TRANSLATION MEANS TRANSLATING MEANING

TRANSLATION MEANS TRANSLATING MEANING

Lye (1996) says that meaning is a difficult issue. What is said here only scratches the surface of a complex and contested area. How do we know what a work of literature is 'supposed' to mean, or what its 'real' meaning is? There are several ways to approach this:

1) that meaning is what is intended by the author ;

2) that meaning is created by and contained in the text itself ;

3) that meaning is created by the reader.

The author

Does a work of literature mean what the author 'intended' it to mean, and if so, how can we tell? If all the evidence we have is the text itself, we can only speculate on what the priorities and ideas of the author were from our set of interpretive practices and values (how we read literature and how we see the world). We can expand this:

1) by reading other works by the same author,

2) by knowing more and more about what sort of meanings seem to be common to works in that particular tradition, time and genre,

3) by knowing how the author and other writers and readers of that time read texts -- what their interpretive practices were (as reading and writing must be part of the same set of activities), and

4) by knowing what the cultural values and symbols of the time were.

Any person or text can only 'mean' within a set of preexisting, socially supported ideas, symbols, images, ways of thinking and values. In a sense there is no such thing as a 'personal' meaning; although we have different experiences in our lives and different temperaments and interests, we will interpret the world according to social norms and cultural meanings -- there's no other way to do it.

We may have as evidence for meaning what the author says or writes about the work, but this is not always reliable. Authorial intention is complicated not only by the fact that an author's ways of meaning and of using literary conventions are cultural, but by the facts that

1) the author's work may very well have taken her in directions she did not originally foresee and have developed meanings which she did not intend and indeed may not recognize (our historical records are full of authors attesting to this),

2) the works may embody cultural or symbolic meanings which are not fully clear to the author herself and may emerge only through historical or other cultural pespectives, and

3) persons may not be conscious of all of the motives that attend their work.

The Text

Does the meaning exist 'in' the text? There is an argument that the formal properties of the text--the grammar, the language, the uses of image and so forth--contain and produce the meaning, so that any educated (competent) reader will inevitably come to essentially the same interpretation as any other. Of course, it becomes almost impossible to know whether the same interpretations are arrived at because the formal properties securely encode the meaning, or because all of the 'competent' readers were taught to read the formal properties of texts in roughly the same way. As a text is in a sense only ink-marks on a page, and as all meanings are culturally created and transferred, the argument that the meaning is 'in' the text is not a particularly persuasive one.

The meaning might be more likely to be in the conventions of meaning, traditions, and cultural codes which have been handed down, so that insofar as we and other readers (and the author) might be said to agree on the meaning of the text, that agreement would be created by common traditions and conventions of usage, practice and interpretation. In different time periods, with different cultural perspectives (including class, gender, ethnicity, belief and world-view), or with different purposes for reading no matter what the distance in time or cultural situation, competent readers can arrive at different readings of texts. As on the one hand a text is a historical document, a material fact, and as on the other meaning is inevitably cultural and contextual, the question of whether the text 'really means' what it means to a particular reader, group or tradition can be a difficult and complex one.

The Reader

Does the meaning then exist in the reader's response, her processing or reception of the text? In a sense this is inescapable: meaning exists only insofar as it means to someone, and art is composed in order to evoke sets of responses in the reader (there is no other reason for it to exist, or for it to have patterns or aesthetic qualities, or for it to use symbols or have cultural codes). But this leads us to three essential issues.

Meaning is 'social', that is, language and conventions work only as shared meaning, and our way of viewing the world can exist only as shared or sharable. When we read a text, we are participating in social, or cultural, meaning. Response is not merely an individual thing, but is part of culture and history.

Meaning is contextual; change the context, you often change the meaning.

Texts constructed as literature, or 'art', have their own codes and practices, and the more we know of them, the more we can 'decode' the text, that is, understand it - consequently, there is in regard to the question of meaning the matter of reader competency, as it is called, the experience and knowledge of decoding literary texts.

You might have been nudged to insist on your having and practicing competency in reading by insisting that any interpretation you have (a) be rooted in (authorized by) the text itself and (b) be responsible to everything in the text -- that is, that your interpretation of any line or action be in the context of the whole of the work. But you may have to learn other competencies too. For instance in reading Mulk Raj Anand's The Untouchables you might have to learn what the social structure of India was like, what traditions of writing about and/or by Untouchables were in effect in India in the early 1930's, what political, cultural, and personal influences Mulk Raj Anand was guided by in constructing the imaginative world of this short novel; you might have to learn, in reading John Donne's poems, about, for instance, the 'platonic' (really, Florentine Neo-Plotinian) theory of love. As another kind of competency, you might have to practice reading certain kinds of literature, whose methods seem alien to you or particularly difficult for you, so that you can understand how that kind of literature works.

