Iryna Steshenko as a translator of Anglophone literature Essays

Iryna Steshenko as a translator of Anglophone literature Essays Iryna Steshenko as a translator of Anglophone literature Iryna Steshenko is a spectacular Ukrainian actress and a prominent translator. She was brought up in a family where people treasured folk traditions and customs. All members of her family were related to literature, education and Ukrainian culture in general. In order to get to know her better as a translator, we should dive deeper into her biography. Iryna Steshenko was born on July 5, 1898, in Kyiv. She is the daughter of Ivan M. Steshenko and Oksana Steshenko, the cousin of Lesya Ukraiinka and the granddaughter of Mykhailo Starytsky - the coryphaeus of the Ukrainian Theatre . Iryna Steshenko was the last representative of the renowned ancestry, which, after her death in 1987, ceased to exist. From early childhood, she began studying foreign languages. At the age of three, she had a governess from Germany and at five - from France. Hence she obtained a good command of those languages. In 1918 she graduated from the Faculty of Philology of Higher Women's Studies in Kyiv. After graduation, in addition to her mother language, she was fluent in Russian, German, French, and English. Not every woman back then had the opportunity to obtain such solid and versatile knowledge. In 1920 Iryna Steshenko graduated from the Lysenko Music and Drama Institute. It was then that Pavlo Tychyna - Taras Shevchenko Theatre dramaturge at that time - approached her and asked to translate some comedies by Moliere. These were The Bourgeois Gentleman , The Imaginary Invalid , Scapin the Schemer . Tychyna would later edit her translations to be suitable for the theatre. These plays were often featured in Ukrainian theatres. After that Iryna Steshenko was paying more and more attention to the artistic translation, and from 1949 she devoted herself to it completely. The achievements of Iryna Steshenko as a translator are particularly notable, because she, as a person with a solid education and as a descendant of famous writers, had an extraordinary feeling of the Ukrainian language; she knew it perfectly and used it skilfully . The language of her translations is academic and graceful, but at the same time, it is alive and natural. From the very beginning, Steshenko as a translator set very strict requirements to herself. The translation, in her opinion, is a creative obsession with the work which one translates and its author, not the mechanic "transference" into another language, albeit being done at a high professional level. A translated work must feel as if it was written in the target language: only the stylistic characteristics, peculiarities of thinking and the details of everyday life should tell a reader that it is the work of a writer of another nation. She worked solely with the original pieces and was very indignant at the offer to translate from Russian to Ukrainian. In her translations she paid great attention to the logical cohesion of phrases in lines and stanzas, to euphony of verses and to the natural ease of speech as well as to the rendition of the inner force pertained to the source language idiom. Steshenko skilfully reproduced verbal images of both representatives of the highest class of society and ordinary people. It distinguishes her among other translators, especially considering the current tendency to use taboo vocabulary in translations and original works. Among contemporary Ukrainian translators who dealt with the works of William Shakespeare, Iryna Steshenko is the most productive . She translated six of his pieces: The Merchant of Venice (1950), Othello (1950), Romeo and Juliet (1952), Much Ado About Nothing (1952), The Comedy of Errors (1954), The Two Gentlemen of Verona (1963). I was lucky to happen upon her translation of plays Much Ado About Nothing (1-2) and Romeo and Juliet (3) . Here are some interesting cases. Beatrice and Benedict's speech is a powerful source of wordplay in the original text. The puns were very popular in the days of Elizabethan England and Shakespeare's texts are full of them . Benedick : O God , sir , here's a dish I love not : I cannot endure my Lady Tongue : ! ... , ; Messenger : And a good soldier too , lady . Beatrice :

Apply the Post-Modernist concepts of intertextuality and pastiche to Shaun of the Dead. The WritePass Journal

