Hasil untuk "Languages and literature of Eastern Asia, Africa, Oceania"

Puetzer, Sarah

In recent years, contemporary Japanese poet Saihate Tahi has expanded poetry beyond the page, creating immersive poetic spaces. One such work, Shi no kasoku, is a one-line poetry installation in a back alley, where text and urban space merge. This paper examines how a site-specific poetry installation has the potential to transform reading into an embodied experience, reshaping perceptions of urban space. Drawing on Miryam Sas’ notion of encounter (deai) and spatial theorists like Lefebvre and Massey, I argue that Shi no kasoku serves as both a site of encounter and resistance, prompting readers to reimagine the everyday space of the city.

de Busser, Rik

Bunun is an Austronesian language spoken in Taiwan. Previous research on two of its dialects, Takivatan and Isbukun, indicates complex paradigms of demonstrative pronouns, locative verbs, and adverbial elements. All demonstrate two-way or three-way distance contrasts, sometimes alongside underspecified forms and a distinction in visibility. However, in the Takbanuaz dialect, a four-way distinction has been observed in certain demonstrative paradigms, which, in addition to the typical proximal-medial-distal contrast, encodes vague distance. This article describes this atypical demonstrative system and discusses how its complex distance distinction aligns with our general understanding of the properties of deixis in Austronesian languages and beyond. After providing a typological outline of demonstrative distance distinctions and a summary of research on demonstrative distance in Formosan languages in Section 2, Section 3 offers an overview of previous research on Bunun demonstratives and describes the Takbanuaz demonstrative system, with a special focus on the expression of vague and indeterminate distance. Section 4 compares distance contrasts across Bunun dialects and suggests accessibility as an explanation for the semantics of vague forms in Takbanuaz.

Chelsi Fidelis, Sabinus Iden

The way a community uses the internet influences language, causing changes in how words are used online. Although online expressions may originate from Chinese, the usage of Chinese internet language differs greatly from that of everyday Chinese. Therefore, learners of Chinese must understand internet language in order to communicate effectively. This study aims to understand the level of comprehension of Chinese internet language among the 2019 cohort of students at the Joint Hope Language Institute. After summarizing the categories of Chinese internet language, data were collected through distributed questionnaires and test items. Based on the survey conducted with the 2019 cohort of students at the Joint Hope Language Institute, the results indicate that most students still have a relatively low level of understanding of the logographic and symbolic categories of Chinese internet language, particularly in the categories of old words with new meanings and homophones. In addition, students in the institute receive limited instruction on Chinese internet language, focusing primarily on traditional Chinese and linguistics.

Michael Dillon

Hiroyuki Suzuki

Xia Zhao, Helen Wang

EDITOR’S NOTE This feature series of transnational dialogues, two-way interviews between academics and/or practitioners in different countries, has been developed in line with our Journal’s aim to facilitate and enhance dialogue across borders whether geographical, disciplinary or professional. We are very grateful to our Features Editor, Helen Wang, for facilitating this series.

Antjie Krog

The epic poem about the Soweto uprising, “Laboraro le lesoleso”, written in Sepedi (Northern Sotho) by H. M. L. Lentsoane has only recently been translated into English by Biki Lepota as “Black Wednesday” and published in the anthology Stitching a whirlwind (2018). In this article I suggest that, by discarding English, some crucial shifts from the bulk of protest poetry written in English must have taken place. Lentsoane wants to speak directly to fellow mother tongue speakers and not a national or broader African or international ear. It becomes clear that, by deploying various strategies based in orality, the poet manages to contribute new material and new approaches to creative texts of black protest during the apartheid years, e.g., a release from specific apartheid content about their oppression that every indigenous speaker had common knowledge of; an adherence to orality in terms of presentation, vocabulary, and form; and a linkage with the ancestors and a release from trying to reach the conscience of whites. This manifests through the poem’s particular perspective and emphasis as narrative, as telling, combined with vivid visceral poetic imagery of the event. The poem evocatively captures the unfolding of incidents while at the same time shifting the focus to an ancestral demand to stand up for righteousness in a universal field of justice.

Aradhna Arbee

Research has shown that writing centre use has a positive effect on students’ performance of specific writing tasks, as well as their overall academic achievement and progression. Yet many writing centres at higher education institutions around the world report low levels of usage of their services. Surprisingly little empirical research has investigated the reasons for this situation. Focusing on students in an undergraduate marketing module at a South African university, the research reported on in this article explored what factors influenced whether or not students made use of the writing centre, as well as potential strategies for increasing the usage of writing centre services. Thematic analysis of participants’ written responses to open-ended questions indicated that the major reason for non-use of the writing centre related to time. Misunderstandings around the role of the writing centre were also apparent. Participants’ proposed strategies to increase voluntary use of the writing centre included providing evidence of its value to students. The findings offer insight into an overlooked perspective in writing centre research thus far – that of non-users of the service.

