The
preface is a prompt for playful thinking with texts, as much as it is conventionally the prosaic product of such an exercise.
Hemingway's
prefaces exude the self-assurance of a successful
The present paper aims to examine translators'
prefaces in literary translations from Malay into English.
The present focus, similarly to Oktar and Kansu-Yetkiner's, (3) is intentionally narrower than the others, as it only takes into account
prefaces to English translations of Dante's entire Divine Comedy or of individual cantiche.
This review, then, is a consideration, not of Conrad's
prefaces themselves, but of their presentation by Owen Knowles as editor of the 2016 version of Edward Garnett's original 1937 Dent edition, imputedly a revisiting but in fact a major revision.
In the top-down procedure, moves were identified on the basis of function or content of the
prefaces (the data of this study).
(10) With the ways in which Askew's texts resist Bale's interpretative frame already an active and productive site of current scholarship, this essay focuses precisely on Bale's framing activity, arguing that male-authored
prefaces such as Bale's shed important light on the ways women's texts were produced, circulated, and consumed in the early modern literary market.
Perhaps the most pressing point made throughout this discussion has been that the edge of this text, or for that matter, of any text, matters for both our interpretation of the material it
prefaces and our construction as readers.
Lamartine is a virtuoso of the
preface as a personal, reflective, autobiographical as well as theoretical genre.
Celine Masbou likewise presents a fine example of an analysis of a scholarly
preface in her study of Father Brumoy's presentation of Le Theatre des Grecs.
Prince Amerigo is the reader whom James will hope to influence through his
prefaces. He allows Maggie to guide him toward reading creatively.
But, if given the option, I think I would, for example, try to improve all the music for the
Prefaces; I would strive for more chant-oriented melodic lines; I would expand the congregational song to include more musical options for the Kyrie and possibly reconsider assembly participation in music during the Eucharistic prayer.
Contemporary critics, however, emphasise that Scott's historical novel may well be "the direct continuation of the great social novel of the eighteenth century", as Luckacs described it (1962 [1989]: 31), and a forerunner of the Victorian novel, but what traditional critics ignored, or considered as its deficiency was a great degree of self-consciousness, most apparent in the
prefaces with which Scott supplied most of his texts.
Sections 19 to 33 are on general principles for all translation; 34-45 give norms for translating Scripture and preparing lectionaries; 46-62 give norms for translating the non-scripture prayers,
prefaces, etc.; and 63-69 cover norms for "special types of text," such as the Creed, the Eucharistic prayer, and rubrics.
Quinn devotes chapter three (certainly one of the book's most important, and most interesting, chapters) to an analysis of the
prefaces to Safavid historical texts.
