2,915,608 research outputs found
Data for Introducing The Foreign Exchange Reserve Demand – Inflation Buffer Hypothesis by the Author Omar Osman
No full textThis is the dataset used in the regression analysis for the paper "Introducing The Foreign Exchange Reserve Demand Inflation Buffer Hypothesis" published in Journal of Central Banking Theory and Practice by the author Omar Osman. Please refer to sheet 1
Omar caravan.
No full textCover title.On cover : "Galesburg, Illinois, story of the birthplace of Carl Sandburg, also: Omar buys a bakery".Mode of access: Internet
6° Tombeaux d'as-Sawâbi et de Ali Badr al-Qarâfi
No full textBahgat Ali, Omar Ahmad. 6° Tombeaux d'as-Sawâbi et de Ali Badr al-Qarâfi. In: Comité de Conservation des Monuments de l'Art Arabe. Fascicule 32, exercice 1915-1919, 1922. p. 323
4° Tombeau de Sayyedi Ali Badr ad-Dîn al-Qarâfi
No full textOmar Ahmad, Bahgat Ali, Haswell C. J. R. 4° Tombeau de Sayyedi Ali Badr ad-Dîn al-Qarâfi. In: Comité de Conservation des Monuments de l'Art Arabe. Fascicule 32, exercice 1915-1919, 1922. p. 428
In memoriam: Mu’allim Yafya Ali Omar, Swahili scholar
No full textObituary in memory of Mu''Allim Yahya Ali Omar, a Swahili schola
Yahya Ali Omar. 1998. Three prose texts in the Swahili of Mombasa.: Sprache und Oralität in Afrika, Band 21. Berlin: Dietrich Reimer Verlag. ISBN 3-496-02636-7
No full textReview of the book of Yahya Ali Omar `Three prose texts in the Swahili of Mombasa. Sprache und Oralität in Afrika´(1998)
Translating Translations: A study of Ngā Rūpaiaha o Oma Kaiama, a Māori translation of the English version of the Rubáiyát of Omar Khayyám
No full textOmar Khayyám, a Persian poet who died in 1131, wrote a number of quatrains in Farsi which are regarded by some as representing the very summit of Sufism (that is, of the mystical dimension of Islamic thought) and by others as being essentially agnostic and hedonistic in nature. Those who are of the latter view are often strongly influenced by the ‘translation’ into English of some of these quatrains by Edward Fitzgerald, a British poet and writer whose first edition of the Rubáiyát of Omar Khayyám appeared in 1859, at the height of the Victorian era. Although there have been several other translations of Khayyám’s quatrains, none has been as popular or, perhaps, as highly regarded as an artistic work as that of Fitzgerald. It has rarely, however, been regarded as a work that is faithful to the intent of the original. In deciding to translate into Māori Fitzgerald’s rendering into English of some of Khayyám’s Farsi quatrains (5th version), Pei Jones was faced with a peculiarly complex set of problems (linguistic, literary, cultural and religious). Pei Jones’ translation, a translation of a translation, is generally regarded as being faithful to Fitzgerald’s version of the Rubáiyát. It would appear, therefore, that he decided to treat Fitzgeralds’s text, in spite of the reference in its title to the original text, as his source text. This gives rise to a number of questions, including questions about what it means for a translator to be faithful or unfaithful to a source text. With particular reference to Pei Jones’ translation of Fitzgerald’s Rubáiyát of Omar Khayyám, this thesis explores the concept of ‘fidelity’, a concept that, it is argued here (see Chapter 3), is often treated in the literature on translation in a way that belies its extremely complex nature. The thesis proposes a new approach to the concept of fidelity, one that is based on nine fidelity types: grammatical, lexical, informational, metrical, imagistic, rhetorical, historical, didactic and functional fidelity. In terms of this nonagonal analytical model, twenty-five of Pei Jones’ quatrains are analysed in relation to the equivalent quatrains in Fitzgerald’s version (Chapter 4). The analysis indicates that Pei Jones’ translation has neither metrical fidelity (a consequence of the very different nature of the source and target languages) nor functional fidelity (a consequence of the very different expectations and sensibilities that a Māori audience has in relation to the verbal arts). Metre and function are both, however, fundamental to the enduring appeal of Fitzgerald’s quatrains. The overall conclusion is that since it is often impossible to achieve all nine types of fidelity, translators need to carefully consider what their primary aim is in undertaking the translation of artistic works and be prepared to sacrifice certain types of fidelity (e.g. historical and informational fidelity) in order to create a work that fulfils the aesthetic expectations of the target audience. Pei Jones was undeniably successful in achieving those types of fidelity that were possible. However, the work may have had more widespread appeal if he had sacrificed some of them in order to create a work that was more closely aligned with the aesthetic expectations of Māori readers
Omar is coming!!
