The new extended AVATAR HD trailer
Watch here the new extended AVATAR trailer, from the soul inspiring AVATAR movie by James Cameron:
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AVATAR: a tale on the destruction of an animist race
Here are two passages from Alfred Lambremont Webre article on AVATAR, James Cameron new movie (by permission):
Alfred Webre: Exopolitics, life on Mars and much more!
Alfred Webre, J. D., M. Ed., speaks, in an interview to Lee Patrick Hanks, about Exopolitics, the political science of outer space, ET races, NASA photos of Mars showing evidence of life and the 1953 CIA rule of no public discourse on extraterrestrial issues.
Previews of Interview with Nassim Haramein
Dear readers,
check these previews of interviews with Nassim Haramein, a great physicist of today, with brilliant ideas about the universe, oneness, wholeness, black hole theory, energy, gravity, and much more:
6 REFERENCES
REFERENCES
ALI, Manuel Said. Versificação Portuguesa. São Paulo: Editora da Universidade de São Paulo, 2006.
ALLEN, Gay W. The Solitary Singer: a critical biography of Walt Whitman. New York: The Macmillan Company, 1955.
5 CONCLUSION (Part 22)
5 CONCLUSION (Part 22 – end of chapter)
By analyzing all the books and poems we have translated and the samples provided above, for some of which we have supplied a second translation for comparison, we believe that we have met our own expectations of the re-creation of Whitman’s poetry into our language. Even though it is very difficult to criticize our own work, for we may fall prey to self-praise, by comparing our re-created poetic texts to other existing translations, it becomes clear that our approach to this task is at least different from the usual literal or almost literal translations, especially in regard to rhythm, as we have emphasized at the beginning of this chapter. We have been able to maintain the flow of the poems and we feel that their reading aloud shall show this, because we are constantly testing how they sound. What we mean by this is that we have always tried to find the best possible combination of sounds in each verse or parts of verse. Our purpose in this, it is not to make the verses sound beautiful, but to set the best phonic combination to transmit the sense of the verse in English. There are cases in which the effect might be exactly the opposite, that is, to describe scenes where evil thoughts and diseases are present. Besides, we have performed a careful work on vocabulary, so that the passages or words in the original that convey a sense of strangeness could be transmitted in Portuguese that way. However, there is more than just strangeness: Whitman liked to use words borrowed from other languages, such as French, Spanish and native American languages (ex.: savant, Libertad, Paumanok), he liked to write words with “k” (Kanadian, kosmos), and he sometimes changed the spelling of words (he wrote “carlacue” in section 20 of “Song of Myself,” but the correct spelling is “curlicue” or “curlicue”). Together with his extensive vocabulary in Leaves of Grass, more than 13,000 words, the task of researching and checking every single word is tremendous. In this case, the Norton Critical Edition (WHITMAN, 2002) has been of great help with its incredible number of notes to poems and vocabulary. We have done the same thorough action regarding grammatical structures and punctuation, as well as Whitman’s way of using certain collocations, particularly with adjectives, which he tends to use where they do not fit in correct English (he likes to use adjectives after the nouns, which is not considered syntactically acceptable in the English language). As in Portuguese the adjectives can go before or after the nouns, we have always tried to arrange them in the best way possible, that is, to maintain the original atmosphere of the poems. Another aspect that we have re-created with utmost care is the use of the –ing forms, whether they are verbs or nouns, since they are an essential part of Whitman’s verse.
5 CONCLUSION (Part 21)
5 CONCLUSION (Part 21)
From “The Sleepers” we bring the passage that is mentioned in section 2.5.2, which depicts a swimmer’s death by sea water. As we have explained in that section, Whitman was a swimmer himself, and this scene portrays the death of a swimmer that is similar to the death of Carpus in the myth when competing with his friend Calamus, who died shortly after this event (2.5.1). As Whitman saw himself in everyone, it could be argued that the swimmer described in the scene is also a manifestation or projection of his own self, since the swimmer in the passage below is big, like him, and middle-aged. Although Whitman was thirty-seven years old at that time (“The Sleepers” was part of the 1855 edition, in which the poet sings in part 1 of “Song of Myself”: “I, now thirty-seven years old in perfect health begin”), he was prematurely aged enough to look forty-five. As for the poem, it describes Whitman’s vision in his dream, in which he can see the dreams of the other dreamers. However, he also wanders during the day in the light. He is conscious of light and dark, life and death, and is content with both. He always accepts everything and everybody and excludes nothing.
