It has sometimes been criticised as unidiomatic, and has not been particularly popular. He also had cut ornaments, many apparently copied or influenced from those offered by the Enschedé type foundry of Haarlem.
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Spanish has two verbs corresponding to English to be: ser and estar. Ser is used to form the ordinary (dynamic) passive voice: :La puerta es abierta. "The door is [being] opened [by someone]" :La puerta es cerrada. "The door is [being] closed [by someone]" However, this construction is very unidiomatic.
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Unidiomatic constructions sound wrong to fluent speakers, although they are often entirely comprehensible. For example, the title of the classic book English As She Is Spoke is easy to understand (its idiomatic counterpart is English As It Is Spoken), but it deviates from English idiom in the gender of the pronoun and the inflection of the verb. Lexical gaps are another key example of idiom.
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Quiripi is very poorly attested,Costa (2007:116, 118) though some sources do exist. One of the earliest Quiripi vocabularies was a 67-page bilingual catechism compiled in 1658 by Abraham Pierson, the elder, during his ministry at Branford, Connecticut,Mithun (1999:331) which remains the chief source of modern conclusions about Quiripi. Unfortunately, the catechism was "poorly translated" by Pierson, containing an "unidiomatic, non-Algonquian sentence structure."Costa (2007:118) It also displays signs of dialect mixture.
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In the autumn of 1938, Trepper made contact with the Jewish businessman Leon Grossvogel, whom he had known in Palestine. The new business was given an unidiomatic name of Foreign Excellent Raincoat Company. In March 1939, Trepper was joined by GRU intelligence agent Mikhail Makarov. Makarov was to provide expertise in secret inks and forgery to the espionage group, but Grossvogel had introduced Abraham Rajchmann, an criminal forger to the group and thenceforth, Makarov became the radio operator for the group.
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Schleiermacher Nevertheless, in certain contexts a translator may consciously seek to produce a literal translation. Translators of literary, religious, or historic texts often adhere as closely as possible to the source text, stretching the limits of the target language to produce an unidiomatic text. Also, a translator may adopt expressions from the source language in order to provide "local color". Venuti While current Western translation practice is dominated by the dual concepts of "fidelity" and "transparency", this has not always been the case.
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For example, "we go on holiday in fewer than four weeks" and "he can run the 100 m in fewer than ten seconds" are not advised. Some prescriptivists argue that even the extremely rare and completely unidiomatic "one fewer" should be used instead of "one less" (both when used alone or together with a singular, discretely quantifiable noun as in "there is one fewer cup on this table"), but Merriam–Webster's Dictionary of English Usage clearly states that common usage dictates "one less" in all cases.
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Trepper's plan was to wait until the company gain market share, and then when it was of sufficient size, infiltrate it with communist personal in positions such shareholders, business managers and department heads. Trepper financed Grossvogel to the sum of $8000 to create the new business, that was given an unidiomatic name of The Foreign Excellent Raincoat Company. while his employees supplied the other half of the funding, around $8000-$1000 dollars. In December 1938, Grossvogel formed the new company and became commercial director of the new firm.
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The problem with simple automatic writing is that it cannot recognize context or grammar in the use of words and phrases. Poorly- done article spinning can result in unidiomatic phrasing that no human writer would choose. Some may substitute a synonym with the wrong part of speech when encountering a word that can be used as either a noun or a verb, use an obscure word that is only used within very specific contexts, or improperly substitute proper nouns. For example, "Great Britain" could be auto spun to "Good Britain".
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In the autumn of 1938, Trepper made contact with the Jewish businessman Leon Grossvogel, whom he had known in Palestine. Grossvogel ran a small business called Le Roi du Caoutchouc or The Raincoat King on behalf of its owners. Trepper had a plan to use money that had been provided to him to create an business that would be the export division of The Raincoat King. The new firm was given an unidiomatic name of Foreign Excellent Raincoat Company, and would deal in the export of raincoats and was considered by Trepper to be the ideal cover for the groups espionage network.
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His "unidiomatic and erroneous" use of German had hindered the play's success. In preparing a later German edition (1820 at the latest), he made a large number of changes and minor improvements, also correcting his imperfect German: but he dropped the magical 1808 ending, reverting to the original Danish 1805 finale. The first complete English translation, by Theodore Martin, published in 1863, is also based on a later edition, thus the first editions in German are the only ones to incorporate the words which Busoni uses. Busoni was quite taken with this early German version of Aladdin and planned to adapt it as a one-evening work.