زیبا قلاوندی, محسن نورپیشه قدیمی

تصویر به‌عنوان بخشی از پیام، واسطۀ عاطفی گوینده و مخاطب است. بررسی اجزای سازندۀ تصویر و تأثیری که بر مخاطب می‌گذارد، می‌تواند ما را از میزان هیجان و عاطفۀ شاعر آگاه کند؛ تنوّع و پویایی تصویر، موجب ماندگاری آن در ذهن مخاطب و در نتیجه انتقال بیشتر عاطفه می‌گردد. در این مقاله ابتدا به نقد و بررسی نظریه‌های مرتبط با عاطفه و تصویر و تأثیر متقابل آن‌ها بر یکدیگر و بر مخاطب، پرداخته شده است. سپس انواع تصاویر زبانی، حرکتی و صوتی، تصاویر متحرک و استحاله در محور عمودی خیال، هم‌ذات‌پنداری از طریق تصویر و همچنین اجزای تشکیل دهندۀ تصویر؛ مانندِ افعال، تصویرواژه‌ها و پیوند آن‌ها با عاطفه و هیجان مولوی در غزلیات شمس بررسی شده است. مولوی بر خلاف نظریه‌هایی که ایماژ زبانی را نازل می‌داند و تصاویر حسّی را سطحی، توانسته است با این نوع تصاویر هم عمق عاطفه و هیجان خود را به نمایش بگذارد و هم به اعماق جان مخاطب راه یابد.

Ermina Waruwu, Diana Pramita Sumbayak, Siti Fatimah Br. Sipayung et al.

The Simalungun tribe has a tradition of carrying out wedding ceremonies. One of the traditions carried out is the hata-hata mambere podah. The problem of this research is how the marriage process of the Simalungun custom, how the hata-hata mambere podah, and how the value contained in the hata-hata mambere podah at the Simalungun traditional wedding ceremony. This study aims to analyze and describe the traditional marriage process of Simalungun, hata-hata mambere podah and the values contained in the hata-hata mambere podah in the process of the marriage of the traditional Simalungun. This study used a descriptive qualitative approach and data was collected using interview methods with recording techniques. The research instrument is the interview guide that is used to interview informants consisting of traditional leaders, residents, brides and residents who have received hata-mambere podah. Data that has been collected was analyzed using qualitative analysis with the content Analysis method. Keywords : Process; Values; Hata-hata mambere podah; The marriage of Simalungun custom.

Jan M.A. van der Valk

This article focuses on ethnographic work conducted at the Men-Tsee-Khang (Dharamsala, India) on Garuda 5 (khyung lnga), a commonly prescribed Tibetan medical formula. This medicine’s efficacy as a painkiller and activity against infection and inflammation is largely due to a particularly powerful plant, known as ‘virulent poison’ (btsan dug) as well as ‘the great medicine’ (sman chen), and identified as a subset of Aconitum species. Its effects, however, are potentially dangerous or even deadly. How can these poisonous plants be used in medicine and, conversely, when does a medicine become a poison? How can ostensibly the same substance be both harmful and helpful? The explanation requires a more nuanced picture than mere dose dependency. Attending to the broader ‘ecologies of potency’ in which these substances are locally enmeshed, in line with Sienna Craig’s Efficacy and the Social Ecologies of Tibetan Medicine (2012), provides fertile ground to better understand the effects of Garuda 5 and how potency is developed and directed in practice. I aim to unpack the spectrum between sman (medicine) and dug (poison) in Sowa Rigpa by elucidating some of the multiple dimensions which determine the activity of Garuda 5 as it is formulated and prescribed in India. I thus embrace the full spectrum of potency— the ‘good’ and the ‘bad,’ the ‘wanted’ and the ‘unwanted’—without presuming the universal validity of biomedical notions of toxicity and side effects.

Helon Habila

Aleksandra Wenta

This paper explores the connection between cognitive ritual and theatrical performance in non-dual Śaivism based on the textual study of the Mahārthamañjarī written by Maheśvarānanda (13th–14th centuries) and related texts. The Mahārthamañjarī incorporates the image of the dancing Śiva of Chidambaram to expound certain ideas of non-dual Śaiva doctrine and practice. One of the most important issues discussed by Maheśvarānanda was the meaning of Śiva’s dance and the possibility for a man or a human agent to become Śiva-the Dancer by performing the Five Acts (pañcakṛtya). Surveying the different meanings of pañcakṛtya that have developed over time, this paper explores how Maheśvarānanda’s project of discovery one’s own status as Śiva-the Dancer is essentially a discovery of being an agent of the Five Acts.

Ben Obumselu

This paper assesses positively the important contributions which Ato Quayson and Douglas McCabe have made to the understanding of Ben Okri’s The Famished Road. But it questions whether placing the novel firmly in the context of Yoruba orality, as Quayson does, or in the tradition of New Age spirituality, as McCabe does, does not diminish the work unduly. It points out that Ben Okri did not take his Yoruba material directly from traditional folklore but from secondary sources in which the myths and legends of the Yoruba have been modified and re-interpreted and in The Famished Road the original folk narratives are further transfigured by close linkage with the myths and legends of other lands. Similarly, Azaro’s chanting of the soft paradisal anthems of New Age travellers does not stand in the novel unchanged; it is absorbed and transformed by the context of a novel which deals with the problems of growing up and willingly accepting the burdens of an adult life. The article concludes, after a careful re-evaluation of leading episodes in the novel, that a broad late twentieth century context of existentialist thought and postmodern fiction is the proper background for appreciating a novel in which the extravagances of African folk art are adapted to contemporary myth of the culture hero.

