiatcic collocations are distinguished with their wide usage, and like all the other functional varieties of the style of public writing the genre of contemporary essay is built on the juxtaposition of fact and fiction, the real and the imaginary.
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Wagstaff, Emma, and Nina Parish. "Translating Contemporary French Poetry." Irish Journal of French Studies 18, no. 1 (December 13, 2018): 163–94. http://dx.doi.org/10.7173/164913318825258347.
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This article examines a bilingual anthology edited by the authors and published in 2016. It argues that the process of editing an anthology of contemporary poetry with multiple translators is a form of re-writing that not only introduces new writers into the target-language poetic system, but also recasts their positions in the poetic system of the source culture by giving them new readers who have no or few preconceptions about the writers' place in that system. Anthologizing operates in tandem with translating in this instance, and we additionally use the notions of inference and cognitive stylistics to discuss the particular habitus of academic translators who are not poets, and the opportunities those approaches offer to produce a creative translation. Style is an appropriate lens through which to consider poems included in this anthology because it is a contested question in contemporary French poetic practice. The article therefore treats the question of présence that this special issue addresses in three ways. It discusses, on the most literal level, the new or more visible presence that French poetry can acquire in the anglophone context through translation and anthologies. Moreover, it examines the ways in which the presence of new or decontextualized voices affects poetic systems. Finally, it considers whether an approach to translation that sees it as an embodied, interpretative process may allow some access to the présence of the 'original' poetic work.
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Hong, insook. "Study on Change and Significance of Modern Study Materials for Writing Letters in Chinese - Focus on 『Shinchemimun contemporary writings letter writing style(新體美文時文편지투)』." STUDY OF THE EASTERN CLASSIC 60 (September 30, 2015): 93–123. http://dx.doi.org/10.16880/sec.2015.60.04.093.
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Lindberg, Ulf. "Popular modernism? The ‘urban’ style of interwar Tin Pan Alley." Popular Music 22, no. 3 (October 2003): 283–98. http://dx.doi.org/10.1017/s0261143003003192.
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The approach of this article complements those of previous critics that account for the rise of the ‘mature’ style of Tin Pan Alley chiefly in terms of the internal logic of the field of American popular music. It suggests that the so-called golden age of the Alley (ca. 1920–1940) should be considered in broader cultural terms, provided by modernisation and especially the growth of a ‘cool’, urban sensibility, representing a crucial reassessment of Victorian emotional style. In their contributions to this reassessment, the Alley greats stretched the conventions of popular song-writing in a number of ways, usually described vaguely in terms of ‘wit’, ‘sophistication’ and the like. Qualifying these concepts by lyrical analysis, the article suggests that the self-reflexive use of irony, linguistic play and ‘realist’ imperatives makes a number of songs approach contemporary ‘high’ literature in such a way that it makes sense to speak of a popular modernism.
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Boncori, Ilaria, and Charlotte Smith. "I lost my baby today: Embodied writing and learning in organizations." Management Learning 50, no. 1 (July 12, 2018): 74–86. http://dx.doi.org/10.1177/1350507618784555.
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This article focuses on miscarriage and the sharing of intimate experiences as an example of alternative writing that can be used to challenge and resist dominant masculine discourse in academia. It steps back from patriarchal forms of writing organizations and contributes in three ways: in terms of methodology through the use of multi-voice autoethnography that embraces evocative language; with regard to the subject matter, by sharing a narrative that focuses on the bodily and dirty in day-to-day organizing; and in style, by going beyond traditional structures to foster personal, fragile and reflexive narratives that can enhance the understanding of lived experiences in organizations. More specifically, the first author’s autoethnographic account of perinatal loss in the context of contemporary academia is used as an example of resistance to patriarchal norms of organizing.
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Chng, Xing Liang. "Some Preliminary Observations on Chen Jian’s Thought Regarding Statecraft in Huangming Tongji." Ming Qing Yanjiu 22, no. 1 (November 14, 2018): 1–12. http://dx.doi.org/10.1163/24684791-12340018.
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Abstract This paper attempts to examine the writing style, writing purpose, and philosophy of Chen Jian 陳建’s Huangming tongji 皇明通紀 (Comprehensive Annals of the Imperial Ming, HMTJ).* The paper has two main sections. The first points out that although this book imitates the Zizhi tongjian 資治通鑑 (Comprehensive Mirror for Aid in Government), it differs from that book’s top-down approach to positive governance. The second section inquires into the ultimate purpose of HMTJ and into the reasons behind the order of publication of Chen’s three books. HMTJ had an extremely enlightening role in arousing the contemporary layperson’s awareness of current affairs, and this role added the basis of public opinion to further consolidate Chen’s complete statecraft thought.
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Coundouriotis, Eleni. "History of the In-Between: World Literature and the Contemporary African Novel." Modern Language Quarterly 81, no. 4 (December 1, 2020): 441–64. http://dx.doi.org/10.1215/00267929-8637911.
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Abstract The African novel has had an uneasy relationship with world literature, but a way to locate the historical novel in world literature lies in the emphatic turn of African fiction to the historical novel. Positing a temporality of a decolonization not yet achieved, the contemporary African novel returns to the particulars of national histories to explain change that has remained unacknowledged or misrepresented for political reasons. It grapples with the writing of history as a conscious process of what Edward W. Said describes as “textualization”: a narration that stresses voice and style in order to convey the particularity of historical circumstance, not as reportage but as lived experience. The world making of world literature comes into play as historical becoming revealed in the retrospective account conscious of the conditions of its own telling.
