Her line-by-line translations, complete with brackets where the ancient papyrus sources break off, are meant to capture both the original's lyricism and its present fragmentary nature.

Her talent in composition and translation is evidenced in her fine translations of the works of poets writing in French, English, Italian, Armenian, and Korean.

In 1985 he published his translated version of one short story " The Circular Ruins " of Jorge Luis Borges which was published in a book of sixteen story translations ( all by Bowles ) called " She Woke Me Up So I Killed Her ".

Her translations of Pāli texts were at times idiosyncratic but her contribution was considerable.

Her works include several translations from French, e. g. " Elizabeth, or the Exiles of Siberia "

Her influence — through literary patronage, through publishing her brother's works and through her own verse forms, dramas, translations and theology ( e. g. she translated Philippe de Mornay's Discourse of Life and Death — cannot be easily quantified.

Her English translation of The Accordionist's Son by the Basque author Bernardo Atxaga was published by Harvill Secker ( 2007 ) and won a Times Literary Supplement Translation Prize in January 2010 ; while her previous translations of Atxaga's work include The Lone Man ( 1996 ) and The Lone Woman ( 1999 ).

Her linguistic abilities and her intimate knowledge of traditional and Christianised Sioux culture, together with her deep commitment both to Native American culture and to scholarship, allowed Deloria to carry out important, often ground-breaking work in anthropology and ethnology, as well as to produce translations in to English of historical and scholarly texts in Sioux ( such as the Lakota texts of George Bushotter and the Santee texts of Gideon and Samuel Pond ).

Her translations and introduction to Cristina Peri Rossi's poetry appeared in State of Exile, Number 58 in the City Lights Pocket Poets Series.

Her 2002 book Tender Taxes is a collection of English versions ( or translations ) of Rainer Maria Rilke's French poems.

Her translations are separate works themselves as they provide distinct insights into her own personal interpretations of both Baudelaire's poems and Baudelaire himself.

Her translations were fairly liberal but have been popular, and were reprinted several times after her death.

Her translation of Cervantes ' Don Quixote, published in 2003, is considered one of the finest translations of the Spanish masterpiece in the English language, praised by such author / critics as Carlos Fuentes and Harold Bloom.

Her eyes were glazed as if she didn't hear or even see him.

Her blond hair was frowzy, her dress torn in several places, and her shoes were so completely worn out that they were practically no protection.

Her legs were the full, sexy kind, full bodied like a rare wine and just as tantalizing to the appetite ; ;

Her glance swung past the trailer where the two drivers were standing.

Her long thin arms moved in a slow rhythmical gesture over the family possessions which were placed in front of her.

Her quarters were on the right as you walked into the building, and her small front room was clogged with heavy furniture -- a big, round, oak dining table and chairs, a buffet, with a row of unclaimed letters inserted between the mirror and its frame.

Her thoughts were not discrete.

Her eyebrows were definite and heavy and formed two lines moving upward toward a high forehead and a great head of brown hair that fell to her shoulders.

Her services to the School for many years were of a very high character, and I have often thought that one of the buildings should be named for her ''.

Her eyes were bright with anticipation.

Her `` Rockabye Your Baby '' was as good as it can be done, and her really personal songs, like `` The Man That Got Away '' were deeply moving.

Her hesitation was only momentary and she hoped he didn't notice it, as she settled herself, asked quickly how Miss Jenny and the babies were getting on.

Her nose was higher of bridge, her complexion so pale as to be quite susceptible to sunburn, and the fish and vegetable diet of her forebears had given her teeth that were white and regular and strong.

Her bright eyes were twinkling.

Her hair never seemed to be in place and her skirts were never quite the correct length.

Her eyes were wild.

Her dark cool caresses were sweeter than any woman's ; ;

Her eyes were smiling, too, but so sadly, and there was tiredness and infinite wisdom in them.

Her extendibles were diverted, connected or augmented and the final, delicate-beyond-description brain taps were completed while Helva remained anesthetically unaware of the proceedings.

Her book titles, changed by American publishers, for example Ten Little Niggers to Ten Little Indians, were kept the same across the Atlantic, after bushels of fan mail.

Her two children by Philip II, Philip, count of Clermont ( died 1234 ), and Mary, who married Philip I of Namur, were legitimized by the pope in 1201 at the request of the king.

Her remaining children were raised between her, Livia Drusilla and Germanicus ’ mother Antonia Minor.

Her reputed last words, uttered as the assassin was about to strike, were " Smite my womb ", the implication here being she wished to be destroyed first in that part of her body that had given birth to so " abominable a son.

