scholarly journals Revisiting Walter Benjamin’s “The Task of the Translator” in Light of His Concept of Criticism in German Romanticism1

2012 ◽  
Vol 24 (1) ◽  
pp. 103-123 ◽  
Author(s):  
James St. André
Keyword(s):  
Twentieth Century ◽  
Translation Studies ◽  
Close Reading ◽  
German Romanticism ◽  
Work Of Art ◽  
Doctoral Thesis ◽  
Definition Of

Walter Benjamin’s essay “The Task of the Translator,” the most widely cited twentieth century philosophical statement on translation, is commonly seen as one of the most opaque and misunderstood essays in the field. This paper uses a close reading of Benjamin’s doctoral thesis, “The Concept of Criticism in German Romanticism,” to throw light on his thoughts on translation. I argue that the German Romantics’ definition of art, and art’s relation to criticism, are crucial to understanding why Benjamin conceived of translation as an “afterlife” of the work of art, why he believed that translatability is an innate quality of the work of art, and why he speaks of translation as moving the work of art onto a higher plane. I read Benjamin’s own essay on translation as a sort of “criticism” which seeks to “translate” the philosophical ideals of the Romantics, and thus give them an afterlife, and then reflect upon the implications for translation studies today.

Abstract Concrete

Border Blurs ◽  
2019 ◽  
pp. 203-248
Author(s):  
Greg Thomas
Keyword(s):  
Twentieth Century ◽  
Direct Influence ◽  
Cultural Belief ◽  
Concrete Poetry ◽  
Sound Poetry ◽  
Early Production ◽  
Definition Of

In the work of the London-based poet Bob Cobbing, we can sense the culmination of a global shift in the definition of concrete poetry. For Cobbing, concrete poetry became a means of transcending or evading language in order to access a space of objective communication. His work responded to a whole gamut of twentieth-century and historical forms, from ritual chant-based practices to Dada performance, to the contemporaneous sound poetry of French ‘Ultralettrists’ such as Henri Chopin, William Burroughs’s cut-ups, and auto-destructive art. The example of classical concrete poetry served more as a stylistic counterpoint than a direct influence. Cobbing’s practice was also centrally motivated by a counter-cultural belief that artistic forms which broke down boundaries between media could have more broadly, socially disruptive and revolutionary effects. The development of these sentiments is traced from Cobbing’s early production of duplicator prints during the 1940-50s to his non-semantic, performance-oriented concrete practice of the early 1970s, in which single visual poems become the basis for endless improvisatory reworking. At the close of the chapter, the non-linguistic quality of Cobbing’s work is considered as a manifestation of, and response to, broader tensions within the concrete style.

Tillich, Paul (1886–1965)

2018 ◽  
Author(s):  
Guyton B. Hammond
Keyword(s):  
Twentieth Century ◽  
Religious Commitment ◽  
Religious Tradition ◽  
Religious Language ◽  
The Arts ◽  
American Citizen ◽  
Religious Perspectives ◽  
Contrary View ◽  
Definition Of

Tillich was one of the most influential Christian theologians of the twentieth century. Notable for his effort to translate the language of the Western religious tradition into terms comprehensible to modernity, he drew upon various secular philosophies, including Marxism, existentialism and psychoanalysis, as well as literature and the arts. In his view, these contemporary secular expressions contain the questions which theology must address. He was sometimes criticized for losing one or another aspect of Christian orthodoxy, but more often praised for making it possible to be both Christian and modern. He fled Germany in 1933, in the early days of Nazism. As an expatriated German who became an American citizen, Tillich came to understand his life as one standing ‘on the boundary’. He saw himself as an interpreter, occupying the boundary between the Old World and the New, between philosophy and theology, between religious orthodoxy and humanistic secularity, and between university and church. Tillich was an intellectual who achieved widespread popular acclaim. Even though his lectures and publications were strewn with allusions to obscure thinkers, he gained a substantial following and was frequently quoted in the popular press. His courses were immensely popular, and his sermons – delivered mostly in college chapels – met with great public approbation. Two of Tillich’s themes stand out as most influential. First was his advocacy of a broadened category of the religious. By defining religion as a person’s ‘ultimate concern’, he was able to maintain that virtually everyone has some religious commitment. Through this conceptualization it became possible to view such twentieth-century ideologies as Nazism and Communism – as well as Americanism – as in significant respects religious perspectives. This broadened definition of religion gained wide acceptance, with sociopolitical and even judicial implications. (The US Supreme Court’s definition of conscientious objection was influenced by Tillich’s formulation.) Second, Tillich’s persistent claim that all language about God is symbolic had great impact. Objecting to views of religious language as merely symbolic, he contended that efforts to be literal in one’s talk of God are seriously deficient. By the same token, he argued that the mythic quality of religious narratives cannot be removed without detriment. Finding much American religion strongly literalistic, Tillich persistently argued the contrary view.

