Words of Turkish Origin in the Works of J. R. R. Tolkien

J. R. R. Tolkien is undoubtedly one of the most widely read epic fiction writers, translated into almost forty world languages. His works describe the entire history of an imaginary world, from the very beginning of its creation until the creation of man and are imbued with a constant struggle between good and evil. On the opposite sides, there are different races of humanoid creatures, among which are: elves, dwarves, orcs, goblins, trolls, etc. They all have elaborate genealogies and cultural characteristics. The extremely rich philological education of the author himself contributed to that. The connections between Tolkien’s work and Nordic myths have been shown in detail in science so far. This is most obvious when choosing mythological symbols and names. The author even created an elven language inspired by the Finnish language, for which he used runic alphabet. However, the names of the places where orcs, goblins and other servants of evil live, as well as their personal names, were not created after the example of elves. According to their phonetic characteristics, these names are significantly different from elven and human ones. In this paper, attention will be focused on such names, considering that they possess phonetic and semantic characteristics of the Turkish language, especially its older variants, and that they carry certain meanings that still exist in the modern Turkish language.

YA Literature: A Genre on the Rise. Challenges and Strategies in Translating the Imaginary World of Elizabeth Knox’s Southland Saga

<p>Young Adult (YA) literature has taken the publishing industry by storm since J.K. Rowling published the first novel of her Harry Potter saga (1997-2007). From then on, the genre has exponentially grown expanding to other media, such as the film industry, videogames, theme parks as well as merchandise. The Spanish-speaking markets have mirrored the English-speaking ones thoroughly embracing the genre. Indeed, it is thanks to the continuous sales growth in this sector of the market that the book industry has kept afloat in the last two decades. New Zealand’s recent rise in popularity among young Spaniards and Hispanic Americans alike, in part because of the working holiday visa schemes between New Zealand and several Spanish-speaking countries, and in part on account of the featuring of the country in Peter Jackson’s Lord of the Rings (2001-2003) and The Hobbit (2012-2014) trilogies, has created an opportune moment to introduce New Zealand YA authors to the Hispanic market. Elizabeth Knox’s Southland saga (Dreamhunter (2005), Dreamquake (2007) and Mortal Fire (2013), with a fourth and fifth novels under way), is a fine example of New Zealand YA literature that has the potential to follow the success of other franchises, such as Cassandra Clare’s The Mortal Instruments saga (2007-2014) and Stephenie Meyer’s Twilight saga (2005-2008). Knox’s YA novels have been internationally acclaimed in the English-speaking world and have received several prizes; this makes them an ideal showcase to introduce New Zealand YA writers to the Spanish-speaking audiences. Therefore, this thesis has a twofold objective. On the one hand, it presents a comprehensive list of challenges and difficulties encountered when translating the imaginary world in which Knox’s three YA novels are set, which can also apply to the translation of other New Zealand YA novels. Each of these challenges is accompanied by one or more strategies to provide possible solutions. On the other hand, the thesis aims at producing a commercially viable version of the novels targeting a wide Spanish-speaking readership A theoretical discussion precedes the translation samples in which issues such as foreignisation versus domestication (Venuti 1995) are considered, as well as the suitability of a standardised target language. The translations are carried out under the umbrella of a potential Skopos (Reiss and Vermeer 2014) as if they had been commissioned for a wide Spanish-speaking market. General issues including target language considerations and the translation of cultural words (Newmark 1988, 94) are analysed within the frame of the previous theoretical discussion. In addition, specific linguistic and textual issues particular to Knox’s YA novels are tackled to illustrate the complexities of rendering the imaginary world of the Southland saga into Spanish. The aim of this thesis is to produce a version which, complying with a potential Skopos, is suitable for the Spanish-speaking market as well as compiling a comprehensive list of translation challenges and possible solutions particular to the genre with a focus in New Zealand. The result is a translation that not only preserves but also heightens the New Zealand origin of the source text while maintaining readability and fluidity in the target language.</p>

