Lire journal (journal of linguistics and literature
Lire Journal stands for Linguistics and Literature Journal. This journal is published by Elite Laboratory English Department of Bangka Belitung University twice a year. This is an open-accessed and blind-peer review journal that provides articles both critical theory and field research in linguistics, literature and cultural studies including all their interfaces with E-ISSN 2598-1803 (online) and P-ISSN 2581-2130 (printed)
Articles
113 Documents
<![CDATA[MALAY LITERATURE: TRANSLATED OR NOT TO BE TRANSLATED ]]>
<![CDATA[Melania Priska Mendrofa]]>
<![CDATA[ Lire Journal (Journal of Linguistics and Literature) Vol 3 No 1 (2019): Lire Journal (Journal of Linguistics and Literature) ]]>
Publisher : <![CDATA[Elite Laboratory English Department Universitas Bangka Belitung, Indonesia ]]>
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DOI: 10.33019/lire.v3i1.37
<![CDATA[In Asian literature, Malaysia is categorized as the minority for its literature. Its development in literary realm has just built for some decades. It is not like the other big countries, such as China, Japan, and many other Southeast Asia which have been famous for its literature in world. Having no difference with other literature, Malay literature is developed through translation. Since English is still the main language in world literature, Malay literature has to consider its literature to be translated in English too. Meanwhile, modern Malay literature has presented already the novels in form of English language verse. Many novelists have tendency to write directly in English rather than presenting their works in vernacular language (Malay language). Translation, specifically in English, does not play important role in Malay literature. Malay English novels can assist the circulation of Malay Literature around the world, yet it may also reduce the appreciation for Malay language itself. This paper aims to discuss Malay literature dilemma in using English as the vernacular language in novels or using English as the bridge for bringing Malay culture into World Literature.]]>
<![CDATA[A SEMANTIC ANALYSIS OF DEIXIS IN DRAMA WRITTEN BY LUCILLE FLETCHER ]]>
<![CDATA[Sukasih Ratna Widayanti]]>;
<![CDATA[Suhud Eko Yuwono]]>
<![CDATA[ Lire Journal (Journal of Linguistics and Literature) Vol 3 No 1 (2019): Lire Journal (Journal of Linguistics and Literature) ]]>
Publisher : <![CDATA[Elite Laboratory English Department Universitas Bangka Belitung, Indonesia ]]>
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DOI: 10.33019/lire.v3i1.38
<![CDATA[This study purposes to describe the forms of deixis in the drama written by Lucille Fletcher. This is descriptive qualitative study. The sources of the data are in the form of word and phrase in the drama script written by Lucille Fletcherentitled Sorry, Wrong Number. Based on the data findings, the form of deixis in the drama script Lucille Fletcher’s Sorry, Wrong Number are the person deixis, place deixis, time deixis, and social deixis. The highest occurrence on the forms of deixis in Lucille Fletcher’s Sorry, Wrong Number is person deixis. It means that person deixis is the most common type used by the characters in Lucille Fletcher’s Sorry, Wrong Number to communicate between each character in order to deliver their message due to the plot of the drama.]]>
<![CDATA[ORIENTALISM IN THE TALE OF GENJI’S TRANSLATIONS AS WORLD LITERATURE ]]>
<![CDATA[Dewi Christa Kobis]]>
<![CDATA[ Lire Journal (Journal of Linguistics and Literature) Vol 3 No 1 (2019): Lire Journal (Journal of Linguistics and Literature) ]]>
Publisher : <![CDATA[Elite Laboratory English Department Universitas Bangka Belitung, Indonesia ]]>
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DOI: 10.33019/lire.v3i1.39
<![CDATA[This paper is to discuss the “Orientalism” in The Tale of Genji as world literature through the translations of The Tale of Genji that had been translated into English by the Westerns. The popularity of The Tale of Genji cannot be separated from the important role of the translation. The English translations of The Tale of Genji had become a tool for the people surround the World to enjoy reading The Tale of Genji although they cannot speak or read Japanese. We cannot take lightly the role of translation. Regarding to the translation issue, it is also important to know closely about the translators’ perspective towards The Tale of Genji. Since the major translators of The Tale of Genji are Western, it is imperative to know Westerns’ perspectives towards Easterns since The Tale of Genji came from Asian. With the purpose to resolve this case, the analysis of this paper uses Orientalism as its theoretical concept in examining the Westerns’ perspective towards The Tale of Genji through the translation. This paper also examines how the translations of The Tale of Genji could be easily received as the world literature.]]>
<![CDATA[THE FEELING UNDERSTANDING AND VALUES OF THE DEAF CHILDREN ]]>
<![CDATA[Qurrata 'Ain]]>;
<![CDATA[Margana Margana]]>
