939 research outputs found
The World's Classics
No full textI was happy to find this text available when I needed a La Fontaine text for an undergraduate course in fable literature. It had advantages that I liked: an broad selection of fables with explanatory notes in an inexpensive format. Thought it is not a high priority, I also like students to be able to see what the French actually says. I am sorry to report that my experience with the book was largely negative in two ways. First, my recollection is that I too often found the translation saying things that I did not find in the original, and so I had the bad experience of telling students that the original did not really mean what the translation said that it meant. Ouch! Now a year later, I check through my text for some examples. In WD (I 5), La Fontaine stresses the wolf's abhorrence of servitude by saying that he fled and is running still. Wood translates He's running still, I'm told. Why add the possibly damaging phrase I'm told except to fill out a rhyme with the prior line's for gold? For me, that kind of price for buying a rhyme is too high. Again, La Fontaine finishes FS (I 18) by mentioning his audience (Tricksters, it's for you I write) and commanding them to expect the same (Attendez-vous à la pareille). Woods translates the latter biters will be bit: don't bite. We have both a new image and a new command. In The Master's Eye (IV 21), La Fontaine writes that each servant struck the beast, and the tears he shed in vain appeal were not able to save him. Here is Wood's rendering: They all stabbed the Stag, and though he couldn't talk,/his tears spoke most eloquently, but in vain…. Why bring up in a fable the point that this stag could not talk when the poet himself did not raise it? At the end of The Lark and Her Young (IV 22), we do not even learn from Wood whether the little family flew! Instead we get flittering, fluttering,/skittering, scuttering,/hush!/shush!/all in a row… What?! Secondly, there were many fables needing to be read that I did not find included in this selection. Some of the fables I miss here are: The Lion's Partnership (I 6), The Double Sack (I 7), The Middle-Aged Man and His Two Would-Be Wives (I 17), and The Cock and the Pearl (I 20). And this is only within Book I! One hates finally to come across a typo--I assume it must be such--like that in these lines on 311: the smallest Merchant is too fly/to sigh, because he has to hide/his losses if he is to keep/his creditors at bay. Should that fly be sly?This is a hardbound book (hard cover)Language note: Bilingual: English/FrenchOriginal language: freApparent first printingTranslated by Christopher Woo
Figures of the Text : Reading and Writing (in) La Fontaine, par Michaël Vincent. (Purdue University Monographs in Romance Languages, 39). Amsterdam/Philadelphia, John Benjamins, 1992
No full textSlater Maya. Figures of the Text : Reading and Writing (in) La Fontaine, par Michaël Vincent. (Purdue University Monographs in Romance Languages, 39). Amsterdam/Philadelphia, John Benjamins, 1992. In: Le Fablier. Revue des Amis de Jean de La Fontaine, n°5, 1993. La Fontaine de Château-Thierry à Vaux-le-Vicomte (2-3 juillet 1992) p. 69
La Fontaine imitateur de lui-même : les dernières Fables
No full textSlater Maya. La Fontaine imitateur de lui-même : les dernières Fables. In: Le Fablier. Revue des Amis de Jean de La Fontaine, n°8, 1996. Jean de La Fontaine, 1695-1995. Actes du Colloque du Tricentenaire 25-27 octobre 1995. pp. 129-136
Replication code for: Violence While in Utero: The Impacts of Assaults During Pregnancy on Birth outcomes
No full textWe provide the code necessary to replicate all of the output in the tables and figures of the article and online appendix. The README file describes our data sources and provides information for how to access them. It also describes the various Stata do-files used to produce our output. We also include a codebook that provides information on the variables used in our analysis
Table ronde animée par M. Jean Mesnard
No full textMesnard Jean, Fraser Amonoo Reginald, Sasaki Shigemi, Slater Maya, Crolet Vandoorne Marie-Christine. Table ronde animée par M. Jean Mesnard. In: Cahiers de l'Association internationale des études francaises, 1998, n°50. pp. 37-58
Slater v. Baker and Stapleton (C.B. 1767): Unpublished Monographs by Robert D. Miller