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Miller, Daniel. "Stone age or plastic age?" Archaeological Dialogues 14, no. 1 (April 4, 2007): 23–27. http://dx.doi.org/10.1017/s1380203807002152.
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Ingold starts his critique with a claim to find recent writing and talking about material culture essentially obscure and orientated to fashion. If one reads Ingold's own writing you will find plenty of references to philosophical figures such as Heidegger and to phenomenology. I find such writing often incomprehensible and obscure, and much of its contemporary use pretentious. I would hope a reader would find that my own recent books, on the cell phone (Horst and Miller 2006), materiality (Miller 2005) and the sari (Banerjee and Miller 2003), are written in just as straightforward a style as those of Ingold, which I much admire, both eschewing unnecessary jargon. Clearly we happen to find very different theories more or less congenial and comprehensible. But I do not think the implication of his opening remarks is a fair one, and I would hope that readers would judge this for themselves.
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Dudney, Arthur. "Sabk-e Hendi and the Crisis of Authority in Eighteenth-Century Indo-Persian Poetics." Journal of Persianate Studies 9, no. 1 (June 8, 2016): 60–82. http://dx.doi.org/10.1163/18747167-12341294.
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Modern debates over the merits of the so-called Indian Style (Sabk-e Hendi) in Persian literature, which was dominant from the late sixteenth to early nineteenth centuries, have been based on problematic assumptions about how literary style is tied to place. Scholars have often therefore interpreted the Persian literary criticism of the first half of the eighteenth century as a contest between Indians who praised Persian texts written in India and Iranians who asserted their privilege as native speakers to denigrate them. A more nuanced reading suggests that the debates mainly addressed stylistic temporality, namely the value of the writing styles of the “Ancients” (motaqaddemin) versus the innovative style of the “Moderns” (motaʾakhkherin). In the thought of the Indian critic Serāj al-Din ʿAli Khān Ārzu (d. 1756), there is clear evidence of a perceived rupture in literary culture that we can call a “crisis of authority.” Ārzu was concerned because Persian poetry had been judged according to “sanad” or precedent, but poets—both Indian and Iranian—were composing in a relatively new style (tāza-guʾi, literally “fresh speech”) that routinely went beyond the available precedents. All poets who know Persian well, he argued, including Indians, are allowed to innovate. While there was obvious rivalry between Persian-knowing Indians and the many Central Asians and Iranians settled in India, the contemporary terms of the debate have little in common with the later nationalism-tinged framing familiar to us.
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Jabb, Lama. "THE CONSCIOUSNESS OF THE PAST IN THE CREATIVITY OF THE PRESENT:MODERN TIBETAN LITERATURE AND SOCIAL CHANGE." International Journal of Asian Studies 8, no. 1 (January 2011): 89–95. http://dx.doi.org/10.1017/s147959141000029x.
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Thus sings Sangdhor in a metrical poem in praise of Tibetan versification, countering an anti-verse sentiment that is prevalent on the contemporary Tibetan literary scene. Since the flourishing of free verse form in the 1980s, thanks to the pioneering works of Dhondup Gyal, many Tibetan writers have attacked metrical composition for its perceived inflexible, archaic and inadaptable form and uniformity of content. Sangdhor, one of the most iconoclastic and forward-thinking intellectuals writing in Tibetan today, vehemently refutes such a stance on the grounds that the bulk of great Tibetan works, literary or otherwise, are set in verse. To underscore his point he writes the cited poem in a “leaping and flying” style of themgur(‘poem-songs’) genre. In fact, most of his many innovative poems are written in an eclectic style drawing on Tibet's rich literary tradition, Buddhist texts, oral sources and contemporary writings. Their content is equally diverse yet most of all current. It is infused with social and religious criticism, themes of romance and eroticism, critical literary commentary and current Tibetan affairs. His poems, like those of many other writers, show that metered poetry is very much a part of modern Tibetan literature. As he draws on classical literature and indigenous oral traditions for his own literary innovation, to borrow a concept from Northrop Frye, in Sangdhor's work we can “see an enormous number of converging patterns of significance” that is a complication of Tibetan literary formulas stretching to the narratives of the distant past.2Therefore, it must be borne in mind that modern Tibetan literature transcends a theory of rupture which many scholars overstress to the point of overlooking its deep, outspread roots. Some parts of these roots predate both the 1980s, which saw a flourishing of new Tibetan writing, and the Chinese takeover of Tibet in the 1950s that has had a profound impact on Tibetan cultural production.
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Kato, Masahide T. "Hawaiian style graffiti and the questions of sovereignty, law, property, and ecology." AlterNative: An International Journal of Indigenous Peoples 14, no. 3 (July 17, 2018): 277–88. http://dx.doi.org/10.1177/1177180118786242.
