{"id":455,"date":"2019-04-14T22:57:35","date_gmt":"2019-04-15T02:57:35","guid":{"rendered":"https:\/\/sites.smith.edu\/metamorphoses\/?page_id=455"},"modified":"2019-06-12T12:06:37","modified_gmt":"2019-06-12T16:06:37","slug":"itc-t","status":"publish","type":"page","link":"https:\/\/sites.smith.edu\/metamorphoses\/indexes\/itc-t\/","title":{"rendered":"ITC T"},"content":{"rendered":"

Tachtiris, Corinne. (French) Yanick Lahens, “Moonbathing.” 11:1, 188.
\n—(French) Marie-C\u00e9lie Agnant. “Travail.” 23:2, 112.<\/p>\n

Takeda, Masako. (English into Japanese) Emily Dickinson, #479, #492. \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a03:1, 48.
\n—“A Commentary on the Japanese Translation.” 3:1, 50.
\n—“Son of Ecstasy: an Example of Emily Dickinson’s Complexities.” 7:1, \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a019.<\/p>\n

Tansey, Joel. “A Strategy for Translating Medieval Lyric: Rutebeuf’s ‘La \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Griesche d’yver.'” 8:2, 248.<\/p>\n

Tawfik, Khaled Mahmoud. “Compensation Strategies Adopted in \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Translating Arabic-Bound Ambiguity in the Holy Qur’an: A Study \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0of Three Translations.” 19.1-2, 295.<\/p>\n

Taylor, Michael. (Latin) Horace, “Odes II.xiv to Postumus.” 25.1, 104.
\n—(Latin) Horace, “Odes II.xvii to Maecenas.” 25.1, 106.<\/p>\n

Terando, Lorena (Spanish) Consuelo Avila, “Compa\u00f1ero” from\u00a0Bajo Mis \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Pies No Florecen Amapolas<\/em>. 10:2, 129
\n—(Spanish) Avila, “Miedo.” 10:2, 129
\n—(Spanish) Avila, “Caracoles.” 10:2, 131,
\n—(Spanish) Avila, “Conversaci\u00f3n.” 10:2, 131
\n—(Spanish) Avila, “Soledad.” 10:2, 131
\n—(Spanish) Avila, “Celos.” 10:2, 133
\n—(Spanish) Avila, “Deja.” 10:2, 133
\n—(Spanish) Avila, “Prisi\u00f3n.” 10:2, 135<\/p>\n

Terayama, Shuki. (Chinese) Shuki Terayama, “The Painter and the Viewer.”\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em>25.1, 80.
\n— (Chinese) Terayama, “Migrating.” 25.1, 80.<\/p>\n

Terry, Arthur. (Catalan) Gabriel Ferrater, poems. 5:2, 134.<\/p>\n

Terry, Patricia. (Old French) Francois Villon, “Ballade que Villon feist a la \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0requeste de sa mere pour prier nostre dame.” 10:2, 103.
\n—Villon, “Ballade des femmes du temps jadis.” 10:2, 105.<\/p>\n

Thomas, Alfred. (Czech) Bohuslav Reynek, poems. 7:2, 52.<\/p>\n

Thomas, R.S. (Welsh) Menna Elfyn, “Song of a Voiceless Person to British \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Telecom.” 12:1-2, 120.<\/p>\n

Thompson, Katrina Daly. (Shona) Chenjerai Hove “Dreamed of Beloved.”
\n10:1, 367
\n—(Shona) Hove, “It Is She I Love.” 10:1, 371.<\/p>\n

Thompson, Peter. (French) Nassira Azzouz, “The Smile.” 17:1, 124.
\n—(French) Azzouz, “A Child at Sabra.” 17:1, 126.
\n—(French) Azzouz, “[Untitled].” 17:1, 130.
\n—(French) Amina Said, “An Untitled Poem (a despairing dawn).” 19:1-2, \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a078.
\n—(French) Nabil Far\u00e8s, “A Child at Sabra.” 19.1-2:1, 80.<\/p>\n

