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Country House
Country House, a ''comedy with corpses,'' is a wicked subversion of all those realistic psychological dramas of jealousy, adultery, murder and suicide that ask to be taken seriously. Witkacy's send-up assumes the form of a ghost story full of surprises, in the course of which an entire family of four is gleefully dispatched to the other world. When it was first performed in 1923 in Torun, Country House was judged unsuitable for the general public because it derided moral, social and dramatic convention. Three years later, as directed by the playwright himself in Lwów, the drama proved an unexpected success with audiences (although it only ran for four nights) and ever since has been among Witkacy's most frequently performed works. Today we can appreciate Country House not only as a systematic demolition of stage realism, but also as an anxious probing of the elusive boundaries between life and death, exposing the ''dark places'' of the human psyche that make us laugh nervously.
Ocean of Sound
"Ocean of Sound" begins in 1889 at the Paris Exposition when Debussy first heard Javanese music performed. A culture absorbed in perfume, light and ambient sound developed in response to the intangibility of 20th century communications. David Toop traces the evolution of this culture, through Erik Satie to the Velvet Undergound; Miles Davis to Jimi Hendrix. David Toop, who lives in London, is a writer, musician and recording artist. His other books are "Rap Attack 3 "and "Exotica,"
Impossible Histories
The first critical survey of the largely unknown avant-garde movements of the former Yugoslavia.
A Dakota-English Dictionary
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Children’s Literature in Translation
For many of us, our earliest and most meaningful experiences with literature occur through the medium of a translated children’s book. This volume focuses on the complex interplay that happens between text and context when works of children’s literature are translated: what contexts of production and reception account for how translated children’s books come to be made and read as they are? How are translated children’s books adapted to suit the context of a new culture? Spanning the disciplines of Children’s Literature Studies and Translation Studies, this book brings together established and emerging voices to provide an overview of the analytical, empirical and geographic richne...
How I Learned to Understand the World
BBC RADIO 4 BOOK OF THE WEEK The moving, playful memoir of Hans Rosling - Swedish statistics mastermind, researcher extraordinaire and author of the global bestseller, Factfulness. This is a book that contains very few numbers. Instead, it is about meeting people who have opened my eyes. It was facts that helped him explain how the world works. But it was curiosity and commitment that made the late Hans Rosling, author of worldwide bestseller Factfulness, the most popular researcher of our time. How I Learned to Understand the World is Hans Rosling's own story of how a young scientist learned became a revolutionary thinker, and takes us from the swelter of an emergency clinic in Mozambique, to the World Economic Forum at Davos. In collaboration with Swedish journalist Fanny Härgestam, Hans Rosling wrote his memoir with the same joy of storytelling that made a whole world listen when he spoke.
Children's Literature in Translation
Children's classics from Alice in Wonderland to the works of Astrid Lindgren, Roald Dahl, J.K. Rowling and Philip Pullman are now generally recognized as literary achievements that from a translator's point of view are no less demanding than 'serious' (adult) literature. This volume attempts to explore the various challenges posed by the translation of children's literature and at the same time highlight some of the strategies that translators can and do follow when facing these challenges. A variety of translation theories and concepts are put to critical use, including Even-Zohar's polysystem theory, Toury's concept of norms, Venuti's views on foreignizing and domesticating translations an...
A Grammar of Epic Sanskrit
The two great epics of (old) India, the Mahabharata and the Ramayana, are written in a language, which differs from so-called classical Sanskrit in many details. Both texts still are of an enormous importance in India and other countries. Because of this, a grammar describing all the different characteristics of epic Sanskrit has been missed until now. The Grammar of Epic Sanskrit will now close this gap.
History of Ophthalmology
When the eyeball is indented in total darkness, within less than 200 mil liseconds an oval or quarter-moon shaped spot of light is perceived in the part of the visual field corresponding to the indented region of the retina. In the seconds following, this phosphene extends across the whole visual field and alters in structure during further eyeball indentation. It is then seen as irregular large bright spots of light, finely structured moving light grains ('light nebula') and stationary bright stars. Regular geometrical patterns appear only when both eyes are indented simultaneously [1]. When the eyeball deformation is released, part of the retina again lights up for another one or two secon...
Translating for Children
Translating for Children is not a book on translations of children's literature, but a book on translating for children. It concentrates on human action in translation and focuses on the translator, the translation process, and translating for children, in particular. Translators bring to the translation their cultural heritage, their reading experience, and in the case of children's books, their image of childhood and their own child image. In so doing, they enter into a dialogic relationship that ultimately involves readers, the author, the illustrator, the translator, and the publisher. What makes Translating for Children unique is the special attention it pays to issues like the illustrations of stories, the performance (like reading aloud) of the books in translation, and the problem of adaptation. It demonstrates how translation and its context takes precedence can take over efforts to discover and reproduce the original author's intentions. Rather than the authority of the author, the book concentrates on the intentions of the readers of a book in translation, both the translator and the target-language readers.