Apply the Post-Modernist concepts of intertextuality and pastiche to Shaun of the Dead. Introduction Apply the Post-Modernist concepts of intertextuality and pastiche to Shaun of the Dead. IntroductionREFERENCES:Related Introduction This essay is going to investigate the concepts of intertextuality and pastiche of Shaun of the Dead. To do this, the two concepts will be briefly explained and how, although the film is completely made up of references to different films, it is still wholly original because of this. â€Å"Intertextuality is the shaping of texts meanings by other texts. It can refer to an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another. The term â€Å"intertextuality† has, itself, been borrowed and transformed many times since it was coined by poststructuralist Julia Kristeva in 1966. As critic William Irwin says, the term â€Å"has come to have almost as many meanings as users, from those faithful to Kristeva’s original vision to those who simply use it as a stylish way of talking about allusion and influence† (Irwin, 228).† â€Å"The literary term pastiche is used in two slightly different ways, and the concept can be found in other arts, not just literature, ranging from architecture to film. In the first sense, a pastiche is a form of homage which is accomplished through imitation. In the second definition, a pastiche is a medley of items which are imitative in origin. The term can be used in a derogatory or complimentary way, depending on the work under discussion. The origins of the word lie in an Italian word meaning medley, a reference to a type of cake or pie which is made from a broad mixture of items. The idea behind either form of pastiche is that it integrates themes, ideas, concepts, and characters which have already been seen and used before. These items are integrated in a new work because the author finds them interesting, compelling, or useful; a pastiche is not plagiarism or outright imitation, but a more complex literary concept.† (Smith, 2011). Shawn of the Dead was a 2004 film written by Simon Pegg and Edgar Wright. It was billed as a ‘British romantic zombie comedy’. The main plot of the film is that a man (Shawn) decides to turn his life around by winning his girlfriend back and fixing the relationship with his mother. Unfortunately he also has to deal with the whole community coming back from the dead to eat the living. Shawn of the dead is jammed packed with references to other films, most of which can be found in the following part of this essay. Firstly, in the opening credits, during the company logo, ‘figment’ by S. Park is playing. This is the same music that was playing during the airport scene in Dawn of the Dead. (Shawn of the Dead is obviously paying homage to Dead of the Dead in the similar film title reference as well). In Day of the Dead a zombie staggers into the screen shot and as a nod to this Shawn of the Dead has a shot of Shawn staggering across the floor after waking up. Pete, Shawn’s flatmate answers his mobile phone with the line, â€Å"Hi Dom.† Peter Serafinowicz (who portrayed Pete in the film) was also in BBC series Spaced (starring Simon Pegg) where he frequently used the same line. As Shaun walks to the corner store, he passes a road sweeper. On the operator’s radio, you can hear a report of how a space probe named Omega 6 entered the atmosphere several days early over the southwest of England and broke apart over a heavily populated area. This ties in with Night of the Living Dead, in which a space probe breaks up in the atmosphere and causes the dead to return to life. Throughout the film we see multiple references to a made up pizza chain called ‘Bub’s Pizza’. This is a reference to the smarter than average zombie Bub from Day of the Dead. One of the stars of Dawn of the Dead (1978), Ken Foree, is referenced in the place where Shawn works: Foree Electric. Shawn walks past a sign for Weston Park. This sign is in Crouch End in London. It is the same place that the BBC series Spaced was set and was also where Simon Pegg resided in 2004. They pay tribute to Ashley J. Williams, who played Bruce Campbell. hero from the Evil Dead Trilogy. This is during the scene when Shawn calls a staff meeting. He mentions that the manager and ‘Ash’ have both phoned in sick. There is an exclusive seafood restaurant called Fulci’s in the film at which Shawn tries to make a reservation for. This is a nod to Lucio Fulci, the famed Italian horror director. Ed, Shawn’s best friend, is known for his hilarious impression of Clyde, the orang-utan from Every Which Way But Loose with Clint Eastwood. The zombie in Shawns back garden, Mary, worked at Landis Supermarket. This is a reference to John Landis who is the director of the horror film An American Werewolf in London. As Shawn and Ed are watching news reports on the television they come across a reporter who speaks the same lines as the reporter in the Night of the Living Dead (1968) There is a poster of a bleeding cartoon schoolgirl in the background of the scene where Shawn and Ed get attacked by the one armed zombie. This is a stylized recreation of a scene from Battle Royale, a Japanese film. At one point, Ed warns Shawns mum over the phone, â€Å"Were coming to get you, Barbara.