scholarly journals CRITICIZING THE TRANSLATION OF GIBRAN’S “THE BROKEN WINGS”: EXTRA AND INTRA-TEXTUAL ANALYSIS

2021 ◽  
Vol 7 (1) ◽  
pp. 46-58
Author(s):  
Ati Sumiati ◽  
Romel Noverino
Keyword(s):  
Twentieth Century ◽  
Data Collection ◽  
Material Culture ◽  
20Th Century ◽  
Textual Analysis ◽  
Translation Studies ◽  
Figures Of Speech ◽  
Cultural Aspects ◽  
Love Poem

This research was based on the fact that in the discipline of Translation Studies, Translation Criticism (TC) is highly underrated. Not many research that discuss about the issue due to the fact that doing TC is not as simple as flickering your fingers. It requires mastery of the theories of translation and mastery of linguistic and socio-cultural aspects from both languages. It was therefore, this study aimed to: (1) identify and elaborate the aspects of doing TC from extra- textual and intra-textual aspects; (2) give evaluation on the basis of the quality of the translation. To achieve the aims of the study, Gibran famous novel The Broken Wings (TBW) and its Indonesian translation Sayap-sayap Patah (SSP) are used as the data. Data collecting procedures are identifying the extra-textual and intra-textual aspects from TBW and SSP, highlighting them, and placing them on the table of data collection. The writer then analysed the data by employing the theory proposed by Nords and Newmark on TC and the Larson for the quality of translation. The findings showed that the analysis of extra-textual focusing on the ST and TT has shown that the intention of Gibran to write TBW is to depict the life during his era during which the era deals with various problems that plagued early-twentieth-century Lebanon and foremost to tell a tale of tragic love, set at the turn of the 20th century in Beirut. It is perhaps most aptly described as a “love-poem-in-prose,” unified by the force of its universal theme of love, though critics have regarded it from the traditional perspective of the novella. Based on the analysis of the intra- textual aspects, it is shown that TBW contains many figures of speech, to name a few are the similes which dominate, the metaphor and the personification. TBW also contains so many cultural words that refer to ecology to describe the beautiful landscape of the Lebanon, the material culture to describe the flowers, fruits, and also the organization of Lebanese with the “houris”. The translator was able to perceive and retain the meaning of each making the translation fulfilled the criteria of good translation, clear, accurate and natural.

Impractical criticism: close reading and the contingencies of history

2018 ◽  
pp. 17-32
Author(s):  
Michael Schoenfeldt
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
John Milton ◽  
English Literature ◽  
Special Kind ◽  
Close Reading ◽  
Work Of Art

Over the last seventy years, the discipline of English literature has been marked by an unnecessary and largely counterproductive tension between aesthetics and history. For many politically oriented critics, aesthetics was either uninteresting or implicated in the elite practices they deliberately opposed. And for those who focused on aesthetics, history frequently seemed like a distraction from what made the work of art a special kind of utterance, separate from other modes of language. This chapter revisits some of the signal literary engagements in the latter half of the long twentieth century, in order to consider what has been accomplished, what we have left out, and where we may be going next. With reference to writers from Donne and Herbert to John Milton, the chapter suggests, finally, that our analyses have too frequently ignored the decidedly impractical pleasure that emerges from literary activity, and argues that by bringing our own pleasure out of the closet, we can begin to restore to literary criticism some of the visceral thrill that drew us to it in the first place.

