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This study aims to explore the impact of neural machine translation (NMT) postediting on metaphorical expressions from English to Chinese in terms of productivity, translation quality, and the strategies employed. To this end, a comparative study was carried out with 30 student translators who post-edited or translated a text rich in metaphors. By triangulating data from keystroke logging, retrospective protocols, questionnaires, and translation quality evaluation, it was found that: (1) processing metaphorical expressions using NMT post-editing has significantly increased the translators' productivity compared to translating them from scratch; (2) NMT was perceived to be useful in processing metaphorical expressions and post-editing produced fewer errors in the final output than translation from scratch; (3) different strategies were used to process metaphorical expressions in post-editing and from-scratch translation due to the inherent differences in the two tasks, with "direct transfer" used most frequently in post-editing as translators usually rely on the NMT output to produce the final translation but more balanced strategies adopted in from-scratch translation as they need to seek for different solutions to rendering the metaphorical expressions; the quality of NMT output played a major role in what strategies were adopted to process the metaphorical expressions and their final product quality in post-editing, rather than the conventionality of the metaphorical expressions in the source text. Practical and research implications are discussed. [ABSTRACT FROM AUTHOR]

Copyright of Humanitas Taiwanica is the property of National Taiwan University, Humanitas Taiwanica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Ukrainica Posnaniensia is the property of Adam Mickiewicz University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the study of Ernest Hemingway's fiction, the exploration of Romanticism emerges as a compelling theme intertwined with his iconic prose. Despite Hemingway's reputation for minimalist style and stoic characters, his works delve into the complexities of human emotion, relationships, and the search for meaning, resonating with Romantic ideals. Across his novels such as "A Farewell to Arms," "For Whom the Bell Tolls," and "The Sun Also Rises," Hemingway portrays characters who grapple with intense emotions, existential crises, and the pursuit of transcendent experiences. Through vivid imagery, evocative settings, and symbolic motifs, he captures the essence of love, passion, and longing, echoing the Romantic emphasis on individualism and emotional intensity. Hemingway's protagonists often embark on quests for authenticity and connection amidst the backdrop of war, nature, and societal upheaval--a theme central to Romantic literature. Whether it's the poignant romance between Frederic Henry and Catherine Barkley or the existential struggles of Jake Barnes in post-war Europe, Hemingway's fiction reflects the Romantic fascination with the human spirit's resilience and capacity for transcendence. Hemingway's exploration of Romanticism in his fiction offers readers a nuanced portrayal of the human condition, blending elements of passion, introspection, and the eternal quest for love and meaning in a complex and often turbulent world. [ABSTRACT FROM AUTHOR]

Françoise Bazireau, alias 'Françoise', the illiterate servant of the Recherche, unable to express her most intimate feelings in good French, nevertheless shows the narrator that she possesses all the codes to survive and even thrive in the Guermantes' way. Exasperating like Albertine as a love object, she also manages, like Mme Verdurin and the Duchesse de Guermantes, the social and temporal capital of the novel. With this remarkable and underrated character, we move, as readers, from the intratextual level of the narrator — watching her from his point of view — to that of the novel itself, watching the two in a kind of love/hate duet that throws some light on the function of the 'petit peuple' in the Recherche. [ABSTRACT FROM AUTHOR]

This article explores some images in Latin American modernist poetry--associated with the ornamental gesture--and their inscription in the arts at the end of the nineteenth and the beginning of the twentieth century in Europe. I read the notion of ornament both as a material movement in poetic language (in texts by Rubén Darío, Julián del Casal, and Julio Herrera y Reissig) and as a practice on tradition and its repertoires, from its appearance in the scene, indoors, and in nature, but also in the body. Moreover, I will analyze the ornament as a means to articulate ways of seeing during the period and as means to oppose the present of industrialization. [ABSTRACT FROM AUTHOR]

This paper analyzes the issue of visuality in Lorenzo Garcia Vega's poetry, focusing on its relationships to visual arts. As I show, the visuality of Garcia Vega's poetry often presents itself under the form of painting hypothesis, i.e., the narration of conjectural paintings. Such narrated paintings--frequently unfinished--aim to bring to the mind of the reader the immediacy and concreteness of what the poet-painter observes, but also that of what he imagines. In this sense, I argue that Garcia Vega's poetry shares with certain avant-garde tendencies their non-representational character, interpreting his focus on the most concrete aspects of our visual field--such as geometrical forms and colors--as a strategy to evade fiction. [ABSTRACT FROM AUTHOR]

