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Katre Talviste Full Text Available This article positions the translations of French verse works plays and selected collections of individual poets that August Sang, Jaan Kross and Ain Kaalep made in the s, onto the background of their own original works. At that time, August Sang translated four plays by Molière The Misanthrope, Tartuffe, The School for Wives in ; Amphitryon inwhich have already been discussed in relation to the tradition of translating the French syllabic verse into Estonian, because these translations form a considerable part of the body of Estonian translations of French verse T9 Fat Burner Review.
Although Sang has rarely voiced theoretical ideas about translation or explained his method, both his poetic image, outlined in the collection Võileib suudlusega, and his search for right words, reflected in the drafts of his translations, let us believe that the simplicity of expression and the avoidance of marked poeticism are his purposeful intentions.
Were his linguistic and form-pertaining principles intentional or intuitive, they are still consistent and can be seen in his translations as well as in his original poetry.
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Although Võileib suudlusega is principally a collection of lyrical poetry, it displays some inclinational or even some generic closeness to Molière. His poetic self experiences and interprets himself and the surrounding world through scenes that embody some kind of conflicts or antitheses; showing varying moods, they often contain satirical, benevolently humorous or self-ironizing elements.
Concerning Jaan Kross, his translations of Béranger and Éluard have been examined against the background of the developments in his own poetry of the s. However, some noticeable differences from the authors whose works they have translated especially from Prévert and Éluard can be seen in the general pathos and attitude of both Kaalep and Kross — they are more playful and joyful.
Poets do not translate only the authors who are similar to them in all senses, and we cannot point out one certain factor that would establish an interest and a fruitful creative contact for all. However, the corpus of works we have examined allows us to conclude that in the case of a large-scale translation project, such contact is, on some level, intense and meaningful, and that Kahjum kaalu kuu jooksul kind of a poetic, ethical, cognitive or intellectual continuity can always be found between translations and original creative work.