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Journal articles on the topic 'Stephenie Meyers'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Miquel Baldellou, Marta. "Passion beyond death? Tracing "Wuthering Heights" in Stephenie Meyer's "Eclipse"." Journal of English Studies 10 (May 29, 2012): 147. http://dx.doi.org/10.18172/jes.185.

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Stephenie Meyers’ Twilight tetralogy has lately become an enormously successful phenomenon in contemporary popular fiction, especially among a young adult readership. Regarded as a mixture of genres, the Twilight series can be described as a paradigm of contemporary popularculture gothic romance. Stephenie Meyer has recently acknowledged she bore one literary classic in mind when writing each of the volumes in the series. In particular, her third book, Eclipse (2007), is loosely based on Emily Brontë’s Victorian classic Wuthering Heights (1847). This paper aims at providing a comparative analysis of both Brontë’s novel and Meyer’s adaptation, taking into consideration the way the protofeminist discourse that underlines Brontë’s text is not only subverted but also acquires significantly reactionary undertones in Meyer’s popular romance despite its contemporariness.

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2

Chakrabarti, Reema, and Dr Rajni Singh. "Celebrating the Feminine Self: An Understanding of Stephenie Meyer’s Twilight." Journal of English Language and Literature 8, no. 3 (December 31, 2017): 669–72. http://dx.doi.org/10.17722/jell.v8i3.337.

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The paper examines the celebration of the feminine self in Stephenie Meyer’s Twilight through the character- Bella. While most of women’s writings carry a feminist voice asserting women’s individuality, the writers of Gothic romances concentrate more on the celebration of the feminine self rather than challenging the binaries of gender. Stephenie Meyer, by putting her heroine Bella into a traditional feminine frame provides her full scope to exercise her freedom to choose even while carrying out the prescribed feminine roles. Through the analysis of the character, there will be an attempt to demonstrate that while enjoying one’s inequality how one can prove the uniqueness of one’s individuality.

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3

Rosenberg, Shiri. "Is the Twilight Saga a Modern-Time Fairy Tale? A Study of Stephenie Meyer’s Source Material from Folklore and Canonical Narratives." Polish Journal for American Studies, no. 13 (Spring 2019) (October 15, 2019): 101–10. http://dx.doi.org/10.7311/pjas.13/1/2019.09.

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The article presents an analysis of Stephenie Meyer’s Twilight novels as modern literary fairy-tales. To this end, the discussion will refer to structuralist critics, and identify “narrative functions” from folktales (stock images and episodes, stock character functions, characteristic sequences of episodes), used by Meyer in her vampire novels. As it turns out, Meyer modified folklore material to sustain a long and variously themed narrative: by embedding numerous subplots, by rearranging functions between characters, and creating composite and collective characters that combine contradictory functions. The author transformed several folktales into a series of four novels about coming of age in the twenty-first-century United States. A detailed analysis of Meyer’s modifications of the folktale partially corroborates the feminist critique of Meyer’s representation of the protagonists as reinforced versions of cultural stereotypes and gender roles. However, some transformations, especially Meyer’s assignment of the hero-function to the female protagonist Bella, seem to suggest just the opposite, thus leading to the conclusion that the Twilight novels reflect the confusion caused by contradictory role-models and aspirations, the confusion that seems to be inherent in a coming-of-age novel.

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4

Gazda, Małgorzata. "Stephena C. Meyera koncepcja „podpisu w komórce” a filozoficzne podstawy nauki." Filozoficzne Aspekty Genezy 13 (December 31, 2016): 7–23. http://dx.doi.org/10.53763/fag.2016.13.123.

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W artykule omówiono koncepcję „podpisu w komórce” rozwijaną w ramach teorii inteligentnego projektu przez Stephena C. Meyera. Meyer argumentuje, że jedynym adekwatnym wyjaśnieniem pochodzenia informacji genetycznej jest działanie przyczyny inteligentnej. Tym samym łamie obecnie podstawową zasadę nauk przyrodniczych — zasadę naturalizmu metodologicznego nakazującą szukanie wyjaśnień zjawisk przyrodniczych wyłącznie w naturalnym funkcjonowaniu świata. Meyer za podstawową regułę wyjaśniania w naukach przyrodniczych przyjął natomiast spełnienie kryterium adekwatności przyczynowej. W ten sposób stara się wprowadzić swoją koncepcję w krąg dopuszczalnych w nauce wyjaśnień. Operacja ta wiąże się jednak z głęboką zmianą podstaw filozoficznych nauki.

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5

Twilovita, Nursis. "Tokoh-Tokoh Berperspektif Feminisme dalam Novel Twilight Karya Stephenie Meyer." Kelasa 15, no. 1 (September 18, 2020): 34–45. http://dx.doi.org/10.26499/kelasa.v15i1.19.

