Sculpture of Anonymus in Budapest.
Skultura ta' 'Anonimu' f'Budapest.
Gaspar Melchor de Jovellanos, a Spanish writer depicted with the tools of the trade.
Pittura tal-kittieb Spanjol Gaspar Melchor de Jovellanos li turih imdawwar bl-għodod tal-kitba.
A writer is a person who uses written words in various styles and techniques to communicate ideas.
Il-kittieb huwa persuna li tuża l-kelma miktuba fi stili u tekniki varji sabiex tikkomunika l-ideat.
Writers produce various forms of literary art and creative writing such as novels, short stories, poetry, plays, screenplays, and essays as well as various utilitarian forms such as reports and news articles.
Il-kittieba jipproduċu diversi forom ta' arti letterarja u ta' kitba kreattiva, bħalma huma r-rumanzi, in-novelli, il-poeżija, il-kitba għall-palk jew għall-iskrijn, kif ukoll saġġi. Jipproduċu wkoll forom iktar utilitarji ta' kitba, bħalma huma rapporti u artikli tal-aħbarijiet.
Writers' texts are published across a range of media.
Testi li jipproduċu l-kittieba jiġu ppublikati fuq firxa wiesgħa ta' medja.
Skilled writers who are able to use language to express ideas well often contribute significantly to the cultural content of a society.[1] The word is also used elsewhere in the arts – such as songwriter – but as a standalone term, "writer" normally refers to the creation of written language.
Kittieba mħarrġa tajjeb u li jafu jħaddmu l-lingwa biex jesprimu ideat ċari ħafna drabi jikkontribwixxu b'mod sinifikattiv u sustanzjali lejn il-kontenut kulturali ta' soċjeta'. Dil-kelma tintuża jew hija implikata f'oqsma oħra tal-arti - bħal f'kantawtur - imma bħala kelma li toqgħod weħedha, "kittieb" normalment tirreferi għall-ħolqien ta' lingwa miktuba.
Some writers work from an oral tradition.
Xi kittieba jibbażaw il-ħidma tagħhom fuq tradizzjoni orali.
Writer
Kittieb
La rendición de Breda (English: The Surrender of Breda, also known as El cuadro de las lanzas or Las lanzas) is a painting by the Spanish Golden Age painter Diego Velázquez.
L-Għoti ta Breda (bl-Ispanjol: La rendición de Breda magħrufa wkoll bħala El cuadro de las lanzas jew Las lanzas) hija pittura tal-artist Spanjol Diego Velázquez, li mexxa L-Epoka tad-Deheb Spanjola.
It was completed during the years 1634–35, inspired by Velázquez's visit to Italy with Ambrogio Spinola, the Genoese general who conquered Breda on June 5, 1625.
Il-pittura tlestiet matul is-snin 1634–35, ispirata miż-żjara li għamel Velázquez ġewwa l-Italja flimkien ma Ambrogio Spinola, il-ġeneral Genoan li kkonkwista Breda fil-5 ta' Ġunju 1625.
It is considered one of Velázquez's best works. Jan Morris has called it "one of the most Spanish of all pictures".[1]
Din il-pittura hija meqjusa fost l-iżjed xogħlijiet sinjifikattifi ta Velázquez's, u l-kritiku Jan Morris iddeskriviha bħala waħda mil-pitturi il-iżjed Spanjoli fl-istorja.[1]
The capture of Breda in 1625 was one of the few major successes of Spanish arms in the latter stages of the Eighty Years' War.
Il-konkwista ta' Breda fl-1625 kien wieħed mill-ftit suċċessi maġġuri li għamlet l-armata Spanjola matul it-tmiem tal-Gwerra tat-Tmenin Sena.
The Spanish general, Genoese aristocrat Ambrogio Spinola, conquered Breda against the instructions of his superiors.
Ambrogio Spinola l-aristokrata Genoan li kien il-ġeneral tal-armata Spanjola mar kontra l-istruzzjonijiet tas-superjuri tiegħu waqt il-konkwista ta' Breda.
