But implicitly parallel documents are everywhere-- the parallelism of commentaries, the parallelism of long and short versions of reports, the parallelism of translations, the parallelism of holy books (106).  It is vital that we be able to see this parallelism of documents and to intercompare and work with their side-by-side connection.

The remainder of this Commission is organised into four parts

The one exception is the scene with the Trolls, who in Tolkien’s original speak in Cockney accents, substituted in the translation for Caernarfon Welsh (“Cofi”).

Luhmann’s claim in ‘Communicating with Slipboxes’, where he said: “it is most important that we decide against the systematic ordering in accordance with topics and sub-topics and choose instead a firm fixed place (Stellordnung).”

If you want notes and commentary op you gotta pick up editions with the original language. I recommend Aris and Philips (publisher) for you since the commentary is pegged to the English not the original language.

If you consult any dictionary you will see that the word“exactitude” is not among the synonyms of faithfulness.There are rather loyalty, honesty, respect, and devotion.Umberto Eco1Although Eco was referring to the translation of literarytexts in the lines above

Here is Alter’s version of the well-known opening of Genesis 21, part of the story of Isaac, the miracle baby of 90-year-old Sarah, and her 99-year-old husband, Abraham: “And the Lord singled out Sarah.” The word Alter is translating as “singled out” is pakad. The King James, and most others after it, translate it as “visited.” The Jewish Publication Society has it as “remembered.” Others translate it as “kept his word,” “took note of,” “was gracious to,” “was attentive to” or “blessed.” A good literal version, provided by the canny contemporary translator Everett Fox, has it as “took account of” — and there is something numerical and even administrative about pakad. (Elsewhere in the Bible, in the context of describing a public census, pakad means “to number”; in modern Hebrew, it is related to the words for “officer,” “clerk” and “roll-call.”) Weaving together its numerical dimensions with a thread of bureaucratic banality, Alter yields the anxious verb “singled out” and with it, reveals new layers of tension in this story.

The only place in the Hebrew Bible where nasab is translated as a pillar is the case of Lot’s wife: “Lot’s wife looked back, and she thereupon turned into a pillar of salt” (Genesis 19:26). The Hebrew word nasab indicates that Lot’s wife was standing in place like a pillar.

The pillars or sacred stones were stones set apart for religious use. The word massebah comes from the Hebrew word nasab, a word which means “to stand.”

There are two words in Hebrew that are associated with standing stones: the word ʼben and the word massebah.

card le

Penelope’s is opaque. (Her name means “veil over the face.”)

Wilson’s translations are the first in English to jettison slurs or euphemisms that mask the abjection of women in a society where a goal of war, according to the Iliad, was to rob men of their women, and where female captives of every rank were trafficked for sex and domestic labor.

Stallings said, “Does Emily’s clarity betray that element of the epic register that Matthew Arnold calls ‘nobility’? Some critics think a certain grandeur is missing. But every translation is a compromise, even a great one.”

Homer introduces him with the adjective polytropos—literally, “of many turns.” Previous translators have called him “shifty,” “cunning,” and a hundred other things. After grappling with the alternatives, Wilson chose “complicated,” hoping also to convey the sense of “problematic.” Her first sentence—“Tell me about a complicated man”—instantly makes him our familiar: that charismatic prince who’s too impossible to live with and too desirable to live without.

The opening of Robert Fagles’s widely admired Odyssey, she points out, uses two English words for every Greek one.

Fagles opts for midriff, which once meant “diaphragm” in English but today makes it sound like Sarpedon was speared somewhere between his low-rise jean shorts and his crop top.

When she is given a chance to coin a new and unusual phrase and free into English a word hitherto trapped in the amber of Greek, she unfailingly chooses the ordinary and imperfect English word.

The critic Guy Davenport, in a pan of Lattimore, wrote that translation is a game of two languages, and that “the translator is in constant danger of inventing a third that lies between.”

