DICTION IN A DRAMA ENTITLED ‘ROMEO AND JULIET’ BY WILLIAM SHAKESPEARE

A literary work is a sign symbol and communication symbol which points the reader to understand that a literary work represents an abstraction of various mechanismsbetween others which is possible to be happened. The major element of literary works is language, either oral or written. Without language, there is no literary work. Languageis a medium in literary works. In literary work, language represents the author or playwrights’ ideas, feelings, and social structure of society. On that account, there is avery wide freedom in using language to interpret the author’s or the playwright’s ideasto the readers or the audience. Language style is a major element in writing literarywork to present the aspect of aesthetics. Diction has a tightly relationship with literaryworks. In diction, the author or the playwright chooses an appropriate word and havethe strength of meaning and contains of aesthetics aspect. Drama is one of literaryworks which contains of diction written by the author or the playwright to describe thecondition of the society or environment, or to represent his or her feelings, opinionsand ideas. In drama, the reader or the audience can enjoy and give opinion, assesmentand also appreciation to the author’s or the playwright’s diction as one of aesthetic literary works that we also can see from Willam Shakespeare’s dramas

Experimentalism by contact

This essay considers literary "experimentalism" as a constructed category animated by epistemic virtues, using the case study of "contact" as both anthropological and literary values in the 1920s. Examines Language writing, the work of William Carlos Williams, and the Writing Culture group in anthropology

How to spice up a breakfast cereal or The translation of culturally bound referential items in “The bluest eye” by Toni Morrison and “Vineland” by Thomas Pynchon

This article will attempt to suggest translation procedures necessary to translate culturally bound items in the referential level of a literary work illustrated with examples from two novels: “The Bluest Eye” by Toni Morrison and “Vineland” by Thomas Pynchon. First, the article will include a general description of the referential level in literary works offering possible avenues of 285 its rendition, then and finally suggest a translation methodology and techniques together with practical examples of the theory at work

[Review of] Paul Lauter, et aI, eds. The Heath Anthology of American Literature

For years editors of standard American literature anthologies have presented undergraduates with a narrow view of the American literary experience. Their anthologies have reflected the predominant view of the academy, which has maintained a traditional literary canon denying the importance of works by women and ethnic authors. This denial has sparked controversy and gained national media attention, resulting in gradual changes in curricula at many universities, including Stanford. As the climate of the undergraduate classroom changes and reflects a wider vision, so must the anthologies used in the classroom. The recently published Heath Anthology of American Literature is just such a work. It challenges convention and invites reevaluation of the standard American literary canon

Aesthetic Worlds: Rimbaud, Williams and Baroque Form

The sense of form that provides the modern poet with a unique experience of the literary object has been crucial to various attempts to compare poetry to other cultural activities. In maintaining similar conceptions of the relationship between poetry and painting, Arthur Rimbaud and W. C. Williams establish a common basis for interpreting their creative work. And yet their poetry is more crucially concerned with the sudden emergence of visible "worlds" containing verbal objects that integrate a new kind of literary text. This paper discusses the emergence of "aesthetic worlds" in the work of both poets and then examines how a common concern with Baroque form unites them in the phenomenological task of overcoming Cartesian dualism