Before its capture, the Spanish government had decided that siege warfare against heavily defended towns of the Low Countries was too wasteful and that they would concentrate instead on an economic blockade of the Dutch republic. The bulk of Spanish forces were diverted to the unfolding Thirty Years War.
Qabel il-konkwista, il-gvern Spanjol iddeċida li assedju armat kontra bliet tal-Pajjiżi l-Baxxi kien ħela ta riżorsi li kminfloi ken ise jagħfas fuq imblokk ekonomiku tal-Pajjiżi Baxxi.
Breda, a city near the frontier of Holland proper had been occupied in 1567 by the Duke of Alba, ten years afterwards recovered by Holach, and again seized by Haultepenne.
Breda, belt viċin il-fruntiera tal-Olanda, kienet okkupata mid-Duka ta' Alba mill-1567. Wara għaxar snin, il-belt kienet irkuprata minn Holach, pero reġgħet sfat maħtufa minn Haultpenne ftit wara.
The town was the seat of the Orange family, who had a castle there.
Breda kienet is-sede tal-familja Oranġjo li kellha l-kastell tagħha hemmhekk.
In 1624, the suspension of hostilities in Germany enabled the Spanish to concentrate their forces towards Breda.
Fl-1624, permezz tas-sospensjoni tal-gwerra fil-Ġermanja, l-Ispanjoli setgħu jikkonċentraw il-forzi tagħhom fuq Breda.
Although attacking such a formidable fortress was widely considered to be unwise, Ambrogio Spinola made the bewildering executive decision to march on Breda, accompanied by the Marquis de Leganés and Carlos Coloma. Spinola had made a military reputation for himself in 1604 and been rewarded with the Golden Fleece for conquering Ostend in Flanders.
Għalkemm attak fuq fortifikazzjonijiet li kienu armati b'mod formidabbli bħal ma kienu dawk ta Breda kien miqjus bħala żball, Ambrogio Spinola għamel id-deċiżjoni li jattakka lil Breda, akkumpanjat mill-Marqiż ta Leganés u Carlos Coloma.
Consequently, the siege of Breda was not only a clash between the Netherlands and Spain, but a “decisive contest between two famous generals, [Spinola and Dutch general Nassau], both well versed in the arts of fortification, who had their renown at stake”.
Spinola kellu reputazzjoni militari b'saħħitha u fl-1604 kien saħansitra kkonwista l-belt ta Ostend. Għaldaqstant, l-assedju ta Breda ma kienx biss kunflitt bejn l-Olanda u Spanja, iżda konkors deċiżiv bejn żewġ ġenerali magħrufa [Spinola u l-ġeneral Olandiż Nassau].
Defending the Dutch, Maurice of Nassau led hostilities against Spinola but died before the end of the siege. His successor, Frederick Henry, unsuccessfully attempted to revive Dutch momentum, but ultimately surrendered in May.
Il-ġeneral Maurice ta Nassau mexxa d-difiża kontral l-attaki tal-armata ta Spinola iżda miet qabel l-aħħar ta' l-assedju.
The terms of defeat at Breda were some of the most honorable and lenient of the time. Spinola died in the autumn of 1630, only a year after Velazquez had sailed with him on the voyage to Italy. In 1637 Breda was recaptured by Frederick Henry after a four-month siege, and in 1648 it was finally ceded to the Dutch Republic by the Treaty of Westphalia.
Is-suċċessur tiegħu, Frederick Henry, ma rnexxielux fl-attentat tiegħu biex terġa titqajjem id-difiża Olanidża, l-assedju ntrebaħ mill-armata Spanjoli f'Mejju. Spinola miet fil-ħarifa tal-1630, sena wara li Velazquez u hu kienu baħħru sal-Italja flimkien. Fl-1637 Breda kien inqabad minn Frederick Henry wara erba' xhur ta' assedju, u fl-1648 Breda kienet finalment ċediet lir-Repubblika Olandiża permezz tat-Trattat tal-Westphalia.
Velázquez painted The Surrender of Breda as an emblem of Spanish nationalism and as a tribute to Ambrogio Spinola. Diego Velázquez and Ambrogio Spinola had been thrown closely together “During the voyage from Barcelona to Genoa, in 1629… The artist must also have been more deeply affected than others by the tragic result of the siege of Casale, which occurred soon after the voyage – how Spinola was shamefully sacrificed; and how, mortified at the slur cast on his military honor, he soon after sank with gloomy thoughts into the grave.”