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Based on the ethnographic insight gained from the fieldwork conducted between 2006 and 2012 on the island of O‘ahu, this article attempts to capture the aesthetic and symbolic expressions of decolonization in aerosol writing pieces by a crew primarily composed of Kanaka Maoli (“true human being,” indigenous people of Hawai‘i) writers. By focusing on the indigenous aesthetic practice of kaona (“hidden meaning”), the article analyzes the ways in which Hawaiian style graffiti unveils the contested issues of jurisdiction, sovereignty, property claims, and ecological integrity under the prolonged colonial and military occupation. It simultaneously illuminates the decolonial vision brought forth by Kānaka Maoli writers that seeks to transcend and transform the realities imposed by the colonial and occupational power. Through socio-historical contextualization, the article draws parallels between the time of Hawaiian Kingdom and the present, to unravel the integration of ancestral knowledge and contemporary expressions in Hawaiian style graffiti.
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Marks, Laura U. "Calligraphic Animation: Documenting the Invisible." Animation 6, no. 3 (September 21, 2011): 307–23. http://dx.doi.org/10.1177/1746847711417930.
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Calligraphic animation shifts the locus of documentation from representation to performance, from index to moving trace. Animation is an ideal playing field for the transformative and performative qualities that Arabic writing, especially in the context of Islamic art, has explored for centuries. In Islamic traditions, writing sometimes appears as a document or a manifestation of the invisible. Philosophical and theological implications of text and writing in various Islamic traditions, including mystic sciences of letters, the concept of latency associated with Shi‘a thought, and the performative or talismanic quality of writing, come to inform contemporary artworks. A historical detour shows that Arabic animation arose not directly from Islamic art but from Western-style art education and the privileging of text in Western modern art – which itself was inspired by Islamic art. A number of artists from the Muslim and Arab world, such as Mounir Fatmi (Morocco/France), Kutlug Ataman (Turkey), and Paula Abood (Australia) bring writing across the boundary from religious to secular conceptions of the invisible. Moreover, the rich Arabic and Islamic tradition of text-based art is relevant for all who practice and study text-based animation.
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Lee, Leo Ou-fan. "Contemporary Chinese Literature in Translation—A Review Article." Journal of Asian Studies 44, no. 3 (May 1985): 561–67. http://dx.doi.org/10.2307/2056268.
Full textAbstract:
This article surveys the available English translations of contemporary Chinese literature from the People's Republic. In view of the post-Mao Party policy of relative freedom for creative writing, more works are pouring out of China than ever before. Of the most recent translations, the largest share belongs to Panda Books, a publishing subunit of the Foreign Languages Press in Beijing. Under the leadership of the Yangs (Xianyi and Gladys), a husband-and-wife team of great renown, this new Panda series has published more than a dozen titles as of 1984, and new ones continue to be received.Despite its voluminous production, the editors of the Panda series have made certain choices that are of dubious value. Especially weak is the representation of traditional literary works, which are often drastically abridged or collected in slender anthologies. In comparison, coverage of modern and contemporary works is more exciting. The translations are generally correct, the most felicitous from the hands of Gladys Yang. However, the translations suffer from a certain uniformity of style and sometimes from severe cuts. Volumes in the series are nevertheless a useful addition to the increasing library of English translations of contemporary Chinese literature, now more than adequate for an undergraduate course.
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Mrázek, Jan. "Primeval Forest, Homeland, Catastrophe." Anthropos 116, no. 1 (2021): 29–54. http://dx.doi.org/10.5771/0257-9774-2021-1-29.
Full textAbstract:
The SVD ethnologist/ethnographer mostly known as Paul Schebesta (1887-1967) was often introduced in Czechoslovakia as “our Czech” Pavel Šebesta. Querying origins, selves and homelands, his own and in his writings (ethnography/travelogues/fiction on “dwarfs” in the “primeval forest”), this essay traces the multiplicity/borderlands/nomadism of Schebesta/Šebesta, also in his relation to the “Other,” a concept/distinction/border that is thus destabilized or blurred. Interweaving apparently separate questions about his life and scholarship, the essay finds continuities and mirroring across distance and otherness. Following-mirroring Šebesta/Schebesta, we recognize the familiar in the strange, Silesia/Moravia in Malaya, the contemporary in the primeval, the “native” in the ethnologist, the head-hunter in the biological anthropologist. The essay’s motley style mirrors what has been described as his “jumbled” writing, “highly coloured … scarcely in consonance with the scientific material”; it reflects his nomadism, emphasis on “experiencing together,” and the conflict that he sensed between “theories” and “life, rhythm, poetry.”
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Prihantoro, Prihantoro. "THE INFLUENCE OF STUDENTS’ L1 AND SPOKEN ENGLISH IN ENGLISH WRITING: A CORPUS-BASED RESEARCH." TEFLIN Journal - A publication on the teaching and learning of English 27, no. 2 (October 4, 2016): 217. http://dx.doi.org/10.15639/teflinjournal.v27i1/217-245.
Full textAbstract:
Academic writing requires both style and grammatical correctness; however, efforts in improving the quality of English academic writing by non-native students have been focused on grammar. Structures observed in this study were grammatically correct, but considered unnatural in academic writing genre. This research involves a group of non-native English speaking students who were assigned to submit two different kinds of writing to an online repository: a research paper abstract and a free writing article. A survey to understand the sources of English exposure is also conducted. The objectives of this study are to describe unnatural sequences/Multi Words Units (MWUs) used by the students and to identify the motives of using such sequences. The tools for corpus processing used are Unitex and Antconc. Corpus of Contemporary American English and British National Corpus are also used as reference corpora for English while the SEAlang Indonesian Corpus is used to validate the influence of first language (L1). The analysis of these sequences with comparison to reference corpora indicated the influence of spoken English and students’ L1 (Indonesian). This corresponds to the results of the survey that most of the students are exposed to English mostly via spoken, and non-academic sources (songs, movies, social media, etc).