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Men and women are created equal, and they are perfected by His creator by being given the rights inherent in him, the right to life, freedom, and the achievement of happiness. Therefore, the writer in this paper wants to look at figures who have a feminist perspective in the Twilight novel by Stephenie Meyer. Women with all the dynamics that oppose the material and source of inspiration that will never end. Woman is a figure that has two very opposite sides. On one side of a woman is a very charming beauty. However, on the other hand, women are often considered weak. In this connection, the problem that will be discussed in this paper is how to describe the perspective of the feminism of the characters in the novel by Stephenie Meyer. This paper is examined using descriptive-textual method and sociology literature approach.AbstrakLaki-laki maupun perempuan diciptakan sederajat, dan mereka disempurnakan oleh pencipta-Nya dengan diberi hak-hak yang melekat dalam dirinya, hak untuk hidup, kebebasan, dan pencapaian kebahagiaan. Oleh karena itu, penulis dalam makalah kali ini ingin menilik tokoh-tokoh yang berperspektif feminisme dalam novel Twilight karya Stephenie Meyer. Wanita dengan segala dinamika yang ada padanya seolah menjadi bahan dan sumber inspirasi yang tidak akan pernah ada habisnya. Wanita adalah sosok yang mempunyai dua sisi yang sangat berlawanan. Di satu sisi wanita adalah keindahan yang begitu sangat memesona,. Namun, di sisi yang lain, wanita sering dianggap lemah. Berdasarkan itulah, masalah yang akan dibahas dalam makalah ini adalah bagaimanakah gambaran perspektif feminisme tokoh-tokoh dalam novel karya Stephenie Meyer. Makalah ini dikaji menggunakan metode deskriptif-tekstual dan pendekatan sosiologi sastra.

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6

Cahyanti, Ririn Dwi. "Compound words used in Stephenie Meyer’s Twilight." Journal on English as a Foreign Language 6, no. 1 (March 25, 2016): 59. http://dx.doi.org/10.23971/jefl.v6i1.429.

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<p>This study was aimed at describing the types, the function, and the meaning of the compound words used in Stephenie Meyer’s <em>Twilight</em>. A qualitative method with the content analysis was applied in this study. The object of this study was compound words. For the data collection, it was used the techniques such as data collection, data reduction, data display, and conclusion drawing. This study was validated by using triangulation. The findings showed that there are 253 compound words. Based on the type of compound words, there are 5 compound words categorized as open form, 65 compound words categorized as hyphenated form, and 183 compound words categorized as closed form. Based on the function of compound words, there are 173 compound nouns, 13 compound verbs, and 67 compound adjectives. Referring to the meaning of compound words found from the contextual meaning, there are 140 words of the exocentric compound and 113 words of the endocentric compound.</p>

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7

Ledvinka, Georgina. "Vampires and Werewolves: Rewriting Religious and Racial Stereotyping in Stephenie Meyer's Twilight Series." International Research in Children's Literature 5, no. 2 (December 2012): 195–211. http://dx.doi.org/10.3366/ircl.2012.0063.

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Stephenie Meyer's Twilight series (2005–8) demonstrates a strong connection with the theology, cultural practices and history of The Church of Jesus Christ of Latter-day Saints (LDS), of which Meyer is an active member. One of the strongest ways in which this connection is demonstrated is through characterisation: specifically, by featuring vampires and werewolves as prominent supernatural characters in the text. Twilight employs vampires as a metaphor for the LDS Church. By eschewing literature's traditional association of vampires with subversive acts, especially subversive sexuality, and rewriting them as clean-cut pillars of the community, Twilight not only charts but promotes the progression of Latter-day Saints from nineteenth century social pariahs to modern day exemplars of conservative American family values. The series represents its Native American shapeshifting werewolves as an ancient group of people from LDS scriptural history called Lamanites, who were cursed by God with ‘a skin of blackness’ for their ‘iniquity’ (Book of Mormon, 2 Nephi 5:21). The construction of the werewolves as impoverished and socially marginalised yet with strong family ties enables the treatment of race in Twilight to move beyond a standard white/non-white binary frame to engage at a deeper level with LDS stereotyping of Native American people.

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8

Glaeser, Luciane. "Vampiros: moda e subjetividade." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 4, no. 8 (January 24, 2010): 81. http://dx.doi.org/10.26563/dobras.v4i8.237.

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O artigo tem o propósito de apresentar alguns aspectos relativos ao fenômeno Crepúsculo, romance com temática vampírica, de Stephenie Meyer. Ele explora tanto o conteúdo de moda que o produto representa, como também ensaia algumas considerações de caráter mais simbólico e subjetivo, depreendidos do estilo da história fantástica em questão.

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9

Chakrabarti, Reema, and Dr Rajni Singh. "Celebrating the Feminine Self: An Understanding of Stephenie Meyer’s Twilight." Journal of English Language and Literature 8, no. 3 (December 12, 2017): 669. http://dx.doi.org/10.17722/jell.v8i3.275.

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10

Fournet-Pérot, Sonia. "Onomastique et parodie dans la saga bédéïque "Crepúsculon"." e-Scripta Romanica 8 (November 3, 2020): 63–73. http://dx.doi.org/10.18778/2392-0718.08.05.

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Le mythe du vampire a inspiré de nombreuses créations littéraires et audio-visuelles qui ont, pour certaines, cherché à atteindre un public adolescent. C’est le cas de la saga cinématographique Twilight (adaptation des romans de Stephenie Meyer) que les quatre BD espagnoles du cycle Crepúsculon s’emploient à parodier. Nous aborderons Crepúsculon en adoptant une approche exclusivement linguistique, et, en particulier, dans le cadre de cet article, onomastique, par le biais des tropes rhétoriques.

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11

Murray, Michael J., and John Ross Churchill. "Replies to Commentators on Mere Theistic Evolution." Philosophia Christi 22, no. 1 (2020): 75–81. http://dx.doi.org/10.5840/pc20202216.

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12

Kokkola, Lydia. "Sparkling vampires: Valorizing self-harming behavior in Stephenie Meyer's Twilight series." Bookbird: A Journal of International Children's Literature 49, no. 3 (2011): 33–46. http://dx.doi.org/10.1353/bkb.2011.0054.

