lit. room: Analysing Literature: LITERARY DEVICES

marquez

Heheheh, refer kat topik Knowledge is Power... ada aku tulis pasal BM.... dan sastera.... kelessss geitu...

M-

seribulan

no problem..
literature= sastera...
tak stated
which lit....
can be any lit...
open n general...
make it more
lively...

marquez

Minta jawab kemusykilan saya (pelajar-[pelajar yang amik sastera - tu pong kalau tak sibuk sangat).. cemana rutin setiap hari... apa subjek yang dipelajari?

M-

mbhcsf

mana postings students yg ambil linguistik selain LA LUNAR sbb saya  berminat utk dengar pandangan anda
jagn takut dikritik ini discussion yg ilmiah dan tak der org marah ....kay sayang semua...join the discussion..
salam

seribulan

feel free...feel free...

gorgonz

tumpang baca ....gorg tak baca lagi Pride n Prejudice...
sbb masa paper tu ...mrk ganti dgn Things Fall Apart...

seribulan

eh,,ada gak baca
things fall apart
by chinua achebe...
best gak...
okonkwo nama
protagonist nyer...

seribulan

Apa erti sastera dalam dunia pasca september sebelas?

kalau diperhat sememangnya manusia tidak belajar dari
kesilapan...ada hasil karya yg menceritakan ttg keburukan
peperangan cam war poems...malahan the poets themselves
died in wars...tetapi peperangan tetap berlaku...

bak kata rakan yg lain...sastera boleh mencetuskan semangat
perjuangan...menceritakan kerabikan dunia akibat perang...

sehingga sekarang bulan sendiri masih tak faham mengapa
9-11 berlaku...the lost of the innocence...selalunya bila
perang ini yg berlaku...mengapalah...tak take the root of
the problem itself...cam serang the perpetrator itself...or
its markas...why sacrifice nyawa yg tak berdosa...????

seribulan

Wilfred Owen
Dulce Et Decorum Est

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of disappointed shells that dropped behind.

GAS! Gas! Quick, boys!-- An ecstasy of fumbling,
Fitting the clumsy helmets just in time;
But someone still was yelling out and stumbling
And floundering like a man in fire or lime.--
Dim, through the misty panes and thick green light
As under a green sea, I saw him drowning.

In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.

If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil's sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,--
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.

seribulan

Analysis of Dulce Et Decorum Est


By Aaron Biterman

December, 2000.

Wilfred Owen's poem "Dulce Et Decorum Est" was written during his World War I experience. Owen, an officer in the British Army, deeply opposed the intervention of one nation into another.

His poem explains how the British press and public comforted themselves with the fact that, terrible that is was, all the young men dying in the war were dieing noble, heroic deaths.

The reality was quite different: They were dieing obscene and terrible deaths. Owen wanted to throw the war in the face of the reader to illustrate how vile and inhumane was really is.

He explains in his poem that people will encourage you to fight for your country, but, in reality, fighting for your country is simply sentencing yourself to an unnecessary death.

The breaks throughout the poem indicate the clear opposition that Owen strikes up. The title of the poem means "Sweet and Fitting it is," and then Owen continues his poem by ending that the title is, in fact, a lie.

Aligned with powerful imagery and vast irony, the author was eventually killed in the very war he opposed. Before his death, he was thought to be one of the best poets of the Twentieth century.

War is not worth it, as Owen proves with the lie perpetuated across the world: Sweet and fitting it is to die for one's country.

mbhcsf

Originally posted by seribulan at 2003-10-11 18:08:
eh,,ada gak baca
things fall apart
by chinua achebe...
best gak...
okonkwo nama
protagonist nyer...

mase matriks lit class ade baca buku CHINUA ACHEBE
all these wrds baru teringat
okonkwo
ogbanje

the presence of white  people in that area and its aftermath
the culture of that ethnic group
lagi satu ttg pertentangan budaya dan stus anak vs father
remember bila anak okonkwo menongkah arus?
remember akhirnya jadi aper?

well itu saya tak nak reveal
tapi saya..........sbb dia ( okonkwo)  buat tindakan itu.
lagi satu adakah anda membca akhbar today?
UTUSAM MALAYSIA
sempena minggu sastera ?
ade cadanagn utk memperkenalkan sistem pembacaan sastera tradisional di sekolah rendah supaya ia dapat membantu memperkasakan arah minda   bumiputera dgn back to basics.

dalam satu segi baguslah sbb ia juga dilihat sebagau usaha untuk mengupas semual pemikiran tradisional yg mungkin relevan pada alaf ini.
apa komen anda?

seribulan

pengsan ler
cikgu ngan
memurid...

marquez

Jadi perlukah karya sastera mempunyai niat moral? Sebelum menjawab soalan ini fikirkan apa yang pernah diperkata oleh William Empson (Seven Types of Ambiguities), tentang intentional fallacy, contohnya dan unjuran Roland Barthes yang 'penulis sudah mati'....

M-

seribulan

LIST OF DEFINITIONS (from Holman, A Handbook to Literature)

Explication de texte: A method which originated in the teaching of literature in France; it involves the painstaking analysis of the meaning, relationships, and ambiguities of the words, images, and small units that make up a literary work. It is now one of the tools of the New Critics.

