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Journal articles on the topic 'Terry Pratchett'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 January 2023

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1

Awajan, Nasaybah W. "Terry Pratchett’s Rewriting of Shakespeare’s Witches in Wyrd Sisters." Theory and Practice in Language Studies 12, no. 3 (March 1, 2022): 518–24. http://dx.doi.org/10.17507/tpls.1203.11.

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Many scholars have written about how Terry Pratchett has represented the witches in his novel, Wyrd Sisters (1989), that were originally used in Shakespeare’s tragedy, Macbeth (1623). However, in their studies of the two works, many of these scholars illustrate how both Shakespeare and Pratchett present the witches’ personalities and outward appearances. Additionally, there has also been some literature on the representation of Pratchett’s witches and some compared them with Macbeth’s three weird witches in relation to their appearance, personalities and external characteristics in general. At the same time, there is shortage in the studies that focus on the intention of the witches and the way they use their authority in both works. The study depicts the good and moral intentions of Pratchett’s three witches in Wyrd Sisters. This can be seen in the way they use their authority and influence to give back the throne to King Verence’s son and save the kingdom. It could also be seen in the way the three Wyrd Witches deal with Felmet and his Lady, despite what they do to them. There has not been much literature written about Pratchett’s representation of the witches’ intentions and influence in their plot to help King Verence, who represents Shakespeare’s King Duncan, regain his throne rather than fight against his reign as the three witches did in Shakespeare’s tragedy, Macbeth (1623).

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2

Steyn, Dewald Mauritz. "Looking at the Dark Sun: Aspects of Death, War and the Power of Stories in Markus Zusak and Terry Pratchett â€™s Novels." Mousaion: South African Journal of Information Studies 35, no. 2 (February 7, 2018): 28–40. http://dx.doi.org/10.25159/0027-2639/1434.

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In this article, the author argues that Markus Zusak and Terry Pratchett make use of metafictional strategies as well as their respective anthropomorphic figures of death to allow readers, particularly young ones, to confront difficult topics, providing them with a glimpse of truth as far as their own mortality is concerned. In Zusakâ€™s The Book Thief (2005) and Pratchettâ€™s The Amazing Maurice and His Educated Rodents (2001), death, war and the nature of evil are considered through a fictional lens, allowing a certain amount of distancing between the young reader and these painful realities. Without naively underplaying the actuality of death, Zusak and Pratchett show how stories can ameliorate the traumatic and anxiety-inducing aspects of such events. Zusak challenges peopleâ€™s notions of what young adult literature can portray, while Pratchett focuses on what it means not only to be a human being, but an ethical sentient being.

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3

Brzozowski, Jerzy. "Terry Pratchett, joueur de foot." Między Oryginałem a Przekładem 23, no. 36 (2017): 11–25. http://dx.doi.org/10.12797/moap.23.2017.36.01.

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4

Lisaev, Tsvetelin. "Women as witches: the transformation of the stereotype in J.K. Rowling’s Harry Potter and Terry Pratchett’s Wyrd Sisters." Proglas 31, no. 1 (June 29, 2022): 97–100. http://dx.doi.org/10.54664/uqyy3998.

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This article explores some of the aspects of the ‘women-as-witches’ stereotype in the literary works of J. K. Rowling and Terry Pratchett, while focusing on both the subversion of the stereotype and its reinforcement. The focus of my work is on the depiction of this type of gender profiling in a fantastic setting and imagined societies, while drawing a parallel with the real world. I first focus on a brief outline of the historical and cultural significance of the stereotype, followed by a discussion of its literary aspects in J. K. Rowling’s Harry Potter series and Terry Pratchett’s Wyrd Sisters novel.

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5

Pratchett, Terry. "Terry Pratchett on G. K. Chesterton." Chesterton Review 31, no. 3 (2005): 296–97. http://dx.doi.org/10.5840/chesterton2005313/439.

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6

Stránský, Michal. "Terry Pratchett dává ruku smrti (Smrťovi)." Pro-Fil 15, no. 2 (December 31, 2014): 83. http://dx.doi.org/10.5817/pf15-2-1037.

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7

Coats, Karen. "The Carpet People by Terry Pratchett." Bulletin of the Center for Children's Books 67, no. 4 (2013): 233–34. http://dx.doi.org/10.1353/bcc.2013.0930.

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8

Spisak, April. "The Shepherd’s Crown by Terry Pratchett." Bulletin of the Center for Children's Books 69, no. 3 (2015): 162. http://dx.doi.org/10.1353/bcc.2015.0864.