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13

Rachel Hendershot Parkin. "Breaking Faith: Disrupted Expectations and Ownership in Stephenie Meyer’s Twilight Saga." Jeunesse: Young People, Texts, Cultures 2, no. 2 (2010): 61–85. http://dx.doi.org/10.1353/jeu.2010.0034.

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14

Dunn, Emma. "Good Vampires Don't Eat: Anorexic Logic in Stephenie Meyer's Twilight Series." Jeunesse: Young People, Texts, Cultures 10, no. 1 (2018): 109–33. http://dx.doi.org/10.1353/jeu.2018.0005.

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15

Demers, Marie. "Aujourd’hui, la fanfiction : nouveau mode d’expression littéraire, réinterprétation et exploration d’une sexualité alternative." Voix Plurielles 15, no. 1 (May 3, 2018): 105–16. http://dx.doi.org/10.26522/vp.v15i1.1756.

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Cet article s’intéresse au caractère transgressif de la fanfiction qui, tout en se nourrissant de la production officielle, s’en dissocie en défiant ses règles et en enfreignant certains codes, autant littéraires qu’idéologiques. Il aborde la question du fandom associé à la tétralogie de Stephenie Meyer, Twilight, pour ensuite approfondir certaines réécritures de récits hétéronormatifs en scénarios homosexuels ou lesbiens. Il explore finalement le potentiel didactique de la fanfiction : en plus de servir de plate-forme créative, elle permet à des jeunes de réfléchir sur la marginalité et d’explorer d’autres réalités.

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16

Dinurriyah, Itsna Syahadatud. "The Meaning of Beauty through A Woman Image in Stephenie Meyer's Twilight." NOBEL: Journal of Literature and Language Teaching 7, no. 2 (September 4, 2016): 82–97. http://dx.doi.org/10.15642/nobel.2016.7.2.82-97.

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The presence of women has been questioned by men since ancient time up to now. They tried to define what kind of creature women are. Aristoteles had given the idea of woman that she is male in form but female in virtue. Thomas Aquinas also defined that woman is an imperfect man. In spite of their confusion about women, they like women’s presence since they give beauty in life. The beauty of women is not only in men’s mind but it also appears through their performance. They look so beautiful so that men want to make them as their partners in life. The meaning of beauty on women has been changed from time to time. In postmodern era, the meaning of beautiful women is not the same with that in the previous era. The elegant performance does not become the measurement anymore. The idea of what ‘she becomes’ is the indication of beauty itself and it is discussed in the last part of the article.

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17

Kokkola, Lydia. "Virtuous Vampires and Voluptuous Vamps: Romance Conventions Reconsidered in Stephenie Meyer’s “Twilight” Series." Children's Literature in Education 42, no. 2 (December 18, 2010): 165–79. http://dx.doi.org/10.1007/s10583-010-9125-9.

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18

Jarvis, Christine. "The Twilight of Feminism? Stephenie Meyer’s Saga and the Contradictions of Contemporary Girlhood." Children's Literature in Education 45, no. 2 (September 26, 2013): 101–15. http://dx.doi.org/10.1007/s10583-013-9212-9.

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19

Borys, Andrzej. "On Definition of Operator o for Weakly Nonlinear Circuits." International Journal of Electronics and Telecommunications 62, no. 3 (September 1, 2016): 253–59. http://dx.doi.org/10.1515/eletel-2016-0034.

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Abstract For the first time, operator o appeared in the literature on weakly nonlinear circuits in a Narayanan’s paper on modelling transistor nonlinear distortion with the use of Volterra series. Its definition was restricted only to the linear part of a nonlinear circuit description. Obviously, as we show here, Narayanan’s operator o had meaning of a linear convolution integral. The extended version of this operator, which was applied to the whole nonlinear circuit representation by the Volterra series, was introduced by Meyer and Stephens in their paper on modelling nonlinear distortion in variable-capacitance diodes. We show here that its definition as well as another definition communicated to the author of this paper are faulty. We draw here attention to these facts because the faults made by Meyer and Stephens were afterwards replicated in publications of Palumbo and his coworkers on harmonic distortion calculation in integrated CMOS amplifiers, and recently in a paper about distortion analysis of parametric amplifier by H. Shrimali and S. Chatterjee. These faults are also present in some class notes for students, which are available on WWW-pages.

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20

Pujiati, Tri. "Analisis Pengaruh Aspek Budaya dalam Penerjemahan Ujaran pada Novel Eclipse Karya Stephenie Meyer." Lingua Rima: Jurnal Pendidikan Bahasa dan Sastra Indonesia 6, no. 2 (May 13, 2019): 61. http://dx.doi.org/10.31000/lgrm.v6i2.1611.

