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What Faith and What Mountains in 1 Cor 13:2?
The presence of πίστις in the list of spiritual gifts in1 Cor 12:8-10 is problematic. Should not faith be the common basis of the charisms and not a particular gift? What means “faith” in 1 Cor 12:9, given that Paul includes it among the nine manifestations of the Spirit? How to understand and to translate it? Evidently, “faith” points here not simple adherence, but a very precise form of πίστις. In fact, Paul places wisdom, knowledge and “faith” in rapid succession, making them the three principal dimensions of the teaching charisms. As reflected in the repetition of the same gifts in the sequence of 13:2. Some Jewish texts talk about rabbis able to change the point of view of people whose convictions were as immovable as a mountain. They were nicknamed “mountain mover” (oker harim). Thanks to the support of rabbinic literature it becomes possible to explain the presence of πίστις among the teaching gifts in 1 Cor 12:9 and 13:2, offering a translation, certainly broad but more attentive to the semantics of the charism of faith: “if I have all the ability to deliver discourses of faith from which to convince people as immovable as mountains, but I do not have charity, I am nothing”.
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This article explores the theme of “translating poetically organized discourse to be sung.” The 2010 English translation of the Hebrew Psalms, entitled The Revised Grail Psalms: A Liturgical Psalter (RGP), is presented as a case study. The Hebrew Psalms, for the most part, were composed to be sung, yet more often than not, they are translated to be read. Such translations are primarily characterized by the absence of poetic rhythm, despite the plain evidence and significance of poetic rhythm in the Hebrew. The RGP, on the other hand, privileges the rhythmic dimension of the Psalms. As a result, the RGP is said to be remarkably “adaptable to the exigencies of different musical settings,” and more importantly, eminently singable. Nonetheless, the challenges of translating and formalizing a text according to a given rhythmic principle are in practice formidable, for when translators set out to feature a lyric’s rhythmic dimension, its semantic, rhetorical, and syntactic art is often found lacking. This article examines some of the principal reasons the translators of the RGP chose to re-emphasize the Hebrew Psalms’ rhythmic art and, more importantly, how those translators negotiated some of the more problematic translation challenges that ensued from that choice.
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On the same day of the United Nations International Translation Day, the 30th of September 2020, Il Nuovo Testamento Greco-Latino-Italiano was published by the Italian Catholic Bishops’ Conference (CEI), a date chosen by the United Nations in honor of St. Jerome. The publication of the NTGLI presents two specific innovations: 1. at a ‘textual’ level for the most recent editions of the New Testament used (The Greek New Testament-5th Revised edition; Nova Vulgata, Bibliorum Sacrorum Editio, Editio typica altera; La Sacra Bibbia - Versione ufficiale della Conferenza Episcopale Italiana) and 2. at a ‘cultural’ level for the cooperation among different Christian confessions in Bible translating. In 1988 the Conferenza Episcopale Italiana initiated an extensive and in-depth revision of the CEI1971-74 Bible based on the most recent critical editions of the original Hebrew and Greek texts. The new CEI Bible was published in 2008. Created for the liturgical use, with its 1971-74 edition the CEI Bible became the reference text, almost a new Vulgata. The NTGLI is a strategic tool for future translations of the New Testament in the 4,000 languages without a Bible translation, also aiming to contribute to the affirmation of peace for humanity, as stated in the United Nations Charter: “United Nations Charter, Chapter I, Purposes and Principles, Article 1: The Purposes of the United Nations are: To maintain international peace and security...[and] to develop friendly relations among nations based on respect for the principle of equal rights and self-determination of peoples…”
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This study asks whether translation might be a valid mode of (literary) criticism. It approaches a hortatory biblical text (1 Timothy 2.8-14 [3.1a]), somewhat notoriously and rigidly applied in some quarters of the church as containing timeless ethical instruction concerning women in the church, from the standpoint of its intertextual network, listening for resonance and dissonance as the relevant intertexts and precursor texts are explored. It is ultimately diagnosed as a text that is eschatologically obsolescent, and translated/rewritten, on the basis of its intertextual composition, to reflect the openness inscribed by the authorial Other.