Her whole body is made of highly advanced synthetic jelly silicon and with 60 artificial joints in her face, neck, and lower body ; she is able to demonstrate realistic facial expressions and sing while simultaneously dancing.

" Her portraits Fanny Travis Cochran, Dorothea and Francesca, and Ernesta and her Little Brother, are fine examples of her skill in painting children ; Ernesta with Nurse, one of a series of essays in luminous white, was a highly original composition, seemingly without precedent.

Her early stories were notable for their emphasis on the senses and emotions, which was highly unusual at the time.

Her philosophy was highly praised by Auguste Comte.

Further singles, including the title track, " The Boy in the Bubble " and " Diamonds on the Soles of Her Shoes ", were not commercial hits but became radio standards and were highly praised.

Her reputation in 19th century Germany was highly negative, but in the 20th century Germans came to admire her pluck and liberalism in defiance of Bavarian conservatism.

With increasing interest in the war in Europe, the film performed well at the box office, but Shearer made errors in judgment, passing up roles in the highly successful films Now, Voyager and Mrs. Miniver, in order to star in We Were Dancing and Her Cardboard Lover ( 1942 ), which both failed at the box office.

Her works include novels, plays, stories, libretti and poems written in a highly idiosyncratic, playful, repetitive, and humorous style.

Her costar, Leslie Howard, was initially dismissive of her, but as filming progressed his attitude changed and he subsequently spoke highly of her abilities.

Her highly publicized second marriage to oil business mogul J. Howard Marshall, 62 years her senior, resulted in speculation that she married the octogenarian for his money, which she denied.

Her full sisters could be Herse and Nemea ( also called daughters of Zeus and Selene in some sources ), but it is highly possible that Herse, Pandia and Nemea are the same goddess using different names, each one deriving from a different myth about the same goddess.

Her first film appearance was in The Golden West ( 1932 ), as a maid ; her second was in the highly successful Mae West film I'm No Angel ( 1933 ), as one of the black maids West camped it up with backstage.

Her performance was highly praised by critics and audiences alike.

Her son ’ s correspondence with Tushratta, the king of Mitanni, speaks highly of the political influence which Tiye wielded at court.

" Her highly charged pamphlet is written in a biting and sarcastic tone ; it opens, " we thank you for the compliment paid the Dissenters, when you suppose that the moment they are eligible to places of power and profit, all such places will at once be filled with them.

The staff at Variety magazine gave the film a positive review, writing, " Sumptuous Technicolor mounting and a highly exploitable story lend considerable importance to Leave Her to Heaven that it might not have had otherwise ... Tierney and Wilde use their personalities in interpreting their dramatic assignments.

The war was ended with Komura's signature on behalf of the Japanese government of the Treaty of Portsmouth, which was highly unpopular in Japan, leading to the Hibiya Incendiary Incident < ref name =" nyt1905 ">" Japan's Present Crisis and Her Constitution ; The Mikado's Ministers Will Be Held Responsible by the People for the Peace Treaty -- Marquis Ito May Be Able to Save Baron Komura ," New York Times.

Her novels were bestsellers and her literary criticism was highly influential, when she was allowed to live in Paris she greatly encouraged any political dissident from Louis's regime.

Her hand was over-liberal with clues and red herrings, but it was a highly cunning hand, even at this stage </ p >

" Her verses were as simple and moving as ancient ballads ; her drawings were as genuine in their medieval spirit as much more highly finished and competent works of Pre-Raphaelite art ," wrote critic William Gaunt in The Pre-Raphaelite Dream.

Her album Relaxed Piano Moods on the Debut Record label, with Mingus and Max Roach, is generally her work most highly regarded by critics today.

Her name was widely known long before her son became regent, and her alleged magical skill was highly admired.

Her performance was highly acclaimed, receiving a Golden Globe nomination and a Best Actress award from the National Society of Film Critics, as well as Best Actress awards from the Chicago Film Critics Association and Fort Lauderdale Film Critics.

Her work reveals the clear influence of Jean-Baptiste-Siméon Chardin, as well as 17th-century Dutch masters, whose work has been far more highly valued, but what made Vallayer-Coster ’ s style stand out against the other still life painters was her unique way of coalescing representational illusionism with decorative compositional structures.

Her rise in popularity has prefigured that of many Indigenous artists from central, northern and western Australia, such as Kngwarreye's niece Kathleen Petyarre, Minnie Pwerle, Dorothy Napangardi, Jeannie Petyarre ( Pitjara ) and dozens of others, all of whose works have become highly sought-after.