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Chen, Fanfan. "The Narrative Rhetoric in Léa Silhol’s La Tisseuse: Contes de Fées, contes de Failles." Arcadia 47, no. 1 (July 2012): 78–107. http://dx.doi.org/10.1515/arcadia-2012-0003.
Full textAbstract:
AbstractThe diversity of contemporary French narration renders the canonical definition of le fantastique useless. Writers challenge Todorov’s definition that the fantastic emerges as the reader hesitates between the supernatural and the natural explanation for the unlikely event. Léa Silhol (1967), a storyteller of mythic-poetic-fantastic style, figures among these writers. An inheritor of romantic fantastic storytelling, Silhol delves into the mental and psychic depth of legendary figures, mostly goddesses and fairies, to make them question their own identity and observe humans from their perspective. Her feminine and universal writing about the fantastic exemplifies the new-generation French fantastic. Like the mythic tisseuse in her tales, Silhol weaves stories with a new texture, with an imaginary étoffe. Just as the mythic and legendary weavers are associated with water, she makes use of it to achieve her verbal alchemy, the narrative rhetoric of which operates from three angles: mythic, structural, and stylistic. Silhol’s transtextual writing of myths from different cultures creates mythic résonance of the collective unconscious from linguistic différance. The narrative structure of the tales embodies the inversion of vision in Bachelardian alchemy of the imagination. Lastly, a scrupulous analysis of the author’s diction that corresponds with the thematic threading of tales and their narrative structure will illustrate her dominant style of harmonism.
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Gulavani, Susmit S. "Book Review." International Journal of eSports Research 1, no. 1 (January 2021): 1–6. http://dx.doi.org/10.4018/ijer.20210101.oa4.
Full textAbstract:
The review critiques 'This Is Esports (And How to Spell It): An Insider’s Guide to the World of Pro Gaming', a book written by Paul Chaloner and Benjamin Sillis. The authors provide a comprehensive overview of the history of the esports industry, right from the emergence of arcade games to the evolution of esports into a billion-dollar industry. Further, the authors highlight some of the issues of concern in the contemporary esports landscape, including gender representation, player salaries, cheating allegations, and retirement in esports. The review critically analyzes the authors' perspective on the esports industry as well as the effectiveness of the writing style incorporated in the book.
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Solovyova, T. "LARS SAABYE CHRISTENSEN. THE SIMPLE SYMMETRY OF THE TRIPLE JUMP." Voprosy literatury, no. 4 (October 2, 2018): 73–89. http://dx.doi.org/10.31425/0042-8795-2018-4-73-89.
Full textAbstract:
The latest addition into Voprosy Literatury’s new section, ‘Only children’s books to read...’, this article by T. Solovyova takes a close look at works by the contemporary author L. S. Christensen, widely popular well beyond his native Norway. Christensen owes his fame to his deep yet unobtrusive psychologism, the ability to present children with a comprehensible picture of the story (or history, as his novels play out in a broad historical concept), as well as the motives and feelings of the characters. Such features of his writing style are displayed in his novels The Half Brother [Halvbroren] (2004), Chasm [Sluk] (2014), and Herman (2017), which combine stories about contemporary teenagers with an expansive historical background, familiarizing young readers with the major facts and tragedies of the 20th century. The critic analyses Christensen’s creative method, looking for mainstream elements typical of modern children’s books, as well as for the author’s unique touches.
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Cosio, Giulia. "Tzvetan Todorov: ipotesi per un ritratto a figura intera." ACME - Annali della Facoltà di Lettere e Filosofia dell’Università degli Studi di Milano, no. 03 (December 2012): 221–42. http://dx.doi.org/10.7358/acme-2012-003-cosi.
Full textAbstract:
In this article, the author wishes to give an overview of the thought and work of Tzvetan Todorov, a Bulgarian philosopher who emigrated to France in 1963. Distinguished representative of the contemporary intellectual scene, his figure remains elusive, due to the multidisciplinary nature of his approach and the variety of themes he touchs. Former member of French structuralism, Todorov deviates gradually from the blueprint of structuralist thought to achieve a neo-humanism that finds echoes in contemporary French philosophy. This study intends to chart the parable of this personal and intellectual path, and to explain the peculiarities of this style. The attention to the central event of alterity in the constitution of human nature is framed in Todorov’s works through an original writing method (the exemplary history and the dialogical critic of thought) and a strong ethical reflection full of suggestions coming from several disciplines.
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Djenar, Dwi Noverini. "On the development of a colloquial writing style: Examining the language of Indonesian teen literature." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 164, no. 2 (2008): 238–68. http://dx.doi.org/10.1163/22134379-90003658.
