Translatable but Debatable
Merriam-Webster takes an example of prolepsis from a poem by Alexander Pope where “yon slow oxen turn the furrowed plain.” The plain isn’t furrowed until they’ve turned it. Some organizations hold a “lessons learned” meeting at the end of a project, and if everyone had learned the lessons already, the meeting wouldn’t be necessary. So that’s prolepsis too.
From the Morfix and Babylon online dictionaries, we can learn that the hishtalshelut of something is its evolution, progression, development (of a situation, event), chain of events, or sequence. Some of those terms in English are fine for a more lengthy happening, like the development of an ideology or the progression of a relationship, but I’m not sure there’s room for them in a startling incident that may have taken a couple of seconds maximum.
If you look up sefer iyun in Wikipedia and click for the corresponding page in English, you find that it’s “nonfiction.” But you don’t find that it’s a translation of the same article. I think every sefer iyun is nonfiction, but not every book of nonfiction is a sefer iyun.
A machon can be a beauty shop, but it’s seldom if ever a barber shop. It can be a language school, but it’s seldom if ever a driving school. What’s the criterion?
Reverso.net translates “I’m a creep, I’m a weirdo” as Ani muzar, ani timhoni. I think it drops the ball when it translates “creep” as simply “strange,” and I think a creep is a more unsympathetic kind of a weirdo than a timhoni normally is.
Although you can read in one place that “Israelis use the word ‘stam’ at every chance they get,” elsewhere you can read that “its not a word you hear often. I (and others) use it 99% of the time as ‘Just Kidding’, but it is slang.”
Think about a grandmother who mitrageshet upon receiving a birthday present from her eight-year-old granddaughter. She doesn’t feel and behave the same as an eight-year-old who mitrageshet upon receiving a birthday present from her grandmother.
The Rijksmuseum in Amsterdam says that when displayed, Anish Kapoor’s Internal Object in Three Parts “will enter a visual dialogue with Rembrandt’s late works.” I always find the one-sided claim of a dialogue irritating. I was talking with Dante the other day, and he calls it infernal.
Of my print dictionaries, only Oxford (by Ya’acov Levy) acknowledges the show-biz meaning of keta, calling it a performer’s “number.” Viewing life as a cabaret, we may ask when someone behaves strangely “What is his keta?” — that is to say, his item on the program. His routine, his gag, his schtick, his spot, his bit, his piece, his act, his stunt, his stuff, his trick.
In English a word like “meticulous” does double duty, describing both the person who is strict about details and the work that gets done that way. But it isn’t passive, so when applied to the work, it doesn’t point back to the creator of the meticulousness as strongly as mookpad does. Mookpad is more like “meticulized.”
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