<![CDATA[ Lire Journal (Journal of Linguistics and Literature) Vol 3 No 1 (2019): Lire Journal (Journal of Linguistics and Literature) ]]>
Publisher : <![CDATA[Elite Laboratory English Department Universitas Bangka Belitung, Indonesia ]]>
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DOI: 10.33019/lire.v3i1.40
<![CDATA[Deaf children have a language to communicate with each other. It is known as sign language. The sign language has grammatical, morpheme, syntactical and semantically rules. It can be helped the deaf children to understand the signs. The disability people or gift children have an equal with normal people. So, they deserve to get what they want and communicate with each other. Generally, the grammar of sign language for deaf people has used hand shape or movement even facial expression or body movement. This article has aimed to expose the ability of deaf children to understand the feelings and values of others. It refers to social and cognitive development. Deaf children have access to communicate how peoples’ interaction and explanation for behaviors to get better social dynamics as an advantage in cognitive development. The deaf children often show the behavior problem and inconsistent social and sometimes they could not understand social rules.]]>
<![CDATA[AN ANALYSIS OF METAPHOR TRANSLATION IN THE SUBTITLE OF SHERLOCK HOLMES 2: A GAME OF SHADOWS (2011) MOVIE ]]>
<![CDATA[Siegfrieda Alberti Shinta Mursita Putri]]>;
<![CDATA[Martha Sie]]>
<![CDATA[ Lire Journal (Journal of Linguistics and Literature) Vol 3 No 1 (2019): Lire Journal (Journal of Linguistics and Literature) ]]>
Publisher : <![CDATA[Elite Laboratory English Department Universitas Bangka Belitung, Indonesia ]]>
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DOI: 10.33019/lire.v3i1.41
<![CDATA[A metaphor has been a conflict in subtitling for its cultural-specific sense and challenging translatability. Consequently, the translators tend to omit the metaphors. This study attempts to find out the categories of conceptual metaphors and applied strategies in the subtitles of Sherlock Holmes 2: A Game of Shadows (2011). This study applies the Combined Strategies proposed by Lindqvist (Pedersen, 2015). The results indicate that analogy, personification, and image metaphors appear in the movie. The translator applies five of nine proposed strategies in this study. The most frequently applied strategies are word-for-word translation and paraphrase strategies. No omission occurs, but the study discovers that the translation appears to be less natural and fails to transfer the cultural essence from the English metaphors.]]>
<![CDATA[THE COMPARATIVE ANALYSIS OF GUY DE MAUPASSANT’S TWO FRIENDS AND ARTURO ARIAS’ TOWARD PATZUN ]]>
<![CDATA[Kristiawan Indriyanto]]>
<![CDATA[ Lire Journal (Journal of Linguistics and Literature) Vol 3 No 1 (2019): Lire Journal (Journal of Linguistics and Literature) ]]>
Publisher : <![CDATA[Elite Laboratory English Department Universitas Bangka Belitung, Indonesia ]]>
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DOI: 10.33019/lire.v3i1.42
<![CDATA[This paper compares and contrasts two short stories, Guy De Maupassant’s Two Friends and Arturo Arias’ Toward Patzun. Both stories have the same thematic structure as the harshness and brutality during wartime situation is a similar concern to the aforementioned writers. Although both writers foreground the savagery of war, the different cultural background, nationality, literary tradition cause differences in the way both writer narrate their short stories. While De Maupassant depicts the Franco-Prussian War (1870-1871), Arias squares his narration in the Guatemalan civil war (1960-1996). The differences of canonical status between De Maupassant and Arias is also scrutinized in this paper. While De Maupassant is a household name in Western literary tradition, the popularity of Arias remains obscure. This paper argues that the differences in canonization is linked also with the status of Two Friends in the hypercanon, on the other hand Toward Patzun is located in the countercanon. It is hoped that this paper can contribute toward questioning the privileged status of Western literary works compared to the non-Western author.]]>
<![CDATA[THE RECLAIMING CUBAN CULTURAL IDENTITY WHILE LIVING AS A CUBAN DIASPORA IN AMERICA AS DEPICTED IN CAMILA CABELLO “HAVANA” ]]>
<![CDATA[Tan Michael Chandra]]>
<![CDATA[ Lire Journal (Journal of Linguistics and Literature) Vol 3 No 1 (2019): Lire Journal (Journal of Linguistics and Literature) ]]>
Publisher : <![CDATA[Elite Laboratory English Department Universitas Bangka Belitung, Indonesia ]]>
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DOI: 10.33019/lire.v3i1.43