This article focuses on the poetry and other textualities of the Peruvian poet and painter J osé María Eguren. The consideration of his poetic gesture as a dissident one allows us to argue that Eguren creates in his work a scopic praxis that debates with the hegemonic visuality of his time. In this sense, I interpret how the Peruvian poet builds scenarios where the desire to look is focused on the tiny beings of nature in order to value them. In this way, Eguren's gaze, anticipating environmentalist and animalistic positions, questions the pretensions of domination, extraction and erasure that sustained the dominant gaze of his time. [ABSTRACT FROM AUTHOR]

The article discusses magic realism as metaphysics and aesthetics, as well as the views of experts like German art critic Franz Roh and Japanese author Murakami Haruki on the topic. Other topics include Roh's book "Magischer Realismus," the expressionism and abstract art in the works of figures like Malevich and Kandinsky, and Haruki's novels like "Hard-Boiled Wonderland and the End of the World."

The relationship between the lengthy poetic middle section of the book of Job and the brief prose frame has typically been treated by scholars as a question of compositional history or, occasionally, of genre (Gattung). What is missing from these approaches is a sustained consideration of the form-bound literary resources of ancient Hebrew prose and verse. Such a consideration suggests that, regardless of how many authors the book of Job may have had, poetry is present because it allows the book to do things that by convention could not be done in prose. In contrast to biblical Hebrew prose, verse is used almost exclusively for nonnarrative genres, consistently takes the form of direct discourse (rather than objective narration), is often employed for the expression of feeling or thought, and exhibits no qualms about the elaborate use of figurative language and visual imagery. The book of Job relies on these elements of biblical poetic style, largely unavailable to biblical prose narrative, in order to achieve the working out of its plot and to stage the intellectual debate essential to the book. [ABSTRACT FROM AUTHOR]

The article titled "The Test of Knowledge" by Rabindranath Tagore discusses the influence of English education on the perception of English literature in Bengal. The author reflects on their childhood experience of memorizing a list of English poets and the lack of critical judgment in evaluating their work. They argue that the borrowed knowledge from others hinders originality and independent thinking. The article emphasizes the need for individuals to develop their own discernment and judgment in order to express originality and make informed choices. [Extracted from the article]

The poet, doctor, writer and editor Eduard Trautner (1890–1978) was a central figure in the literary Expressionist and New Objectivist movements in Germany of the 1920s. This is the first detailed study of his life and literary legacy. His most important works are the short play Haft (1921), the political crime study Der Mord am Polizeiagenten Blau (1924), and the novel Gott, Gegenwart und Kokain (1927). He took part in the Munich revolution of 1919 and was co‐editor of the Munich cultural‐revolutionary journal Der Weg. He served a prison sentence for helping Ernst Toller to escape lynching. After moving to Berlin, he completed his medical studies, worked as an editor for the publishing houses of Kiepenheuer and Die Schmiede, and became a leading figure in the 'Novembergruppe' and 'Gruppe 1925'. A dark but gregarious person, he was a regular presence at the 'Romanisches Café', where he was known as a 'father‐confessor' to the artists there. In 1930, after a controversial relationship with the French writer Colette Peignot, aka Laure, he withdrew from literary life, finding his way to Mallorca, England and, eventually, Australia, where he achieved distinction as a biomedical researcher with pioneering studies on the psychopharmacology of lithium. [ABSTRACT FROM AUTHOR]

In light of a contemporary reinvigoration of the discourse of drawing, this article reconsiders the frontier between writing and drawing as expressive comportments, specifically through the theoretical discourse of child drawing. Through discussions of the psychologist Georges-Henri Luquet, the philosopher Maurice Merleau-Ponty, and the poet Francis Ponge, the article argues that, between the poles of attention and expression, the discourse of child drawing demonstrates the importance of an affective notion of selection. Developing a theory of 'graphic infancy,' it discusses the role played by an embodied, selective disposition towards the phenomenal world--of which the linguistic field is a part--in the development of artistic and poetic expressiveness. [ABSTRACT FROM AUTHOR]

The article examines the offerings emergent multilingual students the freedom to choose. It explores how to scaffold creative writing projects to guide emergent multilingual students to express themselves while still developing English language proficiency; and importance of fictional story expressing understanding of home Including descriptions of specific places, people, and dialogue.

The article provides an overview of the Corsican contemporary poetry. It mentions about core traits that characterize Corsican poetry writings, and requires an attention to the multiplicity of different expressions. It also informs on reappropriation of a common cultural fund accompanied by the awareness of a specific way of being in the world leading to consider the present by problematizing it in the face of the changes experienced.

