Domani no: Le canzoni (non si raccontano) si scrivono: 6 (Cardi) (Italian Edition)
All contents in this book is not outstanding and different comprared with others. In math only have 1,2,3 and many.
Apr 30, BookLady rated it it was amazing Shelves: Mar 19, Ben Lever rated it really liked it Shelves: This was a recommended text for a unit I'm studying, and it really didn't deliver on the promises made by the lecturer. In fact it was totally useless to someone with a writing background like me.
However it is a very good general guide to business writing, and if that's something you struggle with then it genuinely is very good - it just wasn't for me. Fair warning though - the layout of the pages is stupid the pages themselves are unusually tall and thin, and the type is very spaced out so t This was a recommended text for a unit I'm studying, and it really didn't deliver on the promises made by the lecturer. Fair warning though - the layout of the pages is stupid the pages themselves are unusually tall and thin, and the type is very spaced out so the page count doesn't really reflect the amount of content.
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Great refresher on how to write well for business Why did I choose this book? Because I'd like to write more clearly and effectively in my business.
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What was my experience with reading the book? It gave some great examples of clear writing versus unclear writing. It's definitely worth reading a second time. There were plenty of gold nuggets such as the MACJ formula for planning papers and the distinction between passive voice and active voice was made clear.
Would I recommend this book to others? Y Great refresher on how to write well for business Why did I choose this book? It's a fantastic short read. May 30, Tri Le rated it really liked it Shelves: Simple, direct, and concise read on how to improve your business writing. Chapters are brief and compact with useful recaps. The author starts with a section on how to focus and start writing. Afterwards he discusses ways to develop your writing skills and further elaborates briefly on what to avoid when writing.
He ends the book with suggested approaches on common forms of business writing e-mails, memos, reports, etc. There are helpful appendices about useful grammar and punctual rules alon Simple, direct, and concise read on how to improve your business writing. There are helpful appendices about useful grammar and punctual rules along with a primer of good usage.
Very helpful and quick book. Dec 30, Brian rated it it was amazing.
The Guide to Better Business Writing is an excellent guide to the key elements of business writing. It's brutally concise, clear and easy to read, and has lots of helpful examples of good writing and bad. For those seeking to improve, there are numerous suggestions to implement. Skip to main content Amazon Delivers the Premier League. Cristiano Carriero. Something went wrong. Please try your request again later. Are you an author?
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- Manual Domani no: Le canzoni (non si raccontano) si scrivono: 6 (Cardi) (Italian Edition).
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Help us improve our Author Pages by updating your bibliography and submitting a new or current image and biography. Learn more at Author Central. Previous page. Kindle Edition. Next page. But calquing the parenthetical ST structure e. In this way, the rhetorical impact of the TT is similar to that of the ST, but it is achieved by different means. If this phrase is translated literally, the result is a comic calque.
Before translating the phrase, the translator has to pin down its function. Stylistically, however, there is another reason for adding these words: We shall suggest three. Remember, however, that most cases of compensation belong in more than one category. The most important thing is not to agonize over what label to give an instance of compensation, but to be clear what loss it compensates for and how it does so. Remember, too, that the question of how to compensate can never be considered in and for itself, in isolation from other crucial factors: Compensation is needed whenever consideration of these factors confronts the translator with inevitable, but unwelcome, compromise.
Simply put, it is a less unwelcome compromise.
Using Italian Vocabulary
It usually entails a difference in mode between the ST textual effect and the TT textual effect. This compensation in mode can take very many forms. For instance, it may involve making explicit what is implicit in the ST, or implicit what is explicit. Literal meaning may have to replace connotative meaning, or vice versa. Compensation may involve substituting concrete for abstract, or abstract for concrete. It nearly always involves using different parts of speech and syntactic structures from those indicated by literal translation.
In other texts, the same approach may result in replacing, say, a snatch of Dante with an analogous snatch of Milton. An ST pun may have to be replaced with a different form of word play.
All these sorts of substitution may be confined to single words, but they more usually extend to whole phrases, sentences, or even paragraphs. Sometimes, a whole text is affected.
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For instance, quite apart from lexical and grammatical considerations, if a poem is heavily marked by rhyme and assonance, and the translator decides that for some reason rhyme and assonance would lead to unacceptable translation loss, compensation might consist of heavily marking the TT with rhythm and alliteration instead.
Compensation also usually entails a change in place, the TT textual effect occurring at a different place, relative to the other features in the TT context, from the corresponding textual effect in the ST context. We shall call this compensation in place. We shall call this compensation by splitting. The following sentence, from an unpublished essay by the composer Luca Francesconi, provides an excellent example of the need for compensation by splitting: In such cases, the translator simply has to choose the right term. But in many other contexts, including this one, it means several of these things at once.
There is no single English word that can carry these same combinations of meanings. This is where compensation by splitting comes in. On the contrary, the brutal impression is that there is a wish to do away with anything that is not escapism, including of course research in and through music—that is, above all, a search, an indefatigable quest for founding values, linguistic and human.
A quest that brings with it, for better or for worse, the great and ancient heritage of Western thought. Note that, as happens more often than not, this compensation by splitting also entails grammatical transposition—that is, there is also an element of compensation in mode. There are three instances of this. This complex example raises very clearly the issue of the parameters of compensation. What we have done is deliberately introduce loss in economy and grammar in order to avoid more serious loss in message content.
In deciding whether the changes introduced amount to compensation, the crucial factor is the role of context. If an ST expression has a standard TL counterpart that, regardless of context, spreads it over a relatively longer stretch of TT, then this is a constraint, an instance of canonic expansion, not of compensation.
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It does reflect lexical differences between Italian and English, but our expansion is not canonic or predictable; in fact it is virtually unrepeatable. Distinguishing the three sorts of compensation is a rough-and-ready categorization. Each could be refined and subdivided. In any case, most cases of compensation involve more than one category. However, our purpose here is not to elaborate a taxonomy, but simply to alert students to the possibilities and mechanisms of compensation.
In fact, in the case of compensation in mode and compensation in place, it is not usually even necessary to label them as such, because virtually all compensation entails difference in mode and place. The most important lesson to be learned from this chapter is that compensation is a matter of choice and decision.
It is the reduction of an unacceptable translation loss through the calculated introduction of a less unacceptable one. Or, to put it differently, a deliberately introduced loss is a small price to pay if it is used to avoid the more serious loss that would be entailed by conventional translation of the expression concerned.
So where there is no real choice open to the translator, the element of active compensation is minimal. The easiest way of illustrating this is to look at communicative translation. Communicative translation does certainly involve compensation, in that it reduces translation loss by deploying resources like those mentioned in the previous paragraph. Certainly, ever since then, translators confronted with this proverb have had to be alert enough to recognize the need for communicative translation—to that extent, producing the TL equivalent does, like all translation, involve choice and decision.