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Penelitian ini bertujuan untuk melihat pengaruh budaya terhadap penerjemahan ujaran dalam novel Eclipse karya Stephenie Meyer dari bahasa Inggris ke dalam bahasa Indonesia. Tujuan khusus yang ingin dicapai dari penelitian ini adalah untuk mengetahui (1) strategi penerjemah dalam mengalihkan pesan dari TSu ke TSa; (2) ideologi penerjemahan dilihat dari perspektif semiotik; (3) tanggapan pembaca terkait kesepadanan, keberterimaan, dan keterbacaan penerjemahan. Penelitian ini menggunakan pendekatan kualitatif dengan metode analisis isi. Data yang digunakan sebanyak 30 ujaran. Berdasarkan hasil penelitian, dapat disimpulkan bahwa (1) strategi yang digunakan oleh penerjemah adalah reduksi 34%, parafrasa 23%, kuplet 23%, perluasan 10%, shift 7%, transposisi 3%; (2) ideologi yang lebih dominan digunakan adalah ideologi domestikasi yang berorientasi pada bahasa sasaran sebanyak 87% dan 13% menggunakan ideologi foreignisasi, hal ini membuktikan bahwa budaya sangat berpengaruh terhadap penerjemahan ujaran; (3) berdasarkan resepsi dari pembaca terkait dengan kesepadanan, keberterimaan, dan keterbacaan, dapat dilihat bahwa kualitas terjemahan ini sangat akurat dan pembaca dapat memahami makna yang disampaikan dalam teks sasaran. Rekomendasi dari penelitian ini bahwa dalam menerjemahkan sebuah teks dari Bsu dan BSa yang memiliki latar belakang budaya yang berbeda, seorang penerjemah bisa melihat dengan perspektif semiotik untuk mengetahui hubungan antara budaya sehingga pesan yang disampaikan dapat berterima oleh pembaca sasaran. Kata Kunci : budaya, penerjemahan, ujaran, novel

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21

Carpenter, Kristen A., Sonia K. Katyal, and Angela R. Riley. "Clarifying Cultural Property." International Journal of Cultural Property 17, no. 3 (August 2010): 581–98. http://dx.doi.org/10.1017/s0940739110000317.

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Author Stephenie Meyer forever altered the cultural existence of Quileute Indians when she wrote them into her Twilight novels. Now a veritable global phenomenon complete with books, movies, and affiliated merchandise, the Twilight series depicts young, male members of the tribe as vampire-fighting werewolves who ferociously defend a peace and territorial treaty made with local bloodsuckers. In reality, the Quileute Tribe consists of approximately 700 Indians, many of whom live on a remote reservation in the pacific Northwest, a tiny parcel of the once vast Quileute territory. Since Twilight's unprecedented international success, the Quileute have been overwhelmed with fans and entrepreneurs, all grasping, quite literally in some cases, for their own piece of the Quileute.

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22

Evans, Tania. "Full Moon Masculinities: Masculine Werewolves, Emotional Repression, and Violence in Young Adult Paranormal Romance Fiction." Gothic Studies 21, no. 1 (May 2019): 28–39. http://dx.doi.org/10.3366/gothic.2019.0005.

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Gothic monsters have recently experienced a period of focused scholarly analysis, although few studies have engaged with the werewolf in terms of its overt alignment with masculinity. Yet the werewolves of young adult fantasy fiction both support and subvert dominant masculine discourses through their complex negotiation with emotional repression and violence. These performative masculine practices are the focus of this article, which analyses how hegemonic masculine ideals are reinforced or rejected in a corpus of young adult fantasy texts, including Cassandra Clare's young adult series The Mortal Instruments (2007–2014) and Stephenie Meyer's Twilight Saga (2005–2010). Both texts feature masculine characters whose lycanthropic experiences implicitly comment upon gender norms, which may shape young adult audiences' understanding of their own and others' gender identities.

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23

Ramos Cambero, María del Mar. "La literatura de masas como artefacto cultural en la era postfeminista." Comunicación y Género 3, no. 1 (January 30, 2020): 71–81. http://dx.doi.org/10.5209/cgen.67504.

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El artículo analiza la visión de la mujer en novelas de gran éxito en el panorama nacional e internacional de los últimos años. Partiendo del método analítico del circuito de la cultura (Paul du Gay et al., 1997), exploramos los distintos agentes del proceso editorial, así como las tendencias literarias con más filón en la actualidad; deteniéndonos en el modelo de identidad femenina que reflejan las protagonistas de obras como Millennium (Stieg Larsson), Cincuenta sombras de Grey (E. L. James) o Crepúsculo (Stephenie Meyer). Nuestro principal objetivo es revisar las principales alternativas que se están aportando al respecto. Los resultados evidencian ciertos avances, sobre todo en la novela de fantasía; sin embargo, la creación de heroínas continúa estando supeditada al amor romántico.

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24

Chappell, Shelley. "Contemporary Werewolf Schemata: Shifting Representations of Racial and Ethnic Difference." International Research in Children's Literature 2, no. 1 (July 2009): 21–35. http://dx.doi.org/10.3366/e1755619809000465.

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Because of the current fantasy trend to represent lycanthropy as a genetically inherited or inborn feature, with werewolves frequently belonging to werewolf families and/or packs, many contemporary narratives for children and young adults encourage readings of lycanthropy as a metaphor for racial or ethnic difference. Diverse representations of lycanthropy, from monstrous and sympathetic werewolves to benevolent and idealised werewolves, non-essentialist werewolves, and incommensurable werewolves thus suggest shifting conceptions of race and ethnicity. The divergent ideological implications of these distinctive werewolf schemata are analysed in a variety of contemporary children's and young adult fantasy texts, including Maggie Pearson's Owl Light ( 1996 ), Annette Curtis Klause's Blood and Chocolate ( 1997 ), Patrick Jennings's The Wolving Time ( 2003 ), J. K. Rowling's Harry Potter series (1997–2007), and Stephenie Meyer's Twilight series (2005–8).

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Borys, Andrzej. "Understanding of Meyer and Stephens’s operator o as a multi-operational one." International Journal of Electronics and Telecommunications 62, no. 3 (September 1, 2016): 273–77. http://dx.doi.org/10.1515/eletel-2016-0037.

