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What could Greek poets or Roman historians say in their own language that would be lost in translation? After all, different languages have different personalities, and this is especially clear with languages of the ancient and medieval world. This volume celebrates six such languages - Ancient Greek, Latin, Old English, Sanskrit, Old Irish, and Biblical Hebrew - by first introducing readers to their most distinctive features, then showing how these linguistic traits play out in short excerpts from actual ancient texts. It explores, for instance, how Homer's Greek shows signs of oral composition, how Horace achieves striking poetic effects through interlaced word order in his Latin, and how the poet of Beowulf attains remarkable intensity of expression through the resources of Old English. But these are languages that have shared connections as well. Readers will see how the Sanskrit of the Rig Veda uses words that come from roots found also in English, how turns of phrase characteristic of the Hebrew Bible found their way into English, and that even as unusual a language as Old Irish still builds on common Indo-European linguistic patterns. Very few people have the opportunity to learn these languages, and they can often seem mysterious and inaccessible: drawing on a lucid and engaging writing style and with the aid of clear English translations throughout, this book aims to give all readers, whether scholars, students, or interested novices, an aesthetic appreciation of just how rich and varied they are.
In 1929, the first cuneiform tablet, inscribed with previously unknown signs, was found during archeological excavations at Ras Shamra (ancient Ugarit) in northern Syria. Since then a special discipline, sometimes called Ugaritology, has arisen. The impact of the Ugaritic language and of the many texts written in it has been felt in the study of Semitic languages and literatures, in the history of the ancient Near East, and especially in research devoted to the Hebrew Bible. In fact, knowledge of Ugaritic has become a standard prerequisite for the scientific study of the Old Testament. The Ugaritic texts, written in the fourteenth and thirteenth centuries B. c., represent the oldest complex of connected texts in any West Semitic language now available (1984). Their language is of critical importance for comparative Semitic linguistics and is uniquely important to the critical study of Biblical Hebrew. Ugaritic, which was spoken in a northwestern corner of the larger Canaanite linguistic area, cannot be considered a direct ancestor of Biblical Hebrew, but its conservative character can help in the reconstruction of the older stages of Hebrew phonology, word formation, and inflection. These systems were later-that is, during the period in which the biblical texts were actually written-complicated by phonological and other changes. The Ugaritic texts are remarkable, however, for more than just their antiquity and their linguistic witness. They present a remarkably vigorous and mature literature, one containing both epic cycles and shorter poems. The poetic structure of Ugaritic is noteworthy, among other reasons, for its use of the "parallelism of members" that also characterizes such ancient and archaizing poems in the Hebrew Bible as the Song of Deborah (in Judges 5), the Song of the Sea (in Exodus 15), Psalms 29, 68, and 82, and Habakkuk 3. Textual sources and their rendering The basic source for the study of Ugaritic is a corpus of texts written in an alphabetic cuneiform script unknown before 1929; this script represents consonants fully and exactly but gives only limited and equivocal indication of vowels. Our knowledge of the Ugaritic language is supple-mented by evidence from Akkadian texts found at Ugarit and containing many Ugaritic words, especially names written in the syllabic cuneiform script. Scholars reconstructing the lost language of Ugarit draw, finally, on a wide variety of comparative linguistic data, data from texts not found at Ugarit, as well as from living languages. Evidence from Phoenician, Hebrew, Amorite, Aramaic, Arabic, Akkadian, Ethiopic, and recently also Eblaitic, can be applied to good effect. For the student, as well as for the research scholar, it is important that the various sources of U garitic be distinguished in modern transliteration or transcription. Since many of the texts found at Ugarit are fragmentary or physically damaged, it is well for students to be clear about what portion of a text that they are reading actually survives and what portion is a modern attempt to fill in the blanks. While the selected texts in section 8 reflect the state of preservation in detail, in the other sections of the grammar standardized forms are presented, based on all available evidence.
Examines the writing systems, morphology, phonology, syntax, and lexicon of ancient languages.
