SEEK
发表于 2025-3-23 11:05:42
Beate Sommerfeldy. There is a sense of ending about many of the texts that date from this time. In so far as we read Shakespeare as an icon of his age, it is therefore significant that in the years on the cusp between the sixteenth and seventeenth centuries he wrote two very different kinds of tragedy that take up
frivolous
发表于 2025-3-23 15:43:23
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责任
发表于 2025-3-23 19:56:13
Aniela Korzeniowskae traditional critical response, with which I will chiefly be concerned in this chapter, has been keener to surrender to the sway of the awesome and ineffable: What do we touch in these passages? Sometimes we know that all human pain holds beauty, that no tear falls but it dews some flower we cannot
Mystic
发表于 2025-3-23 23:40:25
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营养
发表于 2025-3-24 05:18:18
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–DOX
发表于 2025-3-24 09:18:24
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公司
发表于 2025-3-24 14:09:19
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积云
发表于 2025-3-24 18:32:27
Agata Brajerska-Mazur there was also a making of new hybrid cultures, and in this translation, amid whatever practical problems and suspicions, considerations of barbarity and monstrosity nibbled at the edge of Shakespeare’s works and his culture like the monsters beyond the known or in uncertain places on the maps of t
obligation
发表于 2025-3-24 20:05:05
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混合物
发表于 2025-3-25 00:01:51
From Translation to Transcreation to Translation: Excerpts from a Translator’s and Illustrator’s Not and I am using myself as an informant dealing with the material through the translator’s and illustrator’s notebooks..The chapter deals with two sets of material: the author Hugh Lupton’s and the illustrator Niamh Sharkey’s Cree Indian story “The Curing Fox” (1998; Finnish translation “Parantava ke