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Abstract In this paper, the idea of an extended operator o introduced in the literature on modelling weakly nonlinear circuits by Meyer and Stephens is revisited. The mathematically precise definitions of this operator for the successive Volterra series terms are given. Furthermore, the exhaustive formal and illustrative descriptions of these definitions are also presented. Finally, the possibility of a reverse formulation for the convolution operations occurring in descriptions of weakly nonlinear circuits is reported.

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26

Bendor, Jonathan. "Limits to Bureaucratic Growth.Marshall W. Meyer , William Stevenson , Stephen Webster." American Journal of Sociology 93, no. 1 (July 1987): 256–59. http://dx.doi.org/10.1086/228743.

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27

Nugraha, Hari. "KUALITAS TERJEMAHAN TINDAK TUTUR EKSPRESIF DALAM NOVEL BREAKING DOWN (AWAL YANG BARU) KARYA STEPHENIE MEYER." Al-Tsaqafa: Jurnal Ilmiah Peradaban Islam 16, no. 1 (June 20, 2019): 124–34. http://dx.doi.org/10.15575/al-tsaqafa.v16i1.3919.

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28

Mahmud, Fazriyani S. "ANALYSIS OF LOVE BY USING TRINGULAR THEORY OF LOVE BY STERNBERG IN BREAKING DAWN NOVEL BY STEPHENIE MEYER. (A PSYCHOLOGICAL STUDY)." British (Jurnal Bahasa dan Sastra Inggris) 7, no. 1 (November 26, 2019): 28. http://dx.doi.org/10.31314/british.7.1.28-42.2018.

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Love is something that everyone may have. Even love is the right of every human being in the world so that everyone has the right to love and be loved by others. Generally love is a form of emotion that contains attraction, sexual desire, and attention to someone. This shows that love has several components in it including intimacy, passion, and commitment. This research is focused on analyzing love experiences by using the triangular theory of love by Sternberg on some of the characters in the novel Breaking Dawn by Stephenie Meyer. This research used a descriptive qualitative method and used Sternberg's theory to analyze the experience of love in the breaking dawn novel. The result of this research has three components in love including intimacy, passion, and commitment.Keywords: Love, Triangular of Love, Intimacy, Passion, Commitment

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29

Masniati, Andi. "ELLIPSIS TYPES IN STEPHENIE MEYER’S “THE SHORT SECOND LIFE OF BREE TANNER” USING A SYNTACTIC ANALYSIS." ETERNAL (English, Teaching, Learning, and Research Journal) 5, no. 1 (June 30, 2019): 66. http://dx.doi.org/10.24252/eternal.v51.2019.a6.

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Ellipsis is an omitting part of the sentence that may occur in the English novel. Some authors write a novel tend to use ellipsis in their work. Learners who read English novel are likely to find the author’s writing style which study is aimed to explain the types of the elliptical sentence used by the author in the novel The Short Second Life of Bree Tanner. This research applied a qualitative method and employed a source of data from Stephenie Meyer’s Novel and some references to support this study. A further technique of analyzing data in this research is always linked to the theory and methods based on Syntactic Analysis. Subsequently, this research uses the syntactic analysis form, Noam Chomsky. As a result, the researcher found that there are three types of elliptical sentence occurred in the novel. The types of elliptical sentence are a nominal ellipsis, verbal ellipsis, and clausal ellipsis. Therefore, based on the research findings, the researcher concludes that the types of ellipsis the author used in her novel based on the evidence are verbal ellipsis, nominal ellipsis, and clausal ellipsis. As a suggestion, it is essential to learn light on the readers or writers’ ability to employ ellipsis types in their work as it is necessary in more economizing and conceiving sentence.

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Pujiati, Tri. "Index Kultural pada Penerjemahan Novel Eclipse: Sebuah Pendekata Semiotik." Buletin Al-Turas 25, no. 2 (November 29, 2019): 323–42. http://dx.doi.org/10.15408/bat.v25i2.11205.

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Budaya merupakan salah satu tantangan utama yang ditemukan dalam menerjemahkan bahasa Inggris ke dalam bahasa Indonesia. Penelitian ini bertujuan untuk mengetahui dampak indeks budaya terhadap terjemahan Novel Eclipse karya Stephenie Meyer. Penelitian ini menggunakan metode kualitatif dan pendekatan semiotik dalam penerjemahan. Terdapat 30 data yang diambil dari novel Eclipse dan terjemahannya dalam bahasa Indonesia dengan teknik. Hasil penelitian ini menunjukkan bahwa (1) indeks budaya yang digunakan oleh penerjemah sebagai cara untuk mempertahankan budaya sumber itu sendiri memiliki dampak besar pada bahasa target. Ada beberapa terjemahan yang tidak dapat diterima dalam bahasa target karena maknanya tidak tersedia dalam bahasa Indonesia, indeks budaya lainnya diterima dalam bahasa target karena ada persamaan arti yang sesuai dengan bahasa sumber; (2) sebagai cara untuk menyelesaikan masalah dalam menerjemahkan budaya, penerjemah menggunakan prosedur transferensi dan naturalisasi. Terdapat 87% menggunakan prosedur transferensi dan 13% menggunakan naturalisasi. Simpulan umum dari penelitian ini menunjukkan bahwa beberapa strategi penerjemahan tersebut tidak akurat di dalam bahasa sasaran sehingga penerjemah perlu mempertimbangkan pemilihan prosedur yang tepat sehingga terjemahan yang dihasilkan dapat diterima dalam bahasa sasaran. Culture is one of the main important challenges found in translating English into Indonesian language. This research aims to know the impact of cultural index on translation of Eclipse Novel by Stephenie Meyer. This research uses qualitative method and semiotic approach in translation. There are 30 data taken from Eclipse novel and its translation in Indonesian language. The results of this study show that (1) cultural index which used by translator as a way to defend the source culture and source language (henceforth SL) itself has a great impact on target language (henceforth TL). There are some translations which cannot be accepted in target language because the meaning is not available in Indonesian language, the other cultural index are accepted in TL as there are equivalence meaning that correspondence the SL; (2) as a way to solve the problem in translating culture, the translator uses transference and naturalization procedure. There are about 87% used transference procedure and 13% used naturalization. The general conclusion of this study shows that some of these strategies are not accurate in the target language so translators need to consider the selection of the right procedure so that the resulting translation can be accepted in the target language.