† This line is a reference to a line from the beginning of George Romeros seminal zombie movie Night of the Living Dead (1968). We hear ‘Zombi’ by Goblin, in the scene where Shawn and Ed try to work out how to rescue Liz and Barbara. This music was featured in Dawn of the Dead. When Shawn and Ed get to the idea of seeking refuge in the Winchester pub, a delighted Ed exclaims, ‘Yeah, boy!’ this is a reference to Public Enemy rapper Flavor Flay. As they are making their way to the Winchester, Shawns mum falls behind and gets attacked by a zombie. She screams for help and Shawn rushes to help her jumping on a small trampoline and using it to propel him through the air. This is the same shot that was used near the end of Sam Raimi’s film, Army of Darkness. It was also a popular mode of transport in the computer game ‘Zombies ate my neighbours’ in which you have to bounce from back garden to back garden in order to kill the suburban zombies. On the way to the Winchester, there is a brief reunion of characters from the television series The Office, when Shaun’s group encounters Yvonne’s group. Lucy Davis (Dianne) and Martin Freeman (Declan) played Dawn and Tim on the popular BBC series, and their relationship was a central plot of the show. Noel calls Ed on the phone and refers to him as Noodle. This is the name of one of the teenagers on Spaced. The Mexican standoff at the Winchester pub is straight out of Reservoir Dogs, with the characters holding broken bottles and corkscrew rather than guns, (with the exception of David who is holding a rifle). Shawn exclaims, ‘Stop pointing that gun at my mum!’ in Reservoir Dogs Chris Penn yells, ‘Stop pointing that gun at my Dad!’ Liz’s friend David’s death scene is almost identical to that of Captain Rhodes in Day of the Dead. In the scene where Shawn and Liz escape from the Winchester’s pub cellar via an elevator platform is a direct tribute to Day of the Dead which also heavily features an elevator platform. The way in which Shawn drops the ‘hand box’ after activating the elevator is done in exactly the same manner used by Bill McDermott (Played by the actor Jarlart Conroy) in the Day of thr Dead. The choreographed pool-cue beating of the zombie in the Winchester pub, which was synchronized to the Queen soundtrack, is a carefully referenced homage to the balletic assault on the homeless man in A Clockwork Orange, (1971) The line. ‘get behind me’,   when they were fighting off the zombies in the pub is a direct take of Han Solos line in Star Wars (1977) Shaun berates Ed for calling the creatures zombies (which they are, of course). This may be referring to the fact that many zombie movies (including Night of the Living Dead (1968) and Resident Evil (2002) never mention the word zombie at all. More likely this is a reference to Danny Boyle director of 28 Days Later (2002) and his insistence that it isnt a zombie movie. When Shaun finds his zombie house mate in the shower he utters the words Join us in a half whispered tone. This is a reference to the first two Evil Dead films where the zombies are always asking Ash (also mentioned in the department store) to join us. The scene in which Shaun and Liz leave the basement via the lift through the hatch into smoke and orange light, turning as they do so, is a direct reference to a scene in Star Wars: Episode V The Empire Strikes Back (1980) when Lando leaves the Millennium Falcon to rescue Luke. Towards the end of the movie when the soldiers arrive to save Shawn and Liz the logo on the side of their trucks read ‘Biohazard’ This is the same name that the Japanese use for the uber popular zombie video game Resident Evil, which is also very heavily featured in Simon Peggs BBC series, Spaced. Liz flicks through the channels and we hear a report refuting the news that the zombie attacks may have been caused by rage infected monkeys. This is a direct reference to the Danny Boyle film 28 days later. When Shawn and Liz are watching television after the zombie attack they come across a zombie game show called ‘fun dead’. In the background the shopping centre music from the Dawn of the Dead can be heard. Finally, the end credits of the film features the song ‘The Gonk’ by H. Chappell. This again is the shopping mall music for the Dawn of the Dead but remixed by Kid Koala. There are many more references of intextuality and pastiche in this film and as Simon Pegg and Edgar Wright have said in interviews that the film has many levels that you have to see to understand. â€Å"Shaun of the Dead.   Like Dawn of the Dead, this film follows what happens in the event of a zombie epidemic.   However, Shaun of the Dead is done in a more light-hearted and comical way.   That raises the question as to whether it is parody or pastiche.   Shaun of the Dead has all the elements of the zombie invasion film.   However, it is handled in a very different way, with comedy.   