46-755: [REDACTED] Look up expositor in Wiktionary, the free dictionary. Expositor or Expository may refer to: Publications [ edit ] An English Expositor ( pub. 1616), an early dictionary Brantford Expositor , a newspaper in Brantford, Ontario Nauvoo Expositor , a former newspaper in Nauvoo, Illinois Review & Expositor ( est. 1904), an academic journal of theology The Expository Times (est. 1889), an academic journal of theology Vine's Expository Dictionary (pub 1940),
92-405: A bilingual document is the 1274 BCE Treaty of Kadesh between the ancient Egyptian and Hittie empires . The Babylonians were the first to establish translation as a profession. The first translations of Greek and Coptic texts into Arabic, possibly indirectly from Syriac translations, seem to have been undertaken as early as the late seventh century CE. The second Abbasid Caliph funded
138-430: A " measure word " to say "one blossom-of roseness." Chinese verbs are tense -less: there are several ways to specify when something happened or will happen, but verb tense is not one of them. For poets, this creates the great advantage of ambiguity . According to Link, Weinberger's insight about subjectlessness—that it produces an effect "both universal and immediate"—applies to timelessness as well. Link proposes
184-637: A common etymology is sometimes misleading as a guide to current meaning in one or the other language. For example, the English actual should not be confused with the cognate French actuel ("present", "current"), the Polish aktualny ("present", "current," "topical", "timely", "feasible"), the Swedish aktuell ("topical", "presently of importance"), the Russian актуальный ("urgent", "topical") or
230-588: A cross reference of English New Testament words to original Greek texts Other [ edit ] Expository address , a competitive debate event in the National Forensic League Expository preaching , a form of preaching that explains a passage of scripture EcoCentro Expositor Querétaro , an exposition centre in El Marqués, Querétaro See also [ edit ] Exposition (narrative) Topics referred to by
276-503: A fully adequate guide in translating. The Scottish historian Alexander Tytler , in his Essay on the Principles of Translation (1790), emphasized that assiduous reading is a more comprehensive guide to a language than are dictionaries. The same point, but also including listening to the spoken language , had earlier, in 1783, been made by the Polish poet and grammarian Onufry Kopczyński . The translator's special role in society
322-656: A kind of uncertainty principle that may be applicable not only to translation from the Chinese language, but to all translation: Dilemmas about translation do not have definitive right answers (although there can be unambiguously wrong ones if misreadings of the original are involved). Any translation (except machine translation, a different case) must pass through the mind of a translator, and that mind inevitably contains its own store of perceptions, memories, and values. Weinberger [...] pushes this insight further when he writes that "every reading of every poem, regardless of language,
368-565: A poem like [the one that Eliot Weinberger discusses in 19 Ways of Looking at Wang Wei (with More Ways) ], another untranslatable feature is that the written result, hung on a wall, presents a rectangle. Translators into languages whose word lengths vary can reproduce such an effect only at the risk of fatal awkwardness.... Another imponderable is how to imitate the 1-2, 1-2-3 rhythm in which five- syllable lines in classical Chinese poems normally are read. Chinese characters are pronounced in one syllable apiece, so producing such rhythms in Chinese
414-491: A subject is inserted, a "controlling individual mind of the poet" enters and destroys the effect of the Chinese line. Without a subject, he writes, "the experience becomes both universal and immediate to the reader." Another approach to the subjectlessness is to use the target language's passive voice ; but this again particularizes the experience too much. Nouns have no number in Chinese. "If," writes Link, "you want to talk in Chinese about one rose, you may, but then you use
460-440: A text's source language are adjusted to the syntactic requirements of the target language. When a target language has lacked terms that are found in a source language, translators have borrowed those terms, thereby enriching the target language. Thanks in great measure to the exchange of calques and loanwords between languages, and to their importation from other languages, there are few concepts that are " untranslatable " among
506-459: A translation bureau in Baghdad in the eighth century. Bayt al-Hikma, the famous library in Baghdad, was generously endowed and the collection included books in many languages, and it became a leading centre for the translation of works from antiquity into Arabic, with its own Translation Department. Translations into European languages from Arabic versions of lost Greek and Roman texts began in
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#1732772295907552-531: Is a type of drawing after life..." Comparison of the translator with a musician or actor goes back at least to Samuel Johnson 's remark about Alexander Pope playing Homer on a flageolet , while Homer himself used a bassoon . In the 13th century, Roger Bacon wrote that if a translation is to be true, the translator must know both languages , as well as the science that he is to translate; and finding that few translators did, he wanted to do away with translation and translators altogether. The translator of