scholarly journals Dialogue of cultures as a synthesis of arts: experience of formation of integrative poetics in Diaghilev's seasons

2021 ◽  
Vol 26 (2) ◽  
pp. 100-108
Author(s):  
Anna Arefieva
Keyword(s):  
Twentieth Century ◽  
Young People ◽  
Modern Art ◽  
Historical Reconstruction ◽  
Work Of Art ◽  
European Culture ◽  
New Type ◽  
Cultural Dialogue ◽  
Definition Of ◽  
Artistic Image

The article is devoted to the definition of the synthesis of arts in Serge Diaghilev's seasons as a dialogue of cultures. In contrast to the interpretation of the dialogue of cultures as a sociological phenomenon, which has become a truism, when the dialogue of cultures in the Diaghilev's seasons is seen as a dialogue of French and Russian cultures, it is provided the interpretation of the dialogue of cultures in a work of art. In particular, in Ihor Stravinsky's "Sacred Spring" staged by Waclaw Nizynski, scenography by Nikolay Rerich, there is a dialogue between pagan and Christian cultures as a synthetic choreographic and musical image. Rerich's scenery introduces another cultural allusion - images of the East. The philosophical meaning of interpretation is the ideological definition of synthetic artistic image as a cultural dialogue. Theoretical works and memoirs of I. Stravinsky and S. Lifar testify that there was a certain school of growth in the stage space of the Seasons. Young people quickly became leading dancers, and then created their own choreographic school – "cubist" in Bronislawa and Waclaw Nizynski, "media" – in Lifar. I. Stravinsky became the founder of a new type of synthetic-type scenicism, where the musicality and picturesqueness of plastic exercises turned into large canvases of various genres – folklore, impressionist, expressionist counterpoint. The philosophy of modern art education in the field of music, choreography and vocal creativity encourages the cultural and historical reconstruction of the experience of leading artists who created unsurpassed masterpieces of European culture in the early twentieth century.

The Neurocognitive Bases of Human Volition

2019 ◽  
Vol 70 (1) ◽  
pp. 9-28 ◽  
Author(s):  
Patrick Haggard
Keyword(s):  
Twentieth Century ◽  
Human Brain ◽  
Cognitive Processes ◽  
Scientific Investigation ◽  
Scientific Psychology ◽  
Working Definition ◽  
Scientific Approach ◽  
Definition Of ◽  
Core Features

Volition refers to a capacity for endogenous action, particularly goal-directed endogenous action, shared by humans and some other animals. It has long been controversial whether a specific set of cognitive processes for volition exist in the human brain, and much scientific thinking on the topic continues to revolve around traditional metaphysical debates about free will. At its origins, scientific psychology had a strong engagement with volition. This was followed by a period of disenchantment, or even outright hostility, during the second half of the twentieth century. In this review, I aim to reinvigorate the scientific approach to volition by, first, proposing a range of different features that constitute a new, neurocognitively realistic working definition of volition. I then focus on three core features of human volition: its generativity (the capacity to trigger actions), its subjectivity (the conscious experiences associated with initiating voluntary actions), and its teleology (the goal-directed quality of some voluntary actions). I conclude that volition is a neurocognitive process of enormous societal importance and susceptible to scientific investigation.

scholarly journals Dialogue of cultures in the music of I. Stravinsky

2021 ◽  
Vol IX(254) (46) ◽  
pp. 11-14
Author(s):  
E. Yu. Arefieva
Keyword(s):  
Twentieth Century ◽  
Cultural Interaction ◽  
Work Of Art ◽  
Cultural Space ◽  
Cultural Contexts ◽  
Definition Of

The relevance of the definition of the phenomenon of dialogue of cultures in Stravinsky's music is noted. I. Stravinsky was a philosopher in music, had his own poetics, aesthetics, his own definition of the phenomenology of music, which developed in the rather complex realities and adequations of the cultural space of the twentieth century. The dialogue of cultures can be defined as a vertical, different cultural contexts are actualized in a work of art, which makes them sound in unison. Allusions, polystylistics, even eclecticism are signs of the dialogue of cultures as an immanent reality of cultural interaction in the work of I. Stravinsky.