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9

Bianchi, Andrew. "The fantastic legacy of Terry Pratchett." Lancet Neurology 17, no. 2 (February 2018): 120. http://dx.doi.org/10.1016/s1474-4422(17)30397-6.

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10

Simpson, Jacqueline. "Sir Terry Pratchett OBE (1948–2015)." Folklore 126, no. 2 (May 4, 2015): 232–34. http://dx.doi.org/10.1080/0015587x.2015.1042722.

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11

Bianchi, Andrew. "Sir Terry Pratchett: shaking hands with Death." Lancet Neurology 14, no. 7 (July 2015): 691. http://dx.doi.org/10.1016/s1474-4422(15)00004-6.

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12

O'Connell, Sanjida. "Terry Pratchett: Truth is stranger than fiction." New Scientist 204, no. 2732 (October 2009): 30–31. http://dx.doi.org/10.1016/s0262-4079(09)62880-3.

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13

Smith, N. "Interview with Sir Terry Pratchett and Stephen Baxter." Engineering & Technology 8, no. 8 (September 1, 2013): 40–43. http://dx.doi.org/10.1049/et.2013.0804.

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14

Do Rozario, Rebecca-Anne. "The Charity of Witches: Watching the Edges in Terry Pratchett’s Tiffany Aching Novels." Papers: Explorations into Children's Literature 24, no. 2 (July 1, 2016): 74–95. http://dx.doi.org/10.21153/pecl2016vol24no2art1106.

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Terry Pratchett’s final novel, The Shepherd’s Crown, was published months after his death in 2015. The novel concludes the story arc of Tiffany Aching, hero of the Discworld children’s/young adult novels that include The Wee Free Men (2003), A Hat Full of Sky (2004), Wintersmith (2006), and I Shall Wear Midnight (2010). The arc follows the heroine from the age of nine through her teenage years and although classified as children’s or young adult novels, the novels merge seamlessly with the adult Discworld series. The novels’ status within children’s literature is sustained by a thematic core: Tiffany grows up. Her negotiation of childhood and adolescence, however, is shaped less by the valorisation of youth and desire for fame and fortune than by the example of old women and their dedication to public service. These old women are witches and they mind the margins of their community, as renowned witch Esmeralda Weatherwax explains of their work: “There’re a lot of edges, more than people know. Between life and death, this world and the next, night and day, right and wrong...an’ they need watchin’. We watch ‘em, we guard the sum of things. And we never ask for any reward. That’s important” (Pratchett 2010c). This article investigates how Pratchett draws on the history of fairy tales about witches and old women with their varied traditions of care and preservation, and reaches a narrative conclusion for the young heroine that rejects traditional fairy tale resolutions of romance, fame, or fortune. Instead, he endorses the heroic and everyday work performed at the ‘edges.’

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15

Tsvetkova, Marina V. "Russian Pratchett (Based on Tranlations of the Novel “Mosntrous Regiment”)." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 80, no. 5 (2021): 71. http://dx.doi.org/10.31857/s241377150017129-4.

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The article examines two Russian translations of Terry Pratchettʼs novel “Monstrous Regiment”. Unlike works that deal with the adequacy of translation, this study proposes the approach to translation from the point of view of reception: the transformations occurring during the translation of the novel from English into Russian and the differences between Russian Pratchett and the original. The comparative analysis focuses on cases of transcoding of intertextual inclusions, which are an integral part of all the works of the British writer. This comparative analysis of the translations shows that everything irrelevant for the host culture leaves the translation: the mocking tone that permeates the entire text of the original and the very concentration of the comic element, which is an expression of the English sense of humour; precedent texts unknown for the host culture. These “losses” lead in translations to the disappearance of the additional dimensions of Pratchettʼs novel, which, like any postmodern text, is simultaneously focused on all layers – from the intellectual to the general reader. At the same time, the translation retains an important aspect for Pratchettʼs prose, associated with parodying traditional characters and hackneyed plots of fantasy literature. It is the aspect, coupled with the non-trivial development of the plot and the constant play with readers’ expectations, that has brought the writer popularity among Russian fans of the fantasy genre.

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16

Donaldson, Eileen. "â€˜NAE KING! NAE QUIN! NAE LAIRD! NAE MASTER!â€™: CHILDHOOD AGENCY IN TERRY PRATCHETTâ€™s THE WEE FREE MEN." Mousaion: South African Journal of Information Studies 33, no. 2 (November 18, 2015): 56–72. http://dx.doi.org/10.25159/0027-2639/256.