598-736: Is an act of translation: translation into the reader's intellectual and emotional life." Then he goes still further: because a reader's mental life shifts over time, there is a sense in which "the same poem cannot be read twice." Translation of material into Arabic expanded after the creation of Arabic script in the 5th century, and gained great importance with the rise of Islam and Islamic empires. Arab translation initially focused primarily on politics, rendering Persian, Greek, even Chinese and Indic diplomatic materials into Arabic. It later focused on translating classical Greek and Persian works, as well as some Chinese and Indian texts, into Arabic for scholarly study at major Islamic learning centers, such as
644-677: Is characterized by loose adaptation, rather than the closer translation more commonly found in Europe; and Chinese translation theory identifies various criteria and limitations in translation. In the East Asian sphere of Chinese cultural influence, more important than translation per se has been the use and reading of Chinese texts, which also had substantial influence on the Japanese, Korean and Vietnamese languages, with substantial borrowings of Chinese vocabulary and writing system. Notable
690-552: Is described in a posthumous 1803 essay by "Poland's La Fontaine ", the Roman Catholic Primate of Poland , poet, encyclopedist , author of the first Polish novel, and translator from French and Greek, Ignacy Krasicki : [T]ranslation... is in fact an art both estimable and very difficult, and therefore is not the labor and portion of common minds; [it] should be [practiced] by those who are themselves capable of being actors, when they see greater use in translating
736-457: Is not hard and the results are unobtrusive; but any imitation in a Western language is almost inevitably stilted and distracting. Even less translatable are the patterns of tone arrangement in classical Chinese poetry. Each syllable (character) belongs to one of two categories determined by the pitch contour in which it is read; in a classical Chinese poem the patterns of alternation of the two categories exhibit parallelism and mirroring. Once
782-542: Is the Japanese kanbun , a system for glossing Chinese texts for Japanese speakers. Though Indianized states in Southeast Asia often translated Sanskrit material into the local languages, the literate elites and scribes more commonly used Sanskrit as their primary language of culture and government. Some special aspects of translating from Chinese are illustrated in Perry Link 's discussion of translating
828-405: Is the communication of the meaning of a source-language text by means of an equivalent target-language text. The English language draws a terminological distinction (which does not exist in every language) between translating (a written text) and interpreting (oral or signed communication between users of different languages); under this distinction, translation can begin only after
874-528: Is the norm in classical Chinese poetry , and common even in modern Chinese prose, to omit subjects; the reader or listener infers a subject. The grammars of some Western languages, however, require that a subject be stated (although this is often avoided by using a passive or impersonal construction). Most of the translators cited in Eliot Weinberger's 19 Ways of Looking at Wang Wei supply a subject. Weinberger points out, however, that when an "I" as
920-711: The translātiō pattern, whereas Russian and the South Slavic languages adopted the trāductiō pattern. The Romance languages , deriving directly from Latin, did not need to calque their equivalent words for "translation"; instead, they simply adapted the second of the two alternative Latin words, trāductiō . The Ancient Greek term for "translation", μετάφρασις ( metaphrasis , "a speaking across"), has supplied English with " metaphrase " (a " literal ", or "word-for-word", translation)—as contrasted with " paraphrase " ("a saying in other words", from παράφρασις , paraphrasis ). "Metaphrase" corresponds, in one of
966-529: The Al-Karaouine ( Fes , Morocco ), Al-Azhar ( Cairo , Egypt ), and the Al-Nizamiyya of Baghdad . In terms of theory, Arabic translation drew heavily on earlier Near Eastern traditions as well as more contemporary Greek and Persian traditions. Arabic translation efforts and techniques are important to Western translation traditions due to centuries of close contacts and exchanges. Especially after
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#17327722959071012-528: The Bible into German, Martin Luther (1483–1546), is credited with being the first European to posit that one translates satisfactorily only toward his own language. L.G. Kelly states that since Johann Gottfried Herder in the 18th century, "it has been axiomatic" that one translates only toward his own language. Compounding the demands on the translator is the fact that no dictionary or thesaurus can ever be
1058-531: The Latin word translatio , which comes from trans , "across" + ferre , "to carry" or "to bring" ( -latio in turn coming from latus , the past participle of ferre ). Thus translatio is "a carrying across" or "a bringing across"—in this case, of a text from one language to another. Some Slavic languages and the Germanic languages (other than Dutch and Afrikaans ) have calqued their words for
