181 research outputs found
Controversial translation - Harry Aveling, From Surabaya to Armageddon: Indonesian Short Stories
No full textPhillips Nigel. Controversial translation - Harry Aveling, From Surabaya to Armageddon: Indonesian Short Stories. In: Archipel, volume 16, 1978. pp. 227-229
Harry Aveling and India: A Conversation
Full text linkDuring my tenure at Monash University, Australia, as the Indian Council of Cultural Relations (ICCR) chair in Indian Studies, I had the opportunity to get to know the faculty in Monash University and it was indeed gratifying to note that in the western countries there is not just fascination with India but also a genuine quest to know India. Professor Aveling has been looking almost zealously in esoteric books, far corners, and inner reaches for an explanation of himself and in this journey his engagement with translation has had a significant role. It is his profound interest in Indian classical texts and the translation of Bhakti poetry that lifted the veil. I am giving here an account of my conversation with Professor Aveling on 12 May 2017.DOI: 10.7176/JPCR/45-04 Publication date:October 31st 201
Harry aveling?s style in translating three poems by Goenawan Mohamad
No full textThis research focuses on the style of translation by Harry Aveling in translating Goenawan Mohamad poems Senja pun Jadi Kecil, Asmaradana, and Z by using the qualitative descriptive method. The researcher collects the data by reading the poet, checking and selecting data focuses on lines in these poets and view through overall the meaning. After finding the data, the researcher analyzes the data by classifying the style translation based on Libo Huang and Andre Lefevere?s seven strategies of translating poetry. The style of translation is giving explication toward the style of translation that is done by the translator. It is sees from elements of poetry and meaning on the poetry based on Ribner and Morris. As the result, the style of translation applied by Harry Aveling is S-type translator style and as close as possible with the source language in whole words and phrases. The translator seems prefer to use S-type translator style of entire 3 poems, using words that have similar meaning and studies about the history behind the poetry. The translator uses literal and blank verse in transfers the meaning of the source languag
MCGLYNN VERSUS AVELING: A COMPARISON OF TRANSLATION STRATEGIES USED IN SAPARDI DJOKO DARMONO’S POEMS
No full textTranslation has been widely recognized as a way to connect cultures among the world through literary works. However, translating literary works is not an easy task, especially poetry. This research entitled “McGlynn versus Aveling: A Comparison of Translation Strategies Used in Sapardi Djoko Damono’s Poems” aims to analyse strategies of translating poetry proposed by Andre Lefevere, and how they can impact the translation results of five poems by two different translators: John McGlynn and Harry Aveling. The poems were collected from three books: Black Magic Rain, Contemporary Indonesian Poetry, and Before Dawn. A descriptive analysis method was employed in this study alongside a little approach of a case study. The findings showed that the most frequent strategy used by both translators was Literal Translation. Strategies used by both translators also affect the lexical thematic, visual, and rhythmic acoustic dimension of the poems indirectly.;--
Faithful Translation In Sapardi Djoko Damono's Poetry Translated By Harry Aveling
No full textThe study in this paper aims to show that a good translation of poetry
provides the reader with a similar effect to that gained by reading the original text.
It draws upon the importance of faithful translation in Sapardi Djoko Damono?s
poetry: Sihir Hujan and Yang Fana adalah Waktu translates into Black Magic
Rain and Time is Meaningless that translated by Harry Aveling. So, the messages
that the author?s SL write can be conveyed very well both the readers SL and TL.
The method used in this paper is descriptive qualitative analysis in which
the writer describes the method of translator to transfers the poetry from
Indonesian into English and componential analysis based on Newmark theories
about faithful translation and the criteria of translation poetry assessment used by
Nababan that used three instrument such as: Accuracy-rating instrument,
Readability-rating instrument, and Instruments for measuring the acceptability of
a text that used by the writer to measure the quality of translation from data
analysis.
