The Comedia in English: translation and performance

2008 ◽  
Vol 46 (03) ◽  
pp. 46-1363-46-1363
Keyword(s):  
English Translation ◽  
And Performance

scholarly journals The Process-oriented Assessment Model of Business English Translation Course in a Flipped Learning Context

2020 ◽  
Vol 10 (4) ◽  
pp. 1
Author(s):  
Lijun Deng
Keyword(s):  
English Translation ◽  
Assessment Model ◽  
Flipped Learning ◽  
Business English ◽  
Learning Context ◽  
English Major ◽  
Research Findings ◽  
Process Oriented ◽  
And Performance ◽  
Multiple Assessment

Based on the preliminary research findings in the project-based flipped learning model in Business English Translation course, this study designed a process-oriented assessment model for this course and tested its efficacy by an empirical study on 181 third-year English major students divided into three experimental class and three control class under a flipped learning context. The process-oriented assessment model in Business English Translation course is both synchronic and diachronic, by incorporating multiple assessment subjects including both the teacher and the students and the complete learning activities before, during and after class. This study conducted a pre-test and an after-test to examine the students’ command of key translation knowledge and skills, and meanwhile, to evaluate the improvement of students’ translation competence after the implementation of the process-oriented assessment mode. Questionnaires and surveys were also employed in this study so as to collected students’ response to the new assessment model. The data and results collected from the above-mentioned research methods indicate that the process-oriented assessment model can significantly enhance students’ motivation and performance in Business English Translation course.

scholarly journals Schoenberg as a Performing Artist

Tempo ◽  
1995 ◽  
pp. 34-35
Author(s):  
Rudolf Kolisch ◽  
Neil Boynton
Keyword(s):  
English Translation ◽  
Arnold Schoenberg ◽  
Word Form ◽  
Second Viennese School ◽  
Original Title ◽  
And Performance ◽  
Performing Artist ◽  
The Way

Translator's note. The violinist Rudolf Kolisch was brother-in-law of Arnold Schoenberg. He first played under Schoenberg's direction in the Verein für musikalische Privataufführungen. Through the Kolisch Quartet, founded in 1922 on Schoenberg's instigation, and later in America, through the Pro Arte Quartet, he promoted the music of the Second Viennese School. Kolisch's essay was originally published in German as ‘Schönberg als nachschaffender Künstler’ in the issue of Musikblätter des Anbruch commemorating Schoenberg's fiftieth birthday (6 [August–September 1924], 306–7); this is the first English translation. Kolisch's text presents ideas about the rendering of ideas: it is essentially philosophical, and as such, many would argue, untranslatable. There arc no English equivalents for many of its terms. With this proviso, the translation is offered as a guide to the original. In those instances where recurrences of words in the original are not preserved in the translation and where it was felt that important nuances of the original were lost, the German has been added in parentheses. In this regard the words used by Kolisch to denote ‘performance’ are particularly varied: ‘nachschaffen’ (‘to reproduce’); ‘vortragen’ (lit. ‘to carry forward’, hence ‘to hold forth’, ‘to execute’; Kolisch used ‘declamation’ as a synonym for ‘Vortrag’ when referring to the way in which a specific musical passage is conceived and executed); ‘aufführen’ (‘to perform’); ‘reproduzieren’ (the latinate equivalent for the German ‘nachschaffen’); ‘darstellen’ (‘to represent’); ‘Wiedergabe’ (‘rendition’); ‘spielen’ (‘to play’); and ‘musizieren’ (‘to play’, ‘to make music’). Some of the connotations of the word ‘nachschaffen’ from the original title of Kolisch's article are captured by Erwin Stein in the Introduction to his Form and Performance: ‘Music consists of sounds, and the word “form”, applied to music, means the arrangement of sounds.