The article focuses on the approach of petrarchism and anti-petrarchism in the love poetry of Théophile de Viau. It mentions that Théophile de Viau uses Petrarquism and Antipetrarchism in order to create a libertine love poetry. It also mentions that the theme of an unfulfilled love and a repertoire of rhetorical figures expressing the ups and downs of that love engendered during the 16th century, however, in 17th century Petrarquism became a rather fragmentary lyrical discourse.

Scholarship on Georg Trakl (1887–1914) has to date largely concerned itself with the finer details of his famously enigmatic poetic expression, especially his imagery and diction, rather than the artistry underlying larger compositional units such as poems, cycles, and collections. This study starts to redress the balance by taking a wide‐angled view of the shape and structure of his second and final published collection Sebastian im Traum (1915). In particular, it makes the case that by dividing the collection into five parts, Trakl was adapting and magnifying a format with which he had already achieved success – in the single longest lyric he ever wrote: 'Helian', from his previous collection Gedichte (1913). By cross‐reading each part of 'Helian' with the corresponding cycle from Sebastian im Traum, it shows that the parallels extend beyond the merely formal consideration of a fivefold division to a deeper level of thematic organisation, the analysis of which brings essential elements of Trakl's view of the world and the poet's place within it into sharper focus. [ABSTRACT FROM AUTHOR]

Copyright of Porównania / Comparisons. A Journal on Comparative Literature & Interdisciplinary Studies is the property of Adam Mickiewicz University Poznao, Press of "Poznanskie Studia Polonistyczne" and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Critical literacy requires that readers have both the ability and the deliberate inclination to think critically about texts of all types, meaningfully question their origin and purpose, and take action. Response to reading from a critical stance has typically been limited to discussion but has recently expanded to include other modes of response. Critical expressionism is the term that describes this newly expanded, more encompassing type of critical response. In this article, the authors begin by defining critical literacy and critical expressionism. Next, they detail how to teach students to become critically literate and engage in critical expressionism. Then, the authors provide classroom examples of critical literacy in action, traditional and multimodal texts, and critical expressions that students created in response to reading from a critical stance. The authors also explain how critical literacy and critical expressionism lead to deep comprehension, a more insightful level of reader understanding. [ABSTRACT FROM AUTHOR]

The internationality of the expressionist avant-garde, which has been frequently underestimated by scholars, is above all evidenced by the extensive body of translations of the socalled expressionist decade (1910-1920). During First World War translation became a strategic medium for pacifist writers to mark their distance from prescribed patriotism. This phenomenon is perhaps best described as ›clandestine authorship‹. It characterises also one of the most productive translators among the Expressionists, Alfred Henschke, known as Klabund (1890-1928), and his anthology of Chinese war songs, Dumpfe Trommel und berauschtes Gong (Muffled Drum and Intoxicated Gong, 1915). The aim of the present paper is to examine exemplarily this anthology and to show how Klabund in the disguise of his translator role distances himself from his earlier war-affirmative poetry. The following paper thus provides a contribution to the study of expressionist translation during World War I, to the internationality of the German avant-garde and to the changing attitude of German intellectuals from war enthusiasm to war criticism. [ABSTRACT FROM AUTHOR]

The article focuses on German fascination with Scandinavian literature began in the last decade of the nineteenth century. It mentions popularity of Henrik Ibsen played a large role in the naturalist literary movement in Germany and Strindberg in both the naturalist and expressionist movements, in large part due to the Danish literary critic Georg Brandes. It also mentions Sweden had quite a large percentage of the market in Nazi Germany.

The article argue that the unachievable, self-perpetuating aspiration that modernism contains is refigured as despondent, late modern "vegetating life" in the works of two limit-modernists, Franz Kafka and Samuel Beckett. It reports that both Kafka and Beckett repeatedly offer comparable expressions of endlessness, through purgatorial narrative conditions encapsulated by the continuous recontextualization of deictic language.

The article discusses how many prose narratives by Franz Kafka animate and illuminate psychopathological models of the subject, that can sometimes conceal their equally consistent preoccupation with very physical, corporeal processes. It mentions that bodies communicate crucial information in Kafka, particularly when they slip over the line from human to insect or animal corporeality.

The article provides an engagement with the work of David Jones, which is arguably central to the resurgence of modernist poetry in the three decades after the Second World War. It discusses how relationship between form and content in Jones's poetry, which is experimental and linguistically innovative, but articulates a politically conservative worldview.