1104-533: The Renaissance , Europeans began more intensive study of Arabic and Persian translations of classical works as well as scientific and philosophical works of Arab and oriental origins. Arabic, and to a lesser degree Persian, became important sources of material and perhaps of techniques for revitalized Western traditions, which in time would overtake the Islamic and oriental traditions. In the 19th century, after
1150-524: The concept of "translation" on translatio , substituting their respective Slavic or Germanic root words for the Latin roots. The remaining Slavic languages instead calqued their words for "translation" from an alternative Latin word, trāductiō , itself derived from trādūcō ("to lead across" or "to bring across")—from trans ("across") + dūcō , ("to lead" or "to bring"). The West and East Slavic languages (except for Russian ) adopted
1196-520: The context itself by reproducing the original order of sememes , and hence word order —when necessary, reinterpreting the actual grammatical structure, for example, by shifting from active to passive voice , or vice versa . The grammatical differences between "fixed-word-order" languages (e.g. English, French , German ) and "free-word-order" languages (e.g., Greek , Latin , Polish , Russian ) have been no impediment in this regard. The particular syntax (sentence-structure) characteristics of
1242-463: The Chinese tradition. Traditions of translating material among the languages of ancient Egypt , Mesopotamia , Assyria ( Syriac language ), Anatolia , and Israel ( Hebrew language ) go back several millennia. There exist partial translations of the Sumerian Epic of Gilgamesh ( c. 2000 BCE ) into Southwest Asian languages of the second millennium BCE. An early example of
1288-522: The Dutch actueel ("current"). The translator's role as a bridge for "carrying across" values between cultures has been discussed at least since Terence , the 2nd-century-BCE Roman adapter of Greek comedies. The translator's role is, however, by no means a passive, mechanical one, and so has also been compared to that of an artist . The main ground seems to be the concept of parallel creation found in critics such as Cicero . Dryden observed that "Translation
1334-417: The English language, and "open the signification of such words, to the capacitie of the ignorant". It was extensive in scope, covering not only foreign loanwords and words that had become obsolete, but also terms associated with science and philosophy. It contained twice as many entries as its sole predecessor, Cawdrey's A Table Alphabeticall , from which it borrowed heavily. John Bullokar lived only to see
1380-695: The actual practice of translation has hardly changed since antiquity. Except for some extreme metaphrasers in the early Christian period and the Middle Ages , and adapters in various periods (especially pre-Classical Rome, and the 18th century), translators have generally shown prudent flexibility in seeking equivalents —"literal" where possible, paraphrastic where necessary—for the original meaning and other crucial "values" (e.g., style , verse form , concordance with musical accompaniment or, in films, with speech articulatory movements) as determined from context. In general, translators have sought to preserve
1426-418: The appearance of writing within a language community. A translator always risks inadvertently introducing source-language words, grammar , or syntax into the target-language rendering. On the other hand, such "spill-overs" have sometimes imported useful source-language calques and loanwords that have enriched target languages. Translators, including early translators of sacred texts , have helped shape
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1472-573: The center is the letter-versus-spirit dilemma . At the literalist extreme, efforts are made to dissect every conceivable detail about the language of the original Chinese poem. "The dissection, though," writes Link, "normally does to the art of a poem approximately what the scalpel of an anatomy instructor does to the life of a frog." Chinese characters, in avoiding grammatical specificity, offer advantages to poets (and, simultaneously, challenges to poetry translators) that are associated primarily with absences of subject , number , and tense . It
1518-471: The extremes in the spectrum of possible approaches to translation. Discussions of the theory and practice of translation reach back into antiquity and show remarkable continuities. The ancient Greeks distinguished between metaphrase (literal translation) and paraphrase . This distinction was adopted by English poet and translator John Dryden (1631–1700), who described translation as the judicious blending of these two modes of phrasing when selecting, in
1564-463: The interpretation of the hardest words used in our language, with sundry explications, descriptions and discourses is a dictionary of hard words compiled by John Bullokar and first published in London in 1616. The book is significant as the second monolingual dictionary to be printed in the English language. Its aim, as laid out in the preface, was to catalogue the "great store of strange words" in
1610-866: The middle of the eleventh century, when the benefits to be gained from the Arabs’ knowledge of the classical texts were recognised by European scholars, particularly after the establishment of the Escuela de Traductores de Toledo in Spain. William Caxton ’s Dictes or Sayengis of the Philosophres (Sayings of the Philosophers, 1477) was a translation into English of an eleventh-century Egyptian text which reached English via translation into Latin and then French. The translation of foreign works for publishing in Arabic