Velázquez pinġa l-Għotja ta' Breda bħala emblema tan-nazzjonaliżmu Spanjol u bħala tribut lil Ambrogio Spinola.
Velázquez felt discouraged after Ambrogio Spinola’s death and sought to legitimize Spinola, whose success and bravery in the battle inspired Velázquez to paint The Surrender of Breda.
Velázquez ħassu diżilluż wara l-mewt ta' Spinola u pprova jagħtih ħajr permezz ta din il-pittura.
Description
Deskrizzjoni
Detail from the painting
Dettal mill-pittura
The Surrender of Breda was one of twelve life-size battle scenes intended to perpetuate victories won by Philip IV’s armies that hung in the Salón de Reinos in Buen Retiro. It illustrates the exchange of keys that occurred three days after the capitulation between Spain and the Netherlands was signed on June 5, 1625. Hence, the focus of the painting is not on the battle itself, but rather the reconciliation.
L-Għotja ta' Breda kienet waħda mit-tnax il-pittura ta daqs realistika ġewwa s-Salón de Reinos ta Buen Retiro li kellhom jiċċelebraw r-rebħiet tal-armata ta' Filippu IV. Il-pittura turi l-iskambju taċ-ċwievet li sar tlett ijiem wara t-trattat bejn l-Ispanja u l-Pajjiżi Baxxi ġie ffirmat fil-5 ta Ġunju 1625.
At the center of the painting, literally and figuratively, is the key given to Spinola by Justin of Nassau.
Għaldaqstant, il-pittura ma tittratax l-assedju innifsu, iżda tiffoka fuq ir-rikonċiljazzjoni wara l-battalja.
The key is “the precise center of his design, [enclosing] it in an emphatic parallelogram so that it becomes the focus of the entire large canvas—literally the key to the composition, locking all other components into place.” This battle painting is notable for its static and sentimental qualities.
Fil-qofol tal-pittura (kemm f'sens literali kif ukoll dak figurattiv) wieħed isib iċ-ċavettia li qed tingħata lil Spinola mingħand Justin ta' Nassau.
Velázquez’s relationship with Spinola makes The Surrender of Breda especially historically accurate. The depiction of Spinola is undoubtedly accurate, and Spinola’s memory of the battle contributed to the perspective with which Velázquez composed the painting. Velázquez’s knowledge of the intimate history of the siege of Breda makes The Surrender of Breda an especially important historical commentary.
Ir-relazzjoni bejn Velázquez u Spinola tgħin sabiex il-pittura tkun storikament preċiża. Bla ebda dubju, il-figura ta' Spinola hija korretta, u l-memorja tiegħu tal-assedju għenet lil Velázquez fil-perspettiva u l-kompożizzjoni tal-pittura.
Velázquez “desired in his modest way to raise a monument to one of the most humane captains of the day, by giving permanence to his true figure in a manner of which he alone had the secret.” The Surrender of Breda salutes a moment of convergence between Spanish power, restraint, and kindness in the battle.
Dan l-għarfien intimu li Velázquez kellu tal-assedju tfisser li L-Għoti ta' Breda hija pittura ta' ċertu rilevanza fejn tidħol il-kummentarju u d-dokumentazzjoni storika tal-epoka.
The Surrender of Breda
L-Għoti ta' Breda
Jacob’s Dream (Spanish: El sueño de Jacob) is a 1639 oil-on-canvas painting by the Spanish Tenebrist painter José de Ribera (Lo Spagnoletto).
Il-Ħolma ta' Ġakobb (Spanjol: El sueño de Jacob) hija pittura taż-żejt fuq il-kanvas tas-sena 1639 tal-pittur Spanjol Tenebrist José de Ribera (magħruf ukoll bħala Lo Spagnoletto).
It measures 179 by 233 centimetres (70 in × 92 in) and is in the Museo del Prado in Madrid.
Din il-pittura tinsab ġewwa l-Mużew tal-Prado f'Madrid.