Analysis: A method by which a thing is separated into its parts, and those parts are given rigorous, logical, detailed scrutiny, resulting in a consistent and relatively complete statement of the thing and the principles of their organization.

Ambiguity: The expression of an idea in language that gives more than one meaning and leaves uncertainty as to the intended significance of the statement. The chief causes of unintentional ambiguity are undue brevity and compression of statement, "cloudy" reference of pronoun, faulty or inverted sequence, and the use of a word with two or more meanings. Such unintentional ambiguity is a serious flaw in all kinds of writing.

However, in literature of the highest order may be found another aspect of ambiguity, which results from the fact that language functions in art on levels other than that of denotations (where ambiguity is a cardinal sin). In literature, words demonstrate an astounding capacity for suggesting two or more equally suitable senses in a given context, for conveying a core of meaning and accompanying it with overtones of great richness and complexity, and for operating with two or more meanings at the same time.

William Empson, in The Seven Types of Ambiguity (1931), extended the meaning of the term to include these aspects of language. Although there have been those who feel that another word besides ambiguity should be used for these characteristics of language functioning with artistic complexity . . . . Empson's "seven types" of linguistic complexity "which add some nuances to the direct statement of prose" have proved to be effective tools for the examination of literature. The types of ambiguity are (1) details of language that are effective in several ways at once: (2) alternative meanings that are ultimately resolved into the meaning intended by the author; (3) two seemingly unconnected meanings that are given in one word; (4) alternative meanings that act together to clarify a complicated state of mind in the mind of the author; (5) a simile that refers imperfectly to two compatible things and by this "fortunate confusions" shows the author discovering the idea as he or she writes; (6) a statement that is so contradictory or irrelevant that readers are made to invent their own interpretations; and (7) a statement so fundamentally contradictory that it reveals a basic division in the author's mind.

seribulan

Roland Barthes was a French philosopher, linguist, and educator. Born in 1915, he studied French literature and classics at the University of Paris. After teaching French at universities in Romania and Egypt, he joined the Centre National de Recherche Scientifique, where he devoted his research efforts to sociology and lexicology. He wrote books about French culture, critical and literary theory. Until his death in 1980, he was a professor at the College de France.

In general, Barthes wanted to create a way for people to deepen their understanding of language, literature, and society. Specifically, he focused on nonverbal signs. His greatest concern was occidentalism - that the French bourgeoisie considered its culture and mores to be universal. He felt that society is a construction, perpetuated by signs of the dominant values within its culture.

Barthes began to study the subject of semiotics (the study of signification), not as a process, but as an attitude. He believed that the importance of semiology resides in it's functionality. Semiology provided Barthes with an opportunity to denunciate "the self-proclaimed petit-bourgeois myths... This means was semiology - the close analysis of process of meaning by which the bourgeoisie converts its historical class-culture into a universal nature" (Barthes, 1964).

According to modern semiology, the benefit of culture resides in the differences (mores, bases, and attitudes) of groups. Without these differences, choices would be limited. His feeling was that occidentalism was like a set of blinders, providing only one tool for understanding - namely, rhetoric.

Rhetoric was created in ancient Greece as a tool for persuasion. Truth is not a goal of rhetoric. Barthes writes that rhetoric is "a technique, an art in the classical sense of the word, the art of persuasion." Rhetoric operates as the truth, co-opting an existing denotative system and making it the signifier of a secondary system. "Only those with semiotic savvy can spot the hollowness of connotative signs" (Griffin, 118).

seribulan

Literature has a powerful and unique role to play in understanding life's deepest ethical problems.
Fine literature can play an important role in honing our capacity to see clearly and choose wisely as we develops a moral philosophy that engages with our intimate emotional concerns.

Karya sastera semuanya mempunyai nilai moral..be it positive or negative...intentionally or unintentionally...

hana...part literature ni mmg lemah sungguh...
tapi suka baca Jane Austen...Pride and Prujedice...Little Women...Emma...Wuthering Heights...

seribulan

tak pe..ramai yg tak brapa
faham ngan pening bab nih...

hana..citer diorang nih
tinggi sgt bahasenya tu la
pasal...

marquez

>>Karya sastera semuanya mempunyai nilai moral..be it positive or negative... intentionally or unintentionally...

Jawapan muktamad?

Kalau betullah karya sastera tu mempunyai nilai moral, dari mana datangnya nilai moral tu? Dari penulis? Tapi penulis dah mati, kata Barthes (disebut Bart)? Dari pembaca? Tapi pembaca berbeza dari seorang ke seorang? Masing-masing ada nilai berbeza... Dan kalau ia bergantung kepada individu, bermakna sastera yang dibaca sebenarnya bersifat neutral...

Dan bagaimana dengan sastera yang 'sah-sah' tidak 'bermoral'? Misalnya, pernah baca novel 'Story of the Eye' karya Georges Bataille? Ia dianggap sastera, tapi mana moralnya? Watak-wataknya bukan sahaja sadis, tapi juga tidak mempunyai conscience (menatang apa ni dalam BM, aku ngantuk sangat tak leh nak pikir)...

Itu je saya nak tanya cik Bulan...

M-

seribulan

conscince= rasa/gerak hati kot...
or naluri..
mmg stgh word ...tok
leh nak didirect translatekan,,,