On Representing Aesthetic Values of Literary Work in Literary Translation

The beauty of literary translation is determined by the artistic nature of the original work. Therefore, how to represent its aesthetic values should be considered the ultimate objective of literary translation. This paper, which is theoretically based on formal and non-formal aesthetic constituents of literature classified by the Chinese translation theorist Liu Miqing as well as traditional Chinese philology and modern literature stylistics, discusses extensively how to succeed in representing aesthetic values of literary works from two aspects, i.e., formal aesthetic markers and non-formal aesthetic markers. It also points out that since in a literary work formal markers and non-formal markers are really inseparable, the proper combination of the two can provide a satisfactory solution.La beauté de la traduction littéraire est déterminée par la nature artistique du texte original. Ainsi, la représentation des valeurs esthétiques du texte original doit être considérée comme l’objectif ultime de la traduction littéraire. Le présent article se fonde, sur le plan théorique, sur les éléments esthétiques formels et non formels de la littérature classifiés par le traductologue chinois Liu Miqing ainsi que par la philologie chinoise traditionnelle et la stylistique littéraire moderne. Il explore en détail les méthodes de représentation des valeurs esthétiques littéraires sous deux angles, soit les marques esthétiques formelles et les marques esthétiques non formelles. Il révèle que, puisque dans une oeuvre littéraire les marques formelles et non formelles sont vraiment inséparables, une combinaison adéquate de celles-ci peut produire une solution satisfaisante

'“A strange enough region wherein to wander and muse": Mapping Clerkenwell in Victorian Popular Fictions'

Drawing on the work of Bertrand Westphal, this essay attempts to perform a geocritical reading of the London district of Clerkenwell. After discussing the spatial turn in the Humanities and introducing a range of spatial critical approaches, the essay “maps” literary Clerkenwell from the perspectives of genre hybridity and intertextuality, spatially articulate cartography, multifocal and historically aware public perception and potentially transgressive connection to outside areas. Clerkenwell is seen to have stimulated a range of genre fiction, including Newgate, realist, penny and slum fiction, and social exploration journalism. In much of this writing, the district was defined by its negative associations with crime, poverty, incarceration and slaughter. Such negative imageability, the essay suggests, was self-perpetuating, since authors would be influenced by their reading to create literary worlds repeating existing tropes; these literary representations, in turn, influenced readers’ perceptions of the area.Intertextual, multi-layered and polysensorial geocritical readings,the essay concludes, can producepowerful andnuanced pictures of literary placesbut also face a formidable challenge in defining an adequate geocentric corpus

Ohrid Literary School in the Period of Tzar Samoil and the Beginnings of the Russian Church Literature

The article is concerned with the role of St. Clement’s Church in the preservation and the spread of Cyril and Methodius’s literary tradition and Slavic church services. Special emphasis is placed on the work of the Ohrid Literary School in the time of Tsar Samoil and the spread of Slavic literacy from its centers toward Macedonia’s neighboring countries and the Kievan Rus

Know Your Audience: Middlebrow aesthetic and literary positioning in the fiction of P.G. Wodehouse

This essay strives to explain Wodehouse’s status as a popular writer, whose work is read with enjoyment by academics, critics and the general reader alike, as resulting from his particular positioning within the literary field, scrutinizing his relationship to both popular commercial fiction and avant-garde literary output. It argues that Wodehouse as a writer of enduring popularity and yet non-canonical status fits in with a range of critical discourses of the middlebrow, both modern and contemporary

An ‘axe for the frozen sea’ : Estrin’s magic agential realism, insect thigmotaxis, and the problem with Kafka

This paper seeks to demonstrate how Marc Estrin’s Insect Dreams: the Half Life of Gregor Samsa constitutes the first piece of magic agential realist literature about insects. The term ‘magic agential realism’ has been coined from an observed coincidence in the literary commitments of Estrin’s novel to the literary genre of magic realism and the posthumanist assumptions it shares with the agential realism of Karen Barad. Given Kafka’s axiom that a literary work ought to function as an ‘axe for the frozen sea within us’. A further claim will be defended is the claim that Estrin’s Insect Dreams is the magic agential axe that shatters the frozen sea of liberal humanist representationalism within Kafka. In providing us with a book that affects us like a disaster and like a suicide (both of which are evoked and exceeded by the ever-more pressing concerns of posthumanism), I will demonstrate how Estrin both fulfils the literary criteria laid out by Kafka to Oskar Pollak and opens up the possibility of re-configuring ethics in order to account for insects through the observed phenomenon of thigmotaxis.peer-reviewe