By taking an integrated approach to translation, Hatim and Mason provide a refreshingly unprejudiced contribution to translation theory.
A collection of cinema related essays written by Charu Nivedita in 2010. இதைப் படிக்கும் ஒருவருக்கு தமிழ் சினிமா பற்றி மிகவும் எதிர்மறையாக எழுதப்பட்ட கட்டுரைகள் என்று தோன்றக்கூடும்..
தமிழ் சினிமாவை மிக அதிகமாக நேசிப்பதாலேயே இப்படிப்பட்ட கட்டுரைகளை எழுதினேன். கடந்த 30 ஆண்டுகளாக சர்வதேச சினிமாவின் தீவிரமான ரசிகன் என்ற முறையில் இதையெல்லாம் சொல்லியாக வேண்டியிருக்கிறது. உண்மையில் இந்த விமர்சனங்களுக்கு ஆளானவர்கள் எனக்கு நன்றி தெரிவிக்க வேண்டும். ஆனால் நிலைமை அப்படி இல்லை.
அவர்கள் என்மீது கோபப்படுகிறார்கள். உங்கள் எடையை 200 கிலோவாகக் காண்பிக்கும் எடை எந்திரத்தின் மீது கோபப்படுவீர்களா? நான் யாரை விமர்சித்து எழுதுகிறேனோ அவர்கள் மீது எனக்குத் தனிப்பட்ட முறையில் எந்தவித கோபமோ அல்லது நட்புணர்வோ கிடையாது. என்னுடைய கவனமெல்லாம் அந்த சினிமாவைப் பற்றி மட்டுமே இருக்கிறது. - Charu Nivedita , in his introduction
In Rue Saint Jacques, cultural discovery is weaved throughout a story of loss, intrigue and self-sacrifice. Young Tennessean Marie Doughten becomes fixated on discovering the secret behind her reclusive employer's forbidden, padlocked room in his 5th arrondissement apartment.
Marie's insatiable curiosity forces her to choose between placing her own life at risk to help the mysterious Charles-Henri de la Motte, or maintain her distance and suffer the consequences of her apathy.
TWENTY-FOUR TABOO TALES ALL IN ONE BOX SET ON SALE FOR A LIMITED TIME! What do you do when the man of the house is just too big for you? Let him ride you hard and fast...without protection Peek inside for the full list of books included.
No family photograph can truly prepare Rowena for her first meeting with Maurice's three wives and teenage son. Young, nervous and extremely pregnant, she is warmly welcomed into the fold but her presence soon has the family questioning the nature of their delicate balance.
Then Fay brings home a one-night stand, with far-reaching consequences for them all. Set in an ordinary house in a tree-lined street in Lewisham, Matt Charman's new play takes a provocative look at married life, and the alternatives.
William has suffered through the Civil war and survived his entire family including his fiance. Now to have shipwrecked on an island in the middle of nowhere that is not on any map, He knew his luck was rotten but this is taking it to far. Captured and taken to serve in an army that is not his, he has decided that his luck has finally dealt him a fatal blow. That is until he meets Princess Na-Lisa. She is stubborn and vivacious. He knows he must help her to get away from her uncle and his disgusting plans. Can he beat his rotten luck against all odds to save them both? Na-Lisa's world has been turned upside down by the death of her father the king and her brother. Her uncle has taken over and has great plans for the kingdom. Plans that include her. She is determined not to go along with them even if it means her untimely demise. She must get out or risk her immortal soul. Can she trust William to save her or is he just one of her uncle's mind minions?
The history of the manuscript of the Slóvo has been often stated. In 1795 Count Musin-Puškin, a distinguished arcæologist, bought from the archimandrite of the Spaso-Yaroslávski monastery a bound volume of manuscripts, amongst which was the original of this text. In 1800 he published the editio princeps under the title of a 'A heroic song of the foray against the Pólovtsy of the hereditary Prince of Nóvgorod-Sěverski, Ígoŕ Svyatoslávič.' There were 1200 copies printed, a few of which survived the fire of Moscow in the year 1812 in which the original MS. and most of the printed copies perished. Thus this printed book of 1800 was the only original, until Pekárski discovered a second modern copy amongst the papers of the Empress Catherine II, an account of which appears infra. The editio princeps contains the text with a modern Russian translation, historical and other notes, an abstract of the action of the poem, and a preface giving the facts of the discovery. The text is printed as continuous prose, and there is a long list of errata at the end of the volume. The preface provides no sufficient detail as to the style, conditions or date of the lost original; nor to what extent, if any, the editors had adhered and followed it literally, or emended the orthography in conformity with the standards either of Russian or Church-Slavonic. From all accounts, Musin-Puškin was an ardent collector, but an indifferent critic; and, from contemporary evidence it has been gathered that only six of the learned men of the time ever had the opportunity of seeing this vanished MS.: amongst them Bantyš-Kamenski, A.
Malinovski, A. I. Ermoláev, N. M. Karamzín, R. F. Tirnkovski and G. N. Boltin.