Repetition as a linguistic and stylistic device extensively used in Tennessee Williams’s plays has been noticed by many. At the same time, more psychologically-inclined scholars have frequently drawn parallels between Williams’s plays and his own experiences and emotional conflicts. In an attempt to combine the two perspectives, this article will explore the function of repetitions as indicators of trapped emotions in Williams’s celebrated and award-winning play The Glass Menagerie. Starting from the stylistic theoretical background, but at the same time taking into account the psychological insights into the link between Williams’s life and work through some basic concepts of Freud and Lacan, an attempt will be made to demonstrate that in this play linguistic repetition appears as an obsessive expression of the characters’ emotions as well as those of the dramatist himself, making him repeat and relive both his experiences and his emotions. The authors will first introduce the concept and functions of repetition as a linguistic and stylistic device and then explore its representative instances in individual characters and their meanings, ending with the parallels which can be drawn between the characters’ and the dramatist’s own experiences and emotions expressed or intensified through repetitions.
Language for Specific Purposes materials have to be designed in such a way as to meet particular occupational or academic needs of learners (Anthony 10-11) and comply with certain general principles of material design, inter alia to provide a stimulus to learning since “good materials do not teach: they encourage learners to learn.”, and to represent models of correct and appropriate language use (Hutchinson and Waters 107- 108). As the authors of this paper learned in the process of designing materials for teaching English for Political Science and Diplomacy within the ReFLAME project, these materials have to meet another important requirement – they should be up-to-date. The reason for that is the fact that political science students and professionals are immersed in current affairs, since the problems they study are always linked to the latest local, national or global developments. Therefore, an important challenge in the process of designing material for teaching Language for Political Science and Diplomacy is how to ensure that the materials are up-to-date, since they can be linked to current affairs at the time of designing the materials, but these issues might not necessarily remain relevant in the future. This paper presents the techniques and approaches the authors used in their efforts to ensure that, although not necessarily up-to-date, the materials encourage learners to learn and make links to the current affairs of the present time
The common sense builds a border between fiction and reality. Fiction may be represented by the novel, which is between the 18th and the 19th centuries mainly focussed to sentimental stories. The discourse about reality is generally represented by History and Science. Therefore, the border between fiction and reality has an equivalence, on one hand on the representation of the tree of knowledge in the Encyclopédie (science belongs to reason, history to memory and poetry to imagination), and, on the other hand, on the opposition between imagination and reason. German Idealism tried to recreate a union between the human faculties, imagination and reason, by unifying criticism and poetry. But novelists like Goethe (Elective Affinities), Melville (Mardi) and Flaubert (Bouvard et Pécuchet) tried in very different ways to unify poetry and scientific discourse in a literary project where knowledge becomes the main purpose of the novel. From the goethean ideal of universalism to Flaubert's irony about human aspiration to know, the three novels show different ways to question the relationships between fiction and scientific knowledge and lead to this question: in which way is there a part of human knowledge that can belong only to literature?
The strict boundaries between disciplines have been seriously challenged by various links established between them through cross-fertilization. Links between literary and translation studies are not new. However, in the (post)-modern world, when interdisciplinarity is starting to give way to transdisciplinarity, a new meeting point has been found in transfiction, enabling translation to become an interpretative paradigm for literature. Attempting to support this rather neglected approach, this paper analyzes Julian Barnes’s Flaubert’s Parrot in the light of the relationship between source and target texts and the concept of the invariant as a reflection of the postmodern quest for truth, claiming that the novel makes a fictional dethronement of the source text and calls for a shift from instrumentalism to the hermeneutic approach in translation.
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