You may see that this idea that meaning requires competency in reading can bring us back, as meanings are cultural and as art is artifact, to different conventions and ways of reading and writing, and to the historically situated understandings of the section on the Author, above; at the least, 'meaning' requires a negotiation between cultural meanings across time, culture, gender, class. As readers you have in fact acquired a good deal of competency already; you are about to acquire more. (cited from http://www.brocku.ca/english/jlye/meaning.html)

The point herein is that 'meaning' is a phenomenon that is not easily ascribed or located, that it is historical, social, and derived from the traditions of reading and thinking and understanding the world that you are educated about and socialized in.

Complete list of run commands in windows XP

Complete list of run commands in windows XP

Run Commands In Windows XP
You can access all these programs by going through START-->RUN or Simply Click Windows Key+R

SQL Client Configuration - cliconfg
System Configuration Editor - sysedit
System Configuration Utility - msconfig
System File Checker Utility (Scan Immediately)- sfc /scannow
System File Checker Utility (Scan Once At Next Boot)- sfc /scanonce
System File Checker Utility (Scan On Every Boot) - sfc /scanboot
System File Checker Utility (Return to Default Setting)- sfc /revert
System File Checker Utility (Purge File Cache)- sfc /purgecache
System File Checker Utility (Set Cache Size to size x)-sfc/cachesize=x
System Information - msinfo32.
Task Manager – taskmgr
System Properties - sysdm.cpl
Task Manager – taskmgr
TCP Tester - tcptest
Telnet Client - telnet
Tweak UI (if installed) - tweakui
User Account Management- nusrmgr.cpl
Utility Manager - utilman
Windows Address Book - wab
Windows Address Book Import Utility - wabmig
Windows Backup Utility (if installed)- ntbackup
Windows Explorer - explorer
Windows Firewall- firewall.cpl
Windows Magnifier- magnify
Windows Management Infrastructure - wmimgmt.msc
Windows Media Player - wmplayer
Windows Messenger - msmsgs
Windows Picture Import Wizard (need camera connected)- wiaacmgr
Windows System Security Tool – syskey
Windows Update Launches - wupdmgr
Windows Version (to show which version of windows)- winver
Windows XP Tour Wizard - tourstart
Wordpad - write
Password Properties - password.cpl
Performance Monitor - perfmon.msc
Phone and Modem Options - telephon.cpl
Phone Dialer - dialer
Pinball Game - pinball
Power Configuration - powercfg.cpl
Printers and Faxes - control printers
Printers Folder – printers
Private Character Editor - eudcedit
Quicktime (If Installed)- QuickTime.cpl
Real Player (if installed)- realplay
Regional Settings - intl.cpl
Registry Editor - regedit
Registry Editor - regedit32
Remote Access Phonebook - rasphone
Remote Desktop - mstsc
Removable Storage - ntmsmgr.msc
Removable Storage Operator Requests - ntmsoprq.msc
Resultant Set of Policy (XP Prof) - rsop.msc
Scanners and Cameras - sticpl.cpl
Scheduled Tasks - control schedtasks
Security Center - wscui.cpl
Services - services.msc
Shared Folders - fsmgmt.msc
Shuts Down Windows - shutdown
Sounds and Audio - mmsys.cpl
Spider Solitare Card Game - spider
Malicious Software Removal Tool - mrt
Microsoft Access (if installed) - access.cpl
Microsoft Chat - winchat
Microsoft Excel (if installed) - excel
Microsoft Frontpage (if installed)- frontpg
Microsoft Movie Maker - moviemk
Microsoft Paint - mspaint
Microsoft Powerpoint (if installed)- powerpnt
Microsoft Word (if installed)- winword
Microsoft Syncronization Tool - mobsync
Minesweeper Game - winmine
Mouse Properties - control mouse
Mouse Properties - main.cpl
Nero (if installed)- nero
Netmeeting - conf
Network Connections - control netconnections
Network Connections - ncpa.cpl
Network Setup Wizard - netsetup.cpl
Notepad - notepad
Nview Desktop Manager (If Installed)- nvtuicpl.cpl
Object Packager - packager
ODBC Data Source Administrator- odbccp32.cpl
On Screen Keyboard - osk
Opens AC3 Filter (If Installed) - ac3filter.cpl
Outlook Express - msimn
Paint – pbrush
Keyboard Properties - control keyboard
IP Configuration (Display Connection Configuration) - ipconfi/all
IP Configuration (Display DNS Cache Contents)- ipconfig /displaydns
IP Configuration (Delete DNS Cache Contents)- ipconfig /flushdns
IP Configuration (Release All Connections)- ipconfig /release
IP Configuration (Renew All Connections)- ipconfig /renew
IP Configuration(RefreshesDHCP&Re-RegistersDNS)-ipconfig/registerdns
IP Configuration (Display DHCP Class ID)- ipconfig/showclassid
IP Configuration (Modifies DHCP Class ID)- ipconfig /setclassid
Java Control Panel (If Installed)- jpicpl32.cpl
Java Control Panel (If Installed)- javaws
Local Security Settings - secpol.msc
Local Users and Groups - lusrmgr.msc
Logs You Out Of Windows - logoff.....
Accessibility Controls - access.cpl
Accessibility Wizard - accwiz
Add Hardware - Wizardhdwwiz.cpl
Add/Remove Programs - appwiz.cpl
Administrative Tools control - admintools
Adobe Acrobat (if installed) - acrobat
Adobe Designer (if installed)- acrodist
Adobe Distiller (if installed)- acrodist
Adobe ImageReady (if installed)- imageready
Adobe Photoshop (if installed)- photoshop
Automatic Updates - wuaucpl.cpl
Bluetooth Transfer Wizard – fsquirt
Calculator - calc
Certificate Manager - certmgr.msc
Character Map - charmap
Check Disk Utility - chkdsk
Clipboard Viewer - clipbrd
Command Prompt - cmd
Component Services - dcomcnfg
Computer Management - compmgmt.msc
Control Panel - control
Date and Time Properties - timedate.cpl
DDE Shares - ddeshare
Device Manager - devmgmt.msc
Direct X Control Panel (If Installed)- directx.cpl
Direct X Troubleshooter- dxdiag
Disk Cleanup Utility- cleanmgr
Disk Defragment- dfrg.msc
Disk Management- diskmgmt.msc
Disk Partition Manager- diskpart
Display Properties- control desktop
Display Properties- desk.cpl
Display Properties (w/Appearance Tab Preselected)- control color
Dr. Watson System Troubleshooting Utility- drwtsn32
Driver Verifier Utility- verifier
Event Viewer- eventvwr.msc
Files and Settings Transfer Tool- migwiz
File Signature Verification Tool- sigverif
Findfast- findfast.cpl
Firefox (if installed)- firefox
Folders Properties- control folders
Fonts- control fonts
Fonts Folder- fonts
Free Cell Card Game- freecell
Game Controllers- joy.cpl
Group Policy Editor (XP Prof)- gpedit.msc
Hearts Card Game- mshearts
Help and Support- helpctr
HyperTerminal- hypertrm
Iexpress Wizard- iexpress
Indexing Service- ciadv.msc
Internet Connection Wizard- icwconn1
Internet Explorer- iexplore
Internet Setup Wizard- inetwiz
Internet Properties- inetcpl.cpl