YA Literature: A Genre on the Rise. Challenges and Strategies in Translating the Imaginary World of Elizabeth Knox’s Southland Saga

<p>Young Adult (YA) literature has taken the publishing industry by storm since J.K. Rowling published the first novel of her Harry Potter saga (1997-2007). From then on, the genre has exponentially grown expanding to other media, such as the film industry, videogames, theme parks as well as merchandise. The Spanish-speaking markets have mirrored the English-speaking ones thoroughly embracing the genre. Indeed, it is thanks to the continuous sales growth in this sector of the market that the book industry has kept afloat in the last two decades. New Zealand’s recent rise in popularity among young Spaniards and Hispanic Americans alike, in part because of the working holiday visa schemes between New Zealand and several Spanish-speaking countries, and in part on account of the featuring of the country in Peter Jackson’s Lord of the Rings (2001-2003) and The Hobbit (2012-2014) trilogies, has created an opportune moment to introduce New Zealand YA authors to the Hispanic market. Elizabeth Knox’s Southland saga (Dreamhunter (2005), Dreamquake (2007) and Mortal Fire (2013), with a fourth and fifth novels under way), is a fine example of New Zealand YA literature that has the potential to follow the success of other franchises, such as Cassandra Clare’s The Mortal Instruments saga (2007-2014) and Stephenie Meyer’s Twilight saga (2005-2008). Knox’s YA novels have been internationally acclaimed in the English-speaking world and have received several prizes; this makes them an ideal showcase to introduce New Zealand YA writers to the Spanish-speaking audiences. Therefore, this thesis has a twofold objective. On the one hand, it presents a comprehensive list of challenges and difficulties encountered when translating the imaginary world in which Knox’s three YA novels are set, which can also apply to the translation of other New Zealand YA novels. Each of these challenges is accompanied by one or more strategies to provide possible solutions. On the other hand, the thesis aims at producing a commercially viable version of the novels targeting a wide Spanish-speaking readership A theoretical discussion precedes the translation samples in which issues such as foreignisation versus domestication (Venuti 1995) are considered, as well as the suitability of a standardised target language. The translations are carried out under the umbrella of a potential Skopos (Reiss and Vermeer 2014) as if they had been commissioned for a wide Spanish-speaking market. General issues including target language considerations and the translation of cultural words (Newmark 1988, 94) are analysed within the frame of the previous theoretical discussion. In addition, specific linguistic and textual issues particular to Knox’s YA novels are tackled to illustrate the complexities of rendering the imaginary world of the Southland saga into Spanish. The aim of this thesis is to produce a version which, complying with a potential Skopos, is suitable for the Spanish-speaking market as well as compiling a comprehensive list of translation challenges and possible solutions particular to the genre with a focus in New Zealand. The result is a translation that not only preserves but also heightens the New Zealand origin of the source text while maintaining readability and fluidity in the target language.</p>

Dark Ecology in One Hundred Years of Solitude and Love in the Time of Cholera

This article examines the notions of dark ecology, the Capitalocene, and hyperobjects to delve into a re-reading of Gabriel García Márquez’s One Hundred Years of Solitude and Love in the Time of Cholera that interrogates how those literary works provide valuable ecological awareness for the present era. Additionally, the article explores how Gabo’s works present a global ecological vision that enables the reader to observe a destroyed imaginary world where humanity dies after an ecocatastrophe produced by excessive human interference in the natural world. The novels analyzed are not narratives of an idealized primordial past or a catharsis that immerses us in the natural world to clean our minds from guilty environmental reality; instead, the narratives portray tenets of dark ecology, which attempt to provide a vivid portrayal of an environmental dilemma. The novels can be read through the lens of dark ecology as evidencing closeness to the earth; in them the omnipresent theme of solitude enables the reader to be in tune with nature more than as a mere presentation of an idealized interconnection with the environment. Before delving into the analysis of the novels, the essay provides a review of recent criticism and a brief examination of new developments in ecocritical theory.

