How to construct a literary poem?

Viehoff, Reinhold

doi:10.1016/0304-422x(86)90023-9

Cited by 15 publications

(3 citation statements)

References 15 publications

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“…After all, a number of think-aloud studies have investigated the ways college and pre-college students read poetry (Dias, 1986;Eva-Wood, 2004a, 2004bHarker, 1994;Hoffstaedter, 1987;Knapp, 2002;Shimron, 1980;Svensson, 1987;Viehoff, 1986). Taken together, these studies paint a vivid picture of how students first read poetry as odd-looking prose before learning over time to apply the reading conventions that are foundational to expert poetry reading.…”

Section: Expert Poetry Readingmentioning

confidence: 94%

“Generic” and “Specific” Expertise in English: An Expert/Expert Study in Poetry Interpretation and Academic Argument

Warren¹

2011

Cognition and Instruction

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In this study, eight English professors thought aloud as they read four lyric poems and composed a short text proposing a hypothetical talk about them for a professional conference. The study used a crossed design in which participants read a poem in each of the following conditions: familiar to them and close to their professional writing, familiar and far, unfamiliar and close, unfamiliar and far. When reading familiar poems, participants produced longer protocols and more elaborate interpretations. When planning their conference talks, participants produced longer protocols for poems that were far from their professional writing as they struggled to access sufficient background knowledge. Participants attempted to say something "new" about the poems, and they closely monitored the limits of their knowledge. These results suggest that English professors, just like experts in other disciplines, develop both "generic" and "specific" expertise. Implications for expertise research, literature instruction, and academic literary scholars are considered.

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Section: Expert Poetry Readingmentioning

confidence: 94%

“Generic” and “Specific” Expertise in English: An Expert/Expert Study in Poetry Interpretation and Academic Argument

Warren¹

2011

Cognition and Instruction

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“…The stars in a literary text are fixed; the lines that join them are variable." (Viehoff, 1986) This adoption explains the concept of dynamics the way comprehension operates in people's mind, which can be applied to the understanding of text meaning. Therefore, subjective perception and judgment determine the realization of the image's aesthetic qualities r. There is no a definite structure for the artistic image, instead there is dynamic reality that changes into an aesthetic perception.…”

Section: Aesthetic Progression and The Translatormentioning

confidence: 99%

The Aesthetic Effect of Semantic Translation on English Texts Translated into Arabic

Mohammed

2022

JMR

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The past twenty years have witnessed much progress at translation, and good results have been achieved in this field, as it has led to the exchange of knowledge between countries, provided the ground for the exchange of information and experiences, and worked to ensure that countries become a comprehensive and potential driving force for economic growth and human development. Translation has various types, one of these types is the semantic translation where the translator attempts to keep the exact contextual meaning of the original language. This study aims at investigating the extent to which the aesthetic effect (AE) of semantic translation on English texts translated into Arabic namely quotes from George R. R. Martin’ novel "a song of Ice and Fire", Hans Küng's book Islam: "Past, Present and Future" (translated by Al-Shuraiqi and examples translated by Safia Al-Sa'di in the last work of her entitled "Life in Japan". A comparison between the original text aesthetics and the target text (TT) was made based on the selection of sentence structure, lexical and metaphors employed. The data of the study are illustrative examples chosen randomly to be analysed according to Yan Fu’s (2012, cited in Zhang, 2013) triple translation criteria of faithfulness, expressiveness, and elegance in combination with Nida’s (1964) functional equivalence. The results reveal clearly that the chosen translations show a distinct amount of adequacy in terms of expressing the aesthetic effect (AE) in the target text (TT). The results also show that semantic translation appears to be more creatively appropriate in preserving the AE and transferring it into the TT.

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“…Zhang (2008) explains that different translators with different operations of psychological faculties might produce different comprehension of a literary text, hence different translated versions, and this point is described by the personalized aspect in the following way: In the same way two people gazing at the night sky may both be looking at the same collection of stars, but one will see the image of a plough and the other will make out a dipper. The stars in a literary text are fixed; the lines that join them are variable (Viehoff, 1986). In the aesthetic progression the translator is required to perceive the images.…”

Section: Figurative Language and Aesthetic Experience In A Translatedmentioning

confidence: 99%

The Effects of Canonity and the Authorial Weight in Translating Dickens’ Oliver Twist into Arabic Language

Abdo

Abu-Faraj

2019

COES&RJ-JSS

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This research investigates whether 'canonity and authorial weight' affect the translation product of Charles dickens' Oliver Twist, and whether the source text (English) aesthetic features are maintained in the target text (Arabic). It aims to link aesthetic features with the figurative elements that are used in the translation which may express the role the authorial weight plays in the translation process. The importance of preserving the author's intended meaning of the source text (SL) in the target language is crucial. Consequently, this research uses a comparative qualitative research analysis that compares two randomly Arabic translations (TT1 and TT2) with the source text (ST) according to canonity and authorial weight features. The features of figurative language are located in the source text (ST) then compared to their counterparts in the target text (TTs). The random sample discussed thoroughly of whether it is equivalents to ST. This study is based on Nida's (1975 & 1964) dynamic or formal equivalence backgrounds. It concludes that figurative elements in translation play a major role in the fluency of the translator taking into the translators' authorial weight

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How to construct a literary poem?

Cited by 15 publications

References 15 publications

“Generic” and “Specific” Expertise in English: An Expert/Expert Study in Poetry Interpretation and Academic Argument

“Generic” and “Specific” Expertise in English: An Expert/Expert Study in Poetry Interpretation and Academic Argument

The Aesthetic Effect of Semantic Translation on English Texts Translated into Arabic

The Effects of Canonity and the Authorial Weight in Translating Dickens’ Oliver Twist into Arabic Language

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