Full textAbstract:
The last few years have seen a boom in the publication of teen fiction in Indonesia. Particularly since the publication of the highly successful novel Eiffel ... I’m in love (Arunita 2001), numerous fiction works targeted at a youthful readership have appeared. This genre of popular literature has been so successful in attracting its audience that it currently constitutes the largest growing market in the Indonesian publishing industry (Simamora 2005). One of its striking characteristics is the predominant use of colloquial Indonesian, an informal variety of Indonesian that is closely identified with speakers from the capital Jakarta, particularly young people. Over a decade ago, scholars noted the increasing use of colloquial Indonesian in popular literature (see for example Adelaar and Prentice 1996:678). The implication is that this language variety has spread into domains previously dominated by standard Indonesian, the formal variety used in government administration, formal education, and most printed mass media. Indeed, contemporary Indonesian written literature is largely associated with standard Indonesian, such that the increasing use of colloquial Indonesian in popular literature has invited much criticism from language gatekeepers. Despite such criticism, however, teen fiction continues to flourish. The increasing use of colloquial Indonesian in teen fiction, though noted by scholars, has not been subject to any detailed linguistic study. Linguistic studies of colloquial Indonesian – at least those published in English – have focused so far on its use in speech, or in written texts intended to resemble speech, such as internet chatting and advice columns for young people. Prior to the recent surge in teen fiction, use of colloquial Indonesian in contemporary written literature was largely limited to dialogues. Writers such as Putu Wijaya, for example, are known to incorporate colloquialism to render dialogues more natural (Rafferty 1990:107). Teen fiction writers have extended the use of colloquialism into other parts of fiction such as the description of characters, settings, and inner thoughts. This development makes it interesting to look for a way to describe the increase of colloquialism. A useful approach is to examine the usage patterns of a term or a selection of terms in a number of teen fiction works published over time, with the purpose of observing changes in the patterns, and whether such changes can be shown to represent greater colloquialism. This study is a preliminary attempt in that direction. My purpose here is to demonstrate that in the last two decades during which colloquial Indonesian has been employed in teen fiction, there has been a shift in writing style from one that bears greater resemblance to standard Indonesian towards a style that is more colloquial. The term ‘style’ is commonly employed in sociolinguistics to refer to ways of speaking, which Bell (2001:139) defines in terms of the question ‘Why did the speaker say it this way on this occasion?’ (italics in original). Adapting this definition for teen fiction writing, I use ‘writing style’ here to refer to the characteristic manner in which an author writes fiction. This style is observed here by examining the use of the preposition pada ‘to, towards, on, in, at’ as compared to the use of three other prepositions, namely kepada ‘to, towards’, ke ‘to, towards’, and sama ‘to, towards, by, with’. The development towards increased colloquialism is shown through two indicators: a reduction in the range of prepositional meanings of pada along with the assignment of particular discourse functions to kepada, and an increased use of ke and sama. The data are drawn from ten works of fiction published between 1998 and 2005. Eight of these are written by the same author, Hilman. In four of them, Hilman collaborates with fellow writer Boim Lebon. The other two works are by Laire Siwi Mentari and Marthino Andries. This selection is motivated by the following considerations. Hilman’s works have been highly and consistently popular since his first publication appeared in 1986. They span two decades and therefore provide an appropriate time span for examining shifts in writing style. Laire Siwi Mentari and Marthino Andries are also successful writers; their first novels were published in 2004, followed by their second novels in 2005. This study makes use of their second novels.
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Muneeni, Jeremiah Mutuku, Justus Kizito Siboe Makokha, and Esther Katheu Mbithi. "Transmutation and Temporality: Shifting Figures of African Women in Jennifer Makumbi’s Historical Novel Kintu (2014)." International Journal of Linguistics, Literature and Translation 4, no. 2 (March 2, 2021): 215–22. http://dx.doi.org/10.32996/ijllt.2021.4.2.25.
Full textAbstract:
The role of African women writers in employing the unique style of presenting several generations of women characters in the same historical novel to narrate how the world of women has been transformed across time cannot be naysaid. Through this style, female authors have been able to re-examine, re-construct, re-structure and re-invent the (mis)representation of female gender as construed by male authors who were the first to acquire formal education and embark in creative writing. Thus the choice of this distinctive style often serves as an important marker of backdating the true depiction of women across the historical trajectory as well as demonstrating the gainful transmutation that women have gone through towards their liberation from the chains of patriarchy. Among the African women writers who have adopted this style is Jeniffer Makumbi the author of Kintu. Grounded in both New historicist and feminist theoretical frameworks, we interrogate how women have gradually and gainfully changed towards liberation across the four epochs specific to Africa; namely: Pre-colonial, Colonial, postcolonial and contemporary. Using purposively selected Jenniffer Makumbi’s novel – Kintu – the article provides a textual analysis of the behaviours, speeches and actions exhibited by different generations of female characters who fall within the aforementioned epochs to demonstrate their historical transmutation towards liberation.
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Rostova, Natalya N. "The Issue of Human Individual in Contemporary Russian Philosophy." Almanac “Essays on Conservatism” 60 (December 12, 2019): 341–51. http://dx.doi.org/10.24030/24092517-2019-0-4-341-351.