Tintagel Footbridge Void for Imagination

<p>English Heritage published a design competition for a footbridge to offer a better accessibility to the Tintagel Castle. The new bridge links the mainland with the island, the real world to the imaginary world of legends. Its setting is extraordinary, remote. The context is therefore deeply reflected in the bridge design and construction. The bridge looks like and arch, but tells so much more after a closer look. It leaves a void, between present and history, reality and imagination.</p>

MEANS OF IMAGINARY WORLD FORMATION IN FANTASY TEXTS

A textual world is a cognitive complex, which combines two elements: a text base, a textual material; a cognitive base – knowledge and ideas of the communiсators. A textual world is divided into a great deal of various imaginary worlds: the author’s world and the personages, which in its turn is subdivided into the world of ideas, the world of desires, knowledge and the world of obligations. By the way, a textual world can be real and unreal or imaginary (M. -L. Rayyan), deictic, attitudinal and epistemic (P. Vert).The purpose of this article is to single out means of formation of an imaginary world in fantasy texts by J. R. R. Tolkien.In this article such methods were used: descriptive, interpretative and textual analysis, component analysis.Results. Literary world is concretized primarily in connection with its subject and the form of its implementation. The imaginary world in fantasy texts is modeled on certain principles: the use of archetypal plots and images, the opposition of good and evil, organization of the plot in the form of a quest, the use of mythological creatures, imaginary time and space, magical objects – artifacts. Imaginary world in J. R. R. Tolkien’s texts is built on the basic ideas of English-speaking community about unreality and fantasy of the author. Indicators of the imaginary are divided into 4 thematic groups (imaginary creature, imaginary subject, imaginary space and imaginary time). An imaginary creature as a result of author’s fantasy is represented as supernatural being, real for fantasy world human or animal like hybrid with nature wishes, certain intellectual abilities and physical disabilities. The imaginary subject is depicted as a unique artifact, which is actualized in jewelry, weapons and various things with supernatural properties.The imaginary space and time are based on the real one, keeping all typologies (natural, artificial environment, linen, metric, circular time). But it differs in logical incompatibility with the facts of reality and the presence of fictional representatives of flora and fauna, which gives to imaginary space and time uniqueness, anomalies and unusualness. Conclusions. Descriptive, interpretative and textual analysis helps to single out a thematic dominant, which forms informative value of lexical and semantic field “Imaginary”. Arch lexeme imaginary expresses the whole meaning of the notion “imaginary”.Key words: imaginary space and time, imaginary subject, imaginary creature, imaginary world. Текстовий світ є складним когнітивним комплексом, що поєднує два елементи: текстову базу, тобто мовний матеріал, фіксований на тому чи іншому матеріальному носії; когнітивну базу – знання й уявлення комунікантів. У межах текстового світу виокремлюються різноманітні можливі світи: світ автора і світ персонажів, який своєю чергою поділяється на світ уявлень, бажань, світ знань, світ зобов’язань. До того ж світи бувають реальними та нереальними, або уявними (М.-Л. Райян), дейктичні, атитюдні та епістемічні похідні світи (П. Верт).Мета статті – виявити засоби створення уявного світу у фентезійних творах Дж. Р. Р. Толкіна.У ході розвідки використовувалися такі методи, як: дескриптивний метод; метод інтерпретаційно-текстового аналізу, метод компонентного аналізу.Результати дослідження. Художній світ конкретизується насамперед у зв’язку з його суб’єктом (художнім світом письменника) і формою втілення (світ художнього твору). Уявний світ у фентезійних творах є вторинним стосовно звичайного світу та моделюється за певними принципами: звернення до архетипних сюжетів та образів, протиставлення добра та зла, організація сюжету у формі квесту, використання міфологічних істот, уявного часу та простору, магічних об’єктів – артефактів. Уявне у творах Дж. Р. Р. Толкіна моделюється на основі уявлень англомовної спільноти про ірреальність та фантазій власне самого автора. Індикатори уявного можна розподілити на чотири тематичні групи (уявна істота, уявний предмет, уявний простір, уявний час). Уявна істота як плід фантазії автора постає як надприродна істота, реальний для світу фентезі людино- або твариноподібний гібрид з природними потребами, певними інтелектуальними здібностями та фізичними недосконалостями, яка має місію, переважно на стороні Зла. Уявний предмет зображено як унікальний артефакт, який актуалізується в коштовностях, зброї та різноманітних предметах з надзвичайними властивостями.Уявний простір і час засновані на реальному, зі збереженням усіх типологій (природне, штучне середовище; метричний, лінійний, циклічний час), однак його відмінність у творах Дж. Р. Р. Толкіна полягає у логічній несумісності з фактами дійсності та наявності вигаданих представників рослинного та тваринного світів, що надає уявному простору і часу унікальності, аномальності та незвичності. Висновки. Аналіз словникових дефініцій і контекстних експлікацій сприяли визначенню тематичних домінант, які утво-рюють інформативне наповнення лексико-семантичного поля «Уявне». Архілексема imaginary виражає значення усього уявного по своїй природі, а всі синоніми та похідні лексеми представляють ядерну зону зазначеного поля.Ключові слова: уявний простір і час, уявнийпредмет, уявна істота, уявний світ.