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Gazda, Małgorzata. "Stephena C. Meyera argument na rzecz projektu w przyrodzie a warunek Jodkowskiego." Filozoficzne Aspekty Genezy 12 (May 24, 2021): 287–301. http://dx.doi.org/10.53763/fag.2015.12.118.

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Uznani naukowcy rzadko wdają się w dyskusje z uczonymi, którzy w naukach przyrodniczych proponują wyjaśnienia odwołujące się do działania świadomej przyczyny inteligentnej. Argumentacja tych drugich często ogranicza się do wykazywania, że w ramach nauki naturalistycznej nie podano dobrze opracowanego rozwiązania takiego czy innego problemu. Postulują oni ingerencje Boga (lub szerzej: inteligentnego projektanta) tam, gdzie występują luki w dotychczasowej wiedzy. Jest jednak klasa argumentów bardziej wyrafinowanych, które spełniają tak zwany warunek Jodkowskiego. Polegają one na uzasadnianiu tezy, że nauka naturalistyczna nie tylko nie rozwiązuje jakiegoś problemu, ale również że nigdy nie będzie w stanie go wyjaśnić. Dzięki owemu drugiemu komponentowi argument taki może być postrzegany przez naukowców jako poważny temat do dyskusji. W artykule zostanie omówiony przykład spełnienia warunku Jodkowskiego przez antynaturalistycznego uczonego — argument Stephena C. Meyera dotyczący problemu pochodzenia informacji genetycznej.

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Parrilla Martínez, Desiderio. "Reacción del neotomismo norteamericano contra el "diseño inteligente"." Pensamiento. Revista de Investigación e Información Filosófica 73, no. 276 (August 29, 2017): 649. http://dx.doi.org/10.14422/pen.v73.i276.y2017.031.

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La doctrina del «Diseño Inteligente» formulada por Phillip E. Johnson, Michael Behe, William A. Dembski o Stephen C. Meyer se presenta como una alternativa científica al Neodarwinismo. Para el naturalismo filosófico o el ateísmo, pero también para la comunidad científica, sólo es una forma de pseudo-ciencia dependiente de la doctrina del «creacionismo protestante» y la interpretación literal bíblica. Las críticas filosóficas más importantes, sin embargo, proceden del neo-tomismo norteamericano. El presente artículo expone los principales argumentos utilizados por el tomismo en su polémica contra la doctrina del «Diseño Inteligente».

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Forrest, B. "Darwinism, Design, and Public Education. John Angus Campbell and Stephen C. Meyer, eds." Integrative and Comparative Biology 44, no. 6 (December 1, 2004): 510–13. http://dx.doi.org/10.1093/icb/44.6.510.

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Topp, Michael. "Stephen Meyer. Manhood on the Line: Working-Class Masculinities in the American Heartland." American Historical Review 122, no. 3 (June 2017): 864–65. http://dx.doi.org/10.1093/ahr/122.3.864.

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Borys, Andrzej. "Operator o and analysis of harmonic distortion." International Journal of Electronics and Telecommunications 62, no. 3 (September 1, 2016): 261–65. http://dx.doi.org/10.1515/eletel-2016-0035.

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Abstract It has been shown that the description of mildly nonlinear circuits with the use of an operator o introduced by Meyer and Stephens in their paper published more than forty years ago was flawed. The problem now with their incorrect and imprecise definition is that it is still replicated in one or another form, as, for example, in publications of Palumbo and Pennisi on harmonic distortion calculation in integrated CMOS amplifiers or an article of Shrimali and Chatterjee on nonlinear distortion analysis of a three-terminal MOS-based parametric amplifier. Here, we discuss the versions of o operator presented in the works mentioned above and show points, where mistakes were committed. Also, we derive the correct forms of nonlinear circuit descriptions that should be used.

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Made Chintya Maha, Yekti. "KINESICS INTERACTION: TOWARDS EYE CONTACT, POSTURE AND FACIAL EXPRESSION OF EDWARD AND BELLA IN A MOVIE ENTITLED “TWILIGHT”." Lingua Scientia 24, no. 1 (June 30, 2017): 27. http://dx.doi.org/10.23887/ls.v24i1.18795.

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This study discusses the nonverbal communication particularly body language. This study focuses on kinesics such as: eye contact, posture, and facial expression of the male main character (Edward Cullen) and the female main character (Bella Swan) in Twilight movie by Stephenie Meyer. The aims of this study is to know the meaning behind those nonverbal communications of male main character and female main character as their acting in the movie. The method used to answer the problem of this study is Descriptive qualitative. The data of this study is a film entitled Twilight produced in 2008. The data is described in the form of images and words. From this study, it can be seen that there are three kinds of nonverbal communication used by the male and female main character. Those are eye contact, posture, and facial expression where the nonverbal communication used by the male character is concerned, serious, brave, romantic, cool postures, friendly and bright eyes. Whereas the female character uses dim eye contact, glace and shock posture, and amazed facial expression. It is found that there are several differences of using nonverbal communication between male and female character in the movie.