Full textAbstract:
The article analyzes the current state of affairs in Russian philosophy in connection with the question «What is a human individual?». While distinguishing the terms “Russian philosophy” and “Russian-language philosophy”, the author points out the primordial metaphorical nature of Russian philosophy, its attempt to discover the ineffable in the language, which is characteristic of Rozanov's style of writing. Today this is expressed in the interest of Russian philosophy to the issue of the “literal” and “clip”. In contrast to the European philosophy that interprets itself as ontology, Russian philosophy perceives itself as anthropology. The apophatic and literal language seems to be the most adequate one for the description of the phenomenon of “the human individual”. While the Western philosophy eliminates today the issue of a human individual and transforms anthropological knowledge into non-human anthropology, the Russian philosophy qualifies the human situation as an anthropological catastrophe. Meeting the challenges of this catastrophe, Russian philosophy formulates a number of anthropological projects, which are analyzed in detail in this article. These projects are united under the title of post-cosmism, which opposes the post-humanistic tendencies of Western philosophy. Post-cosmism sees the truth of the human nature in its extension and exceeding its own bounds. It is not the reduction to the world of things, but the transcendence of self that opens up the true horizon of a human being.
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TALBOT, MICHAEL. "WILLIAM BATES AND HIS CONCERTOS IN TEN PARTS, OP. 2: AN ENTERPRISING EIGHTEENTH-CENTURY COMPOSER AND AN UNRECOGNIZED ORCHESTRAL SUBGENRE EMPLOYING HORNS." Eighteenth Century Music 14, no. 2 (August 30, 2017): 235–63. http://dx.doi.org/10.1017/s1478570617000069.
Full textAbstract:
ABSTRACTWilliam Bates, who died in 1778, was a prolific and, in his day, successful composer of stage music and concert songs performed in London in the 1760s and 1770s; but a scarcity of biographical information and uncertainties over his position vis-à-vis the new style introduced in the early 1760s by J. C. Bach and others have tended to disadvantage him in modern commentary. New facts about his life and background together with a recently discovered sale catalogue reveal him to have been a cultivated man of wide interests, with a sympathy for the ‘ancient’ style. His most substantial musical contribution, as regards its potential for modern revival, is a remarkable set of six concertos for strings with oboes, bassoons and horns (plus, in two concertos, trumpets and timpani) published in 1762. These concertos, related in style to contemporary overtures to stage works but making much greater use of concertante writing, form a high point in a peculiarly British tradition of concertos employing French horns. The cult of the horn in Georgian Britain that nourished this tradition is the subject of extended discussion.
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Lozier, Claire. "Empowering Signs: Writing and e-motions in Michel Houellebecq’s Platform." Open Cultural Studies 2, no. 1 (December 1, 2018): 668–75. http://dx.doi.org/10.1515/culture-2018-0060.
Full textAbstract:
Abstract This article explores the working of the cultural literacy concepts of rhetoricity and textuality in Michel Houellebecq’s third novel Platform through the lens of French philosopher Frederic Lordon’s affect theory, with a view to understanding the way emotions and motion operate jointly through writing in this post-travel literature text dealing with the contemporary travel industry, sex tourism, and emotional alienation. As such, it contributes to the current reassessment of the role played by emotions in human interactions. By exploring the specific layered textuality of Platform, which purposefully recycles a series of discursive cliches and tropes, I show how Houellebecq’s writing style demands to be considered not only for its literary value but also for its potent, and perhaps unexpected, moving effects, or rhetoricity, which invite readers to reconsider their perception of alterity-i.e. the world and the other-but also of the performative power of art and literature. In order to demonstrate this, the article looks first at the failure of travel writing orchestrated in the novel; it then analyses alternative textual modalities of affect mediation trialed in the text; and finally, it considers the strategies used in Platform to “empowerise” signs and, as a result, those who read them.
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Lolja, Saimir A. "The Preservation of Albanian Tongue (Shqip) Since the Beginning." Advances in Language and Literary Studies 10, no. 6 (December 31, 2019): 152. http://dx.doi.org/10.7575/aiac.alls.v.10n.6p.152.
Full textAbstract:
In the beginning, humans had a tongue (gjuhën, Shqip). Then, they could or couldn’t let go of the tongue (len…gjuhën, Shqip). Albanian natural tongue (Shqip) implies the use of the tongue in the mouth for articulating (shqiptoj, Shqip) words. The eternity of Shqip (Speech) is in its words that are wordy clauses, phrases, parts of or short sentences. The Speech (Shqip) and other lan…guages (len…gjuhët, Shqip) carry these kinds of wordy clauses to prove the permanency of Shqip.The Speech (Shqip) had local and schooled forms in distant antiquity. Therefore, various types of writing appear now. Since the schooled style was in general use and carried later in the papers and books of lan…guages (len…gjuhëve, Shqip), it has been preserved unchanged. Its pieces, no matter how small are, every time get easily read and quickly understood using contemporary Shqip.The Speech (Shqip) was the first stratum in the Euro-Mediterranean area. It was the Speech (Shqip) of Nephilims (Nëfillimëve). The Shqip of today can be used to read and understand both words in other idioms and ancient writings.
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Olohan, Maeve. "How frequent are the contractions?" Target. International Journal of Translation Studies 15, no. 1 (November 20, 2003): 59–89. http://dx.doi.org/10.1075/target.15.1.04olo.