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The article offers a concise presentation of the project linked to the Library Fund of the Pontifical Urbaniana University, namely, to study the inculturation of the Christian faith by relating the documentation on the editions of the Bible to the catechisms in the territories entrusted to the pastoral care of the Congregation for Evangelization of peoples. The vastness of the project itself is marked today by the difficulty of using more extensive documentation than that present in the Fund of the same Library. However, more limited segments of the indicated material of interest can already be identified. More specifically, the African continent shows quite a varied phenomenology of the editions of the Bible: from translations of the Latin Vulgate into local languages, to translations from English or French, themselves translations from Latin. In the post-conciliar period, the translations of the Bible from the original biblical languages emerge. This is the case of the Kinyarwanda versions of the NT (1988, 1989) and of the OT-NT in a single volume (1990, 1992), in which, alongside pastoral purposes, the results of modern biblical exegesis are evident, to the point of proposing categorizations of literary bodies of biblical literature from an interconfessional and also interreligious perspective.
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The paper will show how translations played a considerable role to the maintaining of the German minority’s language and identity in Greater Romania, ensured the law’s application until new legislation was introduced, and contributed to a cultural dialogue, in which a modern legal thinking found a fruitful ground. Not only the history of translations and translators are part of this study, but also the translational peculiarities of such texts speak for an intellectual activity which aimed at the development of an interwar modern society, be it of Romanian or German nationality, which can be defined as purely European in nature.
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European Union law is enforced in Romania as a matter of priority, regardless of the quality or status of the parties. The official translations of European legislative acts into Romanian have a direct impact in one way or another on all those involved in activities that require knowledge and application of law. In this context, several translation approaches will be pointed out, which could lead to difficulties in applying European rules: the first concerns the term trader in the consumer protection area, the second refers to the addition in the target language of a non-existent word in the original text, which has the effect of narrowing the scope of European rules, the third concerns the inconsistency in the translation of the same term throughout European regulations and the fourth refers to the term transaction and its meaning.
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Djela kao što su romani, drame, pripovijetke, eseji, pjesme i bilo koja druga vrsta tekstova oblikuju se, prerađuju i dorađuju po nekoliko puta sve dok ne dospiju u čitateljeve ruke kao konačan rezultat stvaralačkog procesa i borbe pisca sa samim sobom. Oni koji se bave pisanjem znaju kako to ne ide uvijek glatko i da su ideje, misli, osjećanja ponekad teško uhvatljivi riječima, ali kada se najzad sve to spoji u neki savršen sklop, prevoditeljima ne preostaje ništa drugo nego da zapisano jednako tako savršeno uklope u svoj prijevod. Međutim, malo tko zna da i prevoditelj u svom radu poput pisca korača istim trnovitim putem, a u svemu tome najčešće ostaje neprimjetan. Ako nam se štivo nije svidjelo, uglavnom ćemo za to okriviti pisca, nećemo možda ni pomisliti da je na naš cjelokupan dojam utjecao i prevoditelj. Stoga bi bilo interesantno usporediti prijevod s originalom, a onda vidjeti je li – i u kolikoj mjeri – oni odstupaju jedan od drugoga. Usporedit ćemo četiri prijevoda pjesme Meeresstille koju je napisao jedan od najznačajnijih autora njemačke književnosti – Johann Wolfgang von Goethe.
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This article explores the names of Venus, Pleiades, the Great Bear and Orion’s Belt in Slavic translations of the biblical Book of Job. The author proposes hypotheses about the etymology of Church Slavonic names for the following celestial objects: (1) the name денница for Venus originates from folk cosmonymy and was introduced into religious discourse by Apostle of the Slavs Constantine-Cyril; (2) the name власожелищи is etymologised as a merger of two nominations: South Slavic Власи ‘Pleiads’ and a hapax legomenon from the Book of Job *желищи ‘Great Bear’, from Hebrew Āsh or Aish ‘funeral convoy’; (3) the name кружилия for Orion is also connected with Hebrew cosmonymy and points to the mythical giant Nimrod, who was tied with a belt to the sky for his rebellion against God.
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This paper aims to analyse the different representations of culture emerging from the European Capitals of Culture (ECoC) corpus. A second aim is to see the multiple ways in which culture is represented by the Romanian proponents of the ECoC bids. The theory we resorted to is cognitive linguistics as fostered by Lakoff and Johnson, and the method we applied is corpus-based. Our analysis relies on the ECoC corpus; more specifically, we quantitatively and qualitatively analysed the collocations pertaining to culture and the conceptual metaphors retrieved from the corpus. In our analysis, the metaphorical and non-metaphorical representations of culture emerging from the ECoC corpus reveal how the proponents of the bids perceive culture.