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Carreño Pavez, Juan Eduardo. "El debate epistemológico en torno a la teoría del diseño inteligente: la intervención de Stephen Meyer." Open Insight 7, no. 12 (July 3, 2016): 113. http://dx.doi.org/10.23924/oi.v7n12a2016.pp113-142.194.

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<p>Recibido: 05/09/2012 ° Aceptado: 28/11/2013</p><p>La teoría del diseño inteligente tuvo una génesis controvertida, lo que ha marcado decisivamente el discurso de sus autores representativos. En este debate han sido Michael Behe y William Dembski quienes han recibido mayor atención, en tanto que otros autores de la corriente han pasado más bien desapercibidos. Este es el caso de Stephen Meyer, uno de los pocos teóricos del diseño que ha configurado una propuesta epistemológica articulada en relación con la teoría en cuestión. Presentamos aquí los aspectos fundamentales de su propuesta, junto a una valoración crítica de la misma.</p>

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Mohammadpanah, Hammed, and Samira Hamzehei. "Interrelation of Character-Generated Implicature and Inter-Character Sentimentality: A Comparison of of Stephenie Meyer’s ‘Twilight’ and Veronica Roth’s ‘Divergent’." Advances in Language and Literary Studies 11, no. 4 (August 31, 2020): 37. http://dx.doi.org/10.7575/aiac.alls.v.11n.4p.37.

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Inspired by the cognitive approach to characterisation and in view of relevance theory, this research attempted to outline a relevance-theoretic account of how affective attachment between fictional characters influences writers’ use of implicata through characters as part of inter-character discourse by defining cognitive processes into fictional characters as a pivotal element of implicit characterisation. Our attempt addressed the veracity of such an influence and the question whether awareness of the intensity degree of such sentimentality influences readers’ non-spontaneous interpretation of character-generated implicata and characters’ intention to actually execute relevant implicating. By adherence to defining cognitive processes into character discourse, we conducted an analysis on six samples of implicata exchanges within inter-character verbal discourse between the mutual parties of the primary affective attachment of the narrative, between the protagonist and another round character out of Stephenie Meyer’s ‘Twilight’ and Veronica Roth’s ‘Divergent’. In every instance of character-generated implication, we found decisive facilitatory influence for awareness of three levels of calculable implicated conclusions, inter-character sentiment intensity, and characters’ communicative intents on readers' achieving what Furlong terms ‘maximal relevance’ through non-spontaneous interpretation of literary texts. Additionally, tracking the progression of inter-character sentiment intensity throughout the two narratives yielded strategic drops during the gradual formation of inter-character bonds employed mainly to demonstrate a mutual sense of fastidiousness in characters’ choice of a companion in romance and also strengthening the said bonds.

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Anna Silver. "Twilight is Not Good for Maidens: Gender, Sexuality, and the Family in Stephenie Meyer’s Twilight Series." Studies in the Novel 42, no. 1 (2010): 121–38. http://dx.doi.org/10.1353/sdn.2010.0009.

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Heron, Craig. "Manhood on the Line: Working-Class Masculinities in the American Heartland by Stephen Meyer." Labour / Le Travail 79, no. 1 (2017): 290–92. http://dx.doi.org/10.1353/llt.2017.0025.

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Todd M. Michney. "Manhood on the Line: Working-Class Masculinities in the American Heartland by Stephen Meyer." Michigan Historical Review 42, no. 2 (2016): 120–21. http://dx.doi.org/10.1353/mhr.2016.0032.

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Etheridge, Bryant. "Manhood on the Line: Working-Class Masculinities in the American Heartland by Stephen Meyer." Labor 14, no. 4 (December 1, 2017): 111–12. http://dx.doi.org/10.1215/15476715-4209532.

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Lenhardt, Corinna. "Wendigos, Eye Killers, Skinwalkers: The Myth of the American Indian Vampire and American Indian “Vampire” Myths." Text Matters, no. 6 (November 23, 2016): 195–212. http://dx.doi.org/10.1515/texmat-2016-0012.

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We all know vampires. Count Dracula and Nosferatu, maybe Blade and Angel, or Stephenie Meyer’s sparkling beau, Edward Cullen. In fact, the Euro-American vampire myth has long become one of the most reliable and bestselling fun-rides the entertainment industries around the world have to offer. Quite recently, however, a new type of fanged villain has entered the mainstream stage: the American Indian vampire. Fully equipped with war bonnets, buckskin clothes, and sharp teeth, the vampires of recent U.S. film productions, such as Blade, the Series or the Twilight Saga, employ both the Euro-American vampire trope and denigrating discourses of race and savagery. It is also against this backdrop that American Indian authors and filmmakers have set out to renegotiate not only U.S. America’s myth of the racially overdrawn “savage Indian,” but also the vampire trope per se. Drawing on American Indian myths and folklore that previous scholarship has placed into direct relationship to the Anglo-European vampire narrative, and on recent U.S. mainstream commodifications of these myths, my paper traces and contextualizes the two oppositional yet intimately linked narratives of American Indian vampirism ensuing today: the commodified image of the “Indian” vampire and the renegotiated vampire tropes created by American Indian authors and filmmakers.

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Kolassa, Alexander. "The Oxford Handbook of Music and Medievalism. Ed. by Stephen C. Meyer and Kirsten Yri." Music and Letters 102, no. 1 (February 1, 2021): 143–45. http://dx.doi.org/10.1093/ml/gcab012.