Immunoferritin localization of intracellular antigens in positively stained frozen sections

1978 ◽  
Vol 36 (2) ◽  
pp. 168-169
Author(s):  
K. T. Tokuyasu
Keyword(s):  
Surface Tension ◽  
Water Surface ◽  
Thin Layers ◽  
The Other ◽  
Positive Staining ◽  
Frozen Sections ◽  
The Past ◽  
Ultrathin Frozen Sections ◽  
Definition Of

During the past investigations of immunoferritin localization of intracellular antigens in ultrathin frozen sections, we found that the degree of negative staining required to delineate u1trastructural details was often too dense for the recognition of ferritin particles. The quality of positive staining of ultrathin frozen sections, on the other hand, has generally been far inferior to that attainable in conventional plastic embedded sections, particularly in the definition of membranes. As we discussed before, a main cause of this difficulty seemed to be the vulnerability of frozen sections to the damaging effects of air-water surface tension at the time of drying of the sections.Indeed, we found that the quality of positive staining is greatly improved when positively stained frozen sections are protected against the effects of surface tension by embedding them in thin layers of mechanically stable materials at the time of drying (unpublished).

The Influence Of The Led Luminaires Electrical Parameters On Their Correlated Colour Temperature During Operation Mode

2020 ◽  
pp. 89-96
Author(s):  
Sergei S. Kapitonov ◽  
Alexei S. Vinokurov ◽  
Sergei V. Prytkov ◽  
Sergei Yu. Grigorovich ◽  
Anastasia V. Kapitonova ◽  
...  
Keyword(s):  
Operation Mode ◽  
Light Sources ◽  
Electrical Parameters ◽  
Colour Temperature ◽  
Radiation Spectra ◽  
Service Period ◽  
Close Proximity ◽  
Definition Of ◽  
Comprehensive Study

The article describes the results of comprehensive study aiming at increase of quality of LED luminaires and definition of the nature of changes in their correlated colour temperature (CCT) in the course of operation. Dependences of CCT of LED luminaires with remote and close location of phosphor for 10 thousand hours of operation in different electric modes were obtained; the results of comparison between the initial and final radiation spectra of the luminaires are presented; using mathematical statistics methods, variation of luminaire CCT over the service period claimed by the manufacturer is forecast; the least favourable electric operation modes with the highest CCT variation observed are defined. The obtained results have confirmed availability of the problem of variation of CCT of LED luminaires during their operation. Possible way of its resolution is application of more qualitative and therefore expensive LEDs with close proximity of phosphor or LEDs with remote phosphor. The article may be interesting both for manufacturers and consumers of LED light sources and lighting devices using them.

Towards a Minor Poetry: Reading Twentieth-Century French Poetry with Deleuze–Guattari and Bakhtin

Paragraph ◽  
2019 ◽  
Vol 42 (2) ◽  
pp. 135-153
Author(s):  
Daisy Sainsbury
Keyword(s):  
Twentieth Century ◽  
French Language ◽  
Poetic Language ◽  
Minor Literature ◽  
Language System ◽  
Poetic Discourse ◽  
Poetry Reading ◽  
Century Poetry ◽  
Definition Of ◽  
A Minor

Drawing on Deleuze and Guattari's analysis of minor literature, deterritorialization and agrammaticality, this article explores the possibility of a ‘minor poetry’, considering various interpretations of the term, and interrogating the value of the distinction between minor poetry and minor literature. The article considers Bakhtin's work, which offers several parallels to Deleuze and Guattari's in its consideration of the language system and the place of literature within it, but which also addresses questions of genre. It pursues Christian Prigent's hypothesis, in contrast to Bakhtin's account of poetic discourse, that Deleuze and Guattari's notion of deterritorialization might offer a definition of poetic language. Considering the work of two French-language poets, Ghérasim Luca and Olivier Cadiot, the article argues that the term ‘minor poetry’ gains an additional relevance for experimental twentieth-century poetry which grapples with its own generic identity, deterritorializing established conceptions of poetry, and making ‘minor’ the major poetic discourses on which it is contingent.

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