Shaun of  the  Dead is a classic example  of parody, given Jameson’s definition, â€Å"Now parody capitalizes on the uniqueness of these styles and seizes on their idiosyncrasies and eccentricities to produce an imitation which mocks the original† (1963).   Shaun of  the Dead takes those things  that are specific to almost every zombie film and makes light of it.   The film could be thought of as pastiche, as Jameson writes, â€Å"Pastiche is blank parody, parody that has lost its sense of  humor† (1963).   Since Shaun of the Dead is meant to b e humorous, it cannot be a pastiche.† REFERENCES: Irwin, William. Against Intertextuality. Philosophy and Literature, v28, Number 2, October 2004, pp.  227-242. S.E. Smith. (06 April 2011). In Literature, What is Pastiche?. Available: wisegeek.com/in-literature-what-is-pastiche.htm. Last accessed 13th April 2011. Anon. (2004). Shaun of the Dead Pop Culture References. Available: shaunofthedead.com/plot/pop-culture/. Last accessed 18th April 2011 B, Nick. (2007). What was once for theory is now used for postmodernism. Available: http://ryancallander.wordpress.com/2007/05/03/group-project/. Last accessed 5th April 2011. Apply the post-modernist concepts of intertextuality and pastiche to shaun of the dead. REFERENCES: Apply the post-modernist concepts of intertextuality and pastiche to shaun of the dead. Introduction This essay is going to investigate the concepts of intertextuality and pastiche of Shaun of the Dead. To do this, the two concepts will be briefly explained and how, although the film is completely made up of references to different films, it is still wholly original because of this. â€Å"Intertextuality is the shaping of texts meanings by other texts. It can refer to an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another. The term â€Å"intertextuality† has, itself, been borrowed and transformed many times since it was coined by poststructuralist Julia Kristeva in 1966. As critic William Irwin says, the term â€Å"has come to have almost as many meanings as users, from those faithful to Kristeva’s original vision to those who simply use it as a stylish way of talking about allusion and influence† (Irwin, 228).† â€Å"The literary term pastiche is used in two slightly different ways, and the concept can be found in other arts, not just literature, ranging from architecture to film. In the first sense, a pastiche is a form of homage which is accomplished through imitation. In the second definition, a pastiche is a medley of items which are imitative in origin. The term can be used in a derogatory or complimentary way, depending on the work under discussion. The origins of the word lie in an Italian word meaning medley, a reference to a type of cake or pie which is made from a broad mixture of items. The idea behind either form of pastiche is that it integrates themes, ideas, concepts, and characters which have already been seen and used before. These items are integrated in a new work because the author finds them interesting, compelling, or useful; a pastiche is not plagiarism or outright imitation, but a more complex literary concept.† (Smith, 2011). Shawn of the Dead was a 2004 film written by Simon Pegg and Edgar Wright. It was billed as a ‘British romantic zombie comedy’. The main plot of the film is that a man (Shawn) decides to turn his life around by winning his girlfriend back and fixing the relationship with his mother. Unfortunately he also has to deal with the whole community coming back from the dead to eat the living. Shawn of the dead is jammed packed with references to other films, most of which can be found in the following part of this essay. Firstly, in the opening credits, during the company logo, ‘figment’ by S. Park is playing. This is the same music that was playing during the airport scene in Dawn of the Dead. (Shawn of the Dead is obviously paying homage to Dead of the Dead in the similar film title reference as well). In Day of the Dead a zombie staggers into the screen shot and as a nod to this Shawn of the Dead has a shot of Shawn staggering across the floor after waking up. Pete, Shawn’s flatmate answers his mobile phone with the line, â€Å"Hi Dom.