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In this article, a psychodynamic perspective informs the discussion of the ambivalence associated with individuation and growing up which manifests during middle childhood (from approximately 6 to 11 years of age). The author contends that Terry Pratchett explores this ambivalence in his young adult novel, The wee free men (2003), in which his young, female protagonist, Tiffany Aching, must resolve the fears and anxieties that stem from her ambivalence in order to claim agency and complete the process of individuation from her childhood home. The author argues that Tiffanyâ€™s ambivalence is most clearly reflected in her relationships with the two primary adult females in the novel, Granny Aching and the Fairy Queen, and suggests that the resolution of her ambivalence models resilience strategies for Pratchettâ€™s young readers who may be navigating this same problem in their own lives.Â

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17

Hulick, Jeannette. "Dragons at Crumbling Castle and Other Tales by Terry Pratchett." Bulletin of the Center for Children's Books 68, no. 9 (2015): 464. http://dx.doi.org/10.1353/bcc.2015.0387.

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18

Uzar, Monika. "(Post)Modern Marlowe in Hard-Boiled Victorian Age: Generic Classification of Terry Pratchett’s City Watch Cycle." Ogrody Nauk i Sztuk 3, no. 3 (February 17, 2020): 245–54. http://dx.doi.org/10.15503/onis2013.245.254.

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Poprzez odrzucenie zasady czystości formy, postmodernizm umożliwił dogłębną analizę, rewaluację oraz ponowne zdefi niowanie cech charakterystycznych poszczególnych gatunków literackich. Dało to twórcom możliwość zabawy formą oraz tworzenia często nieoczywistych hybryd gatunkowych. Jednym z mistrzów owych międzygatunkowych chimer jest współczesny brytyjski pisarz, sir Terry Pratchett . Twórca z wszech miar przekorny i nie stroniący od eksperymentów literackich, w pełni wykorzystuje wolność gatunkową oferowaną przez tezy postmodernizmu. Efekty owej fascynacji postmodernizmem są dostrzegalne m.in. w serii jego powieści kryminalnych, które po zanalizowaniu okazują się być mieszaniną fantasy, powieści detektywistycznej, powieści policyjnej, kryminału noir, kryminału typu hard-boiled, ballady heroicznej, powieści łotrzykowskiej oraz satyry polityczno-społecznej. Ta wieloskładnikowa mikstura jest, pomimo pozornie chaotycznego doboru składników, tworzona wg starannie opracowanego klucza i zorganizowana wokół jednego głównego gatunku, którym na pierwszy rzut oka wydaje się być kryminał noir. Jednakże, oglądane z bliska, kryminały Pratchett a okazują się być, pomimo licznych współczesnych elementów, przedstawicielami klasycznej powieści detektywistycznej sięgającej tradycjami do epoki królowej Wiktorii i wywodzącej się od pewnego dżentelmena z fajką i szkłem powiększającym.

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19

Gibka, Martyna Katarzyna. "The functions of characters’ proper names in Jingo by Terry Pratchett." Prace Językoznawcze 24, no. 2 (June 30, 2022): 21–33. http://dx.doi.org/10.31648/pj.7728.

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This article is devoted to functions served by characters’ proper names in Jingo by TerryPratchett. The analysis of 258 characteronyms is based on the theory of two acts (Gibka2019). For the study to be conducted, the models of the naming act and the act of usinga name in Jingo were created. The first part of the article deals with secondary permanentfunctions which are performed from the moment a character is named. The second partof the article focuses on secondary momentary functions which emerge in individual usesof particular proper names.

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20

Valeiras-Fernandez, Andrea. "En las patas de los elefantes. La importancia de las notas a pie de página de Terry Pratchett en la construcción del Mundodisco." DIGILEC: Revista Internacional de Lenguas y Culturas 9 (December 28, 2022): 279–90. http://dx.doi.org/10.17979/digilec.2022.9.0.9300.