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This work seeks to find and describe the suffixes that create collective names in the Castilian and Romanian languages from 16th and 17th centuries, aiming to mark the Latin inheritance and to justify the analogy between both Romance languages. In Latin there are numerous and specific feminine lexical groups, like plants, objects, abstract nouns, ‘pluralia tantum’, fruits that, in the late and medieval periods of Latin, suffered a transformational process from neutral plural in -a to feminine singular, naturally preserving the collective meaning. Subsequently, the collective derivatives are classified in two main categories: firstly from adjective themes and secondly from nouns. The relevant suffixes from both sections could be distinguished as: -etum/ -eta, -aria, -alia with their variants -ilia, -ulia and -mentum/ -menta, -amen, -imen, -umen, -atura. Furthermore, in Castilian, on one side we found ourselves before the Latin inheritance and we pursued the modality in which the following collective suffixes have been transferred and persevered in the spoken and written language: -men, -menta,-amen/ -ambre, -imen/ -imbre, -umen/ -umbre, -edo/ -eda, -dura/ -adura, -ero/ -era, -ería/ -ería, -al/ -alla. On the other side, the collective characteristic is adopted in the new Castilian forms, phenomenon that is driven by the Iberian Peninsula speakers who tend to perceive the derivate methods inthe process of words’ formation and to experiment the versatility of the language. Therefore, this fact exposes us the path of collective meaning of the subsequent suffixes received from Latin or other languages: -ar, -ario/ -aria, -ajo/ -aja, -ía/ -ío, -aje, -ado/ -ada, -zón, -eno.In Romanian, the series of Latin suffixes (-ame/ -amă/ -ami,-ărime, -ime/ -âme/ -imi, -ét/ -ăt, -ură/ -tură, -ătate, -mânt/ -minte, -ar, -ăreț, -eață, -it, -ărit, -ină, -ie, -ărie) exceedthe suffixes from different origins (-enie, -iș, -iște), while the collective derivatives are more locally created rather than inherited from Latin. Afterwards, the description of the suffix types becomes more explicit during the study of the corpus,which is a representation of the religious and literary characters of the 16th and 17th centuries.
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ЗБИРКА ПЕСАМА „НАСЛЕЂЕ“ ЈАНКА КУПАЛЕ НА СРПСКОМ ЈЕЗИКУ. Наслеђе / Јанко Купала ; прир. Иван А. Чарота; превела с белоруског Дајана Лазаревић. – Београд: АЛМА, 2020.
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The topic of culture in crisis is one of those which at first look may evoke a false impression that it is easy to deal with. Even though we are now confronted with the serious issue of the world pandemic which has affected culture in the broadest sense really hard, culture seems to have been in crisis for longer time than anyone would have noticed before the pandemic. The way all the areas of culture operate nowadays may evoke in many people the feeling that artists and other people involved in all kinds of creative processes are lost for ideas (and means). I decided to opt for one area that is closest to mass ‘consumers’ of what we like to refer to as popular culture – film adaptations of some of the most traditional literary texts still alive – detective fiction. For my research and subsequent analysis, comparison and a bit of confrontation with criticism, I selected a few novels by Agatha Christie featuring Miss Marple as one of her most popular sleuths and their adaptations. Before getting to the adaptations themselves, however, I also tried to offer a critical look at theatre as one of the branches of performing arts closely related to TV production through creative teams composed largely of people of similar professions, thus facing similar problems.
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There is hardly anyone in the EFL field who would not agree on the necessity of culture as a core component of any EFL textbook. One of the main benefits of including foreign cultural aspects is the development of intercultural competence, i.e., the ability to successfully interact with people from other cultures. Thus, the aim of this paper is to highlight the importance of teaching the form of culture that would enable students to engage in successful intercultural communication using English as a foreign language. To do so, the paper presents a descriptive analysis of the cultural content of four textbooks that are used to teach the fifth and sixth grades (ages 11 to 12 years) in Palestinian state schools. The findings reveal that all cultural aspects found in the textbooks are elements of surface culture, which include all visible aspects of culture (e.g. food, festivals, monuments, tourist attractions, etc.) with no single reference to any deep cultural aspects which can help students construct attitudes and values towards other international cultures. The study stands out as a call for abandoning the traditional way of presenting shallow cultural information in EFL textbooks by adopting an approach that focuses on promoting deeper intercultural attitudes and values instead.
