rss_2.0Sciendo RSS Feed for East-West Cultural Passagehttps://sciendo.com/journal/EWCPhttps://www.sciendo.comhttps://sciendo-parsed.s3.eu-central-1.amazonaws.com/6471c9ed215d2f6c89db1036/cover-image.jpghttps://sciendo.com/journal/EWCP140216https://sciendo.com/article/10.2478/ewcp-2024-0008<abstract> <title style='display:none'>Abstract</title> <p>Kazuo Ishiguro’s adherence to high modernist principles of composition is well documented: critics such as Patricia Waugh, Barry Lewis, Mark Currie, Yugin Teo, and Jason Tougaw have identified (high) modernist thematic and stylistic traits in his fiction. This article discusses Ishiguro’s first two novels, <italic>A Pale View of Hills</italic> (1982) and <italic>An Artist of the Floating World</italic> (1986), arguing that his concern with traumatic memories and time is deeply rooted in the high modernist tradition. In both novels, the issues of collective and individual trauma and memory lead to cognitive displacement, the merging of memory with fantasy, and the bending of time. By employing the methodology and terminology of trauma studies, I aim to unpick not only Ishiguro’s treatment of themes such as guilt, confusion, and unhomeliness, but also a narrative strategy that draws openly on the displacements, lyricism and unreliability that are shown to result from traumatic experiences and the conscious mind’s inability to confront them.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2024-00082024-12-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2024-0005<abstract> <title style='display:none'>Abstract</title> <p>“Anyway, we delivered the bomb” is an analysis of the significance of the inclusion of the critically acclaimed “Indianapolis speech” within Steven Spielberg’s <italic>Jaws</italic>, whereby the shark hunter Quint delivers a chilling first-hand recollection of the disaster of the USS during the Second World War. As Quint tells it, after transporting components of the atomic bomb to the United States air base at Tinian Island, the USS Indianapolis was torpedoed by a Japanese submarine whilst on route to the island of Leyte, leaving Quint and his surviving shipmates to fend for themselves in shark-infested waters. Contextualizing the speech within the confidence crises and “disaster” film genre cycle of 1970s America, I shall analyze how <italic>Jaws</italic>’s representation of the Indianapolis disaster posits a direct challenge to the orthodox Hiroshima narrative (that the bombing was morally justifiable on the basis that it saved American lives) by foregrounding the suffering endured by the crew of the Indianapolis at the expense of delivering it, preying upon audience fears that an America reeling from the Watergate scandal and military defeat in Vietnam was now susceptible to moral ‒ and nuclear ‒ retribution for Hiroshima thirty years later.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2024-00052024-12-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2024-0011ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2024-00112024-12-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2024-0001ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2024-00012024-12-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2024-0007<abstract> <title style='display:none'>Abstract</title> <p>The whole-scale Russian invasion of Ukraine has produced a massive response in various media and art forms. Memes, cartoons, graphic novels, street art create an interesting war imagery and portray the effect of the war on society and the individual. Our project focuses on the popular songs created during this war, especially those included in music videos. The songs perform various functions; they express emotions ‒ of pain, sorrow, hope; they might be propagandistic calling for action; they might display deeply personal feelings about the lost world of peace; they may help one survive, and they also help one reflect on the impact of the war on the everyday life of the people and the country, in other words, on the current existential crisis. Songs refer to the moral issues and values in human life, and they articulate the pride in national heroes and national culture. In this article, we intend to collect, categorize, and interpret the songs with focus on the war morale songs that are employed in the mobilization efforts and the shaping of public opinion. Although they are of heterogeneous professional quality, our aim is to document the songs brought about by the war as the personal and political response to the events. Our primary interest lies in the hermeneutics of the messages inscribed in the music, lyrics and visuals.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2024-00072024-12-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2024-0006<abstract> <title style='display:none'>Abstract</title> <p>The article sets out to analyze the manner in which Yusef Komunjakaa addresses in his poetry one of the greatest military disasters in American foreign policy ‒ the war in Vietnam‒, which he himself experienced directly, as a war correspondent. I will investigate the poet’s reliance on strong, visceral images as Komunjakaa proceeded almost like a painter. I will also look into the role played by music, jazz in particular, in articulating a vision of the war which gives ample space to the reader to negotiate the images that engage all five senses. I will illustrate the fact that Komunjakaa’s war poetry is characterized by more than a mere documentary drive, as one can discover healing and renewal of the self behind the apocalyptic images that describe the war.