† Peter Serafinowicz (who portrayed Pete in the film) was also in BBC series Spaced (starring Simon Pegg) where he frequently used the same line. As Shaun walks to the corner store, he passes a road sweeper. On the operator’s radio, you can hear a report of how a space probe named Omega 6 entered the atmosphere several days early over the southwest of England and broke apart over a heavily populated area. This ties in with Night of the Living Dead, in which a space probe breaks up in the atmosphere and causes the dead to return to life. Throughout the film we see multiple references to a made up pizza chain called ‘Bub’s Pizza’. This is a reference to the smarter than average zombie Bub from Day of the Dead. One of the stars of Dawn of the Dead (1978), Ken Foree, is referenced in the place where Shawn works: Foree Electric. Shawn walks past a sign for Weston Park. This sign is in Crouch End in London. It is the same place that the BBC series Spaced was set and was also where Simon Pegg resided in 2004. They pay tribute to Ashley J. Williams, who played Bruce Campbell. hero from the Evil Dead Trilogy. This is during the scene when Shawn calls a staff meeting. He mentions that the manager and ‘Ash’ have both phoned in sick. There is an exclusive seafood restaurant called Fulci’s in the film at which Shawn tries to make a reservation for. This is a nod to Lucio Fulci, the famed Italian horror director. Ed, Shawn’s best friend, is known for his hilarious impression of Clyde, the orang-utan from Every Which Way But Loose with Clint Eastwood. The zombie in Shawns back garden, Mary, worked at Landis Supermarket. This is a reference to John Landis who is the director of the horror film An American Werewolf in London. As Shawn and Ed are watching news reports on the television they come across a reporter who speaks the same lines as the reporter in the Night of the Living Dead (1968) There is a poster of a bleeding cartoon schoolgirl in the background of the scene where Shawn and Ed get attacked by the one armed zombie. This is a stylized recreation of a scene from Battle Royale, a Japanese film. At one point, Ed warns Shawns mum over the phone, â€Å"Were coming to get you, Barbara.† This line is a reference to a line from the beginning of George Romeros seminal zombie movie Night of the Living Dead (1968). We hear ‘Zombi’ by Goblin, in the scene where Shawn and Ed try to work out how to rescue Liz and Barbara. This music was featured in Dawn of the Dead. When Shawn and Ed get to the idea of seeking refuge in the Winchester pub, a delighted Ed exclaims, ‘Yeah, boy!’ this is a reference to Public Enemy rapper Flavor Flay. As they are making their way to the Winchester, Shawns mum falls behind and gets attacked by a zombie. She screams for help and Shawn rushes to help her jumping on a small trampoline and using it to propel him through the air. This is the same shot that was used near the end of Sam Raimi’s film, Army of Darkness. It was also a popular mode of transport in the computer game ‘Zombies ate my neighbours’ in which you have to bounce from back garden to back garden in order to kill the suburban zombies. On the way to the Winchester, there is a brief reunion of characters from the television series The Office, when Shaun’s group encounters Yvonne’s group. Lucy Davis (Dianne) and Martin Freeman (Declan) played Dawn and Tim on the popular BBC series, and their relationship was a central plot of the show. Noel calls Ed on the phone and refers to him as Noodle. This is the name of one of the teenagers on Spaced. The Mexican standoff at the Winchester pub is straight out of Reservoir Dogs, with the characters holding broken bottles and corkscrew rather than guns, (with the exception of David who is holding a rifle). Shawn exclaims, ‘Stop pointing that gun at my mum!’ in Reservoir Dogs Chris Penn yells, ‘Stop pointing that gun at my Dad!’ Liz’s friend David’s death scene is almost identical to that of Captain Rhodes in Day of the Dead. In the scene where Shawn and Liz escape from the Winchester’s pub cellar via an elevator platform is a direct tribute to Day of the Dead which also heavily features an elevator platform. The way in which Shawn drops the ‘hand box’ after activating the elevator is done in exactly the same manner used by Bill McDermott (Played by the actor Jarlart Conroy) in the Day of thr Dead. The choreographed pool-cue beating of the zombie in the Winchester pub, which was synchronized to the Queen soundtrack, is a carefully referenced homage to the balletic assault on the homeless man in A Clockwork Orange, (1971) The line. ‘get behind me’,   when they were fighting off the zombies in the pub is a direct take of Han Solos line in Star Wars (1977) Shaun berates Ed for calling the creatures zombies (which they are, of course). This may be referring to the fact that many zombie movies (including Night of the Living Dead (1968) and Resident Evil (2002) never mention the word zombie at all. More likely this is a reference to Danny Boyle director of 28 Days Later (2002) and his insistence that it isnt a zombie movie. When Shaun finds his zombie house mate in the shower he utters the words Join us in a half whispered tone. This is a reference to the first two Evil Dead films where the zombies are always asking Ash (also mentioned in the department store) to join us. The scene in which Shaun and Liz leave the basement via the lift through the hatch into smoke and orange light, turning as they