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La saga de Mundodisco de Terry Pratchett es un amplísimo despliegue narrativo que construye un universo a través de más de cincuenta novelas. Sin embargo, su división en subsagas hace posible que haya más de una puerta de entrada para comenzar la lectura. Las notas a pie de página son un sello de distinción del autor quien, además de utilizarlas para hacer puntualizaciones y comentarios, se apoya en ellas para ampliar el fondo narrativo del mundo que construye. A través de estos recursos, Pratchett ofrece más información acerca del lore de Mundodisco, tanto acerca de sus bases y génesis, como la Tortuga Gran A’Tuin que con sus elefantes sostiene el disco, como de cuestiones prácticas y organizativas de las ciudades, por ejemplo, los gremios en Ankh-Morpork. Además, las novelas de esta saga también incluyen numerosos guiños y referencias a nuestra realidad, con un bien logrado equilibrio entre crítica y humor. Las notas ayudan a subrayar estas alusiones para que la carga paródica y satírica del texto no se pierda, en caso de que el lector no esté familiarizado con alguna de las obras y cuestiones aludidas. Así, a través de las notas al pie, alguien que comience con la obra del autor puede, en su primer texto, alcanzar un buen grado de comprensión del complejo universo diseñado por Pratchett.

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21

Gibka, Martyna. "Analiza porównawcza funkcji nazw własnych postaci w powieści Terry’ego Pratchetta Men At Arms i jej polskim tłumaczeniu Zbrojni." Prace Językoznawcze 20, no. 4 (September 10, 2019): 57–74. http://dx.doi.org/10.31648/pj.4474.

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The article is devoted to a comparative analysis of the functions served by proper namesof the characters in the second part of the City Watch Cycle by Terry Pratchett and in the Polishtranslation of this novel. Its main aim is to examine what happens with the functions served in the original and in the translation. Are they preserved, lost, changed or added? Moreover, the reasons for the changes are identified. The analysis is based on the theory of two acts (proposed in 2017), which divides the functions into two groups: permanent and temporary.

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22

Stephens, John. "Not Unadjacent to a Play about a Scottish King: Terry Pratchett Remakes Macbeth." Papers: Explorations into Children's Literature 7, no. 2 (July 1, 1997): 29–37. http://dx.doi.org/10.21153/pecl1997vol7no2art1387.

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23

Kulkov, Aleksandr N. "Intertextuality in T. Pratchett’s Novel Maskerade." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 3 (2021): 186–98. http://dx.doi.org/10.15826/izv2.2021.23.3.053.

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The category of intertextuality and playing with the reader have become an integral part of mass literature in the era of postmodernism. The aim of this article is to analyse the intertextual inclusions in Maskerade (1995), a novel by Terry Pratchett, a British writer who achieved success in comic fantasy and is well-known for his book series Discworld and the use of different cultural references which play a crucial role in the construction of the storyline. The research refers to the original text of Maskerade, the primary precedent texts, i.e. The Phantom of the Opera by Gaston Leroux and the musical of the same name by Andrew Lloyd Webber, as well as several musical works of the last century. The distinctive features of the novel include a predominance of musical references over literary ones, which can be explained by the primary plot of the book developing on the stage of the Ankh-Morpork Opera House. In the very paratitle of the novel, the writer begins an intertextual game with the reader, hinting at the main narrative line, the duality and masquerade of what happens. All the plot-forming intertextual connections analysed in this article have no attribution and are expressed in the form of marked quotations, quasi-quotations, and allusions. However, taking into consideration “the white knowledge” and the readers’ horizon of expectations, Terry Pratchett reconsiders many images of the characters and seemingly well-known plot twists of The Phantom of the Opera. Furthermore, showing the backstage of the theatrical world with its prejudices and difficulties, the author thereby connects the real world with the secondary fictional world which turn out to be hardly distinguishable from each other.

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24

Castrillo, Maria. "‘Missing Presumed’: computer games and digital adventures in the Colin Smythe/Terry Pratchett Collection." Archives and Manuscripts 47, no. 3 (August 11, 2019): 343–58. http://dx.doi.org/10.1080/01576895.2019.1616571.

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25

Dziemian, Katarzyna. "The Online Response to the Two Polish Translations of The Wee Free Men by Terry Pratchett." Tertium 2, no. 1 (June 15, 2017): 117–28. http://dx.doi.org/10.7592/tertium2017.2.1.dziemian.

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26

Rodríguez López-Abadía, Arturo. "Jurgen and the Arthurian legend." DIGILEC: Revista Internacional de Lenguas y Culturas 1 (September 17, 2018): 263. http://dx.doi.org/10.17979/digilec.2014.1.0.3678.