Thompson, Rebecca L. (Russian) Larisa Emilyanovna Miller, “You and \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0I….” 23:2, 100.<\/p>\n

—(Russian) Larisa Emilyanovna Miller, “I Know the Quiet Horizon.” \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a023:2, 100.<\/p>\n

—(Russian) Miller, “Our Soul.” 23:2, 102.<\/p>\n

Thorstensson, Roland. (Swedish) Harald Gaski, “Essay: Sami Literature.” \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a08:1, 84.<\/p>\n

Tikos, Laszlo. (Russian) Edward Radzinsky, “Various Encounters with\u00a0the \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Late Mr. Mozart.” 1:1, 12.
\n—(Hungarian) Lajos Varga, “Prophecies and Answers,” “God Bless \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Those.” 2:1, 52.
\n—(Russian) Alexander Terekhov, “The Night Between Two Days.” 3:1, \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a074.
\n—(Russian) Boris Serebrennikov, “The Last Lambada.” 4:1, 39.
\n—(Russian) Joseph Brodsky, “The Jewish Cemetery.” 4:2, 4.
\n—(Russian) Leo Tolstoy, “An Early Fragment.” 4:2, 16.
\n—(with Melinda Kennedy). (Russian) Brodsky, “New Verses.” 5:1, 5.
\n—(with Melinda Kennedy). (Russian) Brodsky, poems. 5:1, 14.
\n—(Russian) Mikhail Petrov, “Iosif Brodsky’s Funeral in NY.” 5:1, 24.
\n—(Russian) Radzinsky, “Koba (Monologue of an Old Man).” 6:1, 26.
\n—(Russian) Radzinsky, “The Princess Tarakonova.” 6:2, 44.
\n—(Russian) Marina Tsvetaeva, “To Mayakovsky.” 7:2, 124.
\n—“Introduction” (to the poems of Sergey Yesenin & Vladimir \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Mayakovsky). 9:2, 150
\n—(Russian) Sergey Yesenin, poems. 9:2, 152.
\n—(Russian) Vladimir Mayakovsky, poems. 9:2, 153.
\n—(Russian) Yurii Nechiporenko, “Midnight: Margarita’s Despair.” 17:1, \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0297.<\/p>\n

Timbers, Jill. (Finnish) Petri Tamminen, “Just Five Lines.” 23:2, 238.<\/p>\n

Ting, Wang (Chinese). Su Tong, \u201cWhat Does Your Husband Do?\u201d 26:1<\/a>, 105.<\/span><\/p>\n

Tobin, Gr\u00e1inne. “Note on Translating Galina Gamper’s ‘The Seagulls’ \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Creaking Cry.” 20:2, 85.
\n—(Russian) Galina Gamper, “The Seagulls’ Creaking Cry.” 20:2, 88.<\/p>\n

Tong, Chris. Review: Ping-Kwan Leung, “City at the End of Time.” 21:2, \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0295.<\/p>\n

de Toro Santos, Antonio Raul. (Irish) Tere Irastortza, “Nude.” 12:1, 224.
\n—(Irish) Irastortza, “I Cannot Lie Here.” 12:1, 231.
\n—(Irish) Irastortza, “The Language Issue.” 12:1, 235.
\n—(Irish) Irastortza, “Labysheedy (The Silken Bed).” 12:1, 240.
\n—(Irish) Irastortza, “My Own Love (In Brackets).” 12:1, 247.
\n—(Irish) Irastortza, “You Are.” 12:1, 253.<\/p>\n

Torre, Cristina de la. (Spanish) Alejandro Aguilar, “Negrito, the Chinese \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Sugar Man.” 11:2, 190.
\n—(Spanish) Bernardo Atxaga, “Adam’s Flu.” 13:2, 26.<\/p>\n