Full textAbstract:
This paper analyses contractions in translated language, comparing the use of contracted forms by translators of fiction and biography into English with the contraction patterns of writers of similar texts in English. Significant differences are found between the English of literary translation and contemporary literary English writing, in terms of both variety of contracted forms encountered and frequency of occurrence of contractions. Qualitative analyses then focus on the functional description of some contracted and non-contracted forms, and also consider the contraction practices of different translators. The relationships between contractions and other linguistic features, explicitation in translation, translator style, discourse function and genre are touched upon, and avenues for further research of this nature are suggested.
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Danial, Danial. "Corak Penafsiran Al-Qur'an Periode Klasik Hingga Modern." Hikmah Journal of Islamic Studies 15, no. 2 (March 9, 2020): 70. http://dx.doi.org/10.47466/hikmah.v15i2.136.
Full textAbstract:
Al-Qur'an as a source of knowledge and life, therefore it is needed
a method in exploring the treasure of knowledge which are
contained inside it, not only the method needed. Since the vastness
of interpretation study, so, many kinds of scientific approaches
have been used to understand it. This writing is a part of research
in order to explore many styles of interpretation since classical
period to contemporary, which were compiled and formulated by
the scholars, the writer sees the importance of detecting how far
is that formulation can be used and developed in the al-Qur'an
studies. Until now, interpreter scholars will continue to develop
various fields of science in order to approach the Qur'an, until the
virtues of al-Qur'an can be obtained and used as good as possible.
These interpretation styles use the bi al-ra'yi interpretation form,
which has always been a clash among the scholars in determining
the position of these styles, some accept and some reject.
It is also found in this article that every scholars has differences
in concluding the number of interpretation styles from classical
period until modern, those differences are because of the time
and object that is being researched, at least, the writer finds some
styles of interpretation, such as fikih interpretation style, sufi
interpretation style, philosophy, madzhab interpretation style,
language literature interpretation style, iImi interpretation style,
ilhadi interpretation style, adabi Ijtima’i interpretation style,
haraki interpretation style.
Keywords: Style, Interpretation, Clasic, Modern
Al-Qur’an sebagai sumber ilmu dan kehidupan, olehnya itu
dibutuhkan metode dalam menggali khazanah keilmuan yang
terkandung didalamnya, tidak hanya metode yang dibutuhkan.
Karena betapa luasnya kajian penafsiran sehingga berbagai
pendekatan ilmu digunakan untuk memahaminya. Tulisan
ini merupakan bagian dari penelitian dalam rangka menggali
berbagai corak-corak penafsiran sejak zaman klasik hingga
kontemporer, yang disusun dan dirumuskan oleh para Ulama,
penulis melihat pentingnya mendeteksi sejauhmana rumusan
tersebut dapat digunakan dan dikembangkan dalam kajian al-
Qur’an. Sampai saat ini ulama tafsir akan terus mengembangkan
berbagai bidang keilmuan dalam rangka mendekati al-Qur’an,
hingga mutiara-mutiara al-Qur’an dapat diperoleh dan digunakan
sebaik mungkin. corak-corak penafsiran tersebut menggunakan
bentuk penafsiran bi al-ra’yi, yang sejak dulu terjadi pertentangan
ulama dalam menentukan kedudukan dari corak-corak tersebut,
ada yang menerima dan ada pula yang menolak.
Pada artikel ini juga ditemukan bahwa setiap ulama berbeda
dalam menyimpulkan jumlah corak-corak tafsir dari klasik hingga
modern, perbedaan tersebut disebabkan karena masa dan objek
yang sedang diteliti, setidaknya penelis menemukan beberapa
corak tafsir diantaranya, corak tafsir fikih, corak tafsir Sufi,
Filsafat, corak tafsir mazhab, corak tafsir sastra bahasa, corak
tafsir Ilmi, corak tafsir ilhadi, corak tafsir Adabi Ijtimā’i, corak
tafsir akhlaqy, corak tafsir haraki.
Keywords: Corak, Tafsir, Klasik, Modern
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Dominte, Carmen. "DramAcum – The New Wave of Romanian contemporary dramaturgy." Swedish Journal of Romanian Studies 2, no. 1 (May 16, 2019): 62–75. http://dx.doi.org/10.35824/sjrs.v2i1.18816.
Full textAbstract:
During the nineties, a new theatrical trend developed. It was called New European Drama or New Writing. It was represented by authors such as the British Sarah Kane, Mark Ravenhill or the German playwright Marius von Mayernburg. The classical theatre will never be able to return to itself, unless giving the spectator the utopian sense of life that only a staged play could perform, not from a delusive perspective, but from a real and personalized perspective, giving a certain meaning to reality. Being against the conservatory type, the authors put an end to all the theatrical conventions. They considered that it had to come to a point of changing the old patterns, of introducing new themes, new structures, new means of performing in the attempt of seducing and shocking the audience. Most of the dramatic texts focus on the plots about hard human existence such as racism, madness, suicide, sexuality, drug addiction and any type of abuse. The language is vulgar and slangy. All the dramatic texts when performed on stage invade the personal space of the people watching, who is now considered one of the characters. It is not only the dramatic text that is taken into consideration, but the performance itself. The new type of theatre developed in Russia, Poland and Romania, giving specific projects (Teatr.doc, The Drama Laboratory and DramAcum). All were influenced by the verbatim dramatic style performed in theatres under the slogan of the in-yer-face. The study intends to explore the importance of the Romanian theatrical project – DramAcum, as a new type of theatre and dramaturgy.