From the analysis concludes that 99,37% of lines-stanza in this poetry is
faithful translation by comparing the structure grammar, word, and phrase is
accurate, readability, and acceptable. Then, 0,63% of other lines in poetry of Sihir
Hujan are not conveyed as faithful translation and not meet the three criteria
instrument of translation assessment. Besides, the method used by the translator to
get the translation appropriate with expressive and aesthetic values both in the SL
and TL. Such a translation contributes to the development of literary works
through professed cases of intellectuality, without distorting the original text
Faithful Translation in Sapardi Djoko Damono’s Poetry Translated by Harry Aveling
No full textAbstraksPenelitian ini bertujuan untuk mengetahui penerjemahan puisi yang menjelaskan kesamaan efek antara pembaca bahasa sasaran dan sumber. Penelitian ini membahas tentang penerjemahan puisi Sapardi Jokodamono yang berjudul Sihir Hujan dan Yang Fana adalah Waktu ke dalam puisi berbahasa Inggris dengan judul Black Magic Rain dan Time is Meaningless yang diterjemahkan oleh Harry Avelling. Penelitian ini menggunakan metode penelitian deskriptif kualitatif analisis serta komponensial analisis berdasarkan teori Peter Newmark. Selain menggunakan metode penerjemahan setia yang diajaukan oleh Peter Newmark, penelitian ini juga menggunakan kriteria penilaian penerjemahan yang diajukan oleh Nababan, Akurasi, Keberterimaan, dan Keterbacaan. Penelitian ini menyimpulkan bahwa 99,3 % puisi ini menggunakan metode penerjemahan setia dengan membandingkan struktur gramer, kata, dan frasa. Sedangkan 0,63% dalam puisi yang berjudul Sihir Hujan tidak terlalu menggunakan penerjemahan setia. ---AbstractThe study in this paper aims to show that a good translation of poetry provides the reader with a similar effect to that gained by reading the original text. It draws upon the importance of faithful translation in Sapardi Djoko Damono’s poetry: Sihir Hujan and Yang Fana adalah Waktu translates into Black Magic Rain and Time is Meaningless that translated by Harry Aveling. The method used in this paper is descriptive qualitative analysis in which the writer describes the method of translator to transfers the poetry from Indonesian into English and componential analysis based on Newmark theories about faithful translation and the criteria of translation poetry assessment used by Nababan that used three instrument such as: Accuracy-rating instrument, Readability-rating instrument, and Instruments for measuring the acceptability of a text that used by the writer to measure the quality of translation from data analysis. From the analysis concludes that 99,37% of lines-stanza in this poetry is faithful translation by comparing the structure grammar, word, and phrase is accurate, readability, and acceptable. Then, 0,63% of other lines in poetry of Sihir Hujan are not conveyed as faithful translation and not meet the three criteria instrument of translation assessment
Faithful translation in Sapardi Djoko Damono�s poetry translated by Harry Aveling
No full textThe study in this paper aims to show that a good translation of poetry provides the reader with a similar effect to that gained by reading the original text. It draws upon the importance of faithful translation in Sapardi Djoko Damono�s poetry: Sihir Hujan and Yang Fana adalah Waktu translates into Black Magic Rain and Time is Meaningless that translated by Harry Aveling. So, the messages that the author�s SL write can be conveyed very well both the readers SL and TL. The method used in this paper is descriptive qualitative analysis in which the writer describes the method of translator to transfers the poetry from Indonesian into English and componential analysis based on Newmark theories about faithful translation and the criteria of translation poetry assessment used by Nababan that used three instrument such as: Accuracy-rating instrument, Readability-rating instrument, and Instruments for measuring the acceptability of a text that used by the writer to measure the quality of translation from data analysis. From the analysis concludes that 99,37% of lines-stanza in this poetry is faithful translation by comparing the structure grammar, word, and phrase is accurate, readability, and acceptable. Then, 0,63% of other lines in poetry of Sihir Hujan are not conveyed as faithful translation and not meet the three criteria instrument of translation assessment. Besides, the method used by the translator to get the translation appropriate with expressive and aesthetic values both in the SL and TL. Such a translation contributes to the development of literary works through professed cases of intellectuality, without distorting the original text
Outcaste by Choice: Re-Genderings in a Short Story by Oka Rusmini
Full text linkIda Ayu Oka Rusmini is a major contemporary Indonesian author. She has published two novels, Tarian Bumi (2000) and Kenanga (2003a), a collection of short stories, (Sagra, 2001), and a volume of poetry, Patiwangi (2003b, republished in 2007 as Warna Kita, with the omission of some 12 poems). Born in Jakarta in 1967 of Balinese parents, she was a member of the highest Balinese caste, the brahmana caste, but renounced this status, including her title, after her marriage to the East Javanese essayist and poet Arif B. Prasetyo. Oka Rusmini is a graduate of the Indonesian Studies Department, Udayana University, and lives in Den Pasar where she works as a journalist for the Bali Post.
Most of Oka Rusmini’s prose works explore the constraints into which the socioreligious practices of caste place all members of society, but most especially women. Both of her novels tell of a woman’s abandonment of her brahmin caste status as the result of her marriage to a sudra. The title of the poetry book, Patiwangi, refers to the ritual practice by which this degradation is confirmed, and the poem which gives the book its title bears the footnote: ‘Patiwangi: pati = death; wangi = fragrant. Patiwangi is a ritual that is performed on a noble women in her Village Temple to remove her noble status as a consequence of having married a man of a lower caste. The ritual often has a serious psychological impact on noble women’ (107). In both novels, and many short stories and poems, their loss of status brings enormous scorn and hardship to the major woman characters. Nevertheless, as we shall see, stepping outside patriarchally-dominated caste ties may also provide an ambiguous freedom for any woman who is positioned to take advantage of the opportunities which the modern, potentially secular, nation state of Indonesia, offers her.
In this paper, I am interested in the way in which the short story, ‘Cenana’ (Sagra, 270-318), uses a traditional myth to deal various cross-caste transgressions in contemporary Balinese society. The story draws on one of the foundation myths of medieval Javanese history, the story of Ken Angrok, founder of the dynasty of Singhasari, East Java, in 1222 AD, and his consort, Ken Dedes, the wife of Ken Angrok’s predecessor. To my knowledge, although the myth has been the subject of a number of modern literary works, Oka Rusmini’s is the only account by a Balinese woman. Through its focus on the transgressions committed by strong female characters of all caste backgrounds, and dissolute male characters, Oka Rusmini’s narrative in ‘Cenana’ allows for a revision of conceptions of feminine agency in a society based on respect for high caste men and marriage to them
Love’s Crystal
Full text linkThe story of the fatal love of a poor fisherman for the daughter of a wealthy mandarin is widely known throughout Vietnam. This paper traces its Chinese origin and its retelling in two forms, a long and a short version, by the Francophone Vietnamese author Pham Duy Khiem (1908–1974). It suggests that rewriting in this way helped Khiem develop the sparse, melancholy style that is characteristic of mature work
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