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"We have now seen something of the state of religion in the time of Chaucer. All England was ostensibly Roman Catholic, but in the period under discussion many people had wandered away from the faith and strayed far from the Church and its rules. That Geoffrey Chaucer was aware of this can be guessed from the ironic way in which he delineates many of the religious figures in his Canterbury Tales..."

"Chaucer, Marlowe and Shakespeare all three wrote about the Jews in their respective times. Chaucer wrote about the Jews as they appreared to him and his contemporaries in the fourteenth century, Marlowe presented the Jews to us they were regarded by his contemporaries in the sixteenth century and Shakespeare too considered the position of the Jews in the same century as Marlowe, since the two later play wrights were contemporaries, Much, however, had happened in the period separating Chaucer from Shakespeare. Chaucer lived in an exclusively Roman Catholic age. The Pope still had power over both the English monarch as well as the English subject. An Englishman, therefore, owed allegiance to both the king and the Pope; one ruled over the temporal state, the other over the spiritual state. This was the state of affairs when Chaucer wrote his Prioress's Tale. Here he clearly showed his (and also his contemporaries') dislike of the Jews. The Jew was the enemy of the Church; he was an outlaw because he violated the law of the Church wich prolibited the lending out of money on interest..."

"The appearance of Revenge Tragedy in Elizabethan Drama - Looking at the historical development of English Drama, we see that the tragic plays of the Elizabethan and Jacobean period are fre_quently concerned with revenge. Plays of this genre reflect man's tendency to defy God's beneficent will. It can be said that the revenge plays have in common a criticism of life, and are in a way a warning to men to choose good rather than evil. The dramatic theme of revenge proved to be popular in the late sixteenth and early seventeenth centuries, because it appeal_ed to the Elizabethan and Jacobean taste for Grand Guignol 1/ - a taste shared by some cinema and theatrical audiences today. Apart from this, Elizabethan and Jacobean playgoers were very eager to witness the revelation of peculiar states of mind and these could nowhere be seen except in plays of this kind.Foreign elements - The Elizabethan and Jacobean plays of revenge are not however entirely original in conception. Their authors_"

"When we review the theatre in its development from the Elizabethan age to the Restoration period, we find that the playhouse changes from one exposed to the open air, dependent for its illumination on the capricious daylight and not altogether protected from the noise from outside, to one covered by a roof. In this covered playhouse, intimacy is secured. Acting took place within an enclosed space. The light of the candles used in the Restoration theatre would have provided an atmosphere of enchantment for an Elizabethan audience used to daylight performances. Whilst the attention of an Elizabethan audience might wander away from the stage-because in the bright light the spectators could see many other things besides the stage, including one another--the attention of the Restoration audience could remain focussed on the stage. We have seen that the scenery was being used on the Elizabethan masque atages and this was also adopted in the Restoration public theatre. It had not. however, yet come to represent an imitation of real life. Scenery was still only used as colourful decoration of the acting area. According to Richard Southern, this refusal to make of the stage a reproduction of reality, should not be interpreted as 'crudeness', a failure on the part of the Restoration stage managers to exploit the potentialities of the scenic stage. They deliberately kept it 'crude', because they realised the difficulties involved in giving a realistic presentation. The Restoration stage, though it included scenery, was fundamentally the same platform stage of the Elizabethan period. It was still a long way from the modern 'picture frame' stage, which often strives to give the stage an illusion of reality. It was only in the nineteenth century that in most productions the apron finally disappeared. The acting was essentially the same in both periods. We noted that the actors of both periods used the 'acted speech' technique, where the speech was also enacted physically, i.e. by gestures and facial expression. Consequently the texts written by the dramatists_"

"Wordsworth suppliod his Lyrical Ballads with sovoral Advortisoments and Prefaces, which were meant to serve as guides for the better under-standing of his poems. In this Thosis I have chosen to consider the 1800 Proface, or the Preface to the Second Edition of the Lyrical Ballads, because it contains Wordsworth's theories upon the principles of Poetry. Wordsworth and Coleridge planned to compose a volume of Poetry which would be different in its subject mattor and language from existing poems; it was to be free from conventional imagery and terminology. Coleridge's well known contribution to the Lyrical Ballads is the Ancient Marinor, which I shall not discuss in this Thesis. I have selected a fow of Wordsworth's poems from the Lyrical Ballas to illustrate my study of cortain aspects of tho 1800 Preface. These poems are Michael, The Idiot, Boy, The Thorn, The Brothers, and Resolution and Indopordonce. I have also taken some passages from The Prelude."

