Word: syntax
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Dates: during 2000-2009
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...lead the country if need be. For her relaunch with Oprah and Barbara, the bar was lower: to show America that she could make it through interviews with Oprah and Barbara. (A full-court press from The View--now that would be a challenge.) She reined in her wild syntax, tossed about folksy-isms like "bullcrap" and called President Obama's economic policies "back-assward." And she stressed her average-Jane image: she let Oprah's cameras follow her to the gym; in her book, she recalls going door to door to run for mayor of Wasilla, Alaska, with...
...cast a violet into a crucible that you might discover the formal principles of its color and odor, as to transfuse from one language into another creations of a poet.” What the poet is communicating here is poetry’s fascination with presentation, its syntax, sound, rhythm—aspects that depend on its language of origin—so that there is an almost absurdly destructive quality to any translation. Though its semantic meaning can hold, translation risks the utter loss of all emotional register. This theoretical problem manifests itself pertinently in the anxiety that...
...translation: “It’s [i]not[/i], youth, when you’re in love, even / if then your voice forces open your mouth; — // learn to forget those songs. They elapse.” Though Snow preserves much of the syntax in Rilke’s original, there seems something diluted about the lines. Somehow the causal relation between the “voice” and the “mouth” is only weakly strung together by the pale “forces.” Compare these lines with...
...cast a violet into a crucible that you might discover the formal principles of its color and odor, as to transfuse from one language into another creations of a poet.” What the poet is communicating here is poetry’s fascination with presentation, its syntax, sound, rhythm—aspects that depend on its language of origin—so that there is an almost absurdly destructive quality to any translation. Though its semantic meaning can hold, translation risks the utter loss of all emotional register. This theoretical problem manifests itself pertinently in the anxiety that...
...translation: “It’s [i]not[/i], youth, when you’re in love, even / if then your voice forces open your mouth; — // learn to forget those songs. They elapse.” Though Snow preserves much of the syntax in Rilke’s original, there seems something diluted about the lines. Somehow the causal relation between the “voice” and the “mouth” is only weakly strung together by the pale “forces.” Compare these lines with...