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1

Así, en Where the cross is made (1918), una vision alucinatoria del fondo del mar y de marineros muertos aparece en una casa de Nueva Inglaterra.

Thus, in Where the Cross Is Made (1918), a hallucinatory vision of the bottom of the sea and of dead sailors appears in a New England house.

2

En The Great God Brown (1925), el empleo de máscaras simbólicas que los personajes usan, se quitan y con las que suelen hablar, sin darse, cuenta de ello, produce un efecto de terror; la máscara reemplaza al hombre y puede ser adorada o aborrecida.

In The Great God Brown (1925), the employment of symbolic masks which the characters use, take off, and with which they usually speak, without realizing this [what they are doing], produces an effect of terror; the mask replaces the man and can be loved or hated.

3

En Strange Interlude (1928), O’Neill ha renovado el aparte o monólogo, hacienda que éste coincida con la corriente de la conciencia, a la manera del capítulo final del Ulises de Joyce.

In Strange Interlude (1928), O’Neill has renewed the aside or monologue, making this coincide with stream of the conscious in the manner of the final chapter of Joyce’s Ulysses.

4

Su trilogía Mourning becomes Electra traslada la antigua leyenda griega a los años de la guerra de Secesión.

His [O’Neill’s] trilogy Mourning Becomes Electra transfers [transmutes] the ancient Greek legend to the years of the Civil War.

5

Es indiscutible que más allá de nuestras preferencias o antipatías, O’Neill ha renovado la técnica dramática de nuestro tiempo.

It is undisputed that beyond our preferences or anticipations, O’Neill has renewed the dramatic technique of our time.

6

Su atormentado espíritu se refleja en su obra, que siempre excluye el happy ending, el final feliz.

His [O’Neill’s] tormented spirit is reflected in his work, which always excludes the happy ending.

7

Ha sido traducida a casi todos los idiomas.

He [O’Neill] has been translated to almost all languages.

8

Sus piezas iniciales, que se limitaban en general a un solo acto, fueron estrenadas por pequeños grupos innovadores, como los Washington Square Players, los Provincetown Players, y el Experimental Theater, de cuya dirección formó parte.

His [O’Neill’s] initial pieces, which were limited generally to a single act, were staged by small innovative groups, like the Washington Square Players, the Provincetown Players, and the Experimental Theater, in whose management he took part.

9

Luego llegarían a Broadway y al mundo entero.

Then they arrived at [reached] Broadway and the entire world.

10

Hijo de un periodista que llegó a ser cónsul general en Hong Kong, Thornton Niven Wilder (1897) nació en Madison, Wisconsin.

Son of a journalist who came to be [became] general consul in Hong Kong, Thornton Niven Wilder (1897 – ) was born in Madison, Wisconsin.

11

Cursó extensos estudios en la China, California, Oberlin, y Yale.

He [Wilder] studied extensive studies in China, California, Oberlin, and Yale.

12

Después de graduarse, siguió cursos de arqueología en la Academia Americana de Roma y en Princeton.

After graduating, he [Wilder] continued archaeological courses at the American Academy of Rome and at Princeton.

13

Durante la primera guerra mundial sirvió en la artillería, durante la segunda en las fuerzas aéreas.

During the First World War he [Wilder] served in the artillery, during the Second [World War] in the air force.

14

Desde 1921 hasta 1928 fue profesor de francés en Lawrenceville.

From 1921 until 1928 he [Wilder] was a French professor at Lawrenceville [Academy].

15

Su primera novela, The Cabala, apareció en 1925; The Bridge of Saint Luis Rey (1927) le dio fama nacional y el premio Pulitzer.

His [Wilder’s] first novel, The Cabala, appeared in 1925; The Bridge of Saint Luis Rey (1927) gave him national fame and the Pulitzer Prize.

16

Otras novelas suyas son The Woman of Andros (1930), Heaven is my destination (1935) y The Ides of March (1948).

Other novels of his [Wilder’s] are The Woman of Andros (1930), Heaven Is My Destination (1935), and The Ides of March (1948).

17

En la obra dramatica de Wilder, las novedades técnicas que sorprenden al espectador son quizá menos importantes que la emoción, el sentido humano, el optimism y la inteligencia.

In Wilder’s dramatic work, technical novelties which surprise the spectator are perhaps less important than emotion, the human sense [feeling], optimism, and intelligence.

18

Agreguemos a ello el sentido del transcurso del tiempo que le dieron los estudios de arqueología.

We add to that the sense [feeling] of time passing that is given to them by [Wilder’s] archaeological studies.

19

Comenzó con piezas muy breves que duran diez minutes cada una y que suelen dar forma contemporánea a temas de la Sagrada Escritura.

He [Wilder] commenced [started] with very short [theater] pieces that each last ten minutes and that usually give contemporary form to themes from the Sacred Writing.

20

En Our Town (1938), el mundo de los muertos no es menos real que el de los vivos y el autor descubre un valor esencial en los actos triviales y cotidianos.

In Our Town (1938), the world of the dead is no less real than that of the living and the author [Wilder] discovers essential value in trivial and daily acts.