Թեմա - Linguistic Peculiarities of W. Saroyan s Collection "My Names is Aram" and their Translation into Armenian
Տեսակ - Կուրսային, անհատական և ստուգողական աշխատանքներ
Գին - 5400 դրամ
Առարկա - Անգլերեն լեզվով
Էջեր - 18
Chapter 1
1.1. American Literature in 20th century
1.2 W. Saroyan’s Life and Works
Chapter 2.
2.1. Analysis of W. Saroyan s Collection "My Names is Aram"
2.2. Translation of Stylistic Devices in Short Stories
Conclusion
2. Зверев Алексей, "Грустный Мир Сарояна", издательство "Советакан Грох", Ереван, 19Б2,
3. Мирам Г.Э., Дайнеко В.В., "Основы Перевода", Киев "Ника-центр", 2006.
4. Գասպարյան U., Կույուճջյան U. " Philological Insights", Yerevan, 2007,
5. Եզեկյան Լ, «Ոճագիտություն», Երևանի պետական համալսարանի հրատարակչություն, Երևանե 2007,
6. Կույումջյան Ս, Սեֆերյան Ս., "Reading through Translation”, Սահակ Պարթև, 2005,
7. Սարոյան Վ., «ժամում 60 Մղոն», ՀայպԵհրատ, Երևան, 1940,
8. Սարոյան Վ,, «Ընտիր Երկեր» չորս հատորով, Երևան,"Սովետական Գրող", 1986.
9. Floan Howard F." William Saroyan", Twayne publishers, New york,1965..
Twentieth century American literature begins with a bang: the twinned literal detonations of World War I and the figurative detonation of the Modernist movement in art, which upended many of the conventions of poetry and storytelling. These two events were both primarily European in origin, but they cast a wide net of influence, and for several decades American literature negotiated a new identity as simultaneously national and international work, participating in world cultural and artistic dialogues while still concerned to remain authentically national. As the century continued, cultural cross-pollination grew even more complex: new works emerged from recent immigrants, or from cultures within America who had long been marginalized: African-Americans, Native Americans. These authors often negotiate complex relationships with a literary heritage that has marginalized and excluded them.
Life in twentieth century was full of contradictions. It is in the twentieth century that man s faith in all accepted values has been entirely shaken. He has lost his faith in entirety and no longer does he bother about immortality. Having lost its center the absolute human life has become peripheral and relative. Hence, attention from God and society has become the dominant theme of the twentieth century literature. Eliot, Yeats, Fry, Claudel and others wrote plays that ran counter to this attitude but they did not succeed. Their plays failed to be effective even as plays. Lorca, Synge, Pirandello and others wrote plays that succeeded artistically but their attitude too was irrelevant to modern times, and therefore, they remained to be authors of merely idyllic and sentimental plays. With the emergence of expressionist playwrights of the 1920s and the existentialist playwrights of the 1940s, all the nice idealism of old world have completely disappeared. People have outgrown religion, political systems, and established convictions and certainities. They have been thrown into a state of bewilderment and apathy. Human existence with its corruption has outraged them and their plays bear powerful testimony to the anguish they felt within. “Brecht became a Marxist, Genet turned out to be a pederast and a criminal. Ionesco became the greatest mocker of man. Satre reduced life to an absurdity and O` Neill offered every man the “warm dark peace of annihilation”. Since Kaiser s From Morn to Midnight, these plays have expressed the bedeviled position of man and his sordid legacy. Nausea Claustrophobia, lack of communication are the dominant themes of modern drama. Adisgust with life, a waiting for death and sense of Pascalian horror of emptiness all around characterize these plays. The people in them are persons cut adrift from all values venerated by tradition.