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Creative Translation L8

التسجيل

الكويز
Creative Translation L8 [أسئلة مراجعة - Creative Translation - د.احمد حليمه] Creative Translation L8 عدد الأسئلة: 38 - بعد إنهاء حل الكويز يمكنك تحميله بصيغة PDF. - سوف تحصل على نقطة إضافية في التقييم عن كل إجابة صحيحة.
1) There are two opinions of the possibility of translating poetry. The translation of Omar Khayyam is to support the opinion of:
	a. The success of translating poetry.
	b. The failure of translating poetry.
	c. The big mistakes we get if we try to translate poetry.
	d. B and C
2) 2. The opposite view-that poetry translation is difficult or even impossible -arises from the coincidence of two assumptions. One of these two assumptions is that translated poetry should be poetry in its own right. The second assumption is that poetry is…..
	a. Difficult
	b. Ambiguous
	c. A special relationship between form and meaning
	d. All true
3) 3. Many translation writers seem to agree that the translation of poetry, more than that of any genre, demands ……
	a. Special critical abilities
	b. Special writing abilities
	c. Both
	d. Neither
4) 4. One way of negotiating this difficulty is to translate poetry into……
	a. Poetry
	b. Prose
	c. Essay
	all false
5) 5. Another way of dealing with the supposed difficulty of poetic translation is to …………..the original, producing instead imitations or new versions.
	a. Stay close to
	b. Move away from
	c. Translate freely
	d. All false
6) 6. Other writers such as Gutt (1991/2000:167), for example, argue that poetic texts demand direct translation; they ………….the stylistic qualities of the original.
	a. Should avoid
	b. Must avoid
	c. Must preserve
	d. Should imitate
7) 7. The translation of poetry must take into account…….
	a. The special nature of poetry
	b. The language of poetry
	c. The type of reading it demands
	d. All true
8) 8. Poetic translation is considered as writing which captures ……..
	a. The spirit of the original poem
	b. The energy of the original poem
	c. The words of the original poem
	d. Either A or B
9) 9. One way of making this abstract notion more concrete is to equate it…..
	a. With style
	b. Without style
	c. With meaning
	d. Without meaning
10) 10. Some of the elements that have been put forward as distinctive of poetic style are:
	a. It’s physical shape including use of lines and spaces on a page
	b. It’s use of inventive language and in particular, patterns of sound and structure
	c. It’s openness to different interpretations
	d. All true
11) 11. When Wormhoudt (1978,P503) translated the following line from Almutanbbi كأنَّ الأسودَ الَّلابيَّ فيهمُ غُرَابٌ حوْلَه رخمٌ وبومُ to: As if the Nubian blacks were crows around them vultures and owls
	a. , we can see how skilful he was in translating it.
	b. , we can say that he could manage the historical and cultural associations and connotations attached to poetry.
	c. , we can still say that no matter how skilful the translator may be, he/she still falls victim to the historical, social or cultural associations and connotations attached to poetry.
	d. Both A and B
12) 12. Translating the word (الأسود) to (blacks) was a……….mistake.
	a. Cultural
	b. Grammatical
	c. Meaning
	d. All false
13) 13. Wormhoudt’s historical and cultural knowledge of the ‘owl’ is quite…….
	a. Poor
	b. Good
	c. Suitable
	d. All false
14) 14. Owl in the English culture refers to…..
	a. Bad omen and bad luck
	b. As a symbol of wisdom and sometimes love.
	a. B more than A
	d. A more than B
15) 15. Concerning the processes involved in poetry translation, a common question asked is whether the process of interpretation and creation are……..
	a. Needed or not
	b. To be ignored or taken into consideration
	c. To be stressed or not
	d. Separate or not
16) 16. Translation is of course ……………….writing one’s poetry.
	a. Is more creative than
	b. Is as creative as
	c. Is less creative than
	d. All possible
17) 17. For the translation of poetry, two main types of theory are relevant: theory of the literary text and ……….
	a. Theories of translation
	b. Processes of translation
	c. Theories of pragmatics
	d. Processes of pragmatics
18) 18. Theory may help free the translator from constraint of source text, and could therefore be seen as a source of ………….for the translator.
	a. Solution
	b. Creativity
	c. Freedom
	d. complication
19) 19. Drama is the specific mode of ………..represented in performance.
	a. Writing
	b. Narrating
	c. Story telling
	d. Fiction
20) 20. The structure of dramatic texts, unlike other forms of literature, is directly influenced by………
