E-Learning Week for students of Bukit Merah Secondary. Analyzing texts based on the Jolly Postman. The Jolly Postman by Janet and Allan Ahlberg (Puffin). Sub-titled 'Other People's Letters', this is a stupendous and original picture book. As the Postman delivers. Janet and Allan Ahlberg. THE JOLLY POSTMAN or Other People's Letters. Little, Brown and Company. Boston Toronto London.

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“The Jolly Postman Rides. Again” is a program that will instill a love for the giving and receiving of letters in children. The program is introduced with the story. This resource is available in Standard, Editable and PDF. Suggest a new version Jolly Post Office Role Play Pack to Support Teaching on The Jolly Postman. and details. Files included (5). postcard-templatepdf; letter-templatepdf;;; .

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Why not share! Embed Size px. Start on. Show related SlideShares at end. WordPress Shortcode. Published in: Full Name Comment goes here. Are you sure you want to Yes No. Arjune Shiwdat. Among these, reader-response theory has for some time stressed the input of the reader as actively processing texts, and hence as generating rather than merely recon- structing the meanings embedded in texts; as a result, the original text has lost some of its traditional authority.

Emphasizing the role of the reader in creating meaning from a text leads to the recognition of multiple legitimate interpretations of any one text.

Translators of source texts are in the first place readers of that text, and it is their particular interpretation of the original that will guide their transla- tion.

This manipulation of the text by the translator or researcher as reader is unavoidable. What is interesting is the par- ticular form that manipulation takes.

Toward a New Aesthetic relationships to texts that precede them and texts that follow them. The concept of intertextuality also questions the authority of any one text over another because essential to an intertextual analysis is the equality of the confrontation of texts.

What is important is not just the link but the use the author makes of that link—consciously or uncon- sciously. Although intertextuality emphasizes the creative input of the author, at the same time it stresses that a text is available only through some process of reading; what is pro- duced at the moment of reading is due to cross-fertilisation of the pack- aged textual material say, a book by all the texts which the reader Michael Worton and brings to it Worton and Still, , pp.

These differences in reading experience mean that allusions may remain dor- mant or that different connections will be made. Helen Bromley describes how she introduced the concept of intertex- tuality to her class of 6-year-olds, turning it into a spy game, and ex- plains how the pupils then tried to find examples in picture books. Although adult translators may, consciously or unconsciously, pick up many of the intertextual references, a com- plete and full understanding of all references is even here an impos- sibility.

Two main strategies for translating a text that is highly intertextual suggest themselves, based on what is characteristic of intertextuality. A possible translation strategy here would be one where all the references are just translated literally, that is, going for the closest equivalent phrase in the target language.

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Another translation strategy with regard to references that translators predict will remain dormant in the target audience would be to delete them as they would not be understood anyway—robbing the target text reader of the references altogether.

This would imply deleting River Dee, Lon- don Bridge, and so on. On the other hand, a different approach based on another aspect of texts seems equally possible. The multiplicity and variety of inter- pretation implied in highly intertextual texts that leads to a more open text can be recreated by translators who may try to focus on creating an equally but differently open text.

Translators may be aware of gaps in their own reading, may observe that certain intertex- tual or cultural references do not work in the target culture, and therefore recognize that particular references would remain dormant for most of the intended audience in the target culture.

Intertextuality may be understood as a process of text creation where a text is infused with echoes from a variety of sources. References ring through and permeate the text, while at the same time opening up a dialogue with other texts; being in the form of an echo they imply both amplification and distortion of the sources. This view also applies to the translation of a text, which is an echo of the source text—in this particular case, into a different language.

The translated text gives a new lease on life to the source text amplification but also transforms its meaning potential distortion. All three books are conceived as narratives about a postman delivering letters; the actual letters are interleaved between the pages of the books in open envelopes for exploration by the reader. A 6-line partly rhym- ing stanza is found on the left page of the first spread, then an enve- lope containing a letter makes up the right side of the first spread, followed by a 4-line partly rhyming stanza on the right page of the second double spread.

This pattern is repeated throughout.

The second book in the series, The Jolly Christmas Postman , , is built around the idea of gift giving for Christmas. The last book in the series, The Jolly Pocket Postman , starts off with a letter to the reader; the envelope also contains a lens to be used in reading the book.

It is important to assess the role intertextuality plays in a text when considering how to translate it. The examples cited above make it obvious that intertextuality is an essential feature of the books and that, if their meaning potential is to be recreated in some form, an attempt to render their intertextuality in the target text should be undertaken.


However, a balance must be found as the target text also needs to function in the target culture environment. The particular character of the intertexts used in the Jolly Postman books is clearly British. Although fairy tales have an international background, the fairy tales in the books are very much located in the British cultural sphere; this is even more true of the nursery rhymes alluded to.

The Dutch translator needs to strike a balance between rendering the Britishness and local colour of the source texts and positioning the target texts in the target literary culture. In order to do so, he com- bines straightforward translation with substitution and compensation strategies. However, the intertextual and metafictional aspects of these texts are not the only elements to consider in translating them. The relationship between the illustrations and the verbal text is cru- cial, and the verbal text is reinforced by visual interpretation, but at the same time the illustrations on their own sustain further intertex- tual links not mentioned in the text.

Dutch is the official language of the Netherlands and Flanders, the northern part of Belgium. As Dutch is a rela- tively small language, of some twenty million speakers, large numbers of books are translated and imported into the culture.

However, when translating into Dutch a translator may have to opt for one cultural background rather than the other Dutch versus Flemish , but could also mix and provide references from both cultural spheres.

The Jolly Postman Teaching Resources

The trans- lations of the Jolly Postman books are brought out by a publisher based in the Netherlands, whose books are also distributed in Flan- ders, and the translator, Ernst van Altena, is Dutch as well. The factor is relevant: The substitution and compensation strategies used clearly locate the text as a Dutch intertextual text and not Flemish.

All three Jolly Postman books are translated by Ernst van Altena, a much respected writer and translator of adult poetry, and all three books acknowledge the translator on the title page or on the back cover and in the bibliographic information.

Van Altena has clear views on translation and considers the translator to be the key person who opens foreign cultures and literary texts, which would otherwise remain closed for the target public.

The translation strategies Ernst Van Altena uses for the Jolly Postman books include literal translation, substitution, compensation or addi- tion , and very occasionally deletion. This translation strategy links the three books together just as is the case with the three source texts. A prominent feature of all three books is the device of envelopes with handwritten addresses, postmarks, and stamps.

The graphic design of the envelopes remains almost identical—addresses are handwritten, different typefaces are used to characterize the different kind of let- ters, the hand drawn stamps are the same.

The time on the postmarks is changed to continental use of time, for example 4. Postmarks also carry verbal information and this information is translated literally, substituted by a target cul- ture reference, and even compensation in the form of additional pun- ning can be found. This nursery rhyme also has a Flemish version, which is not alluded to. The translation has here created additional links obviously not present in the source text.

The translator has also used substitution where this was not strictly necessary. The purpose of this local reference may be to create more Dutch feeling in the text.Formal, hand written letter, junk mail, flyers, invitations, cards etc.

Losers become the cheerleader for the winner, continue. Remember the witch finds warts and blisters attractive. Or we may sound the chimes to get attention or to show there. The centre of the room is called home.

Engage kids in cooperative play activities to help them. It was originally part of the now defunct OCUP program.

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