Newsgroup: it.fan.scrittori.tolkien
Titolo: brano SdA in inglese e con commmento

Salve a tutti, lunedě, 30 dovrň presentare Tolkien durante un'interrogazione
per l'orale d'inglese. Cenni sulla vita, la TdM, le lingue e le opere le ho
ma dovrei presentare anche un piccolo passaggio tratto da un libro (pensavo
il SdA) con un minimo di commento stilistico.
Sapete dove possa trovarlo?
napoleone, Eomund
Maresciallo del MArk

 Sapete dove possa trovarlo?
se intendi il testo, tralasciando p2p e simili, dovrebbe bastare google.
p.e., chiedere
silmarillion filetype:pdf
fra i vari link da'
http://www.harpercollins.co.uk/Resources/extracts/ex_ch1_silmarillion_tolkien.pdf
con il cap.1
con lotr non ho provato.
ricorda solo
1. qualunque cosa trovi, e' probabile infranga il copyright...
2. sarebbe molto meglio che ricontrollassi il testo (refusi, errori ocr,
ecc.) su un'edizione a stampa. questa la dovresti trovare in qualunque
biblioteca non minima. (e forse fai prima a cercare direttamente in
biblio...).
ciao, a.
-- 
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 il SdA) con un minimo di commento stilistico.
Cerca semplicemente una frase famosa del SdA con Google. La rete č piena 
di siti dove c'č (illegalmente) il testo originale.
Bye
Gwindor
-- 
"Early to rise, early to bed, makes a man healthy, wealthy and dead."
Terry Pratchett
Togli REMOVEME dall'indirizzo per rispondere

 di siti dove c'č (illegalmente) il testo originale.
Ho come l'impressione che napo volesse maggiormente il commento stilistico
che il testo in sé... O sbaglio?
A' Napň! Se trovi o scrivi qualcosa di interessante, ce lo fai sapere,
vero?
-- 
Gwenaeth Aeliromë
Easterling
 
"Ed egli, invero, non mi rispose. A che pro
rispondermi: ero morto,
ero morto, e parlavo! Ero morto, e camminavo!
Nulla piů contava, per me. Ero morto, ma cantavo!"


il SdA) con un minimo di commento stilistico. (...)
Puo' servirti un commento (tratto da "Tolkien. A cultural phenomenon"
di B. Rosebury, 2003) del passo in cui si descrive la situazione di
Merry dopo la morte del Re stregone, finalizzato (il commento) a
mostrare come in ISdA si alternino momenti di stile alto ad altri di
stile piano? Il commento riguarda la scelta delle parole, le immagini
ecc.
Te lo chiedo per non digitare a vuoto... ^__^;
ciao ciao
Fritz aka Giacomo
-- 
http://www.nazioneindiana.com/2006/04/20/nazisti-brava-gente

 Te lo chiedo per non digitare a vuoto... ^__^;
Sarebbe proprio quello che cerco!
napoleone 

 vero?
Allora! Innanzitutto non prendiamo ci queste liberetà chiamandomi con 
abbreviazioni come "Napò"! Solo alcune persone (tra l'altro nessuna vivente) 
hanno usato tali nomignoli! ;-P
Piuttosto usa Gnappy!
by
gnappy 

 Piuttosto usa Gnappy!
Tsk... Gnappy è brutto, a me piace Napo (o Napò anche, alla fronscese).
Come dissero altri: resistere è futile (cit.) ;-)
-- 
Gwenaeth Aeliromë
Easterling
 
"Ed egli, invero, non mi rispose. A che pro
rispondermi: ero morto,
ero morto, e parlavo! Ero morto, e camminavo!
Nulla più contava, per me. Ero morto, ma cantavo!"


 Come dissero altri: resistere č futile (cit.) ;-)
la resistenza e' inutile. Sarete assimilati.
GlorfoBorg

 la resistenza e' inutile. Sarete assimilati.
"Resistance is useless"
(Douglas Adams, "Hitchhiker's Guide to the Galaxy", 1979)
-- 
Soronel il Vogon - 
http://www.soronel.it/

 (Douglas Adams, "Hitchhiker's Guide to the Galaxy", 1979)
Pazzi! Convertitevi al lato oscuro della Forza!
napoleone 