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2024-00062024-12-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2024-0009<abstract> <title style='display:none'>Abstract</title> <p>The affective turn in the humanities has placed immense importance on the cultural, historical and political meanings of emotions. In literary studies, especially, this has allowed for an opening up of the space of the narrative to pay close attention to the language of affect and emotional intensities in both historical as well as contemporary literary/non-literary archives. This article traces and analyse how ‘naivety’ came to be produced in the late-eighteenth and early nineteenth century by focusing on the figure of the naïve reader. Drawing upon the work of affect theorists, gender theorists, as well as scholars of body studies and Eighteenth-century Studies, this article analyses how anti-novel discourse reproduced the naïve reader enabling the circulation and reproduction of those affects, aesthetics and intensities it sought to censor. Firstly, it locates the figure of the naïve reader in popular periodicals and articles at the time. Secondly, it focuses on how ‘the naïve reader’ and ‘naivety’ itself gets re-produced in the novel format and how emotions like shame, do the work of censoring this naivety, particularly in Jane Austen’s <italic>Northanger Abbey</italic>. Lastly, this article concludes with comments on the significance of the political aesthetic of the naïve reader.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2024-00092024-12-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2024-0004<abstract> <title style='display:none'>Abstract</title> <p>In recent years, given the increasing occurrence of extreme weather events and the growing public awareness of climate issues, climate fiction has emerged as a popular genre, and Lily Brooks-Dalton’s novel <italic>The Light Pirate</italic> serves as a quintessential example of climate fiction. In the book, Dalton presents an imagined catastrophic scenario caused by floods and hurricanes. After the disintegration of various communities, the protagonist, Wanda, remains in her fragmented hometown and goes on to create a posthumanist community. Based on the theories of community and critical posthumanism, the evolution of communities during the climate crisis is interpreted from three perspectives: how various types of communities are destroyed by climate change, why residents in the face of a dilemma adopt different coping mechanisms, and what kind of posthumanist community is reconstructed after the climate crisis. All in all, by describing the fate of the community under the climate crisis, the novel warns people to protect the environment, reveals the complex relationship between man and nature, and suggests a possible way out when faced with the threat of climate change, that is, to live in harmony with other creatures.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2024-00042024-12-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2024-0003<abstract> <title style='display:none'>Abstract</title> <p>In recent years, anxiety around anthropogenic climate change and its consequences has taken centre-stage in the narratives of contemporary novels. The abundance of ecodystopian novels placed in futuristic climate-changed settings with visions of apocalypse or dystopian futures, reflect the contemporary anguish around climate crisis. It is also the case of India, where many contemporary writers have adopted the literary mode of dystopia to envision the future societies grappling with the consequences of climate change and ecological disaster. Against this backdrop, Varun Thomas Mathew’s <italic>The Black Dwarves of the Good Little Bay</italic> (2019) is an attempt in fictional form to depict the ecological concerns and environmental crisis caused by anthropogenic climate change. It captures the mind by staging an extreme climate crisis like the Arabian Sea invading the whole city of Mumbai resulting in the rise of a dystopian city settling in a gigantic drome. This article explores how Mathew’s novel depicts the dystopian imagination in the Anthropocene through the portrayal of a city after an environmental disaster. It also critically engages with the representations of non-human world’s agency and the politics of memory in a collapsed ecosystem. Moreover, this article also makes a parallel reading of dystopian themes by referring to Aldous Huxley’s <italic>Brave New World</italic> (1932).</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2024-00032024-12-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2024-0002<abstract> <title style='display:none'>Abstract</title> <p>This article aims to explore the transformative potential of community-specific Indigenous theatre in reshaping socio-political and ecological landscapes, with reference to <italic>Alaxsxa | Alaska</italic> (2017) by Ping Chong + Company, one of the most prominent companies of the New York City theatre scene of the past fifty years. In conversation with recent theoretical and practice-oriented accounts of ecodramaturgy, the following analysis proposes: (1) to document the agenda of community engagement undergirding the play’s development, production, and reception, drawing on ethnographic material; (2) to clarify its contributions to developing an Indigenized perspective on Alaska’s history, with a focus on the impact of ecological disasters on its human and more-than-human worlds; and (3) to outline the afterlives of the project, particularly in and for Alaska Native communities, while reflecting on the broader implications of this legacy for contemporary ecologies of performance.