"From her earliest essays about California during the 1960s to her National Book Award-winning memoir on the death of her husband, Didion has turned to modernist writers to make sense of her experiences. In the title essay of Slouching Towards Bethlehem, she explicitly invokes William Butler Yeats's vision of social and cultural disintegration after World War I when she blames the hippies for loosing mere anarchy upon the country. She takes a cue from modernist techniques by fracturing the essay's structure to reflect the cultural fragmentation around her." [ABSTRACT FROM AUTHOR]

This article throws light on dramatic approaches of Arthur Miller, who is one of the topmost American playwrights, successfully judging together the social and the psychological aspects in his plays and his approach to playwrights and dramas itself is organic and his plays may be called realities which are also naturalistic and expressionistic. This paper neatly portrays the conflict between the individual and the society as visualized by Arthur Miller during his life span of time. [ABSTRACT FROM AUTHOR]

Sexuality and issues of femininity and masculinity in the Wilhelmine Germany as well as the art of that period have attracted a fair amount of academic scrutiny. The art of Paul Klee is no exception with researchers like Christian Geelhaar, Jurgen Glaesemer, Marcel Franciscono, Jonathan Perkins and others having analyzed the topics of sexuality and Eros in the paintings and theoretical works of the German-Swiss painter. However, most of them used the autobiographical writings of Klee, namely his diaries and letters, as a tool of the analysis and not a research object. The goal of the present research is to analyze the concept of masculinity in the autobiographical writings of P. Klee from 1898 until 1902 and to integrate this concept in the overall discourse of sexuality of that time. The methodological approach of this study is based on the method of discourse analysis developed by the French philosopher Michel Foucault. In addition to that, in order to narrow down the facets of the discourse, the biographical background of Paul Klee and the editing process of his autobiographical writings were reconstructed. The research has revealed that the concept of masculinity in the diaries and letters of P. Klee is fluid and undergoes metamorphosis together with the development of the autobiographical subject. It is interesting to note that this development is directly connected to Klee's relationship with women. The masculinity represented in the diary from the first study years in Munich is the one of a student who escaped the sexual repression of the family home and is guided by the idea of satisfying the sexual urges and animal instincts. Klee's relationship with his future wife, Lily Stumpf, causes a change in the concept of masculinity as well. Fulfilling the romantic role of the German woman being a moral etalon for the German society, Lily lifts Paul Klee to the level of her morality that results in the spirit taking primacy in the autobiographical self over the instinctual drives. The conclusion to be drawn from this study is that the concept of masculinity in the autobiographical writings of Klee undergoes a development from the sexuality of a "fin-de-siecle" male student to that of a "Bildungsburger", in which the influence of the instinctual drives is substituted by the dominance of the human spirit. [ABSTRACT FROM AUTHOR]

This essay reframes a much remarked shift in Clark Coolidge’s poetry, from the atomistic early poems to the longer forms that emerged in the mid-seventies, by focusing this development through the lens of Coolidge’s collaboration with Philip Guston. In bringing attention to a relatively neglected body of work - the collaborative portfolio of image-text drawings called ‘poem-pictures’, and their remediation in the book Baffling Means - this essay shows how the change in Coolidge’s poetics circa 1975 corresponds to a prior shift in Guston’s painting, circa 1970, from his abstract expressionist to neo-figurative period. I draw on art historian Robert Slifkin’s re-reading of Guston’s ‘return to figuration’ through Erich Auerbach and Paul de Man’s epistemological and historiographic theories of the figural in order to show how Coolidge, in his collaboration with Guston, unfolds a ‘figural’ poetics from his earlier literalist and materialist approach to language. The essay redresses the shortfall of analysis of Guston’s collaborations with poets in art-historical narratives, while it shows how existing critical discourse misapprehends the change in Coolidge’s poetics as a move toward a ‘lyrical’ mode. [ABSTRACT FROM AUTHOR]

The Present study entitled "Henry James's Art of Employing Imagery: A Study" is to explore Henry James' use of art objects and art imaginary in the delineation of characters. This research also examines how Henry James finds analogy between the art of the Painter and the art of the novelist in his attempt to represent life. The purpose of this study is to delineate how James' use of images and his art of technique is presented in his works. James uses art imagery and art objects to underline his themes. In his works the sight of art and its insight merge as an organic unity of his works. This paper also elucidates how James establishes a balance between real and "romantic". [ABSTRACT FROM AUTHOR]

In 1936, the American critic Curtis Canfield stated that there was no longer any need for "the usual naturalistic form" in a modernising Ireland whose theatre was "in an interesting state of transition from Realism to Experimentation and Expressionism". As Terence Brown suggests, however, whatever subversive energies there were in Irish theatre in this period "became unthreatening in the provincial Irish air". This article evaluates the realities of plays and theatre in the thirty years after the founding of the Free State within the context of the changes celebrated by Canfield and the timidity and stasis identified by Brown. It focuses in particular on the eight plays in Canfield's edited collection, Plays of Changing Ireland (1936), and considers the extent to which they can be advanced as convincing examples of modernist theatre when set alongside the radical styles and staging of the contemporaneous European stage. [ABSTRACT FROM AUTHOR]

The article offers information on playwright and theatre practitioner Bertolt Brecht and the portrayal of court cases in his works. Topics discussed include the essay "Threepenny Lawsuit" by Brecht, which criticized the ideology of culture in advanced capitalism; the focus of the German press on criminal trials and civil lawsuits; and the focus of literary Expressionism on court proceedings.

