{"title":"Jackal评委:以生态为中心的方法,通过非洲叙事表演进行环境教育","authors":"N. Graves","doi":"10.4314/MARANG.V25I1","DOIUrl":null,"url":null,"abstract":"800x600 In the English speaking world, the teaching of Shakespeare has historically been lauded as a prerequisite for cultural sophistication, and despite the 21 st Century’s post-colonially sensitive African academia, it remains compulsory on many University curricula. Shakespeare, it sometimes seems, is uniquely transcendent of Western imperialist propaganda of race and culture. Notwithstanding such naivety, when Batswana students study Shakespeare’s poetry, they encounter the confusion of culturally-inscribed root metaphor, or put another way, canonical Western literary symbolism. As the eminent postcolonial critic Edward Said argued, many of the major cultural debates of recent years depend upon deciphering the real meaning of metaphor. Focusing on the teaching of Shakespearean sonnets to Batswana students, this article seeks to interrogate the hermeneutic aporia caused by divergent cultural understandings within several specific types of conventional Western literary symbols. For instance, in the category of “the weather”, the symbolic connotations of the Shakespearean lexis “rain” are contradictory to those understood culturally by Batswana, regardless of whether it is translated into its equivalent of “pula” [rain] or “ go na ” [to rain] in the Setswana language or not. Three of the four instances of “rain” in the sonnets function as a synecdoche for bad weather and thus a symbol of life’s unhappiness – a meaning problematically antithetical to the univocal Batswana understanding of “rain” as a synecdoche for good weather, the harbinger of fertile soil, and hence a symbol of life’s blessings. The result is exegetical confusion, caused fundamentally not by the problems of translation, or even of language per se, but of cultural symbol. Keywords: Sonnet, symbolism, culture, imagery, Shakespeare, Botswana Normal 0 false false false EN-ZA X-NONE X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ \n table.MsoNormalTable \n {mso-style-name:\"Table Normal\"; \n mso-tstyle-rowband-size:0; \n mso-tstyle-colband-size:0; \n mso-style-noshow:yes; \n mso-style-priority:99; \n mso-style-parent:\"\"; \n mso-padding-alt:0cm 5.4pt 0cm 5.4pt; \n mso-para-margin:0cm; \n mso-para-margin-bottom:.0001pt; \n mso-pagination:widow-orphan; \n font-size:10.0pt; \n font-family:\"Times New Roman\",\"serif\";}","PeriodicalId":411071,"journal":{"name":"Marang: Journal of Language and Literature","volume":"34 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Jackal the judge: An ecocentric approach to environmental education through African narrative performance\",\"authors\":\"N. Graves\",\"doi\":\"10.4314/MARANG.V25I1\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"800x600 In the English speaking world, the teaching of Shakespeare has historically been lauded as a prerequisite for cultural sophistication, and despite the 21 st Century’s post-colonially sensitive African academia, it remains compulsory on many University curricula. Shakespeare, it sometimes seems, is uniquely transcendent of Western imperialist propaganda of race and culture. Notwithstanding such naivety, when Batswana students study Shakespeare’s poetry, they encounter the confusion of culturally-inscribed root metaphor, or put another way, canonical Western literary symbolism. As the eminent postcolonial critic Edward Said argued, many of the major cultural debates of recent years depend upon deciphering the real meaning of metaphor. Focusing on the teaching of Shakespearean sonnets to Batswana students, this article seeks to interrogate the hermeneutic aporia caused by divergent cultural understandings within several specific types of conventional Western literary symbols. For instance, in the category of “the weather”, the symbolic connotations of the Shakespearean lexis “rain” are contradictory to those understood culturally by Batswana, regardless of whether it is translated into its equivalent of “pula” [rain] or “ go na ” [to rain] in the Setswana language or not. Three of the four instances of “rain” in the sonnets function as a synecdoche for bad weather and thus a symbol of life’s unhappiness – a meaning problematically antithetical to the univocal Batswana understanding of “rain” as a synecdoche for good weather, the harbinger of fertile soil, and hence a symbol of life’s blessings. The result is exegetical confusion, caused fundamentally not by the problems of translation, or even of language per se, but of cultural symbol. 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Jackal the judge: An ecocentric approach to environmental education through African narrative performance
800x600 In the English speaking world, the teaching of Shakespeare has historically been lauded as a prerequisite for cultural sophistication, and despite the 21 st Century’s post-colonially sensitive African academia, it remains compulsory on many University curricula. Shakespeare, it sometimes seems, is uniquely transcendent of Western imperialist propaganda of race and culture. Notwithstanding such naivety, when Batswana students study Shakespeare’s poetry, they encounter the confusion of culturally-inscribed root metaphor, or put another way, canonical Western literary symbolism. As the eminent postcolonial critic Edward Said argued, many of the major cultural debates of recent years depend upon deciphering the real meaning of metaphor. Focusing on the teaching of Shakespearean sonnets to Batswana students, this article seeks to interrogate the hermeneutic aporia caused by divergent cultural understandings within several specific types of conventional Western literary symbols. For instance, in the category of “the weather”, the symbolic connotations of the Shakespearean lexis “rain” are contradictory to those understood culturally by Batswana, regardless of whether it is translated into its equivalent of “pula” [rain] or “ go na ” [to rain] in the Setswana language or not. Three of the four instances of “rain” in the sonnets function as a synecdoche for bad weather and thus a symbol of life’s unhappiness – a meaning problematically antithetical to the univocal Batswana understanding of “rain” as a synecdoche for good weather, the harbinger of fertile soil, and hence a symbol of life’s blessings. The result is exegetical confusion, caused fundamentally not by the problems of translation, or even of language per se, but of cultural symbol. Keywords: Sonnet, symbolism, culture, imagery, Shakespeare, Botswana Normal 0 false false false EN-ZA X-NONE X-NONE MicrosoftInternetExplorer4 /* Style Definitions */
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