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Jurgen, a comedy of justice, by James Branch Cabell is one of the most classical pieces of American fantastic literature and has inspired many writers, especially Terry Pratchett, that follows the idea of parodying medieval-inspired countries with a touch of magic, displayed mostly for laughs. Jurgen tells the story of a pawnbroker/poet that one day makes the Devil a favour and the Devil, grateful, grants him for a period of one year the possibility of returning to his youthful self to enjoy life and have love adventures. In the fantasy-medieval land where he lives, the Arthurian legend is real, and he will encounter the great characters such as Guinevere or Anaitis, the Lady of the Lake and have love affairs with every single one of them. But, at the end of this period, he returns home with some material for his poetry and to the normal life of a miserable married man.

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Tatsenko, N. V., and A. V. Voronko. "TRANSLATION ASPECT OF THE CONCEPTS GOOD AND EVIL (ON THE MATERIAL OF TERRY PRATCHETT AND NILE GAIMAN’S NOVEL “GOOD OMENS”)." Scientific notes of Taurida National V.I. Vernadsky University, series Philology. Social Communications 4, no. 1 (2019): 111–16. http://dx.doi.org/10.32838/2663-6069/2019.4-1/21.

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Akens, Jonne. "Discworld and the Disciplines: Critical Approaches to the Terry Pratchett Works ed. by Anne Hiebert Alton and William C. Spruiell." Children's Literature Association Quarterly 40, no. 1 (2015): 91–93. http://dx.doi.org/10.1353/chq.2015.0005.

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Kryukova, Ekaterina V. "REVIEWING THE RECEPTIVE ASPECT OF PALIMPSEST (A CASE STUDY OF T. PRATCHETT'S WORKS)." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2020): 179–87. http://dx.doi.org/10.28995/2686-7249-2020-9-179-187.

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The model of literary palimpsest originally put forward by G. Genette is of essential value now, giving an insight into the mechanism of realizing transtextual meanings. Figurative use of the notion of “palimpsest” as a hierarchy of texts shining through each other, be it different versions of the same text or texts intersecting in the common narrative space, presents a new perspective on the modern literary process, when under the influence of mass culture a literary text may consist of not only other literary texts but also those of the cinema or even music. Although the conception of palimpsest has been further developed and refined by different scholars, some of its aspects, e.g. the receptive one, have not yet been studied in detail. Indeed, the receptive aspect of palimpsest is worthy of special attention as the literary process now is inseparable from the recognition of the communicative nature of art, therefore without a reader the literary work’s meaning cannot be actualized. Making a case study of the comic fantasy series by the modern English writer Terry Pratchett, the article considers the way palimpsest functions from the receptive point of view and sums up the effects it achieves.

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Hajdu, Péter. "Terry Pratchett’s thought experiments about the body." Neohelicon 47, no. 1 (April 18, 2020): 75–87. http://dx.doi.org/10.1007/s11059-020-00533-2.

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Santaulària i Capdevila, M. Isabel. "Age and rage in Terry Pratchett’s ‘witches’ novels." European Journal of English Studies 22, no. 1 (January 2, 2018): 59–75. http://dx.doi.org/10.1080/13825577.2018.1427201.

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Kanchura, Yevheniia. "DANCE AS A MARKER OF NATURAL CYCLES CHANGE IN TERRY PRATCHETT’S FANTASY NOVELS." CONTEMPORARY LITERARY STUDIES, no. 18 (December 13, 2021): 44–53. http://dx.doi.org/10.32589/2411-3883.18.2021.246837.

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Against the background of a widespread tendency to diminish the sacred meaning of ritual actions, Terry Pratchett’s strive to shed light on the archetypal principles of mythological consciousness in contemporary folklore makes it possible to restorethe connection of the old rites, which have lost their original sense, with the worldview bases of modern society and to reacralize the profane. The Elements of mythological consciousness, manifested in ritual actions inherent in the modern functioning of English folklore, play a meaningful and compositional role in Terry Pratchett’s novels «The Reaper» (1991), «Lords and Ladies» (1992) and «Wintersmith» (2006). In Pratchett’s novels, Morris dance, which traditionally heralds the summer beginning, is balanced by a dance that marks the beginning of winter, indicating the natural cycles change. This manifests the functions of a sacred act: a dialogue between the world and a human, extracting the last from the flow of everyday life, and finalizing the routine work of a farmer. The study suggests the analysis of artistic means describing the Morris dance ritual as a marker of natural cycle changes and as evidence of a human establishing contact with natural forces, enshrined in the narrative and embodied in the dynamic form of dance. A common harvest festival turns into a Dance of the Death and a Maiden, which moves the process of harvesting and preserving the harvest into the realm of the sacred. The motive of the Death and a Maiden dance is being developed in the same compositional plane with the Morris dance motive, as an element of the narrative about the natural balance of life and death,fertility and harvest, about the cycle of the universe based on the love drive. The article examines the compositional elements of choreographic ekphrasis, highlights the significant elements of such a description, indicates the markers of the sacred and the profane, intrinsic to ritual dance in Pratchett’s novels. The conducted research allows to determine the role of dance in Pratchett’s literature work as a marker of the transition from one state to another, as well as season cycle changes.