"It is sometimes thought that a comedy is a play which makes us shake with laughter and that a tragedy is a play at the end of which we will have swollen eyes and lots of wet handkerchiefs. This superficial idea of comedy and tragedy is only partly true, for a comedy is not only meant to excite laughter, nor is a tragedy merely performed to make us cry. Both comedy and tragedy, especially Shakespearian comedy and tragedy are written with a purpose other than that of making us laugh or weep. T he term Shakespearian indicates a play written by William Shakespeare of Stratford-on- Avon, and since drama is in Hamlet's words to hold the mirror up to Nature, to show virtue her own feature... it should help people to see them-selves as they really are. Drama should also reveal to them their virtues and vices.Comedy has been said to be beneficial because it:1.cures us of our follies by exposing them on the stage, 2. affords us a chance to laugh at our neighbours. Heywood, cited by Northrop Frye, defines the dual function of comedy as being to reform and to refresh, by which it is clear that, aside from evoking laughter, comedy also reforms. Comedy imi_tates the joys of social life and the follies of those who stubbornly try to maintain their own ridiculous ways against society. The joy of social life is usually manifested in a wedding or a happy reunion at the end of the play. The ten_dency of comedy is to include as many people as possible in its final society, the blocking characters are more often reconciled or converted than simply repudiated."

"So we have seen that the Breton Lay of 'Sir Orfeo' follows the conventions of medieval courtly-love poetry, except for one feuture,nwnely that hero and heroine are husband and wife. lhi s, however , i. s not an Innovation of the noet's;it was taken from the classical version of the story.Aa a story 'Sir Orfeo' is well told,although I suggest that the churacters,by virtue of the reasons postulated on pages 25 and 2o,ure flat.In the F'rankli n' a Tule,Chuucer has also used the earlier,he uses them in a different way.As a story the Franklin's Wale is also good,and in its plot,as has al-ready been ahown,each event has a cause;the characters especially that of Dorigene,can he said to he round; the supernatural element,?nagic,i.s explained in detail. The explanation might not be a scientific one,but at least it is explained, whereas in 'Sir Orfeo' it is not. The courtly-love conventions too are used to servo a certain purpose,nwnely to illustrate Chats cer's views about marriage relationships..."

"Terjemahan beranotasi adalah terjemahan yang dilengkapi dengan catatan yang menyampaikan pertanggungjawaban penerjemah atas padanan yang dipilihnya. Karena tujuan utama penerjemahan mengalihkan pesan dari BSu ke BSa, penerjemah buku Nasty Bosses menerapkan prosedur, metode, dan teknik penerjemahan sebelum mulai menerjemahkan. Ketiga prosedurÂ?analisis, pengalihanan termasuk de-verbalisasi, dan restrukturisasi teks dilakukan untuk mengatasi dua masalahÂ?ketidakmampuan memahami arti kata, frasa, kalimat, dan paragraf dalam TSu dan kesulitan dalam penerjemahan; menandai, memberikan nomor, dan mengelompokkan ungkapan-ungkapan yang akan dianotasi. Masalah yang dihadapi penerjemah buku Nasty Bosses antara lain dalam menganalisis masalah, misalnya mengidentifikasi idiom dan/atau membedakan idiom dari ungkapan biasa, dan penerapan teknik dan metode yang sesuai untuk mendapatkan padanan yang tepat. Ini disebabkan ungkapan-ungkapan dalam buku Nasty Bosses berbentuk metaforis dan idiom yang mengakibatkan penerjemah terlebih dahulu harus menganalisa makna TSu berdasarkan konteksnya. Setelah selesai menerjemahkan, penerjemah memahami bahwa dalam menerjemahkan tidak cukup hanya berdasarkan metode, prosedur dan teknik melainkan juga memiliki wawasan yang luas.

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An annotated translation is a translation completed with a note or annotation showing the translatorÂ?s responsibility in choosing the equivalent words. Since the core of translation is to transfer or reproduce the source language message into the target language, the translator of Nasty Bosses, before translating, applied the procedures, methods, and techniques of translation. The three procedures analyzing, transferring including de-verbalizing, and restructuring the text are done in order to solve the two practical problems the incapability of comprehending meaning of words, phrases, sentences, and paragraph of the source text and the difficulty in translating such as marking, numbering, and grouping the expressions going to be annotated.

The problems faced by the translator of Nasty Bosses among others are analyzing the problems, such as identifying idioms and/or distinguishing them from common expression, and applying the techniques and methods suitable and applicable to get accurate equivalence. This because the annotated expressions of Nasty Bosses are expressions such as idiom and metaphor which make the translator analyze its contextual meaning first. Having finished translating, the translator got the impression that doing the translation is not enough only by basing on the method, procedure, and technique but also by having wide horizon."