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Perdana, Aditya Bayu. "Ragam Langgam Aksara Jawa dari Manuskrip hingga Buku Cetak." Manuskripta 10, no. 1 (August 25, 2020): 1. http://dx.doi.org/10.33656/manuskripta.v10i1.140.
Full textAbstract:
Abstract: In its contemporary usage, the Javanese script is often introduced through a few serviceable yet unvaried typefaces which give an impression of monotony and lack of style capable of carrying various design expressions. This current state of style deficiency is unfortunate because a cursory survey on the history of the Javanese script up to the 20th century reveals a rich tradition of calligraphic and typographic styles. Throughout the island, many scribes used regional stylistic variations, sometimes with striking differences and unique quirks no longer seen in today’s writing. The introduction of printing and metal typefaced also brought western typographic practice into the design of the Javanese script, creating a unique design environment where Javanese and European traditions mingled. This paper would introduce the varied styles of the Javanese script in manuscripts and printed books from the 16th ce to the mid 20th ce in the hopes that it will enrich the contemporary use of the Javanese script.
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Abstrak: Dalam penggunaan terkini, aksara Jawa kerap diperkenalkan melalui sejumlah typefaces yang memadai namun sayangnya tidak bervariasi, sehingga contoh-contoh kontempora seringkali memberi kesan monoton dan kekurangan gaya yang mampu menyampaikan berbagai ekspresi desain. Hal ini sangat disayangkan karena napak tilas sejarah aksara Jawa hingga abad ke 20 menunjukkan tradisi kaligrafis dan tipografis yang sangat kaya. Di seantero pulau, juru tulis di berbagai daerah menggunakan variasi gayanya masing-masing. Terkadang dengan berbedaan yang sangat mencolok atau kekhasan tulis tidak lagi terlihat dalam penulisan masa kini. Kedatangan teknologi cetak dan metal typeface juga turut memperkenalkan aspek tipografis barat ke dalam desain aksara Jawa, hingga terciptalah suatu ranah desain yang unik dari persilangan tradisi tulis Jawa dan tipograf barat. Tulisan ini akan memberikan uraian singkat mengenai ragam langgam aksara Jawa pada naskah tulisan tangan dan cetak antar abad 16 M hingga 20 M awal sebagai perkenalan awal yang dapat memperkaya penerapan aksara Jawa di abad 21 M.
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Robotova, Alevtina S. "Skeptic’s Comment: What Questions ‘Academic Writing’ Does Not Answer." Higher Education in Russia 27, no. 11 (December 21, 2018): 71–84. http://dx.doi.org/10.31992/0869-3617-2018-27-11-71-84.
Full textAbstract:
The paper provides information to support its title (“Skeptic’s comment…”). The author shares his attitudes towards a new research area of academic writing (AW) and a system of teaching AW. The paper is presented in a form of a dialog between the author and the advocates of AW. In the author’s opinion, these advocates do not answer a number of questions to be asked for including their ideas into the scope of pedagogical knowledge. While admitting the value of analyzing foreign publications on AW, interpreting them and creating a teaching and learning system tailored for our national practice, the author states that the arguments to recognize AW as an independent academic discipline or a new research area are not sufficient. The author supports this idea by a series of speculations expanded in the paper sections to follow. They include doubts about the completeness of methodological arguments (considering the contemporary state of matter in epistemology, attitude towards new type rationality, unique features of cognition in science and humanities, rationale for the relevance of social constructivism for AW, and etc.), and about the insufficient attention towards the contemporary pedagogical methodology. The status of AW is discussed as if sidestepping the national achievements in investigating the language, speech, text (academic), discourse, linguistic and rhetoric conventions, and etc. The skepticism regarding the AW system can also be explained by the fact that the author does not agree with a number of statements denying the figural and publicistic images in an academic style, personal characteristics, opinions, emotional experiences and beliefs; negating the talent, literature expertise and imitation as assistants for academic writing; inferring the impossibility of learning academic writing independently. The author is confused by the insufficient attention towards the investigations on eloquence carried out in the 1980s in our native country (e.g. by S.S. Averintsev, A.K. Avelichev, and etc.); it is clear that the expertise in foreign research does not negate the knowledge about the research in our native country. Through critically analyzing the components of the AW system, the author concludes that AW is to be considered as one of possible technological solutions for the problem of creating a scholarly proper academic text.
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Eldridge, Richard. "Encountering Cavell." Conversations: The Journal of Cavellian Studies, no. 7 (June 19, 2019): 38–42. http://dx.doi.org/10.18192/cjcs.vi7.4285.
Full textAbstract:
I first came across Stanley Cavell’s writing in the fall of 1974 in a senior seminar in the philosophy of mind at Middlebury College, co-taught by Stanley Bates and Timothy Gould. We spent most of the term reading Gilbert Ryle’s The Concept of Mind and P. F. Strawson’s Individuals—books that at that time, before the widespread reception of Kripke’s Naming and Necessity, Putnam-style functionalism, and central state identity theory, still counted as contemporary philosophy of mind. It was then felt by Bates and Gould, I conjecture, that something more lively and something having to do with subjectivity might be order. Both of them had been Ph.D. students with Cavell at Harvard, and so we turned to “Knowing and Acknowledging.”