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ÖTEYAKA, Işıl. "Terry Pratchett's Eric as a Parody of Faust Myth." Journal of Strategic Research in Social Science 6, no. 6 (4) (January 1, 2020): 229–38. http://dx.doi.org/10.26579/josrss.129.

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34

Ghivirigă, Teodora. "Deep Magic and Modern Magic." Linguaculture 2014, no. 2 (December 1, 2014): 79–85. http://dx.doi.org/10.1515/lincu-2015-0024.

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Abstract The paper discusses C. S. Lewis’ position on, and criticism of, magic vs. wisdom and the type of “fast” magic that the (post-)modern world has fallen prey to and ends by returning to the alternative that Lewis-and other writers such as his friend and contemporary J. R. R. Tolkien and more recent ones such as Tery Pratchett-suggest as a more propitious alternative.

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Smith, Eve. "Aristophanes' Cloudcuckooland to Terry Pratchett's Discworld: Comedy as social conscience." Comedy Studies 4, no. 1 (January 2013): 23–33. http://dx.doi.org/10.1386/cost.4.1.23_1.

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Mussa, Jumana. "“The Mirror Crack’d”: Representation of Characters in Terry Pratchett’s Witches Abroad." Humaniora. Czasopismo Internetowe 25, no. 1 (March 15, 2019): 13–19. http://dx.doi.org/10.14746/h.2019.1.2.

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The current article presents a discussion of two characters in Terry Pratchett’s Witches Abroad (1990), Esmeralda and Lily Weatherwax. These two sisters are almost mirror images of each other, yet each takes a different path in life. Through their similarities and differences, one is able to examine the idea of uncanny repetition, as it was discussed by Jacques Derrida and Gilles Deleuze. Through the characters’ choices and interaction with each other, one may also be able to explore their identities, as imperfect mirror reflections that contradict and inform each other.

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Smith, Eve. "Civil discobedience or war, terrorism and unrest in Terry Pratchett's Discworld." Comedy Studies 3, no. 1 (January 2012): 29–39. http://dx.doi.org/10.1386/cost.3.1.29_1.

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Kholmohortseva, I. S. "ROLE OF INTERDISCOURSE RELATIONS IN CREATING EMOTIVENESS IN TERRY PRATCHETT’S FANTASY NOVELS." Nova fìlologìâ, no. 85 (2022): 298–303. http://dx.doi.org/10.26661/2414-1135-2022-85-42.

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Vorobel, Andriana. "Corpus approach to analysis of artefact metaphors in Terry Pratchett’s “Discwold” series." Сучасні дослідження з іноземної філології 20, no. 2 (2021): 25–33. http://dx.doi.org/10.32782/2617-3921.2021.20.25-33.

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Baeva, Natalia A., and Anatoly A. Fomin. "Models of Synaesthetic Word Combinations and their Markedness (with Reference to Terry Pratchett’s Novels)." Izvestia of the Ural federal university. Series 2. Humanities and Arts 20, no. 3 (178) (2018): 110–24. http://dx.doi.org/10.15826/izv2.2018.20.3.049.

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Manova-Georgieva, Yana. "Semantic Interpretations of Proper Names in Literary Translation: Terry Pratchett’s “Wyrd Sisters” in Bulgarian." English Studies at NBU 8, no. 2 (December 20, 2022): 167–82. http://dx.doi.org/10.33919/esnbu.22.2.1.