Nowhere is the P&V distortion so plain and disturbing as in their versions of Tolstoy.Critics sometimes say it is impossible to ruin Tolstoy because his diction is so straightforward. But it is actually quite easy to misrepresent him if one does not understand the language of novels. Since Jane Austen, novels have tended to trace a character’s thoughts in the third person. The choice of words, and the way one thought begets another, belongs to the character, and so we come to know her inner voice. At the same time, the character’s view may not comport with the author’s, and it is the art of the writer to make clear that what the character is seeing is deluded or self-serving or foolish. This “double-voicing” lies at the heart of the 19th-century novelistic enterprise. For Dickens and Trollope, “double-voicing” becomes the vehicle of satire, while George Eliot and Tolstoy use it for masterful psychological exploration. If one misses what is going on, the whole point of a passage can be lost.

readers typically turn to translations not to hear about culinary ephemera but to read literature.

At the end of our last conversation in Paris, Pevear went to his shelves and pulled down a volume in French, and read a prayer by Larbaud addressed to St. Jerome, who translated the Bible into Latin. Following the line with his finger, Pevear squinted and, slowly, translated: “Excellent Doctor, Light of the Holy Church, Blessed Jerome. I am about to undertake a task full of difficulties, and from this moment on I beg of you to help me with your prayers so I can translate this work into French with the same spirit with which it was composed.”

Pevear, especially, has read some of the theory about translation: Walter Benjamin, José Ortega y Gasset, Roman Jakobson, and, of course, Nabokov.

Pevear and Volokhonsky told me that they considered Nabokov’s “Onegin” one of the great triumphs of translation, even though it is nothing like their own work. Nabokov, who regarded “The Gift” and “Lolita” as his best novels, thought that his “Onegin” was perhaps the most important project of his life and, at the same time, like all translation, innately futile.

To compare the Garnett and the Pevear-Volokhonsky translations of “The Brothers Karamazov” is to alight on hundreds of subtle differences in tone, word choice, word order, and rhythm.“These changes seem small, but they are essential. They accumulate,” Pevear said. “It’s like a musical composition and a musician, an interpretation. If your fingers are too heavy or too light, the piece can be distorted.”“It can also be compared to restoring a painting,” Volokhonsky said. “You can’t overdo it, but you have to be true to the thing.”

For instance, they will not use an English word that the Oxford English Dictionary says came into use after the publication of the novel they are translating.

By the way, I would now revise the sentence you quote to read: "Fixed numbers, abstracted from any content-based order relying on the entire structure has ..."

Zugubal Mabaig (astronomers - literally translated to “Star Man“ or “ConstellationMan”

to heaven. I see that if my facts were sufficiently vital and significant,—perhaps transmuted more into the substance of the human mind,—Ishould need but one book of poetry to contain them all.

As Goitein is reported to have said: “A good editionis the highest form of interpretation.”

Facing the Philistine army is King Saul, his general Abner, son of Ner,and the Israelite warriors. They gather between Socoh and Azekah, at theplace referred to as “Ephes-dammim,” or, in another tradition, “Pas-dammim.” Various battles in which David’s heroes were involved (1Chronicles 11:13) occurred at this place. The name Ephes-dammim doesnot appear in the list of the cities of the tribe of Judah, or in traditions laterthan the time of David. Recently, David Adams, who has worked at KhirbetQeiyafa, has proposed understanding the word “Ephes” in this context asthe border, while “dammim” means blood in Hebrew. He therefore explainsthe name as meaning the “border of blood,” in other words, the bloodybattle zone.3

Are hyperlinks needed for a Zettelkasten?

Zettelkasten, which in American English means notebox, and in Euro-pean English translates to slip box.

Duolingo or whatever French and I had this idea well basically what it reminds me of is Stefan's Vig the Austrian

The sheet box

I have a notifications on the German equivalent to craigslist on Karteikasten, Karteikartenschrank, Karteischrank, Apothekenschrank and the like in a 50km radius around here. Hope one day something comes up that is reasonable priced and small enough to fit the trunk of our little electric car :-)

Ms. Jones, who had previously edited translations of the French philosophers Albert Camus and Jean-Paul Sartre, the Child book opened a new career path, editing culinary writers: James Beard and Marion Cunningham on American fare, Madhur Jaffrey (Indian food), Claudia Roden (Middle Eastern), Edna Lewis (Southern), Lidia Bastianich and Marcella Hazan (Italian), and many others.