Jacob appears as a shepherd sleeping, resting on his left shoulder with a tree behind him.
Ġakobb jintwera bħala ragħaj rieqed, b'ġismu jserraħ fuq spaltu x-xellugija u b'siġra fl-isfond.
In the background on the other side is the ladder that he sees in his dream.
Fl-isfond fuq l-naħa l-oħra hemm is-sellum li huwa jara fil-ħolma.
It is not a wooden ladder but a ladder of light, by which angels are ascending and descending.
Dan ma huwiex sellum tal-injam, iżda sellum tad-dawl, permezz ta liem l-anġli qed jitilgħu u jinżlu mis-smewwiet.
Jacob's Dream
Il-Ħolma ta' Ġakobb
The siege of San Sebastian painting is located in San Telmo Museoa at San Sebastián.
L-assedju ta' San Sebastian hija pittura li tinsab fil-Mużew ta' San Telmo ġewwa San Sebastian, Spanja. L-awtur tal-pittura huwa pittur mhux magħruf li ħadem waqt is-seklu 19.
It desribes the Siege of San Sebastián in 1813 and was created by an unknown author in the 19th century.[1]
Din il-pittura turi l-assedju li seħħ ġewwa San Sebastian fl-1813 fl-aħħar tal-Gwerra Peninsulari, meta l-armata Franċiża kienet qed tirtira lura lejn Franza bejn 7 ta' Lulju u 8 ta' Settembru 1813. L-assedju wassal għal-ħruq u qerda totali tal-belt.[1]
The siege of San Sebastian (1813)
L-assedju ta' San Sebastian
Cannabis in Malta is illegal but partially decriminalized.
Il-kannabis F'malta hija illegali iżda parzjalment ddekriminalizzat.
A snowman is an anthropomorphic snow sculpture often built by children in regions with sufficient snowfall.
Borrinu huwa skultura antropomorfika magħmulha mill-borra, spiss magħmulha mit-tfal f'reġjuni milqutin minn biżżejjed borra.
In many places, typical snowmen consist of three large snowballs of different sizes with some additional accoutrements for facial and other features.
F'ħafna postijiet, borrini tipiċi jikkonsistu fi tliet blalen kbar ta' daqsijiet differenti b'xi tiżjin miżjud biex jagħti għamla ta' wiċċ u karatteristiċi oħra.
Due to the sculpt-ability of snow, there is also a wide variety of other styles.
Minħabba l-faċilita biex wieħed jaħdem il-borra, hemm ukoll varjetà wiesgħa ta' stili oħra.
Common accessories include branches for arms and a rudimentary smiley face, with a carrot standing in for a nose.
Aċċessorji komuni jtinkludu fergħat flok idejn u wiċċ rudimentali, b'karrotta bħala imnieħer.
Human clothing, such as a hat or scarf, may be included.
Ħwejjeġ tal-bnedmin, bħal xi kappell jew xalla, jistgħu jiġu inklużi.
Low-cost and availability are the common issues, since snowmen are usually abandoned to the elements once completed.
Ġeneralment il-borrini huma normalment abbandunati fl-elementi ladarba jitlestew.
Snow becomes suitable for packing when it approaches its melting point and becomes moist and compact.
Il-Borra ssir adattata għall-bini meta tersaq lejn il-punt tad-dewbien u ssir niedja u kompatta.
Making a snowman of powdered snow is difficult since it will not stick to itself, and if the temperature of packing snow drops, it will form an unusable denser form of powdered snow called crust.
Għamla ta' borrini u b'borra fil-forma ta' trab hija diffiċli peress li mhux se teħel magħha nnifisha, u jekk it-temperatura tal-borra tkun tinżel, din se tifforma forma tat-trab tas-silġ aktar dens imsejjaħ qoxra, li ma jkunx jista' jintuża.
Thus, a good time to build a snowman may be the next warm afternoon directly following a snowfall with a sufficient amount of snow.
Għalhekk, iż-żmien tajjeb biex jinbena borrinu jista' jkun li jmiss wara nofsinhar direttament wara l-borra għaliex it-temperatura tkun ħafifa.