CRITICAL LANGUAGE & LITERARY STUDIES
Year:2011 | Volume:3 | Issue:5 (63/2)|Papers Count:8

Since 1935 when Caroline Spurgeon's pioneer study of the imagery of Shakespeare's plays called: Shakespeare's imagery and What it Tells Us was published; Hamlet has been recognized as a play full of disease imagery. Those images can throw light on Shakespeare's own mind and thought and on the themes and characters of the play. In this articleae the researchers have made a detailed examination of Shakespeare's exponents (metaphors/images) of disease in translation in order to discover the extent of translators' success in transferring those exponents; as well as examining the impact of their efforts on the translations. Following Newmark's model (1988), a selection of twenty four exponents of disease are discussed. The selection has been picked up from physical and Psychic exponents with a higher degree of untraslatability. As the research concerns the degree of success in transferring the disease imagery and their aesthetic impact on translations; Therefore we focused on two choice translations only: that of Alaoddin Pazargadi (1381) and Masood Farzad (1336) forgoing the less known and faulty translations.

The two senses of seeing and hearing have a special place in human life and, from purely physical pleasures to philosophical thoughts, one can easily see the presence of these two senses. Defect or problem in any one of these senses can have serious consequences, personal and otherwise. Poets and writers are not exempt from a deep need for the senses of seeing and hearing. whether in getting experience in their personal life, or when trying to convey their experience through poetry or art. A quick look at their works will demonstrate the fact that in some, the eye, while in others, the ear is privileged. Despite the vast and obvious presence of the senses of seeing and hearing in poetry and literature, there is an alarming lack of awareness in this area. The present essay seeks to attract attention to the place of the eye and the ear in literature, drawing on the thinking of such celebrated poets and writers as Ezra Pound, Wyndham Lewis, and James Joyce on this subject. This will shed light on the place of seeing and hearing in human life in general, and on their epistemological place in the works of certain poets and writers.

From among the multitudinous number of writers from all around the world, only a few have drawn the attention of the two renowned contemporary philosophers, Alain Badiou and Theodor Adorno, to themselves, amongst whom one may point to Samuel Beckett, who is considered to be the point of termination of Modernism. Beckett's works belong to that vein of thought to which Adorno and Badiou refer their philosophical arguments. The present article is a study of the notions of truth, one of the key concepts in Badiou's philosophy, and meaning. as conceived of by Adorno, which is indicative of these philosophers' deep understanding of Beckett and his writings. One of Samuel Beckett's characteristic features, which has drawn the attention of these two philosophers and other thinkers to itself, is, on the one hand, a lack of devotion to the concept of "representation," and, on the other hand, a deconstruction of language, which are present in his works. What will be of absolute note in this article are the concepts of telos, failure, and suffering. the manifestation of which is magnificently presented in Beckett's oeuvre. This is so because, as it will be pointed out, the main subjects of contemporary philosophy are tied to a kind of teleology which is entirely compatible with, and similar to, what happens in Beckett's works.

Fritz Mauthner is an eccentric and doubting linguist who, in his own period, opened a debate from a new point of view concerning the relationship between language and cognition. He has not presented a systematic plan in the field of language, but the importance of some of his views has, later, drawn the attention of philosophers. His thought is a reflection of the metaphysical crisis of the beginning of the twentieth century, and many of his fanatical and nihilistic views have their roots in this very same crisis.Investigating Mauthner's thoughts on the history of the philosophy of language, this article locates him among the early 20th century thinkers, evaluates his theories' potentials and shortcomings in comparison with those of Nietzsche, Wittgenstein and Bertrand Russell, and depicts the significance of that group of his approaches which later found a positive reflection in other philosophical schools and thoughts, e. g. his special attention to the practical side and social dimension of the language, and highlighting language as the most critical epistemological tool while putting an emphasis on its insufficiencies.

Representation of Suicide in Literature began in Greek and Roman tragedies. Greek dramatists created some weak points in their characters and thus led them towards suicide. Elizabethan dramatists, like Shakespeare, continued this convention in their dramas. In their plays characters were destined to commit suicide and did not have choices or free will. However, in twentieth century modern dramatists put this convention into question. In plays by playwrights like Henrik Ibsen, Victor Hugo, and Arthur Miller there is no such thing as predestined fate, although characters still commit suicide because they are affected by the situation they live in. Representation of suicide later changed with new ideas of philosophers such as Kierkegaard, Nietzsche, and Sartre. In existentialism, with Sartre as one of its most prominent theoretician, neither fate does exist nor are characters affected by the situation they are in. Sartre, with emphasis on "existence" discusses that people are free to choose different alternatives and he introduces Suicide as one of these choices. Sartre believes that the choice of suicides cannot be taken from human beings, however, this choice always accompanies with fear; anguish, and responsibility. The Condemned of Altona articulates the attitude of Suicide as a "choice".

From a Foucauldian perspective, knowledge is power. Knowledge engenders power and is in turn, produced, controlled and circulated by power. Its production and transmission being necessarily mediated with thinking and the use of language, knowledge can dispense with neither. Furthermore, it is not possible to think without the mediation of language. Hence, knowledge is doubly linguistic in structure. A Derridean point of view asserts that language is metaphorical through and through. Therefore, knowledge is metaphorical and as a result, power itself works through metaphors. On the other hand, a given metaphor has got, at least, the faintest claim to truth and therefore, at least, the minimum amount of will to power. This study is an attempt to show how power is, inevitably, metaphorical, and how metaphors interfere with the workings of power. It applies the metaphoricity of power and power-relevancy of metaphor to My Last Duchess by Robert Browning and Best Looking Girl in Town by Thyra Samter W1I1Slow to show what role literature, as a domain rich in metaphors, plays with respect to a given power structure.

Different approaches may be used in teaching or developing reading comprehension skills. The present study is an attempt to see if aesthetic transaction approach in reading literary texts can lead to better achievement in this regard. The effective and determining factors in reading comprehension of literary texts were not considered or investigated in a systematic, research-based and empirical way. The investigation of aesthetic transaction approach in reading literary texts not only helps to understand reading comprehension of literary texts more clearly, but it also provides understanding of reading comprehension in a foreign language. The methodology used in this study is descriptive-correlational with the use of Delphi technique to get more reliable results. The instruments being used are questionnaires with a sample consisting of 228 students of English literature and translation from Islamic Azad University (Karaj and Qom Branches). The findings indicate that there is a significant correlation between' aesthetic transaction' and reading comprehension of literary texts. Among the determining factors of reading comprehension of literary texts', attraction' of reading is indicated to be the most important one. The other results obtained show that the higher the level of difficulty of literary texts becomes, the higher the degree of aesthetic transaction is experienced. The results show the opposite for non-literary texts.

In his book titled Palimpsestes, Genette elucidates his ideas and opinions on the manner of intertextual relationships. He believes that the relationship between two texts can be studied from the five aspects of intertextuality, paratextuality, hypertextuality and architextuality. All works of art, in general and a literal work, in particular would never enter the market in an unrevised form. Such works are always equipped with a tool that supports, decorates or explains them and often leads the reader towards a path compatible with the objectives of the author. This tool is technically referred to as "paratextuality" and is usually so evident that is disregarded. Indeed, paratextuality does not always function according to the will of the reader (sometimes a book title may reveal the story or vice versa, unlike the author's intent}.The application of paratextuality theory in the New York 1iilogy as well as its Persian and French translations is scientifically and contrastively discussed in this article.