Translation has been the subject of a variety of research and conflicts among theorists. This fact that gives Thomas Samuel Kuhn's paradigm theory is pertinent to the present study. Kuhn is an American philosopher of Science. In his book The Structure of Scientific Revolutions, he proposes his paradigm theory which plays a great role in the development of sociology and philosophy of Science. According to Kuhn (1970), paradigm originates from one or some famous people's achievements, and for these achievements to be considered as paradigms, two major characteristics must be met as will be clarified in this paper. This study is an attempt to outline the scope of the disciplines of Translation Studies (TS), to give some indication of the kind of work that has been done so far. It is an attempt to demonstrate that TS is a discipline in its own right. It is a vastly complex field with many far-reaching ramifications. This study discusses the relationships between the changing definitions of translation and the turns of translation studies.
Henry Fielding was one of the great novelists of the 18th century. Today, he is universally acknowledged as a major figure in the development of the novel. His literacy works have been evaluated by many critics. He proved exceptionally controversial and his reputation has variously soared and crashed in the course of three centuries. This study, first, attempts to scrutinize and perfectly judge the real value, essential nature and intrinsic aspects of Fielding’s two classics, Joseph Andrews and Tom Jones. It is claimed that on examining the works of Henry Fielding, concentration should be given to exploring the extent of the foreign influence on his works. Some critics are of the opinion that they are not incorporated within the framework of the picaresque novels. This study underscores the picaresque elements in the two classics, and stresses the similarities and points of resemblance between the English and Spanish picaresque novels. Second, this study examines the various stylistic features of Fielding’s narrative technique, and his use of satire to discuss important concepts such as chastity and charity. Third, it attempts to show Fielding’s philosophy of human nature, and to what extent his writing unfolds the basic philosophical characteristics of the 18th century lines of thinking. It concludes, among other things, that no narrative devices are worked out haphazardly or merely for amusement; rather, they are used for both didactic and artistic purposes. In this sense, then, the mark of shame bestowed by earlier critics on Fielding as intrusive narrator is eliminated on the account that his presence within the text is directed for teaching purposes. Goodness in his philosophy consists of the twin virtues of charity and chastity, and the latter is a symbol of the national control of passion.
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