New Historicism and Cultural Materialism

New Historicism and Cultural Materialism
“New Historicism,” a term coined by Stephen Greenblatt, designates a body of theoretical and interpretive practices that began largely with the study of early modern literature in the United States. “New Historicism” in America had been somewhat anticipated by the theorists of “Cultural Materialism” in Britain, which, in the words of their leading advocate, Raymond Williams describes “the analysis of all forms of signification, including quite centrally writing, within the actual means and conditions of their production.” Both “New Historicism” and “Cultural Materialism” seek to understand literary texts historically and reject the formalizing influence of previous literary studies, including “New Criticism,” “Structuralism” and “Deconstruction,” all of which in varying ways privilege the literary text and place only secondary emphasis on historical and social context. According to “New Historicism,” the circulation of literary and non-literary texts produces relations of social power within a culture. New Historicist thought differs from traditional historicism in literary studies in several crucial ways. Rejecting traditional historicism’s premise of neutral inquiry, “New Historicism” accepts the necessity of making historical value judgments. According to “New Historicism,” we can only know the textual history of the past because it is “embedded,” a key term, in the textuality of the present and its concerns. Text and context are less clearly distinct in New Historicist practice. Traditional separations of literary and non-literary texts, “great” literature and popular literature, are also fundamentally challenged. For the “New Historicist,” all acts of expression are embedded in the material conditions of a culture. Texts are examined with an eye for how they reveal the economic and social realities, especially as they produce ideology and represent power or subversion. Like much of the emergent European social history of the 1980s, “New Historicism” takes particular interest in representations of marginal/marginalized groups and non-normative behaviors—witchcraft, cross-dressing, peasant revolts, and exorcisms—as exemplary of the need for power to represent subversive alternatives, the Other, to legitimize itself.
Louis Montrose, another major innovator and exponent of “New Historicism,” describes a fundamental axiom of the movement as an intellectual belief in “the textuality of history and the historicity of texts.” “New Historicism” draws on the work of Levi-Strauss, in particular his notion of culture as a “self-regulating system.” The Foucaldian premise that power is ubiquitous and cannot be equated with state or economic power and Gramsci’s conception of “hegemony,” i.e., that domination is often achieved through culturally-orchestrated consent rather than force, are critical underpinnings to the “New Historicist” perspective. The translation of the work of Mikhail Bakhtin on carnival coincided with the rise of the “New Historicism” and “Cultural Materialism” and left a legacy in work of other theorists of influence like Peter Stallybrass and Jonathan Dollimore. In its period of ascendancy during the 1980s, “New Historicism” drew criticism from the political left for its depiction of counter-cultural expression as always co-opted by the dominant discourses. Equally, “New Historicism’s” lack of emphasis on “literariness” and formal literary concerns brought disdain from traditional literary scholars. However, “New Historicism” continues to exercise a major influence in the humanities and in the extended conception of literary studies.
7. Ethnic Studies and Postcolonia