Tolaretxipi, Eli. (Basque into Spanish) Tere Irastortza, “Hawking.” 12:1, \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0131.
\n—(Basque into Spanish) Irastortza,”Untitled.” 12:1, 134.
\n—(Basque into Spanish) Irastortza,”Untitled.” 12:1, 137.
\n—(English into Basque) Nuala n\u00ed Dhomhnaill, “Nude.” 12:1, 222.
\n—(English into Basque) n\u00ed Dhomhnaill, “I Cannot Lie Here.” 12:1, 230.
\n—(English into Basque) n\u00ed Dhomhnaill, “The Language Issue.” 12:1, 234.
\n—(English into Basque) n\u00ed Dhomhnaill, “Labysheedy (The Silken Bed).” \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a012:1, 238.
\n—(English into Basque) n\u00ed Dhomhnaill, “My Own Love (In Brackets).” \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a012:1, 246.
\n—(English into Basque) n\u00ed Dhomhnaill, “You Are.” 12:1, 252.<\/p>\n

Trahan, Elizabeth Welt. “The Translator as Involuntary Critic.” 1:1, 6.
\n—(German) Alfred D\u00f6blin, “The Murder of a Buttercup.” 3:2, 25.
\n—(German) Rainer Maria Rilke, sonnets. 6:1, 128.
\n—“Writing a Holocaust Memoir in Two Languages\u2014A Balancing Act.” \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a08:2, 256.<\/p>\n

Trei, Alan (and Inna Feldbach). (Estonian) Arthur Alliksaar, poems. 9:2, \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0172.
\n—(and Inna Feldbach). (Estonian) Jaan Kaplinski, “A Brief Life Story.” \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a09:2, 275.<\/p>\n

Tsao, Joanne (Chinese). Yuan Haowen, \u201cWritten to the Lyric Pattern Mulan Hua Man<\/i>: Two Poems on \u201cRoaming the Three Terraces.\u201d\u201d 26:1<\/a>, 54.<\/span><\/p>\n

Tsumura, Yumiko (and Samuel Grolmes). (Japanese) Kazuko Shiraishi, \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0poems. 9:2, 190.<\/p>\n

Tucker, Katarina (with Maria Carlstedt, Anna Mandell, and Erica Wick). \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0(Swedish) Carina Karlsson, “Excerpts from\u00a0Lisbeta, Per Skarp’s Wife<\/em>.” \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a08:1, 140.<\/p>\n

Turtle, Sarah J. (with I\u00f1aki Mendiguren). (Basque) Ixtaro Borda, “From\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Poems of the Infinite Silence<\/em>.” 12:1, 81.
\n—(Basque) Ixiar Rozas, “Patios (III).” 12:1, 184.<\/p>\n","protected":false},"excerpt":{"rendered":"

Tachtiris, Corinne. (French) Yanick Lahens, “Moonbathing.” 11:1, 188. —(French) Marie-C\u00e9lie Agnant. “Travail.” 23:2, 112. Takeda, Masako. (English into Japanese) Emily Dickinson, #479, #492. \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a03:1, 48. —“A Commentary on the Japanese Translation.” 3:1, 50. —“Son of Ecstasy: an Example of Emily Dickinson’s Complexities.” 7:1, \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a019. Tansey, Joel. “A Strategy for Translating Medieval Lyric: Rutebeuf’s ‘La \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Griesche […]<\/p>\n","protected":false},"author":1791,"featured_media":0,"parent":359,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"orig-auth":[],"auth-translator":[],"class_list":["post-455","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/pages\/455","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/users\/1791"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/comments?post=455"}],"version-history":[{"count":2,"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/pages\/455\/revisions"}],"predecessor-version":[{"id":987,"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/pages\/455\/revisions\/987"}],"up":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/pages\/359"}],"wp:attachment":[{"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/media?parent=455"}],"wp:term":[{"taxonomy":"orig-auth","embeddable":true,"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/orig-auth?post=455"},{"taxonomy":"auth-translator","embeddable":true,"href":"https:\/\/sites.smith.edu\/metamorphoses\/wp-json\/wp\/v2\/auth-translator?post=455"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}