No full textGrupo de Investigación Complutense “Sociología Ordinaria”, Quinto Encuentro de Sociología Ordinaria - Resistencias Cotidianas, ponencia; 2017; Medialab-Prado. Madrid.¡¡Que viene Omar!”! Es el grito de alarma que utilizan los camellos vendedores de crack cuando aparece Omar, recortada en mano, caminando tranquilamente por los bajos fondos de Baltimore en la poliédrica teleserie The Wire (HBO 2002-2008). The Wire narra la vida de Baltimore, ciudad portuaria de 600.000 habitantes en la costa este norteamericana. La teleserie está estructurada en 5 temporadas en las que cada una aborda cinco capas que describen la ciudad: los colectivos excluidos socialmente (los bajos fondos), la infraestructura (el tráfico y contrabando portuario), la política (el ayuntamiento organismo de gestión y poder), la educación pública y los medios de comunicación. La serie se basa en un entramado de personajes que van estableciendo relaciones verticales entre los diferentes estratos que la conforman. Esta estructura aporta una visión muy precisa y real de la complejidad económica, política y social de una ciudad deprimida de Estados Unidos como es Baltimore. Es más, se trata de una de las mejores descripciones que se hayan hecho hasta el momento de la complejidad urbana y las relaciones de intereses y poder que conforman el devenir urbano. Pero, ¿quién es Omar? Omar es negro, gay y bandido. Vive precariamente escondido en los mismos suburbios en los que roba a traficantes de droga, colabora con la policía para deshacerse de sus enemigos y dispara a matar a cualquiera que le plante cara. Omar es un personaje al margen de todo y de todos. Vive al margen de la ley que intenta imponer la fuerza del orden, al margen de los códigos que rigen los bajos fondos. Un antisistema radical que se rige por un estricto código ético propio con el que es difícil no empatizar y que le hace ser perseguido por la policía y los traficantes, ser rechazado socialmente por su orientación sexual y sobre todo su negación a adaptarse a ningún colectivo social. Omar es un nuevo tipo de activista social: el hacker urbano. Al igual que Neo en The Matrix (1999) o Lisbeth Salander en la saga Millenium (2005), representan el prototipo de pirata informático, activista que se rige por una ética basada en la conciencia e igualdad social, el conocimiento libre y la lucha contra las injusticias sociales, la corrupción y los lobbies de poder socio-económico, Omar lucha contra la ciudad. Una ciudad injusta, deprimida, racista, homófoba y antisocial basada en las relaciones económicas y de poder. La ciudad norteamericana del siglo XXI en la que Omar no cree y contra la cual lucha y se resiste. La ciudad contemporánea no es moral, es un ecosistema de relaciones e intereses. Una entidad autónoma incapaz de gobernarse ni de ser gobernada, en la que Omar, el hacker urbano, se presenta como uno de los pocos agentes capaz de transformarla. Su aproximación crítica y antisistémica le da la capacidad de reprogramar el sistema. De establecer relaciones no viciadas entre las diferentes capas y colectivos que definen la urbe, aproximándose y estableciendo espacios de negociación capaces de transformarla en un nuevo lugar social, productivo y colaborativo
b) Tombeau de Sayyedi Ali Badr al-Qarâfi
No full textOmar Ahmad, Bahgat Ali, Haswell C. J. R., Fahmy Mahmoud, Sabri Saber. b) Tombeau de Sayyedi Ali Badr al-Qarâfi. In: Comité de Conservation des Monuments de l'Art Arabe. Fascicule 32, exercice 1915-1919, 1922. p. 311
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