1656-527: The modern European languages. A greater problem, however, is translating terms relating to cultural concepts that have no equivalent in the target language. For full comprehension, such situations require the provision of a gloss . Generally, the greater the contact and exchange that have existed between two languages, or between those languages and a third one, the greater is the ratio of metaphrase to paraphrase that may be used in translating among them. However, due to shifts in ecological niches of words,
1702-479: The more recent terminologies, to " formal equivalence "; and "paraphrase", to " dynamic equivalence ". Strictly speaking, the concept of metaphrase—of "word-for-word translation"—is an imperfect concept, because a given word in a given language often carries more than one meaning; and because a similar given meaning may often be represented in a given language by more than one word. Nevertheless, "metaphrase" and "paraphrase" may be useful as ideal concepts that mark
1748-569: The same term [REDACTED] This disambiguation page lists articles associated with the title Expositor . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Expositor&oldid=946037690 " Category : Disambiguation pages Hidden categories: Short description matches Wikidata All article disambiguation pages All disambiguation pages An English Expositor An English Expositor: teaching
1794-399: The second edition of his book, but at least sixteen more editions and revisions appeared over the next 150 years, including An English Expositor, or, Compleat Dictionary (1698), and The English Expositor Improv'd (1719). This article about a book on language , linguistics or translation is a stub . You can help Misplaced Pages by expanding it . Translation Translation
1840-527: The sense. Dryden cautioned, however, against the license of "imitation", i.e., of adapted translation: "When a painter copies from the life... he has no privilege to alter features and lineaments..." This general formulation of the central concept of translation— equivalence —is as adequate as any that has been proposed since Cicero and Horace , who, in 1st-century-BCE Rome , famously and literally cautioned against translating "word for word" ( verbum pro verbo ). Despite occasional theoretical diversity,
1886-474: The target language, "counterparts," or equivalents , for the expressions used in the source language: When [words] appear... literally graceful, it were an injury to the author that they should be changed. But since... what is beautiful in one [language] is often barbarous, nay sometimes nonsense, in another, it would be unreasonable to limit a translator to the narrow compass of his author's words: 'tis enough if he choose out some expression which does not vitiate
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1932-418: The untranslatables have been set aside, the problems for a translator, especially of Chinese poetry, are two: What does the translator think the poetic line says? And once he thinks he understands it, how can he render it into the target language? Most of the difficulties, according to Link, arise in addressing the second problem, "where the impossibility of perfect answers spawns endless debate." Almost always at
1978-513: The very languages into which they have translated. Because of the laboriousness of the translation process, since the 1940s efforts have been made, with varying degrees of success, to automate translation or to mechanically aid the human translator . More recently, the rise of the Internet has fostered a world-wide market for translation services and has facilitated " language localisation ". The English word "translation" derives from
2024-508: The work of the Tang dynasty poet Wang Wei (699–759 CE). Some of the art of classical Chinese poetry [writes Link] must simply be set aside as untranslatable . The internal structure of Chinese characters has a beauty of its own, and the calligraphy in which classical poems were written is another important but untranslatable dimension. Since Chinese characters do not vary in length, and because there are exactly five characters per line in
2070-933: The works of others than in their own works, and hold higher than their own glory the service that they render their country. Due to Western colonialism and cultural dominance in recent centuries, Western translation traditions have largely replaced other traditions. The Western traditions draw on both ancient and medieval traditions, and on more recent European innovations. Though earlier approaches to translation are less commonly used today, they retain importance when dealing with their products, as when historians view ancient or medieval records to piece together events which took place in non-Western or pre-Western environments. Also, though heavily influenced by Western traditions and practiced by translators taught in Western-style educational systems, Chinese and related translation traditions retain some theories and philosophies unique to
2116-624: Was revived by the establishment of the Madrasat al-Alsun (School of Tongues) in Egypt in 1813. There is a separate tradition of translation in South , Southeast and East Asia (primarily of texts from the Indian and Chinese civilizations), connected especially with the rendering of religious, particularly Buddhist , texts and with the governance of the Chinese empire. Classical Indian translation
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