Structuralism and Poststructuralism

Structuralism and Poststructuralism
Like the “New Criticism,” “Structuralism” sought to bring to literary studies a set of objective criteria for analysis and a new intellectual rigor. “Structuralism” can be viewed as an extension of “Formalism” in that that both “Structuralism” and “Formalism” devoted their attention to matters of literary form (i.e. structure) rather than social or historical content; and that both bodies of thought were intended to put the study of literature on a scientific, objective basis. “Structuralism” relied initially on the ideas of the Swiss linguist, Ferdinand de Saussure. Like Plato, Saussure regarded the signifier (words, marks, symbols) as arbitrary and unrelated to the concept, the signified, to which it referred. Within the way a particular society uses language and signs, meaning was constituted by a system of “differences” between units of the language. Particular meanings were of less interest than the underlying structures of signification that made meaning itself possible, often expressed as an emphasis on “langue” rather than “parole.” “Structuralism” was to be a metalanguage, a language about languages, used to decode actual languages, or systems of signification. The work of the “Formalist” Roman Jakobson contributed to “Structuralist” thought, and the more prominent Structuralists included Claude Levi-Strauss in anthropology, Tzvetan Todorov, A.J. Greimas, Gerard Genette, and Barthes.
The philosopher Roland Barthes proved to be a key figure on the divide between “Structuralism” and “Poststructuralism.” “Poststructuralism” is less unified as a theoretical movement than its precursor; indeed, the work of its advocates known by the term “Deconstruction” calls into question the possibility of the coherence of discourse, or the capacity for language to communicate. “Deconstruction,” Semiotic theory (a study of signs with close connections to “Structuralism,” “Reader response theory” in America (“Reception theory” in Europe), and “Gender theory” informed by the psychoanalysts Jacques Lacan and Julia Kristeva are areas of inquiry that can be located under the banner of “Poststructuralism.” If signifier and signified are both cultural concepts, as they are in “Poststructuralism,” reference to an empirically certifiable reality is no longer guaranteed by language. “Deconstruction” argues that this loss of reference causes an endless deferral of meaning, a system of differences between units of language that has no resting place or final signifier that would enable the other signifiers to hold their meaning. The most important theorist of “Deconstruction,” Jacques Derrida, has asserted, “There is no getting outside text,” indicating a kind of free play of signification in which no fixed, stable meaning is possible. “Poststructuralism” in America was originally identified with a group of Yale academics, the Yale School of “Deconstruction:” J. Hillis Miller, Geoffrey Hartmann, and Paul de Man. Other tendencies in the moment after “Deconstruction” that share some of the intellectual tendencies of “Poststructuralism” would included the “Reader response” theories of Stanley Fish, Jane Tompkins, and Wolfgang Iser.
Lacanian psychoanalysis, an updating of the work of Sigmund Freud, extends “Postructuralism” to the human subject with further consequences for literary theory. According to Lacan, the fixed, stable self is a Romantic fiction; like the text in “Deconstruction,” the self is a decentered mass of traces left by our encounter with signs, visual symbols, language, etc. For Lacan, the self is constituted by language, a language that is never one’s own, always another’s, always already in use. Barthes applies these currents of thought in his famous declaration of the “death” of the Author: “writing is the destruction of every voice, of every point of origin” while also applying a similar “Poststructuralist” view to the Reader: “the reader is without history, biography, psychology; he is simply that someone who holds together in a single field all the traces by which the written text is constituted.”
Michel Foucault is another philosopher, like Barthes, whose ideas inform much of poststructuralist literary theory. Foucault played a critical role in the development of the postmodern perspective that knowledge is constructed in concrete historical situations in the form of discourse; knowledge is not communicated by discourse but is discourse itself, can only be encountered textually. Following Nietzsche, Foucault performs what he calls “genealogies,” attempts at deconstructing the unacknowledged operation of power and knowledge to reveal the ideologies that make domination of one group by another seem “natural.” Foucaldian investigations of discourse and power were to provide much of the intellectual impetus for a new way of looking at history and doing textual studies that came to be known as the “New Historicism.”