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John Dryden (1631–1700) wrote in his preface to the translation anthology Sylvae: A translation that meets the criterion of fidelity (faithfulness) is said to be "faithful"; a translation that meets the criterion of transparency, "idiomatic". Depending on the given translation, the two qualities may not be mutually exclusive. The criteria for judging the fidelity of a translation vary according to the subject, type and use of the text, its literary qualities, its social or historical context, etc. The criteria for judging the transparency of a translation appear more straightforward: an unidiomatic translation "sounds wrong"; and, in the extreme case of word-for-word translations generated by many machine-translation systems, often results in patent nonsense.
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During the 2000s decade, it was more common to hear the first two patterns than the last. For example, during that decade the 9/11 attacks were much more commonly spoken of as occurring in "two thousand (and) one" than in "twenty-oh-one", although the latter was not unidiomatic; whereas, by the 2010s, people grew used to hearing the "twenty-" prefix in speech more often. Under this influence, it became a bit more common to refer to the individual years of the decade as "twenty-oh- seven" or "twenty-oh-eight" than it had been during the 2000s. In the late twentieth century there had been a well established norm of the "thousand" pronunciations in such phrases such as "by the year two thousand" (i.e.
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First published in 1955, it is one of the most prominent written by a non-Muslim scholar. The title acknowledges the orthodox Islamic view that the Qur'an cannot be translated, merely interpreted.Khaleel Mohammed: Assessing English Translations of the Qur'an Khaleel Mohammed writes that "the translation is without prejudice and is probably the best around," while M. A. S. Abdel Haleem, himself a translator of the Qur'an, writes that: :Arberry shows great respect towards the language of the Qur'an, particularly its musical effects. His careful observation of Arabic sentence structure and phraseology makes his translation very close to the Arabic original in grammatical terms ... [however] this feature, along with the lack of any notes or comments, can make the text seem difficult to understand and confusingly unidiomatic.
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The character of Ernest Louit is only one of many satirical digs at Ireland contained in the novel. Others include the recognisably south Dublin locale and respectable citizenry of the novel's opening, Dum Spiro, editor of the Catholic magazine Crux and a connoisseur of obscure theological conundrums, and Beckett's exasperation at the ban on contraception in the Irish Free State (as previously remarked on in his 1935 essay "Censorship in the Saorstat"). Watt is characterised by an almost hypnotic use of repetition, extreme deadpan philosophical humour, deliberately unidiomatic English such as Watt's "facultative" tram stop, and such items as a frogs' chorus, a notated mixed choir, and heavy use of ellipsis towards the end of the text. The final words of the novel are "no symbols where none intended".
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Certainly this suggestion is one that might find favour with modern-day trombonists required to rise to the challenge of what can only be described as, at times, unidiomatic writing. And of course one cannot reject the theory that it was simple pragmatism of utilizing insurments and performers close at hand. For many years it was wrongly thought that Ewald was the composer of only one quintet, his Op. 5 in B flat minor, because this was the only one published (by Edition Belaïeff in 1912) during his lifetime. The discovery of the other three works was due to the research of André M. Smith (an musicologist and former bass trombonist at the Metropolitan Opera, New York), who was given the manuscripts by Ewald’s son-in-law, Yevgeny Gippius in 1964.
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Grossvogel played a central role in the Red Orchestra espionage network in Belgium and France In the autumn of 1938, Polish Communist and agent of the Red Army Intelligence agent, Leopold Trepper made contact with Grossvogel, whom he had known while he was in Palestine in the 1920's. He travelled under the alias Adam Mikler, a wealthy Canadian businessman, and had a plan to create a business that would be the export division of The Raincoat King and agreed with Grossvogel the plan to create a new business, without telling Grossvogel of his own intelligence mission It would be the ideal cover for espionage network. Trepper financed Grossvogel to the sum of $8000 to create the new business, that was given an unidiomatic name of Foreign Excellent Raincoat Company. In December 1938, Grossvogel formed the new company, that would export raincoats.
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Modern written Chinese, which replaced Classical Chinese as the written standard as an indirect result of the May Fourth Movement of 1919, is not technically bound to any single variety; however, it most nearly represents the vocabulary and syntax of Mandarin, by far the most widespread Chinese dialectal family in terms of both geographical area and number of speakers. This version of written Chinese is called Vernacular Chinese, or 白話/白话 báihuà (literally, "plain speech"). Despite its ties to the dominant Mandarin language, Vernacular Chinese also permits some communication between people of different dialects, limited by the fact that Vernacular Chinese expressions are often ungrammatical or unidiomatic in non- Mandarin dialects. This role may not differ substantially from the role of other linguae francae, such as Latin: For those trained in written Chinese, it serves as a common medium; for those untrained in it, the graphic nature of the characters is in general no aid to common understanding (characters such as "one" notwithstanding).
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