The article discusses a deadpan poem in the context of modernist poetry and how early twentieth-century writers relied on unpunctuation to futher their literary movements. Topics include the omission of punctuation by practitioners of early twentieth-century movements such as Futurism, Vorticism and Expressionism, and the emotions that the unpunctuated lines of these poems and texts conveyed such as seriousness to the eye, inflection, pause and unboundedness.

Early twentieth-century avant-garde theatre has been mainly interpreted within the cultural frames of aesthetic revolution and social transformation. Its experimental scope, however, also draws upon archaic traditions. Exemplary in this regard are parallels drawn between Expressionist theater's ecstatic and ritualistic performance style and ancient Greek theatre. However, the contribution of Expressionist artists to the reception of antiquity is still in need of further investigation. Therefore, this article addresses the concepts of sight, (in-)visibility, and visual perception in Oskar Kokoschka's (1886-1980) play Orpheus und Eurydike (1918), with particular regard to (classical) reception as an act of 'looking back' and of 're-visioning'. I connect Kokoschka's theatre's 'visual scope' to its dramatic text by appealing to reception studies, since a major theme in the ancient Orpheus myth is the notion of the transgressive gaze and (visual) curiosity. I argue that the Austrian artist, whose thoughts on vision and sight are centralized in Orpheus und Eurydike, thus develops a poetics of artistic self-awareness and -- transformation which enables the artist and 'receiver' to revise the (or their own) past and to actively construct the future. In this way, I want to demonstrate that Expressionist theatre's artistic search for renewal hinges on its profound engagement with 'traditional', ancient material. [ABSTRACT FROM AUTHOR]

The article discusses works of author Paul Hatvani dealing with the Avant-Garde works on mysticism, eroticism, and heterodox religious experience in the Austrian literary circles in the 20th century. Topics include anthologies on expressionism, kabbalistic theosophy, and Hatvani's version of Sprachkritik and its relation to Jewish culture and mysticism. Also discussed is his works on relation between language and religion.

This study aims to explore linguistic differences between fictive motion expressions and physical motion event expressions in Chinese. Although both types of expressions are associated with dynamic linguistic forms, they describe different types of semantic content. Using authentic data, this study examines motion verbs, motion verb constructions, the complexity of ground elements, and alternative manner expressions for Chinese fictive motion events, the results of which are compared with those of previous studies on physical motion events. It is found that Chinese fictive motion expressions are very different from Chinese physical motion event expressions in terms of the above four aspects. The results lend support to the hypothesis that fictive motion occurs more in verb-framed languages. [ABSTRACT FROM AUTHOR]

Research findings have shown that linguistic context helps young children to infer the figurative meaning of an idiom and learn the meaning. In this study, the role of linguistic context in children’s interpretation and acquisition of idioms was tested in 20 Cicewa-speaking children aged 4, 6, 9, 12 and 14 years in three experiments. Experiment 1 tested children’s ability to interpret idiomatic expressions in story context, Experiment 2 tested children’s ability to interpret idiomatic expressions in sentence context and Experiment 3 tested children’s ability to interpret idiomatic expressions out of context. The study adopted Systemic Functional Linguistics to establish the role of linguistic context in children’s acquisition of Cicewa idioms. Our findings are: (1) Idioms are acquired as texts within the linguistic context in which they are produced and that linguistic context alone is not sufficient to facilitate idiom acquisition and interpretation. (2) Children come to know an idiomatic expression as a text before they understand the sociocultural context in which it is consumed. We argue that idioms are acquired as texts and they are acquired together with the sociocultural context in which they are produced and consumed, and therefore the sociocultural context forms part of the idioms. [ABSTRACT FROM AUTHOR]

Copyright of Socialinių Mokslų Studijos is the property of Mykolas Romeris University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Adorno's understanding of realism in the present is often taken to have been simply negative. In the posthumously published Aesthetic Theory, too, the negative view is predominant; there are, however, traces of another conception of realism. Adorno proposes, although with some caveats, that what he calls an adequate conception of realism is not only possible, but also something that art in the present cannot and must not avoid. [ABSTRACT FROM AUTHOR]