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2024-00022024-12-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2024-0010<abstract> <title style='display:none'>Abstract</title> <p>The aim of this article is to investigate the impact of self-efficacy on Foreign Language Acquisition in secondary school students following a relatively recent shift of focus in the field, as the learner’s needs, efforts and capacities have been placed at the centre of the learning process. Hence the need to address the existing research gap by proving that self-efficacy may be viewed as a significant indicator of foreign language proficiency. Apart from presenting the theoretical background, the article also reveals the empirical findings of the research carried out in a higher secondary school on 78 participants (N = 78). The study suggests that highly efficacious students receive the highest English mean grade, that they are competent foreign language users and are confident about their skills, and approach the FL learning progress more consistently, not being discouraged by taking risks in the foreign language acquisition context and confronting situations which cannot be foreseen. In stark contrast are learners scoring low levels of self-efficacy who are more likely to engage in procrastination, have a lower mean of English grades and are not eager to participate actively in the foreign language acquisition classroom. The article concludes with a number of implications and recommendations which may be implemented in the future teaching methodology, particularly indicating other research directions.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2024-00102024-12-06T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2023-0010ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2023-00102024-03-16T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2023-0012<abstract><title style='display:none'>Abstract</title> <p>This article discusses the economic terminology of English and Romanian from the perspective of Conceptual Metaphor Theory, focusing on the way in which the two languages employ lexical items from the semantic field of liquids in relation to the economy. The approach used here is both quantitative and qualitative. Thus, the study analyses the dictionary distribution in the two languages of words and phrases that fit the LIQUID metaphor of the economy, and tries to formulate statistical conclusions regarding the importance of this metaphor in shaping the vocabulary of the subject. The results of the quantitative analysis are illustrated with examples from economic publications, with an emphasis on those cases where English and Romanian do not share the same conceptual metaphors, and which could thus prove problematic for learners of Business English as well as for professionals working with the two languages. Metaphor researchers studying English and Romanian generally agree that English is more metaphorical in the way it discusses economic phenomena. However, dictionaries and newspaper articles may differ in the extent to which they follow this prediction, with the latter showing a higher density of metaphorical language than the former.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2023-00122024-03-16T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2023-0014<abstract><title style='display:none'>Abstract</title> <p>This article undertakes a comparative analysis of the English and Chinese voice-lines of specific characters in <italic>Genshin Impact – </italic>a well-known open world role-playing video game developed by Mihoyo Technology <italic>– </italic>and examines the cultural implications that might have led to varied translations. By closely scrutinizing linguistic adaptations and cultural nuances, the study aims to shed light on how these differences in translation significantly influence the perception of characters among their respective audiences globally. The research delves into the complex choices made by translators and their impact on character representation, addressing the discourse on the interplay between language and culture, and how these intersect with in-game narratives. In doing so, the article not only offers valuable insights into the intricacies of cross-cultural adaptation in regards to video game localization, but also contributes to a broad understanding of how linguistic choices actively shapes the audience’s perception when navigating the immersive world of <italic>Genshin Impact</italic>.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2023-00142024-03-16T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2023-0015<abstract><title style='display:none'>Abstract</title> <p>The present article sets out to investigate the rendering of cultural elements in the process of poetry translation, an undertaking that is a strenuous one, given the constraints of form. It looks into and illustrates the many layers of Seamus Heaney’s poetry, pointing at the profusion of allusions to cultural aspects that are embedded in the texts, and that ask the translator to decide whether to “foreignize” or “domesticate” the text. These extratextual features that a translator needs to consider are imbricated with the various textual elements, generating effects that are difficult to replicate in translation, making similarity of effect all the more difficult to achieve.