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Stylistics investigates style. A straightforward enough task, it might seem to the uninitiated. Stylisticians, on the other hand, see the investigation as a complex, diverse, intricate and sophisticated enterprise firmly grounded in linguistics. The question of how to define what style actually is does not, nor will it ever, have a simple answer. However, scholars whose work falls (in the strictest or loosest of senses) within the remit of stylistics concur as to how best to proceed when trying to account for it. For Simpson (2014: 4), stylistics' approach to style is primarily informed by the three 'Rs': Rigour, Retrievability and Replicability. Stockwell and Whiteley (2014: 1) emphasise that 'stylistics is the proper study of literature', meaning that it is 'delineated by rules and principles, and by reasonable, open and honest argument'. For Burke, stylistics 'is a kind of linguistic-forensic, literary discourse criticism' (Burke, 2014: 3). These three statements illustrate the defining methodological essence of the discipline: for as long as style is thoroughly, comprehensively and rigorously researched, stylisticians will openly and unashamedly make use of whichever analytical framework or theoretical tenets that can best account for it.The open embrace by stylistics of a variety of influences explicates its intrinsically interdisciplinary nature which, in turn, gives rise to fruitful and diverse research. The year 2014 has certainly not disappointed in that respect because it has witnessed the publication of diverse work from research on new text-types or genres (e.g. literary gaming) to research informed by corpus and multimodal approaches. As has been customary in previous Year's Work articles, the following pages have been divided into sections, each grouping together publications connected by similar interests, whether these are insights from cognate disciplines or particular analytical frameworks. Having said that, this division has a primarily explanatory function and should not be taken to indicate some hermetic compartmentalisation; in fact, as I go on to discuss, cross-fertilisation between the various research areas has been both bountiful and productive. General issues of styleThree key 2014 publications have already been referred to: Simpson's second edition of Stylistics (2014), Stockwell and Whiteley's The Cambridge Handbook of Stylistics 596395L AL0010.1177/0963947015596395Language and LiteratureMontoro research-article2015 Review Article Language and Literature 24(4) (2014) and Burke's The Routledge Handbook of Stylistics (2014). The danger of reviewing Handbooks of the calibre of Stockwell and Whiteley's (2014) and Burke's ( 2014) is that, inevitably, the review is limited by space constraints. What follows is a humble attempt at describing these two collections which represent major contributions to the field as they significantly develop stylistics tenets by expanding on existing ideas (even in supposedly classic topics), by bringing in original and detailed text analyses or, indeed, by a...
The article carries out a cultural analysis of the importance of literary translation as cross-cultural communication in the process of intercultural interaction for the sake of theoretical understanding of the conditions and possibilities of maximum mutual understanding and transfer of experience between the cultures of different states. Like any kind of translation, artistic translation is a multifaceted and complex phenomenon. From an institutional point of view, it can be considered as a specific form of literary reception and cultural mediation, as a form of cultural production that takes place in a specific environment at the junction of two (often national) literatures and cultures. Literary translation is often motivated not only by the dynamics of local factors, but also by the dynamics of the global space of cultural exchange. The translator has the status of a mediator between cultures. The target text, like the original text, is a cultural semiotic product. translation is undoubtedly an act of intercultural communication; this should be the unquestionable starting point for any modern research in translation. It is obvious that the aim of the present article is not to challenge indisputable facts. Rather, the main point is that what presents itself as a unanimously accepted thesis is in fact open to multiple interpretations due to the polysemy of the term culture. The cultural aspects of translation are inevitably affected by the still unsettled debates about culture. The translator is a specialist in intercultural communication. He knows how to determine the most appropriate means of mediation for the desired meaning in a given socio-cultural context. Communication is a common and well-known part of our lives that we often do not pay attention to it's importance. Moreover, we often participate in the communication process only as senders and recipients of information without being aware that we are dealing with a complex process, which itself contains many interconnected steps with each other. Human society is built and exists precisely thanks to the human ability for communication. Cross-cultural communication is hard work that requires mediation, appropriation, and negotiation. The literary text is processed, consumed and interpreted by the target reader, the bearer of certain ideological and aesthetic views
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