More...Edited by Daniel Dejica, Carlo Eugeni, Anca Dejica-Carţiş
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Phraseology, which for a long time was only a simple compartment of lexicology, today is recognized as an independent branch of linguistics by many French, English and Romanian linguists. Dictionaries of linguistic terms fix and define in great detail key terms of this science: phraseological, phraseology, phraseologism. Today we find them revised, re-defined and re-interpreted in the most valuable lexicographical sources. Thanks to the fundamental and proportionate issues, which are discussed, and some partially explored, researchers have the opportunity to determine the place of phraseology among the other branches of linguistics. Phraseological units in any language as well as simple lexical elements present, as a whole, independent units of meaning and functions (I. Boronianu; Gh. Dragomirescu and others) - thus they have every right to be researched, analyzed, lexicographed, translated, within a special science. The subject of this article is: the translation of phraseological units, which in their structure have a key-word related to the human body: to bring a hornets' nest about one's ears, to cry one’s heart out to get a smack in the eye. From our research practice we can definitely affirm that stable / phraseological units are generally considered burdensome to translate. We make provisions for the difficulty of finding conceptual correspondents from Romanian to English and vice versa. The translator is obliged to know the fundamental problems of the theory and practice of phraseological units to be able to identify the expressions, to decode their meaning and to render, their expressive and stylistic functions in translation.
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At the beginning of this year, a group of eight students and two senior lecturers from "Petru Maior" University of Tîrgu Mureş, Romania were given the opportunity to pay a working visit to the Committee on Culture and Education of the European Parliament in Brussels, in order to present the selected students with the advantages/opportunities offered by the job of a translator and/or an interpreter, as well as with the challenges the translators and interpreters have to deal with at such a professional level. The present paper is to be regarded as a follow-up to this event.
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Przedmiotem artykułu jest analiza rosyjskich odpowiedników przekładowych wyrazów radosny i wesoły, będących leksykalnymi wykładnikami radości i wesołości. Cel pracy to wyodrębnienie poszczególnych znaczeń emotywnych wyrażanych przez teleksemy. Znaczenia zostaną zilustrowane przykładami zaczerpniętymi z tekstów współczesnej polskiej prozy i jej tłumaczenia na język rosyjski. Kolejnym zadaniem jest przegląd zastosowanych odpowiedników tych wyrazów i porównanie ich z ekwiwalentami zamieszczonymi w słowniku przekładowym. Mimo iż radość i wesołość to odmienne doznania pozytywne, okazuje się, że poddane analizie przymiotniki mogą być w wielu kontekstach używane wymiennie. Rosyjskie leksemy радостный i веселый występują w słowniku przekładowym jako ekwiwalenty każdego z analizowanych wyrazów. Badanie pokazuje, że przymiotniki radosny i wesoły mogą wyrażać różne sensy emotywne. Oprócz odpowiedników zawartych w słowniku przekładowym wykorzystywane są też inne jednostki leksykalne, często inne części mowy. Badanie pokazało, że określone znaczenia emotywne mogą być wyrażane za pomocą różnych środków.
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This study is devoted to the problem of the appearance of variants in the translation of the text of the Holy Scriptures on the example of the analysis of Ps. 2:12. The aim of the study is to find out the reason for the occurrence of discrepancies in the translation of this psalm. The significance of the work lies in identifying the genesis of modern Russian translations of Ps. 2:12, as well as the reasons for linguistic difficulties that arise when translating the Hebrew and Greek Psalms into other languages. The results of the research may be used when translating and commenting on the studied text. The main conclusion is that the reason for the appearance of a “dark” place for the modern reader in the second psalm – “Accept the punishment, may the Lord not be angry” – stems from the polysemy of the Greek word “παιδείας”, which can be translated as “education, training, culture’ as well as “youth”. The Hebrew translators have interpreted this verse as “worship purely”, “worship with purity”, “arm yourself with purity”. Some of the translation options for this verse are based on the Septuagint, which gives a literal translation into Greekof the Hebrew text: “Accept / keep the lesson”. The variety of translation options for Ps.2:12results from the polysemy in the Hebrew language, superimposed on the borrowed meaningof the word “bar” from the Chaldean language and on the Greek ambiguity in the recipientlanguage; later on, the complexity of this verse increased even more due to the literalism of the Church Slavic translation. The value of this research lies in comparing the variants of the Russian translations of Ps. 2:12 and clarifying their history.
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