"Fuite" et écriture du bien-être en roman africain : analyse des Soleils des indépendances d'Ahmadou Kourouma

« La fuite » dont il est question s’inscrit dans l’optique d’Henri Laborit. Il s’agit de fuir dans le monde de l’imaginaire dans lequel on peut se tailler un vaste territoire gratifiant dans un contexte anxiogène. La fuite dans l’imaginaire apparaît par conséquent comme un mécanisme heureux d’évitement de l’aliénation environnementale, sociologique. Le lien que Laborit établit entre la fuite et le bien-être est manifeste dans Les Soleils des indépendances d’Ahmadou Kourouma. Cette œuvre, à l’étude, illustre cette théorie. Elle est le lieu de l’expression de « l’éloge de la fuite » à l’examen de la posture de deux personnages : Salimata et Fama à travers le déploiement de ce que nous appelons « l’imaginé-tranquillisant » que cette réflexion explicite. The “escape” in question is in line with Henri Laborit’s point of view. It’s about escaping into the world of the imagination in which one can carve out a vast and rewarding territory in an anxiety-provoking context. Escaping into the imaginary world therefore appears to be a happy mechanism for avoiding environment and sociological alienation. The link that Laborit establishes between escape and well-being is manifested in Les Soleils des indépendances of Ahmadou Kourouma. This novel, under study, illustrates this theory. It’s the place for the expression of the “eulogy of escape” to the analysis of the posture of two characters: Salimata and Fama through the deployment of what we call the “imagined-tranquilizing” that makes this reflection explicit . « La fuite » dont il est question s’inscrit dans l’optique d’Henri Laborit. Il s’agit de fuir dans le monde de l’imaginaire dans lequel on peut se tailler un vaste territoire gratifiant dans un contexte anxiogène. La fuite dans l’imaginaire apparaît par conséquent comme un mécanisme heureux d’évitement de l’aliénation environnementale, sociologique. Le lien que Laborit établit entre la fuite et le bien-être est manifeste dans Les soleils des indépendancesd’Ahmadou Kourouma. Cette œuvre, à l’étude, illustre cette théorie. Elle est le lieu de l’expression de « l’éloge de la fuite » à l’examen de la posture de deux personnages : Salimata et Fama à travers le déploiement de ce que nous appelons « l’imaginé-tranquillisant » que cette réflexion explicite.