do so, is a direct reference to a scene in Star Wars: Episode V The Empire Strikes Back (1980) when Lando leaves the Millennium Falcon to rescue Luke. Towards the end of the movie when the soldiers arrive to save Shawn and Liz the logo on the side of their trucks read ‘Biohazard’ This is the same name that the Japanese use for the uber popular zombie video game Resident Evil, which is also very heavily featured in Simon Peggs BBC series, Spaced. Liz flicks through the channels and we hear a report refuting the news that the zombie attacks may have been caused by rage infected monkeys. This is a direct reference to the Danny Boyle film 28 days later. When Shawn and Liz are watching television after the zombie attack they come across a zombie game show called ‘fun dead’. In the background the shopping centre music from the Dawn of the Dead can be heard. Finally, the end credits of the film features the song ‘The Gonk’ by H. Chappell. This again is the shopping mall music for the Dawn of the Dead but remixed by Kid Koala. There are many more references of intextuality and pastiche in this film and as Simon Pegg and Edgar Wright have said in interviews that the film has many levels that you have to see to understand. â€Å"Shaun of the Dead.   Like Dawn of the Dead, this film follows what happens in the event of a zombie epidemic.   However, Shaun of the Dead is done in a more light-hearted and comical way.   That raises the question as to whether it is parody or pastiche.   Shaun of the Dead has all the elements of the zombie invasion film.   However, it is handled in a very different way, with comedy.   Shaun of  the  Dead is a classic example  of parody, given Jameson’s definition, â€Å"Now parody capitalizes on the uniqueness of these styles and seizes on their idiosyncrasies and eccentricities to produce an imitation which mocks the original† (1963).   Shaun of  the Dead takes those things  that are specific to almost every zombie film and makes light of it.   The film could be thought of as pastiche, as Jameson writes, â€Å"Pastiche is blank parody, parody that has lost its sense of  humor† (1963).   Since Shaun of the Dead is meant to b e humorous, it cannot be a pastiche.† REFERENCES: Irwin, William. Against Intertextuality. Philosophy and Literature, v28, Number 2, October 2004, pp.  227-242. S.E. Smith. (06 April 2011). In Literature, What is Pastiche?. Available: wisegeek.com/in-literature-what-is-pastiche.htm. Last accessed 13th April 2011. Anon. (2004). Shaun of the Dead Pop Culture References. Available: shaunofthedead.com/plot/pop-culture/. Last accessed 18th April 2011 B, Nick. (2007). What was once for theory is now used for postmodernism. Available: http://ryancallander.wordpress.com/2007/05/03/group-project/. Last accessed 5th April 2011.

HRD, Learning Theory Paper Research Example | Topics and Well Written Essays - 750 words

HRD, Learning Theory - Research Paper Example In the work of Mason & Reynolds (2002), Thorndike’s works can be indicted to have had its history on the need by man to have animals learn from taught behaviors. This correlates with trial and error learning that indicates that animals learn through trial and errors. Tomlinson, (1997) indicates that animals will skillfully learn through repeating behaviors that will lead to rewarding and avoid ones that lead to punishment. As a lecturer and psychologist at Columbia University, where he researched on psychology of animal knowledge and educational psychology, Thorndike’s learning theory focuses on the role of the environment in the formation of responses in the course of learning and training (Happy, 2012). If a desired behavior is evident, then learning can be indicated to have occurred. Thorndike defines learning as an interaction between various stimulus and responses in an environment (Tomlinson, 1997). In the classroom setting, the educator is able to impact change in the learners by providing them with a token of appreciation each time they give the correct answer in a test. The educator may set a limit that would check for the achievers of that target. This will reinforce the learners towards working to a specific goal so as to attain the price. In the event of continuous and consistent rewarding, the learners end up cooperating in the learning process by all means so as to attain the set target. Happy (2012) refers the reward as stimulus which stimulates learning activities such as feeling towards the subject taught, thoughts of succession and capturing sense of need to acquire something new in the learning environment. Of essence, one would argue that the extent of the connection between the responses determines the extent in which the reaction will have a long-term effect on the objects. Thorndike is also of the opinion that through constant exercise, it is probable that the connection