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Name crafting has been and still is of importance when devising a literary character with certain traits and features that are meant to outstand a character’s personality. Thus, literary names serve as a handy tool in any piece of writing, since they complete their bearers in a discrete, yet a vivid way when given an appropriate name by the author of a piece of writing. As far as fantasy is concerned, the choice of literary names is freer, but still requires more creativity, given the fact that fantasy names can be translated. When rendered from one language into another, names undergo various structural alterations, semantic modulations, or even syntactic reconstructions. Therefore, the current paper aims at analysing literary names in Terry Pratchett’s fantasy novel “Wyrd Sisters” with focus on their rendering into Bulgarian. Etymology and semantic interpretations are to be sought for as well as morphological and syntactic structure of names in both languages of interest in favour of the hypothesis that literary names carry meaning which, when revealed, gives a more concrete idea of a personage in a novel.

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Donaldson, Eileen. "â€œSee Meâ€: How the Uncanny Double Supports Maturing Girlhood in Terry Pratchettâ€™s Tiffany Aching Series." Mousaion: South African Journal of Information Studies 35, no. 2 (February 7, 2018): 1–16. http://dx.doi.org/10.25159/0027-2639/1359.

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The Gothic double is an effective motif through which to explore the selfâ€™s relation to itself. But where traditional Gothic literature positions the protagonist and the double as antagonists, some contemporary literature for younger readers suggests an alternative, dialogic relationship between the two. This dynamic encourages a greater interaction between the protagonist and the double and reflects the postmodern conceptualisation of identity as constituted through the selfâ€™s constantly shifting response to others, and itself-as other. This article explores the significance of the dialogic relationships that develop between the character Tiffany Aching and the various doubles that challenge her in Terry Pratchettâ€™s Tiffany Aching series (2003â€“2015). In each of the five novels the double presents Tiffany with an opportunity to confront and resolve her specific pre-adolescent and adolescent anxieties. As Tiffany interacts with her uncanny doubles, she assimilates those parts of herself rendered uncanny by the process of adolescent maturation and her reclamation of her alienated selves broadens the scope of her agency.

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Muryasov, Rakhim Z., Anna S. Samigullina, and Andrey G. Bakiev. "Metaphor through the lens of linguosynergetics (Exemplified by the concept “DEATH” in Terry Pratchett’s discourse)." XLinguae 11, no. 3 (2018): 136. http://dx.doi.org/10.18355/xl.2018.11.03.13.

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Zarate, Andrea. "Portals, Agency and the Negotiation of Liminality in A Tale of Time City and Johnny and the Bomb." International Research in Children's Literature 4, no. 1 (July 2011): 87–98. http://dx.doi.org/10.3366/ircl.2011.0009.

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This paper focuses upon the portal trope in Diana Wynne Jones's A Tale of Time City and Terry Pratchett's Johnny and the Bomb, suggesting that the portal trope is not just a practical narrative conveyance but a liminal space in which negotiation of discourse comes to the fore. In light of Bakhtin's notion of the chronotope, the portal is rendered a nexus point of time and space in which multiple discourses meet and blend. Characters, in entering a portal space, must negotiate these discourses, absorbing and appropriating them – a phenomenon that both alters the characters and the discourses themselves. From this theoretical lens, the portal trope articulates the fluidity of discourse as well as the processes of subject negotiation that characterise much of fantasy literature for children.

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Manova-Georgieva, Yana. "What’s Behind a Name? Origins and Meaning of Some of the Recurrent Characters in Terry Pratchett’s Discworld." ELOPE: English Language Overseas Perspectives and Enquiries 17, no. 2 (November 5, 2020): 165–76. http://dx.doi.org/10.4312/elope.17.2.165-176.

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Nominative symbolism in fantasy is a tool to attribute certain traits to literary characters and thus to convey meaning which enriches the readers’ comprehension of the fictitious personality. Proper names in the English naming tradition are not generally seen as means of alluding to the character of a person, yet they have sometimes been chosen purposefully by writers so as to reveal the idea that a symbolic name tries to convey. The paper therefore aims at investigating the origin and author’s intended meaning behind the names of some recurrent literary characters in Terry Pratchett’s Discworld series from the viewpoint of their structure and the allusions they evoke in the reader’s imagination. The analysis includes five names presenting three different structures: neologisms based on syntactic composition, imitations of borrowed structures that are foreign to the English model of naming, and typical English naming models where name symbolism is due to the lexical choice of the components in the name.

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Oziewicz, Marek. "“We Cooperate, or We Die”: Sustainable Coexistence in Terry Pratchett’s The Amazing Maurice and His Educated Rodents." Children's Literature in Education 40, no. 2 (December 2, 2008): 85–94. http://dx.doi.org/10.1007/s10583-008-9079-3.

