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Flashcards in Page 29 Deck (16):
1

Según el juicio unánime de la crítica, su obra capital es la trilogía de U.S.A., que deja una impresión final de tristeza y de inutilidad, ya que adolece de falta de pasión y de fe.

According to the unanimous judgment of the critic[s], his [Dos Passos’s] major work is the trilogy U.S.A., which leaves a final impression of sadness and inutility [futility], since it suffers from a lack of passion and faith.

2

Dos Passos ha llevado a la novela los procedimientos tipográficos del periodico y también su carácter misceláneo y superficial.

Dos Passos has taken [brought] to the novel the typographical proceedings [methods] of the newspaper and also its miscellaneous and superficial character.

3

Menos importante que su prosa son sus ensayos dramáticos y su poesía.

Less important than his [Dos Passos’s] prose are his dramatic essays and his poetry.

4

No sabemos si su labor perdurará, pero su importancia técnica es innegable.

We do not know if his labor will last, but its technical importance is undoubted [undeniable].

5

En este capítulo hemos hablado de escritores de indiscutible talent; arribamos ahora a un hombre de genio, si bien de genio deliberada y casi perversamente caótico: William Faulkner (1897 – 1964).

In this chapter we have talked about [discussed] writers of undisputed talent; now we arrive at [reach] a man of genius, although a deliberate and almost perversely chaotic genius: William Faulkner (1897 – 1964).

6

Nació en Oxford, Mississippi; en su vasta obra, la provinciana y polvorienta ciudad, cercada por rancheríos de poor whites y de negros, es el centro de una nación que ha recibido el nombre de Yoknapatawpha, de presunta raíz indígena.

He [Faulkner] was born in Oxford, Mississippi; in his vast work, the provincal and dusty city, closed [surrounded] by settlements of poor whites and blacks, is the center of a country [county] that has received the name of Yoknapatawpha, of presumably native root [origin].

7

Durante la primera guerra mundial, Faulkner se alistó en la Real Fuerza Aérea del Canadá; después fue poeta, periodista en publicaciones de Nueva Orleans y autor de famosas novelas y de guiones cinematográficos.

During World War I, Faulkner enlisted in the Royal Canadian Air Force; then he was a poet, a journalist for New Orleans publications and an author of famous novels and of cinematic scripts [screenplays].

8

El año 1950 le fue acordado el premio Nobel.

[In] the year 1950 he [Faulkner] was awarded the Nobel Prize.

9

Como el hoy olvidado Henry Timrod, Faulkner representa en las letras americanas aquel Sur agrario y feudal que al fin de tantos sacrificios y de tanto coraje sucumbió en la Guerra Civil, la más encarnizada y sangrienta del siglo XIX, sin exceptuar las campañas napoleónicas y la guerra franco-prusiana.

Like the today [now] forgotten Henry Timrod, Faulkner represents in American letters that agrarian and feudal South which at the end of so many sacrifices and so much courage succumbed in the Civil War, the most ferocious and bloody [war] of the nineteenth century, without excepting the Napoleonic campaigns and the Franco-Prussian War.

10

A Timrod le fueron deparadas las iniciales esperanzas y las iniciales victorias; Faulkner describe de un modo épico la desintegración del Sur, a lo largo de muchas generaciones.

To Timrod there were offered the initial hopes and the initial victories; Faulkner describes in an epic mode [fashion] the disintegration of the South, over the course of many generations.

11

El ímpetu alucinatorio de Faulkner suele no ser indigno de Shakespeare.

The hallucinatory tendency of Faulkner is not unworthy of Shakepeare.

12

Un reproche fundamental cabe hacerle.

One fundamental reproach must be made of him [Faulkner].

13

Diríase que Faulkner considera que a este laberíntico mundo corresponde una técnica literaria no menos laberíntica.

It may be said that Faulkner considers [believes] that his labyrinthine world requires a literary technique no less labyrinthine.

14

Salvo en el caso de Sanctuary (1931), la historia, siempre atroz, no nos es referida directamente; debemos descifrarla y presentirla a través de sinuosos monólogos interiores según el incómodo modus operandi del capítulo final del Ulises de Joyce.

Except in the case of Sanctuary (1931), the story, always [an] atrocious [one], is not referred [told] to us directly; we must decipher it and deduce it through sinuous interior monologues according to [modeled upon] the uncomfortable modus operandi of the last chapter of Ulysses by [James] Joyce.

15

Así, en The Sound and the Fury (1929), la degeneración y la tragedia de la familia Compson está dada en la lenta y alusiva enumeración de cuatro horas distintas que reflejan lo que sienten, ven y recuerdan tres de los personajes, uno de ellos idiota.

Thus, in The Sound and the Fury (1929), the degeneration and tragedy of the Compson family is given by the slow and allusive enumeration [description] of four distinct hours that reflect what is felt, seen, and remembered by three of the characters, one of them an idiot.

16

Otras novelas capitals de Faulkner son As I Lay Dying (1930), Light in August (1930), Absalom! Absalom! (1936), Intruder in the Dust (1948).

Other major novels by Faulkner are As I Lay Dying (1930), Light in August (1930), Absalom! Absalom! (1936), [and] Intruder in the Dust (1948).