Lisdwiana Kurniati

<div>The success of advertisement is viewed from the number of changes that appear in the environment or  the quantity of product that society need. The categories above are achieved due to the language role as a communication media. The advertisement language in news paper must be able to persuade, and generate people to act and buy the products informed in the news paper. The language should be interesting, effective, logic, well order, and appropriate with the space. The word, phrase, or sentence choosen have to be delivered completely, precisely, and clearly. The success of an advertisement depends on  how the selection and the use of word, phrase, and sentence could persuade and generate the reader. Interesting, effectivity of sturcture and meaning, logic, space ordering, and illustration are elements that have to be considered.</div><div> </div><div>Keywords: language, creative strategy,and advertisement.</div>

Beata Wójtowicz

The present article investigates several elements of the microstructural level of Swahili bilingual dictionaries. The main emphasis is on the grammatical information, its content and presentation in the various dictionaries chosen for analysis. The other components of a dictionary entry analysed include the headword, its citation form, and additionally the pronunciation, usage labels and etymological information not found in every dictionary. We investigate the many ways in which information can be presented to the user, influencing the user-friendliness of a given dictionary.

Rr. Dwi Astuti

<p align="center"><span style="font-family: serif;"><em><strong>Abstract</strong></em></span></p><p align="justify"><span style="font-family: 'Times New Roman', serif;"><span lang="en-US"><em>Language style that used by the writer in his work is thought and feelings which create an aesthetic work. This study aims to describe language style of Soneta’s song lyrics in Emansipasi Wanita album. This album is the XIII albums of Soneta’s group. Method of this study is qualitative descriptive method. Based on analysis result, language style found in the song lyrics of Emansipasi Wanita album is a rhetorical language style and figurative language. Rhetorical language style includes alliteration, assonance, euphemism, periphrasis, hyperbole and oxymoron. Meanwhile, the figurative language includes simile, metaphor, personification and synecdoche. </em></span></span></p><p align="justify"><span style="font-family: 'Times New Roman', serif;"><span lang="en-US"><em><strong>Key Words: </strong></em></span></span><span style="font-family: 'Times New Roman', serif;"><span lang="en-US"><em>Language style, Rhetorical, Figurative, Song Lyric. </em></span></span></p>

Déogratias Nizonkiza

<p>The present study investigates, (i) English as Foreign Language (EFL) learners’ receptive collocational knowledge growth in relation to their linguistic proficiency level; (ii) how much receptive collocational knowledge is acquired as proficiency develops; and (iii) the extent to which receptive knowledge of collocations of EFL learners varies across word frequency bands. A proficiency measure and a collocation test were administered to English majors at the University of Burundi. Results of the study suggest that receptive collocational competence develops alongside EFL learners’ linguistic proficiency; which lends empirical support to Gyllstad (2007, 2009) and Author (2011) among others, who reported similar findings. Furthermore, EFL learners’ collocations growth seems to be quantifiable wherein both linguistic proficiency level and word frequency occupy a crucial role. While more gains in terms of collocations that EFL learners could potentially add as a result of change in proficiency are found at lower levels of proficiency; collocations of words from more frequent word bands seem to be mastered first, and more gains are found at more frequent word bands. These results confirm earlier findings on the non-linearity nature of vocabulary growth (cf. Meara 1996) and the fundamental role played by frequency in word knowledge for vocabulary in general (Nation 1983, 1990, Nation and Beglar 2007), which are extended here to collocations knowledge.</p>

E. Taljard, G. Faaß, U. Heid et al.

Working with corpora in the South African Bantu languages has up till now been limited to the utilisation of raw corpora. Such corpora, however, have limited functionality. Thus the next logical step in any NLP application is the development of software for automatic tagging of electronic texts. The development of a tagset is one of the first steps in corpus annotation. The authors of this article argue that the design of a tagset cannot be isolated from the purpose of the tagset, or from the place of the tagset and its design within the bigger picture of the architecture of corpus annotation. Usage-related aspects therefore feature prominently in the design of the tagset for Northern Sotho. It is explained why this proposed tagset is biased towards human readability, rather than machine readability; this choice of a stochastic tagger is motivated, and the relationship between tokenising, tagging, morphological analysis and parsing is discussed. In order to account at least to some extent for the morphological complexity of Northern Sotho at the tagging level, a multilevel annotation is opted for: the first level comprising obligatory information and the second optional and recommended information. Finally, aspects of standardisation are considered against the background of reuse, of sharing of resources, and of possible adaptation for use by other disjunctively written South African Bantu languages. It is not the aim of this article to evaluate the results of any tagging procedure using the proposed tagset. It only describes the design and motivates the choices made with regard to the tagset design. However, an evaluation is in process and results will be published in the near future (cf. Faaß et al., s.a.).