No full textThe Slater case is the first case imposing liability on a surgeon for performing a procedure without consent. This book reviews what happened, what was presented in court, and why they are so different. It also reviews the context of consent principles and medical experimentation and law of the time. It also provides biographical notes on the persons related to the case. It also reviews how the Slater case has been used in medical, ethical, legal and other publications
Jean de La Fontaine, Selected Fables. Translated by Christopher Wood. Edited with an Introduction by Maya Slater. The World Classics. Oxford & New-York, Oxford University Press, 1995
No full textSweetser Marie-Odile. Jean de La Fontaine, Selected Fables. Translated by Christopher Wood. Edited with an Introduction by Maya Slater. The World Classics. Oxford & New-York, Oxford University Press, 1995. In: Le Fablier. Revue des Amis de Jean de La Fontaine, n°8, 1996. Jean de La Fontaine, 1695-1995. Actes du Colloque du Tricentenaire 25-27 octobre 1995. p. 209
The Craft of La Fontaine
No full textSlater's introduction stresses close reading, openness to surprise, and ambivalence in La Fontaine. She quotes Renée Kohn about La Fontaine's fables: it is one of the few books to grow up with the reader (viii). English-only readers and readers like me, with good French but not exhaustively good French, will be happy that every French passage is promptly translated. Again, a reader like me will probably be going to the index's specific passages on specific poems to find what she has to say. The reader travelling faithfully with Slater from start to finish is in for a long haul. She starts her first chapter, for example, with comments on La Fontaine's first lines and then moves to comments on his compression and on coincidence. Readers may want to read Slater's epilogue first. Let me quote some sections of it. La Fontaine's thoughts are consistently presented in an oblique manner. His writing needs to be decoded for its full impact. The reasons for obliqueness of political critique are apparent. Elsewhere the obliqueness may be due to a certain shyness. He is an entertainer, but he is insinuating questions and views. His poetry is a densely woven fabric. In this book I have tried to tease out someof the elements of an extremely subtle process by which artistic and moral complexities are seamlessly incorporated in a fable so that they may almost escape notice. La Fontaine seems easy but is not. La Fontaine is a poet who does not state, but instead suggests. His is a type of writing which insinuates ideas into the head of the reader, without the rader's being fully aware of what is happening. Oblique writing of this kind, found in his own 'Fables,' is what this book is about. I so look forward to the next time I am teaching La Fontaine! This book should be a wonderful companion then!This is a hardbound book (hard cover)This book has a dust jacket (book cover)First edition?Maya Slate
Rebecca Graham with Rosalind and Keith Slater at the 2013 Campus Author Reception
No full textpermission grantedRebecca Graham, CIO and Chief Librarian, with Rosalind and Keith Slater (emeritus) with his plaque taken at the Campus Author Recognition Program annual reception, November 7, 2013.The University of Guelph Librar
The Craft of Lafontaine
No full textThis study provides a detailed account of the "Fables", including humour, the representation of animals, the literary qualities and the "moraliste" core. Dr Slater brings to light veiled satirical attacks, allusion to forgotten works and literature, and traces the obscure currents of thought, all this in the service of explicating the "fable" element.Intro -- Contents -- Note on the Translations -- Acknowledgments -- INTRODUCTION -- I: STYLE -- Chapter 1. The Practical Craftsman -- Chapter 2. Conjuring with Style -- II: IMAGERY -- Chapter 3. Imagery: The Man in the Animal -- Chapter 4. Hidden Images -- III: ANIMALS -- Chapter 5. Animal Creations -- Chapter 6. Reasoning Animals -- Chapter 7. The Presentation of Talking Animals -- IV: CHARACTERS -- Chapter 8. Neglected Protagonists -- Chapter 9. The Poet's Voice -- V: CREATING A WORLD -- Chapter 10. Echoes and Allusions - Creating a world -- Epilogue -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- J -- K -- L -- M -- N -- P -- R -- S -- T -- U -- V -- W -- ZThis study provides a detailed account of the "Fables", including humour, the representation of animals, the literary qualities and the "moraliste" core. Dr Slater brings to light veiled satirical attacks, allusion to forgotten works and literature, and traces the obscure currents of thought, all this in the service of explicating the "fable" element.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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