By Ariel Rubissow Okamoto, Kathleen M. Wong

This entire primer on San Francisco Bay is a multifaceted exploration of a unprecedented, and remarkably resilient, physique of water. Bustling with oil tankers, laced with pollution, and crowded with forty-six towns, the bay remains to be domestic to fit eelgrass beds, younger Dungeness crabs and sharks, and thousands of waterbirds. Written in an enjoyable sort for a large viewers, Natural heritage of San Francisco Bay delves into an array of issues together with fish and natural world, ocean and weather cycles, endangered and invasive species, and the trail from industrialization to environmental recovery. greater than sixty scientists, activists, and source managers percentage their perspectives and describe their work—tracing mercury in the course of the aquatic atmosphere, discovering how you can convert salt ponds again to tidal wetlands, waiting for the repercussions of weather switch, and extra. totally illustrated and jam-packed with tales, costs, and proof, the advisor additionally tells how San Francisco Bay sparked an environmental circulate that now reaches around the state.

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Koptilov, «Transformacija chudozestvennogo obraza ν poeticeskom perevode» (La transformation de l'image litteraire dans la traduction de poesies), dans Teorija i kritika perevoda (La theorie et la critique de la traduction; red. B. A. Larin; Leningrad, 1962), pp. 34-41. 3 Roland Barthes, «L'activity structuraliste», dans ses Essais critiques (Paris, 1964), pp. 213-220. 4 Micha! Glowinski, Poetyka Tuwima a polska tradycja literacka (La poetique de [Julian] Tuwim et la tradition litteraire en Pologne; Varsovie, 1962); Janusz Slawii'iski, «Syrchronia i diachronia w procesie historycznoliterackim» (Synchronie et diachronie dans le processus historique litteraire), dans Proces historyczny w literaturze i sztuce (Le processus historique dans la litterature et les arts; Varsovie, 1967), pp.

21. a Viktor V. Koptilov, «Transformacija chudozestvennogo obraza ν poeticeskom perevode» (La transformation de l'image litteraire dans la traduction de poesies), dans Teorija i kritika perevoda (La theorie et la critique de la traduction; red. B. A. Larin; Leningrad, 1962), pp. 34-41. 3 Roland Barthes, «L'activity structuraliste», dans ses Essais critiques (Paris, 1964), pp. 213-220. 4 Micha! Glowinski, Poetyka Tuwima a polska tradycja literacka (La poetique de [Julian] Tuwim et la tradition litteraire en Pologne; Varsovie, 1962); Janusz Slawii'iski, «Syrchronia i diachronia w procesie historycznoliterackim» (Synchronie et diachronie dans le processus historique litteraire), dans Proces historyczny w literaturze i sztuce (Le processus historique dans la litterature et les arts; Varsovie, 1967), pp.

Le facteur embryonnaire et en meme temps determinant du contact du traducteur avec l'oeuvre — nous en reparlerons plus loin — est le moment oil il aborde l'oeuvre. L'oeuvre s'inscrit en tant qu'un ensemble dans la memoire de l'artiste par un echo particulier, par un signal complexe qui est difficile ä determiner. C'est souvent le sentiment d'un ton, d'une couleur, d'une chaleur, d'un goüt, d'un mouvement, de quelque chose qui est difficile ä exprimer par des mots. Et pourtant c'est la resonance fondamentale de l'oeuvre dans son ensemble, dans la memoire de l'artiste, la resonance de sa substance essentielle qui se manifeste par des elements et des rapports exterieurs, susceptibles d'etre decrits.

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