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. Indeed, Schanelec and Gosch’s modification of the line fundamentally alters the point of Hamlet’s contemplations from living or not to living as a human being. Essentially, one may argue that Hamlet may now contemplate the quality of life rather than whether actually living it is desirable. The insertion

In: Making Hamlet German
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standard. In this instance, the selection of one standard over another may be seen as either personal preference or a politically motivated expression. In general, the concept of time appears multifaceted as it pertains not only to the time in which the source and its derivative are created but also to

In: Making Hamlet German
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Laertes warns Ophelia against. Similarly, Günther’s neologism ‘Augenblickslust’ 85 to render ‘suppliance of a minute’ 86 expresses the notion of changing minds or changing hearts, as it accents the idea of living in the moment, in particular compared to Schlegel’s ‘Labsal eines Augenblicks’ 87 that may

In: Making Hamlet German
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important to note that both images can express essentially the same idea, namely a disorderly state. Similarly, Schlegel’s ‘Schmach and Gram’ can convey Hamlet’s lamentation about his station in life and thus remain faithful to the original in meaning. Nevertheless, Schlegel’s solution amends the sense of

In: Making Hamlet German
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Bürger notes, the avant-garde does not see a distinction between the two: “producers and recipients no longer exist. All that remains is the individual who uses poetry as an instrument for living one’s life as best one can” (1984, 53). However, as we saw with the reviewers quoted by Robinson’s Avant

In: Avant-Garde Translation

based on a micro-photographic attention to the visible surfaces of things. 1 Matson too charges Kilpi with seeking not “kiinnittämään huomiota elämän dynaamisuuteen, vaan vain jäljentämään elämän näkyvää ulkokuorta” (100)/“to focus attention on life’s dynamism, but only to imitate life’s visible shell

In: Translating the Monster

. Benjamin “Aufgabe” 10–11 That intertwining can be called natural; more precisely it is an intertwining of life. For in the same way as expressions of life are intimately intertwined with living beings, without having any significance for those beings, so does a translation emanate from the original

In: Translating the Monster

readers (let alone a reader-monster)—as if it were all a simple matter of textual structure, of stable semantic, syntactic, pragmatic, functional, and stylistic correspondences. You can pretend the monster doesn’t even exist. (One might be inclined to believe this option to be motivated by reader

In: Translating the Monster

Latin alphabet is a way of “de-arabizing” the Pulaar language and claiming a certain autonomy through writing. In addition, the great droughts of the 1960s shook the Sahelian region with full force, making life unstable and forcing more and more people to leave their lands in order to make a living, and

In: Journal of World Literature
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creative striving through writing to generate a time and space and a weave of relationality that would suspend the constantly impending destructive force of war. Moreover, I distinguish between “life world” and “mere life” or “mere living,” where the latter is exposure of life at every instant to the

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In: Journal of World Literature