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Horoshko, Veronika, and Тetiana Korolova. "PECULIARITIES OF RENDERING OF ENGLISH TELL-TALE AND PUN NAMES IN TRANSLATIONS OF T. PRATCHETT’S BOOKS." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2020, no. 31 (December 2020): 84–101. http://dx.doi.org/10.24195/2616-5317-2020-31-6.

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The relevance of our research is based on the growing popularity of the fantasy comedy genre. Since modern readers are more and more interested in foreign literature, translators are faced with the task of creating an adequate translation that will accurately reproduce the personal style and all the elements of a separate universe created by an author, as well as convey the meaning that the author puts in his works to his readers. Since the main feature of Terry Pratchett’s personal style is the use of pun and tell-tale names in his works, thus arises the question of proper translation of this particular vocabulary. This work is devoted to the study of the culture of English proper names, mostly pun and tell-tale names; and analysis of translation choices for such vocabulary in the works of Russian translators. The dominance of the semantic translation method is determined by extensive use of occasionalism in Pratchett’s works. As for transcription/transliteration or their mixing — the translator uses them if he doesn’t see any meaning behind a particular character name. In some cases, it is possible to talk about the creative component of the translated text, about bringing a translator’s personality to the novel. This individuality does not distort Pratchett’s personal style and his original solutions, which appear in translation. The purpose of this work is to analyze the linguistic and stylistic specificsof proper names translation techniques in a series of fantasy comedy «Discoworld» from English into Russian. The paper presents an analysis of the specifics of the interpretation of pun names taking into account difficulties and cases where the translation does not match the original. The results of the study will help to avoid possible difficulties in the future and find new ways to solve them. This will help to optimize the quality oftranslation, which in turn will lead to an improvement of the quality of the final product.

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Brown, Molly. "â€˜DEATHâ€™S OTHER KINGDOMSâ€™: DEATH AND THE AFTERLIFE IN SOME RECENT FANTASIES FOR YOUNG ADULTS." Mousaion: South African Journal of Information Studies 32, no. 4 (September 29, 2016): 141–53. http://dx.doi.org/10.25159/0027-2639/1658.

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Trites (2000:117) argues that death is a biological imperative that possibly operates even more powerfully on the human mind than sexuality. In this article it will be suggested that coming to terms with the inevitability of mortality is a key maturational task, but that popular young adult fantasies dealing with immortal vampires or decaying zombies usually offer little or no support to adolescents struggling to deal with this issue. By contrast, it will be suggested that novels such as those in Terry Pratchettâ€™s Johnny Maxwell series, JK Rowlingâ€™s Harry Potter series, Ursula Le Guinâ€™s Earthsea series and Philip Pullmanâ€™s His dark materials trilogy provide adolescent readers with safe spaces in which to explore not only the threat of death, but a range of social and religious approaches to the problem. In this way, young readers may be encouraged to accept themselves, in Heideggerâ€™s (1962 [1927]:304â€“307) terms, as â€˜Being-towards-deathâ€™ and eventually even be empowered by such an acknowledgement.

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Pandey, Siddharth. "Emplacing Tasks of Magic: Hand, Land, and the Generation of Fantasy Taskscape in Terry Pratchett’s Tiffany Aching Series." GeoHumanities 6, no. 1 (January 2, 2020): 39–50. http://dx.doi.org/10.1080/2373566x.2020.1735474.

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Hajdu, Péter. "How to begin a sequel?" Frontiers of Narrative Studies 6, no. 1 (July 1, 2020): 46–58. http://dx.doi.org/10.1515/fns-2020-0005.

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AbstractBeginnings of fictional narratives apply various strategies to introduce their readers to the represented world, and even if they select a starting point in the flow of events as definitive, they tend to tell something about how the starting situation has been constituted by earlier events and circumstances. Some literary genres represent fictional worlds so different from the readers’ that a general description of the former is also needed in the beginning. A sequel may seem free of the burden of a descriptive introductory beginning, since readers (if they have read the previous work or works) have sufficient information to be able to cope with in medias res beginning. However, long series of many sequels have to be accessible for new readers as well, therefore they offer introductions for a double audience. The paper analyses several beginnings from Terry Pratchett’s Discworld novels. I show how the early novels use the description of the Discworld as a formal feature to begin the narrative; those descriptions fulfil the double purpose of introducing new readers and entertaining the trained ones by new ways of elaboration and adding some new traits.

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