The Perseus Project at Tufts, founded in 1985, includes both Greek and English versions of the Iliad and the Odyssey, along with commentaries.

glas is a very old word, and while the more modern gwyrdd is used for green, glas can in fact be both blue and green, depending on context. The idea behind glas is not so much a colour itself, but the attribute you’d give to plants that are alive. The opposite is llwyd, which is connected to “dead” things like rocks, so naturally you’d translate it as gray, but sometimes it’s used as brown, too. (Again, the Welsh word brown is much newer than llwyd.)

When Arnaud’s mother saw me looking around the shared house at the holidays with a squinty face, she smiled and said, “Qui a lâché Médor?”

Even finding terms totranslate concepts like ‘lord’, ‘commandment’ or ‘obedience’ intoindigenous languages was extremely difficult; explaining theunderlying theological concepts, well-nigh impossible.

As a result of extensive work with this technique a kind of secondary memory will arise, an alter ego with who we can constantly communicate.

index card file

I have used the Oxford text of T. W. Allen, 2nd edition, and followed itexcept in a very few places

Slavitt’s volume enters a crowded field where there are praiseworthy translations of Lucretius in both prose and poetry. There was no need for yet another English version of the De Rerum Natura, and Slavitt’s attempt to compete with the likes of the venerable Bailey, the reliable Melville and the often sublime Stallings should serve as an impetus for those interested in Lucretius to learn Latin, or at least to use a translation that is more Lucretius and less David Slavitt.

In general, the greatest deficiency in the translation (besides its omissions) is failure to capture Lucretius’ style: archaism and indeed repetition are part of what makes Lucretius Lucretius (and not Slavitt).

No indication is given of how his version might be better than Stallings’ Penguin, or the Oxford verse translation of Melville, another formidable competitor Slavitt does not equal.

Hérigone's only important work is the six volume Cursus mathematicus, nova, brevi, et clara methodo demonstratus Ⓣ<span class="non-italic">(</span>Course on mathematics : new, short, and with clear methods shown<span class="non-italic">)</span> or, to give it its French title, Cours mathematique, demonstre d'une nouvelle, briefve, et claire methode which appeared between 1634 and 1642.

The work translated here has traditionally been calledDe arca Noe mystica, or ‘‘TheArk of Noah According to the Spiritual Method of Reading.’’

Concerning the discipline of sociology, he described the dichotomy of sedentary life versus nomadic life as well as the inevitable loss of power that occurs when warriors conquer a city. According to the Arab scholar Sati' al-Husri, the Muqaddimah may be read as a sociological work. The work is based around Ibn Khaldun's central concept of 'aṣabiyyah, which has been translated as "social cohesion", "group solidarity", or "tribalism". This social cohesion arises spontaneously in tribes and other small kinship groups; it can be intensified and enlarged by a religious ideology. Ibn Khaldun's analysis looks at how this cohesion carries groups to power but contains within itself the seeds – psychological, sociological, economic, political – of the group's downfall, to be replaced by a new group, dynasty or empire bound by a stronger (or at least younger and more vigorous) cohesion. Some of Ibn Khaldun's views, particularly those concerning the Zanj people of sub-Saharan Africa,[27] have been cited as a racist,[28] though they were not uncommon for their time. According to the scholar Abdelmajid Hannoum, Ibn Khaldun's description of the distinctions between Berbers and Arabs were misinterpreted by the translator William McGuckin de Slane, who wrongly inserted a "racial ideology that sets Arabs and Berbers apart and in opposition" into his translation of the Muqaddimah.

The worst answer I can imagine is the one Pope Gregory VII gave for refusing to let the Holy Scripture be translated out of Latin: “... [I]f it were plainly apparent to all men, perchance it would be little esteemed and be subject to disrespect; or it might be falsely understood by those of mediocre learning, and lead to error.”

“Am I to understand,” I asked, “that you leave the whole of the property, of every sort and description, of which you die possessed, absolutely to Lady Verinder?” “Yes,” said Sir John. “Only, I put it shorter. Why can’t you put it shorter, and let me go to sleep again? Everything to my wife. That’s my Will.”