	a. Collaborative production
	b. Collective reception
	c. Both
	d. Neither
21) 21. The modern tragedy ……….. is an example of the masterpieces of the art of drama.
	a. Macbeth
	b. The visit
	c. Gone with the wind
	d. Hamlet
22) 22. The two masks associated with drama represent the traditional generic division between………………….
	a. Comedy and tragedy
	b. Reality and imagination
	c. Both
	d. Neither
23) 23. They are symbols of the ancient Greek Muses, Thalia and Melpomene. Thalia was the ……….
	a. Muse of tragedy
	b. Muse of comedy
	c. Both
	d. Neither
24) 24. Melpomene was the Muse of tragedy. In other words it means:
	a. The sorrow
	b. The happiness inside sorrow
	c. The weeping face
	d. All false
25) 25. The use of "drama" in the narrow sense to designate a specific type of play dates from the ………. century.
	a. 17th
	b. 18th
	c. 19th
	d. 20th
26) 26. Drama in this sense refers to a play that is……
	a. Comedy
	b. Tragedy
	c. Both
	d. Neither
27) 27. Drama is often combined with……………
	a. Music
	b. Dance
	c. Real events
	d. Both A and B
28) 28. One of the forms of drama is……………………... In this form, a scene is set, either by the teacher or the children, and then with little or no time to prepare a script the students perform before the class.
	a. (Mime)
	b. (Role Plays)
	c. (Masked Drama)
	d. (Improvisation/Let’s Pretend)
29) 29. One of the forms of drama is……………………... In this form, students are given a particular role in a scripted play. After rehearsal the play is performed for the class, school or parents.
	a. (Mime)
	b. (Role Plays)
	c. (Masked Drama)
	d. (Improvisation/Let’s Pretend)
30) 30. One of the forms of drama is……………………... In this form, children use only facial expressions and body language to pass on a message script to the rest of the class.
	a. (Mime)
	b. (Role Plays)
	c. (Puppet Plays)
	d. (Improvisation/Let’s Pretend)
31) 31. One of the forms of drama is……………………... In this form, the main props are masks. Children then feel less inhibited to perform and overact while participating in this form of drama. Children are given specific parts to play with a formal script. Using only their voices they must create the full picture for the rest of the class. Interpreting content and expressing it using only the voice.
	a. (Mime)
	b. (Puppet Plays)
	c. (Masked Drama)
	d. (Improvisation/Let’s Pretend)
32) 32. One of the forms of drama is……………………... In this form, children use puppets to say and do things that they may feel too inhibited to say or do themselves.
	a. (Puppet Plays)
	b. (Mime)
	c. (Role Plays)
	d. (Masked Drama)
33) 33. The main problem that theatre translation scholars, and practitioners, are confronted with is……..
	a. The definition of the dramatic text
	b. The subsequent of the dramatic text
	c. Both
	d. Neither
34) 34. …………………., Shakespeare is considered to be among the most widely translated writers and the most frequently performed playwrights in world literature.
	a. In qualitative terms
	b. Mistakenly believed
	c. Quantitatively
	d. Due to some historians
35) 35. ………………….., Shakespeare has helped shape cultural identities, ideologies and linguistics and literary repertoires across the world and the challenge of translating him has attracted leading writers, politician and many others captain of cultures.
	a. In qualitative terms
	b. Mistakenly believed
	c. Quantitatively
	d. Due to some historians
36) 36. Now when translating a song, as a form of musical drama, for example, the translator needs to approach the task as a written text, for…………
	a. Page translation
	b. Stage translation
	c. Vocal translation
	d. All apply
37) 37. In addition to linguistic and cultural translation of the song content and form, the translator needs to work on……..
	a. Meanings
	b. Grammar
	c. The translation of style
	d. All false
38) 38. We mean by style of a song whether it is ……….
	a. Archaic
	b. Dialectical
	c. Idiosyncratic
	d. All apply

معلومات حول الكويز

Creative Translation L8
[أسئلة مراجعة - Creative Translation - د.احمد حليمه]
تفاصيل أخرى:
Creative Translation L8
تم حل الكويز 119 مرة بنسبة نجاح 52%
القسم: E7
مناقشة الكويز: Creative Translation L8

معلومات صاحب الكويز

-كبرياء-

قام بانشاء 35 كويز
كويزات العضو

أفضل الأعضاء
العضو	نسبة النجاح
e7sasy	100%
الجازي الحربي	97%
فيصل عسيري	94%
atolah	94%
bluebutterfly	92%
نبراس الأمل	92%
hadeel22	89%
الوقت من ذهب	89%
fares sahi	86%
Red Apple	86%
Nougaa	78%
al3mri	76%
lovelysoso	76%
انثى مغروره	76%
مثابره	76%
ماجدالحزين	73%
بدريه الحسين	71%
روزقار	71%
JOOOR	71%
الطائر	68%

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