This volume provides concise, authoritative accounts of the approaches and methodologies of modern lexicography and of the aims and qualities of its end products. Leading scholars and professional lexicographers, from all over the world and representing all the main traditions andperspectives, assess the state of the art in every aspect of research and practice. The book is divided into four parts, reflecting the main types of lexicography. Part I looks at synchronic dictionaries - those for the general public, monolingual dictionaries for second-language learners, andbilingual dictionaries. Part II and III are devoted to the distinctive methodologies and concerns of the historical dictionaries and specialist dictionaries respectively, while chapters in Part IV examine specific topics such as description and prescription; the representation of pronunciation; andthe practicalities of dictionary production. The book ends with a chronology of the major events in the history of lexicography. It will be a valuable resource for students, scholars, and practitioners in the field.
NATIONAL BESTSELLER • Seven-year-old Chula lives a carefree life in her gated community in Bogotá, but the threat of kidnappings, car bombs, and assassinations hover just outside her walls, where the godlike drug lord Pablo Escobar reigns, capturing the attention of the nation. “Simultaneously propulsive and poetic, reminiscent of Isabel Allende...Listen to this new author’s voice—she has something powerful to say.” —Entertainment Weekly When her mother hires Petrona, a live-in-maid from the city’s guerrilla-occupied neighborhood, Chula makes it her mission to understand Petrona’s mysterious ways. Petrona is a young woman crumbling under the burden of providing for her family as the rip tide of first love pulls her in the opposite direction. As both girls’ families scramble to maintain stability amidst the rapidly escalating conflict, Petrona and Chula find themselves entangled in a web of secrecy. Inspired by the author's own life, Fruit of the Drunken Tree is a powerful testament to the impossible choices women are often forced to make in the face of violence and the unexpected connections that can blossom out of desperation.
"Why Translation Matters argues for the cultural importance of translation and for a more encompassing and nuanced appreciation of the translator's role. As the acclaimed translator Edith Grossman writes in her introduction, "My intention is to stimulate a new consideration of an area of literature that is too often ignored, misunderstood, or misrepresented." For Grossman, translation has a transcendent importance: "Translation not only plays its important traditional role as the means that allows us access to literature originally written in one of the countless languages we cannot read, but it also represents a concrete literary presence with the crucial capacity to ease and make more meaningful our relationships to those with whom we may not have had a connection before. Translation always helps us to know, to see from a different angle, to attribute new value to what once may have been unfamiliar. As nations and as individuals, we have a critical need for that kind of understanding and insight. The alternative is unthinkable"."--Jacket.
In recent years, scholarship on translation has moved well beyond the technicalities of converting one language into another and beyond conventional translation theory. With new technologies blurring distinctions between "the original" and its reproductions, and with globalization redefining national and cultural boundaries, "translation" is now emerging as a reformulated subject of lively, interdisciplinary debate. Nation, Language, and the Ethics of Translation enters the heart of this debate. It covers an exceptional range of topics, from simultaneous translation to legal theory, from the language of exile to the language of new nations, from the press to the cinema; and cultures and languages from contemporary Bengal to ancient Japan, from translations of Homer to the work of Don DeLillo. All twenty-two essays, by leading voices including Gayatri Spivak and the late Edward Said, are provocative and persuasive. The book's four sections--"Translation as Medium and across Media," "The Ethics of Translation," "Translation and Difference," and "Beyond the Nation"--together provide a comprehensive view of current thinking on nationality and translation, one that will be widely consulted for years to come. The contributors are Jonathan E. Abel, Emily Apter, Sandra Bermann, Vilashini Cooppan, Stanley Corngold, David Damrosch, Robert Eaglestone, Stathis Gourgouris, Pierre Legrand, Jacques Lezra, Françoise Lionnet, Sylvia Molloy, Yopie Prins, Edward Said, Azade Seyhan, Gayatri Chakravorty Spivak, Henry Staten, Lawrence Venuti, Lynn Visson, Gauri Viswanathan, Samuel Weber, and Michael Wood.
It is commonly agreed by linguists and anthropologists that the majority of languages spoken now around the globe will likely disappear within our lifetime. This text focuses on the question: what is lost when a language dies?