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2023-00152024-03-16T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2023-0017<abstract><title style='display:none'>Abstract</title> <p>Broadcast from the early 1960s until the early 1970s, <italic>Bewitched </italic>was brought into being with the intention of providing the conventional American family with a constructive emotional outlet for when they would all gather around the TV and spend quality time together. The key demographic at that time consisted of young to middle-aged couples or newlyweds with or without children, basically the real-life versions of the characters portrayed in the show. Nowadays, the target audience has considerably diminished in number as the beloved TV series is no longer on TV. It remains available online for cinephiles and movie amateurs alike. The aim of this article is to methodically translate and analyse the potential setbacks of various comic and outdated instances encountered in the TV show <italic>Bewitched</italic>. It also consists of a thorough investigation of possible problematic linguistic aspects, as well as different sources of humour. Moreover, the target audience will be provided with alternatives in translation and additional explanations and reasonings behind the choices made.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2023-00172024-03-16T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2023-0018<abstract><title style='display:none'>Abstract</title> <p>This article explores the teaching methods used in university classes of Translation and Interpreting with visually impaired students. It is the first essay on this topic applied to the context of Romania. Therefore, it offers basic suggestions of implementing international teaching methods for visually impaired students in Translation and Interpreting in Romanian universities, while also raising awareness about the challenges they face. The literature review is divided into two categories: digital skills and professional skills. In presenting the most essential digital skills a visually impaired translator and interpreter must acquire, the article makes reference to Kornacki’s model which groups technologies according to the necessary skills. The professional skills are discussed in three articles from two different universities, namely the University of Trieste in Italy and the University of Mainz/Germersheim in Germany. The German study described in two articles – one in German and its shorter version in English – gives a detailed perspective on the topic, being the core of the theoretical ideas mentioned in this article. The knowledge acquired by reading this article will most certainly lead Romanian professors to using the optimal approach when teaching emerging visually impaired translators and interpreters. The teaching methods can be put into practice if the right equipment is available and accessibility is implemented in all aspects regarding translation and interpreting.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2023-00182024-03-16T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2023-0011<abstract><title style='display:none'>Abstract</title> <p>Translation and translators are emerging as powerful catalysts for promoting vibrant cross-cultural interaction among individuals from different backgrounds. Commonly perceived as the process of converting content from one language to another, translation is a nuanced and multifaceted endeavor that transcends mere linguistic conversion. Translators act as adept mediators, deftly navigating the intricate web of diverse texts and cultures while shaping their uniquely insightful perspectives. This article explores the rich historical dimensions of translation, highlighting its deep connections to philosophical beliefs and socio-political dynamics. It also aims to enhance our understanding of the complex nature of this practice by dissecting various dichotomies in translation studies, including contrasting philosophical views of translation and divergent approaches to the art of translation. In today’s interconnected world, the role of the translator has become increasingly indispensable, underscoring that translation goes beyond mere words; it serves as a mirror that reflects the ever-evolving globalized landscape. To chart a path forward, we must recognize the importance of revisiting the past, drawing wisdom from history, and gaining valuable insights for the future.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2023-00112024-03-16T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2023-0016<abstract><title style='display:none'>Abstract</title> <p>The present article aims at presenting features specific to translating dramatic texts, the peculiarities of the genre and how these can be tackled in the process of translating. The case study comprises an analysis of the translation and adaptation for radio broadcasting of Samuel Beckett’s <italic>Krapp’s Last Tape</italic>. Theoreticians have constantly pointed out that drama translators should always focus on the performability, speakability, gestural and aural dimensions of the text, given that the final product has to be playable in front of an audience. The ultimate goal is to obtain a text that sounds natural and is easily understood, where the aural and gestural dimensions fit and work together. In order to make the translated text performable in another medium, certain changes are necessary. In the present case study – adapting a play for radio broadcasting –, everything visual becomes aural, and in this process stage directions are the most challenging to be handled. Adding, omitting or rephrasing are options that the translator has to constantly consider.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2023-00162024-03-16T00:00:00.000+00:00https://sciendo.com/article/10.2478/ewcp-2023-0019ARTICLEtruehttps://sciendo.com/article/10.2478/ewcp-2023-00192024-03-16T00:00:00.000+00:00en-us-1