Technologies of Theatre

2016 ◽  
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
English Translation ◽  
German Language ◽  
Architectural Theory ◽  
Early Modern Theater ◽  
And Performance ◽  
European Theatre ◽  
Medici Court ◽  
State Library

Baroque theatre spectacles are frequently celebrated for their overwhelming effects and marvelous technologies. However, little is known about how the mechanical knowledge for elaborate stage machineries was actually acquired by architects and engineers, and how it disseminated throughout European theatre cultures with regard to specific religious, social, political as well as economical contexts. So far unnoticed by historians of theatre and performance, the early seventeenth-century codex iconographicus 401 (Bavarian State Library) offers new insight to the transfer of mechanical knowledge and theater technology. This manuscript can now be attributed to Joseph Furttenbach (1591-1667), building master of the Swabian city of Ulm, today best known for his numerous publications on architectural theory. The codex incorporates technical drawings and descriptions of the theatrical machineries invented and designed by Giulio Parigi for the epoch-making festivals at the Medici court in Florence. The invention and construction of theatrical machineries was taught at Parigi’s Florentine academy of art and engineering, which Furttenbach attended. Besides an English translation of Furttenbach’s manuscript (originally written in German language), this volume collects studies at the intersection of theater, architecture, and technology, proposing an innovative approach to the historiography of early modern theater.

scholarly journals Review of Michael Praetorius; Jeffery T. Kite-Powell trans. and ed., Syntagma musicum III (Oxford University Press, 2004)

2006 ◽  
Vol 12 (3) ◽  
Author(s):  
Tim S. Pack
Keyword(s):  
Seventeenth Century ◽  
English Translation ◽  
Performance Practices ◽  
Oxford University ◽  
The Third ◽  
And Performance ◽  
Oxford University Press ◽  
Musical Forms

The third volume of Syntagma musicum by Michael Praetorius is one of the most important treatises on musical forms, terminology, and performance practices of the early seventeenth century; it is also one of the earliest sources to discuss thoroughbass theory. Due to the complexity of its prose, which incorporates German, Latin, and Greek, more than three centuries passed before the first English translation was completed. Jeffery Kite-Powell successfully confronts Praetorius’s highly technical and intricate language and in so doing makes Syntagma musicum III tangible to a wider audience of performers, students, and educators.

Transmission Scanning Electron Microscopy and Energy Analysis with the Siemens ELMISKOP 101

1972 ◽  
Vol 30 ◽  
pp. 450-451
Author(s):  
H. M. Thieringer
Keyword(s):  
Objective Lens ◽  
Transmission Microscopy ◽  
Image Recording ◽  
Mode Of Operation ◽  
Scanning Transmission ◽  
Electron Microscopes ◽  
And Performance ◽  
Convergent Beam ◽  
Ray Path ◽  
Beam Diffraction

It has repeatedly been show that with conventional electron microscopes very fine electron probes can be produced, therefore allowing various micro-techniques such as micro recording, X-ray microanalysis and convergent beam diffraction. In this paper the function and performance of an SIEMENS ELMISKOP 101 used as a scanning transmission microscope (STEM) is described. This mode of operation has some advantages over the conventional transmission microscopy (CTEM) especially for the observation of thick specimen, in spite of somewhat longer image recording times.Fig.1 shows schematically the ray path and the additional electronics of an ELMISKOP 101 working as a STEM. With a point-cathode, and using condensor I and the objective lens as a demagnifying system, an electron probe with a half-width ob about 25 Å and a typical current of 5.10-11 amp at 100 kV can be obtained in the back focal plane of the objective lens.