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Lindén, Claudia. "Virtue as Adventure and Excess: Intertextuality, Masculinity, and Desire in the Twilight Series." Culture Unbound 5, no. 2 (June 12, 2013): 213–37. http://dx.doi.org/10.3384/cu.2000.1525.135213.

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The vampire is still primarily a literary figure. The vampires we have seen on TV and cinema in recent years are all based on literary models. The vampire is at the same time a popular cultural icon and a figure that, especially women writers, use to problematize gender, sexuality and power. As a vampire story the Twilight series both produces and problematizes norms in regard to gender, class and ethnici-ty. As the main romantic character in Twilight, Edward Cullen becomes interesting both as a vampire of our time and as a man. In a similar way as in the 19th century novel the terms of relationship are negotiated and like his namesake Edward Rochester, Edward Cullen has to change in important ways for the “happy end-ing” to take place. In spite of a strong interest in sexuality and gender norms in relation to vampires very few studies have focused exclusively on masculinity. This article examines the construction of masculinity in relation to vampirism in the Twilight series. It offers an interpretation of Stephenie Meyer’s novels and the character of Edward as part of a broader field of feminist (re-)uses of the vampire in modern literature with its roots in the literary tradition from Austen and the Brontë-sisters as well as from classic Gothic fiction.

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Miquel-Baldellou, Marta. "From pathology to invisibility: age identity as a cultural construct in vampire fiction." Revista Alicantina de Estudios Ingleses, no. 27 (November 15, 2014): 125. http://dx.doi.org/10.14198/raei.2014.27.08.

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A diachronic analysis of the way the literary vampire has been characterised from the Victorian era up to the contemporary period underlines a clear evolution that seems particularly relevant from the perspective of ageing studies. One of the permanent features characterising the fictional vampire from its origins to its current manifestations in literature is precisely the vampire’s disaffection with the effects of ageing in spite of its old chronological age. Nonetheless, even though the vampire’s appearance does not age, the way it has been presented in literature has significantly evolved from a remarkable aged look during the Victorian period in John Polidori’s “The Vampyre: A Tale” (1819), Joseph Sheridan Le Fanu’s Carmilla (1872) or Bram Stoker’s Dracula (1897) to young adulthood in Anne Rice’s An Interview with the Vampire (1976) and Charlaine Harris’ Dead Until Dark (2001), adolescence in Stephenie Meyer’s Twilight (2005-2008), and even childhood in John Ajvide Lindquist’s Let the Right One In (2004), thus underlining a significant process of rejuvenation through time despite the vampire’s apparent disaffection with the effects of ageing. This article shows how the representations of the vampire in literature reflect a shift from the embodiment of pathology to the invisibility, or the denial, of old age and how this, in turn, reflects cultural conceptualisations and perceptions of ageing.

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Dou, Paige. "Reviewer Acknowledgements for Review of European Studies, Vol 10, No. 1." Review of European Studies 10, no. 1 (February 26, 2018): 140. http://dx.doi.org/10.5539/res.v10n1p140.

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Review of European Studies wishes to acknowledge the following individuals for their assistance with peer review of manuscripts for this issue. Their help and contributions in maintaining the quality of the journal are greatly appreciated.Review of European Studies is recruiting reviewers for the journal. If you are interested in becoming a reviewer, we welcome you to join us. Please find the application form and details at http://recruitment.ccsenet.org and e-mail the completed application form to res@ccsenet.org.Reviewers for Volume 10, Number 1 Efstathios Stefos, University of the Aegean, GreeceFlorin Ionita, The Bucharest Academy of Economic Studies, RomaniaJohnnie Woodard, Independent Scholar, USAMirosław Kowalski, University of Zielona Góra, PolandTryfon Korontzis, Hellenic National School of Local Government, GreeceLena Arampatzidou, Aristotle University Of Thessaloniki, GreeceCarmen Ramos, University of Oviedo, SpainIoanna Efstathiou, University of the Aegean, GreeceMichele Capurso, Università degli Studi di Perugia, ItalyAziollah Arbabisarjou, Zahedan University of Medical Sciences, IranRickey Ray, Northeast State Community College, USAFabio Nogueira, dismiss Centro Universitário do Espírito Santo, BrazilSkaidrė Žičkienė, Šiauliai University, LithuaniaMercedes Ruiz Lozano, University Loyola Andalucía, SpainKaren Ferreira-Meyers, University of Swaziland, SwazilandIoan-Gheorghe Rotaru, ‘Timotheus’ Brethren Theological Institute of Bucharest, RomaniaHyunsook Kang, Stephen F. Austin State University, United States

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Kirschbaum, Stanislav. "Meyer, Stephen M., The Dynamics of Nuclear Proliferation. Chicago, The University of Chicago Press, 1984, 245 p." Études internationales 16, no. 2 (1985): 441. http://dx.doi.org/10.7202/701860ar.

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Mohapi, Joyce. "CARE IN CONTEXT: TRANSNATIONAL GENDER PERSPECTIVES EDITED BY VASU REDDY, STEPHEN MEYER, TAMMY SHEFER AND THENJIWE MEYIWA." Gender Questions 3, no. 1 (January 13, 2016): 137–39. http://dx.doi.org/10.25159/2412-8457/825.

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Ramberg, Bennett. "The Dynamics of Nuclear Proliferation. By Stephen M. Meyer. (Chicago: University of Chicago Press, 1984. Pp. vii + 229. $20.00.)." American Political Science Review 79, no. 2 (June 1985): 590. http://dx.doi.org/10.2307/1956751.

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