Entertainment and the process of reading are two spheres of human activity which have kept Professor Harding's interest for more than forty years. Time and again he would focus his attention on them: ...studying the nature of these activities, their relation to other human activities, their impact upon the individual and their role in society as a whole, and examining individual features of the reading process, analysing various misconceived notions about the nature and position of these activities in human life and investigating the possibilities of improving the capacity to respond to art at a more practiced level. In this way - approaching the problems of entertainment and reader response from different points of view and elaborating various details and aspects over several decades - his sustained efforts to penetrate into these activities have resul.ted in an important body of knowledge encompassing a far-reaching concept of entertainment and of reading built upon a well-balanced account of them as integral human activities, and of their wider social relevance.
Entertainment and the process of reading are two spheres of human activity which have kept Professor Harding's interest for more than forty years. Time and again he would focus his attention on them: ...studying the nature of these activities, their relation to other human activities, their impact upon the individual and their role in society as a whole, and examining individual features of the reading process, analysing various misconceived notions about the nature and position of these activities in human life and investigating the possibilities of improving the capacity to respond to art at a more practiced level. In this way - approaching the problems of entertainment and reader response from different points of view and elaborating various details and aspects over several decades - his sustained efforts to penetrate into these activities have resul.ted in an important body of knowledge encompassing a far-reaching concept of entertainment and of reading built upon a well-balanced account of them as integral human activities, and of their wider social relevance.
The essay discusses the dilemmas of literature teaching as first raised by student unrest towards the late 1960s because of the inefficiency and lack of interest of the established forms of literary ...studies and literature teaching of the time, and the later resolutions of these dilemmas towards the end of the century. The process of long-term experimental examination of the existing alienating forms of studies and teaching started when the criticism of students came to be supported by some of the most distinguished professors of literature. The second section centres on some more successful efforts to surpass such inefficient old forms of literature teaching with the major shift from teaching data about literature to the discoursal analysis of texts and to promoting students’ competence of critical understanding of literary texts and the functioning of language. The third part deals with trends in literature teaching within the framework of English literature as anticipated by the new Slovene curricula for English as a foreign language and the preparation of teachers for it. It emphasises the importance of the intercultural dimension of teaching according to the new curricula and the rich possibilities for the understanding of intercultural contacts in the process of reading literature in English.
The concept of reading as the interaction between the reader and the text makes it possible to examine some less studied dimensions of the reading process and the literary experience. It centres ...attention on what the readers do when they actually read and on their own contribution to the mental representation of the text. Such a concept also helps to understand the reader's interaction with the electronic texts. PUBLICATION ABSTRACT
To claim that the readers' experience of a literary work in translation is different from their experience of the original at first seems very paradoxical and even heretical. Such a statement is so ...unexpected simply because we always think of the original and its translation as being the same literary work without paying any attention to their different concre tizations on the part of their readers due to textual differences. This tacit assumption of their sameness seems totally unaffected by the fact that we never think of the original and its translation as representing the same text; on the contrary, we always take it for granted that they are two different texts in two different languages. The differences between the two texts and the differentness of the translation are never lost sight of in the discussion of the qualities and adequacy of the translation. When it comes to criticizing the literary work or teaching it, however, the translation is tacitly assumed to be identical with the original and approached as if it were the original, with little or no critical awareness of the fundamental textual and other possible differences. This critical and pedagogical approach to literary translation seems to be almost immune to the growing awareness of the importance of the textual elements, to an increasing body of research concerning their impact on the reader, and to the ample evidence about various inadequacies of literary translations, revealed especially by the processes of retranslation and thus visible in all works that exist in several translations. This approach also takes little if any notice of the overall tendency of the translation to assimilate the original to the receptor culture, to simplify and sometimes also to reduce the original.
Kritika kot govorno dejanje Meta GROSMAN
Slavistična revija,
01/1997, Letnik:
45, Številka:
1-2
Journal Article
Recenzirano
Odprti dostop
Razprava opisuje kritiški diskurz v širšem kontekstu njegove celostne pragmatične situacije kot posebno obliko govornega dejanja, katerega predmet je umetnostno besedilo. Prisotnost posameznih možnih ...sestavin kritiškega diskurza, kot so kritikovo razmerje do umetnostnega besedila, njegov odnos do naslovnikov oz. bralcev kritike, načrtovan učinek kritike ter sposobnost uravnavati vsa ta razmerja, razčlenjuje na primerih zbranih kritiških zapisov o dveh slovenskih leposlovnih besedilih.
Critique as a Speech Act Grosman, Meta
Slavistična revija,
01/1997, Letnik:
45, Številka:
1-2
Journal Article
Recenzirano
Literary criticism is examined for pragmatic properties; it is concluded that critique represents a special type of speech act because it is a discourse in which attitudes are expressed & ...communicative objectives are targeted. Using material from contemporary Slovene literary criticism, it is shown how critics express attitudes toward the text & its content & form, & try (explicitly or implicitly) to influence the attitudes & opinions of prospective readers. The analytic component of the criticism targets the subject text reading, which may differ from the writer's intention & even the critic's interpretation. 23 References. Adapted from the source document
To claim that the readers' experience of a literary work in translation is different from their experience of the original at first seems very paradoxical and even heretical. Such a statement is so ...unexpected simply because we always think of the original and its translation as being the same literary work without paying any attention to their different concre tizations on the part of their readers due to textual differences. This tacit assumption of their sameness seems totally unaffected by the fact that we never think of the original and its translation as representing the same text; on the contrary, we always take it for granted that they are two different texts in two different languages. The differences between the two texts and the differentness of the translation are never lost sight of in the discussion of the qualities and adequacy of the translation. When it comes to criticizing the literary work or teaching it, however, the translation is tacitly assumed to be identical with the original and approached as if it were the original, with little or no critical awareness of the fundamental textual and other possible differences. This critical and pedagogical approach to literary translation seems to be almost immune to the growing awareness of the importance of the textual elements, to an increasing body of research concerning their impact on the reader, and to the ample evidence about various inadequacies of literary translations, revealed especially by the processes of retranslation and thus visible in all works that exist in several translations. This approach also takes little if any notice of the overall tendency of the translation to assimilate the original to the receptor culture, to simplify and sometimes also to reduce the original.
Cross-Cultural Awareness: Focusing on Otherness Grosman, Meta
TEACHING TRANSLATION AND INTERPRETING 2: INSIGHTS, AIMS, VISIONS: PAPERS FROM THE SECOND LANGUAGE INTERNATIONAL CONFERENCE, ELSINORE, DENMARK 4-6 JUNE 1993, Dollerup, Cay, & Lindegaard, Annette Eds, Amsterdam, The Netherlands: John Benjamins Publishing Company, 1994, pp 51-57,
01/0001
Book Chapter
Cross-cultural awareness is discussed in a literary translation context. Cross-cultural awareness, when adequately cultivated, prevents the frequent & natural tendencies to assimilate unique ...characteristics of a literary work into the target culture, denying readers the chance to completely experience foreign words. Methods of contrastive analysis are more effective at revealing cases of such assimilation & circumventing their occurrence than simply making a conscious effort to avoid the behavior. Such exercises are also credited with encouraging students to view a text from new perspectives, & thus develop an appreciation for its differences, which are then more likely to be reflected in a superior target language version. P. A. Bain
PDF