Angular Resolved Electron Spectroscopy with Parallel Recording

1990 ◽  
Vol 48 (2) ◽  
pp. 370-371
Author(s):  
Huang Min ◽  
P.S. Flora ◽  
C.J. Harland ◽  
J.A. Venables
Keyword(s):  
Electron Spectroscopy ◽  
Low Voltage ◽  
Solid Angle ◽  
Detection System ◽  
Voltage Electron ◽  
Cylindrical Mirror ◽  
Inner Radius ◽  
Channel Plate ◽  
And Performance ◽  
Type Detector

A cylindrical mirror analyser (CMA) has been built with a parallel recording detection system. It is being used for angular resolved electron spectroscopy (ARES) within a SEM. The CMA has been optimised for imaging applications; the inner cylinder contains a magnetically focused and scanned, 30kV, SEM electron-optical column. The CMA has a large inner radius (50.8mm) and a large collection solid angle (Ω > 1sterad). An energy resolution (ΔE/E) of 1-2% has been achieved. The design and performance of the combination SEM/CMA instrument has been described previously and the CMA and detector system has been used for low voltage electron spectroscopy. Here we discuss the use of the CMA for ARES and present some preliminary results.The CMA has been designed for an axis-to-ring focus and uses an annular type detector. This detector consists of a channel-plate/YAG/mirror assembly which is optically coupled to either a photomultiplier for spectroscopy or a TV camera for parallel detection.

Novel epoxy/anhydride alternatives for biological electron microscopy: Physical and performance characteristis of embed 812 and LX 112 in combination with NSA/NMA/DMAE

1989 ◽  
Vol 47 ◽  
pp. 1000-1001
Author(s):  
Joe A. Mascorro ◽  
Gerald S. Kirby
Keyword(s):  
Electron Microscopy ◽  
Flow Rate ◽  
Succinic Anhydride ◽  
Volume Flow Rate ◽  
Mass Density ◽  
Uranyl Acetate ◽  
Volume Flow ◽  
Base Resin ◽  
And Performance ◽  
Acid Anhydrides

Embedding media based upon an epoxy resin of choice and the acid anhydrides dodecenyl succinic anhydride (DDSA), nadic methyl anhydride (NMA), and catalyzed by the tertiary amine 2,4,6-Tri(dimethylaminomethyl) phenol (DMP-30) are widely used in biological electron microscopy. These media possess a viscosity character that can impair tissue infiltration, particularly if original Epon 812 is utilized as the base resin. Other resins that are considerably less viscous than Epon 812 now are available as replacements. Likewise, nonenyl succinic anhydride (NSA) and dimethylaminoethanol (DMAE) are more fluid than their counterparts DDSA and DMP- 30 commonly used in earlier formulations. This work utilizes novel epoxy and anhydride combinations in order to produce embedding media with desirable flow rate and viscosity parameters that, in turn, would allow the medium to optimally infiltrate tissues. Specifically, embeding media based on EmBed 812 or LX 112 with NSA (in place of DDSA) and DMAE (replacing DMP-30), with NMA remaining constant, are formulated and offered as alternatives for routine biological work.Individual epoxy resins (Table I) or complete embedding media (Tables II-III) were tested for flow rate and viscosity. The novel media were further examined for their ability to infilftrate tissues, polymerize, sectioning and staining character, as well as strength and stability to the electron beam and column vacuum. For physical comparisons, a volume (9 ml) of either resin or media was aspirated into a capillary viscocimeter oriented vertically. The material was then allowed to flow out freely under the influence of gravity and the flow time necessary for the volume to exit was recored (Col B,C; Tables). In addition, the volume flow rate (ml flowing/second; Col D, Tables) was measured. Viscosity (n) could then be determined by using the Hagen-Poiseville relation for laminar flow, n = c.p/Q, where c = a geometric constant from an instrument calibration with water, p = mass density, and Q = volume flow rate. Mass weight and density of the materials were determined as well (Col F,G; Tables). Infiltration schedules utilized were short (1/2 hr 1:1, 3 hrs full resin), intermediate (1/2 hr 1:1, 6 hrs full resin) , or long (1/2 hr 1:1, 6 hrs full resin) in total time. Polymerization schedules ranging from 15 hrs (overnight) through 24, 36, or 48 hrs were tested. Sections demonstrating gold interference colors were collected on unsupported 200- 300 mesh grids and stained sequentially with uranyl acetate and lead citrate.

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