Sarebbe proprio quello che cerco!
Allora, vediamo un po'. Cito estesamente perche' il punto sia chiaro.
Da Tolkien. A Cultural Phenomenon", di Brian Rosebury, Palgrave
Macmillan, 2003, pp.74-77 (un libro stimolantissimo, btw).
(...) indica un mio taglio
... indica un taglio dell'autore 
Possono ovviamente esserci errori di battitura...
<<The narrative style of The Lord of the Rings is by no means uniform
(...). Books III and V, which are dominated by warfare, generally
display the most highly wrought narrative passages, with occasional
definite shifts into eroic diction.
(...)
Even in such passages (...) the risky heroic mannerisms are the
exception rather than the rule. The presence of Merry as an observing
cosciousness generates numerous examples of plain sintax (...). This
stylistic variation could make for an unsightly patchwork, but in fact
the amplitude of the narrative is such as to allow gradual modulations
between the exalted style and the plain. The point may be illustrated
by a passage towards the end of the episode, when the Witch-king and
Theoden are both dead, the battle has moved to another part of the
field, and Merry stands wounded, having used his short sword,
retrieved from the Barrow many chapters earlier, to pierce the sinew
behind the Witch-king's knee.
"And still Meriadoc the hobbit stood there blinking through his tears
and no one spoke to him, indeed none seemed to heed him. He brushed
away the tears, and stooped to pick up the green shield that Éowyn had
given him; and he slung it at his back. Then he looked for his sword
that he had let fall; for even as he struck his blow his arm was
numbed, and now he could only use his left hand. And behold! there lay
his weapon, but the blade was smoking like a dry branch that has been
thrust in a fire; and as he watched it, it writhed and withered and
was consumed.
So passed the sword of the Barrow-downs, work of Westernesse. But glad
would he have been to know its fate who wrought it slowly long ago in
the North-kingdom when the Dúnedain were young, and chief among their
foes was the dread realm of Angmar and its sorcerer king. No other
blade, not though mightier hands had wielded it, would have dealt that
foe a wound so bitter, cleaving the undead flesh, breaking the spell
that knit his unseen sinews to his will." (RK, 119-120)
The first paragraph opens with essentially plain syntax, with phrases
that might be modelled on Merry's speech-patterns ("no one spoke to
him ... now he could only use his left hand"). Yet woven into the
clauses are nuances of diction - "heed"; "let fall" rather than
"dropped"; "for", in the sense of "because"; "even as", in the sense
of "at the very moment that", and not least the full version of
Merry's name, which keeps in touch with the heroic tonality, so that
when attention shifts from Merry to the sword, and its historic
relation to the Witch-king, the accompanying stylistic shift is not
too abrupt. The "behold!" signals Merry's shock of surprise (and
alarm, when he makes the connection with his numbed arm) at the
dissolution of the sword-blade, so eloquently conveyed through the
sustained image of the burning branch; and by placing the sword in the
same stylistic frame as the Witch-king, it prepares us for the
revelation in the next paragraph: the Witch-king's unholy perpetuation
of "undead" exitence has been ended by the indirect agency of his
long.dead victim, the sword's maker. (...)
The dignified prose of the second paragraph effectively sustains the
heroic tone, though the archaic adjective "dread" is a superfluous
note, except rhytmically. The quasi-conclusiveness of its first
sentence prepares us for a sudden shift of focus and mood, confirmed
by the opening phrase of the second (another emotional marker). The
sentence employs inversion as much for economy and elegance as for
expressive effect. (Compare the awkward uninverted version, "But he
who wrought it long ago, etc., etc., etc. .... would have been glad to
know its fate".) The final sentence triumphs over its elements of
cliche' through its musicality - the widely-spaced assonances
("_bl_ade ... wie_ld_ ... dea_lt_ .... _cl_eaving .... _fl_esh ....
spe_ll_ .... wi_ll_"), the alliterative group "wield ... wound ...
will", and the sinuously memorable "unseen sinews" - and the ruthless
simultaneity of its present participles, "cleaving ... breaking": the
suppression of "and" here is as important as its elegiac repetition in
the passage describing Saruman's death.>>
Spero che possa essrti utile.


 Tsk... Gnappy č brutto, a me piace Napo
Orso Capo ...
;-)
"So don't yell "Help! help!" "
-- 
ArMandos (by Mandos) FBI-certified stainless scassacodroipi 
"Ciao! Sono Mario e sono etero"
(Elu Thingol)

 Macmillan, 2003, pp.74-77 (un libro stimolantissimo, btw).
Grazie mille! č perfetto.
napoleone