<![CDATA[Question of identity remains one of the most important and debatable concept in the world of postcolonial theory especially when it is related to cultural identity of the diaspora. As culture is intertwined with place of origin, diasporic community often experience difficulty to identity themselves as they are located outside their culture of origin.By using Hall’s Cultural Identity, Bhabha’s Hybridity, and Historical Biographical approach, this paper shall dissect such notion of reclaiming the diasporic’s own culture as depicted in Camila Cabello’s most famous song “Havana.” Upon closer scrutiny, what at first glance considered as a simple love song underlines the cultural notion behind it. As the singer and songwriter is Cuban, Cabello expresses a theme of longing and stake a claim of Cuban cultural identity in the character of the song despite being offered a life in America. This perspective is highlighted through essay from Cabello herself, which notes the notion of cultural exchange and the life of the immigrants.]]>
<![CDATA[ENGLISH TEACHERS' CULTURAL BACKGROUND AND THEIR TEACHING BELIEF ]]>
<![CDATA[Heidy Wulandari]]>
<![CDATA[ Lire Journal (Journal of Linguistics and Literature) Vol 3 No 1 (2019): Lire Journal (Journal of Linguistics and Literature) ]]>
Publisher : <![CDATA[Elite Laboratory English Department Universitas Bangka Belitung, Indonesia ]]>
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DOI: 10.33019/lire.v3i1.44
<![CDATA[This paper is a non-research article which aims at elaborating the relation between teachers’ cultural background and their teaching beliefs. Way of thinking, behaviour, value, tradition, and belief in a society are taken into account as aspects of cultural background in this paper. Meanwhile belief is considered as unchangeable principle set in teachers’ personality which has impact on what they do in the classroom. The red line between cultural background and teachers’ beliefs has positive and negative side. Thus it is important for teachers to rely not only on their belief but also students’ needs and other supporting teaching aspects in order to reach a successful teaching and learning process.]]>
<![CDATA[BORROWING WORD ANALYSIS IN "I FINE THANK YOU LOVE" MOVIE ]]>
<![CDATA[Tira Nur Fitria]]>
<![CDATA[ Lire Journal (Journal of Linguistics and Literature) Vol 3 No 1 (2019): Lire Journal (Journal of Linguistics and Literature) ]]>
Publisher : <![CDATA[Elite Laboratory English Department Universitas Bangka Belitung, Indonesia ]]>
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DOI: 10.33019/lire.v3i1.45
<![CDATA[The objectives of this research are to describe the types of borrowing word and to find out the dominant type of borrowing words found in “I Fine Thank You Love You” movie. This research is descriptive qualitative research. Descriptive research tries to present the problem clearly based on the accurate data, explaining and describing the topic of a problem based on the theory used. From the analysis, it is found that there are two types of borrowing word found in “I Fine Thank You Love You” movie, they are pure and naturalized borrowing. In pure borrowing, there are 43 data or 38.39 %. While, in naturalized borrowing, there are 69 data or 61.61 %. It shows that pure borrowing shows high percentage than naturalized borrowing. In pure borrowing, a word purely taken from the source language (SL) into the target language (TL) without changing any letters. While, in naturalized borrowing, a word can be naturalized to fit the spelling rules in the target language (TL) so the readers can understand easily what the word means]]>
<![CDATA[THE IMAGE OF HORROR AS VIEWED IN EDGAR ALLAN POE'S THREE SHORT STORIES (LIGEA, THE BLACK CAT, THE FALL OF USERS) ]]>
<![CDATA[Endang Eko Djati Setiawati]]>;
<![CDATA[Hersulastuti Hersulastuti]]>
<![CDATA[ Lire Journal (Journal of Linguistics and Literature) Vol 3 No 1 (2019): Lire Journal (Journal of Linguistics and Literature) ]]>
Publisher : <![CDATA[Elite Laboratory English Department Universitas Bangka Belitung, Indonesia ]]>
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DOI: 10.33019/lire.v3i1.46
<![CDATA[Edgar Allan Poe is the father of horror stories. In his three short stories, Ligiea, the Fall of the house of Usher, The Black Cat, he portrays the image of horror in the form of being buried alive or premature burial, Mental Disorder or Madness or Mentally Ill, and Supernatural. Being buried alive can be seen in The Black Cat as well as in the Fall of the house of Usher. Mentally Ill can be found in the Black Cat and in the Fall of the house of Usher. Meanwhile Supernatural image of horror is reflected in Ligiea and in The Black Cat. Being buried alive is illustrated in the way when The Narrator of the Fall of the House help Roderick Usher entombed his twin sister, while in the Black Cat the Narrator buried his wife in the wall to conceal from the police investigation. Mental Illnesses can be seen in the Black Cat when the Narrator suffers from alcoholic addicted. Roderick Usher the character of The Fall of the house of Usher suffers from not only does he live in fear, but also to have lost all interest in every kind of social contact. Supernatural is portrayed in Ligeia, when the narrator’s wife, Ligiea, dead, she transforms into Lady Rowena, the new wife of the Narrator.]]>
