Corrigenda to the Macquarrie-Robinson Translation of Heidegger’s Being and Time

2014 ◽  
Vol 45 (2) ◽  
pp. 209-244
Author(s):  
Richard Rojcewicz
Keyword(s):  
English Translation ◽  
Continental Philosophy ◽  
Being And Time ◽  
German Original ◽  
German Edition ◽  
Magnum Opus ◽  
John Macquarrie ◽  
8Th Edition

This is a list of corrigenda to the English translation of Martin Heidegger’s Being and Time (German original: Sein und Zeit, 1927, 8th edition 1957) by John Macquarrie and Edward Robinson (1962). The list includes 186 entries: most are corrections of outright mistakes in expressing the sense of Heidegger’s text, and twenty-two entries are marked as representing Heidegger’s own revisions to the work as found in the latest German edition (2006). Explanatory comments accompany many of the entries. The corrigenda are offered as a service to scholars of Heidegger’s magnum opus who work within the discipline of philosophy and also to humanistic psychologists who follow the tradition of continental philosophy in their work as practioners and researchers.

scholarly journals Karl Marx

2018 ◽  
Vol 16 (2) ◽  
pp. 729-741
Author(s):  
Rosa Luxemburg
Keyword(s):  
English Translation ◽  
Democratic Party ◽  
Karl Marx ◽  
Social Democratic Party ◽  
Social Democratic ◽  
The Social ◽  
German Original ◽  
Rosa Luxemburg

Marx died on March 14, 1883. Exactly twenty years later, on March 14, 1903, Rosa Luxemburg’s reflections on Karl Marx were published in German in Vorwärts, the newspaper of the Social Democratic Party of Germany. tripleC publishes an English translation of Luxemburg’s essay on the occasion of Marx’s bicentenary. Christian Fuchs’ postface “Karl Marx and Rosa Luxemburg” asks the question of how we can make sense of Rosa Luxemburg’s reading of Marx in 2018. Source of the German original: Luxemburg, Rosa. 1903. Karl Marx. Vorwärts 62: 1-2.

From the Archives: William Richardson’s Questions for Martin Heidegger’s “Preface”

2019 ◽  
Vol 9 ◽  
pp. 1-27
Author(s):  
William J. Richardson ◽  
Richard Capobianco ◽  
Ian Alexander Moore ◽  
Keyword(s):  
Martin Heidegger ◽  
English Translation ◽  
Scholarly Work ◽  
German Original ◽  
First Time

Martin Heidegger wrote one and only one preface for a scholarly work on his thinking, and it was for William J. Richardson’s study Heidegger: Through Phenomenology to Thought, first published in 1963. Ever since, both Heidegger’s Preface and Richardson’s groundbreaking book have played an important role in Heidegger scholarship. Much has been discussed about these texts over the decades, but what has not been available to students and scholars up to this point is Richardson’s original comments and questions to Heidegger that led to the famous Preface. These are published here for the first time both in the German original and in our English translation. In our commentary we 1) discuss how Heidegger’s Preface came about, 2) explain the source and status of the materials published here, and 3) pair selected passages from Richardson’s text with Heidegger’s reply in his Preface to highlight the consonance of their thinking.

“Into Life”??! Franz Rosenzweig and the Figure of Death

AJS Review ◽  
1998 ◽  
Vol 23 (2) ◽  
pp. 203-222 ◽  
Author(s):  
Zachary Braiterman
Keyword(s):  
English Translation ◽  
Franz Rosenzweig ◽  
Grim Reaper ◽  
Knowing That ◽  
Healthy Man ◽  
Magnum Opus ◽  
Striking Contrast ◽  
As If

At the end of his short treatise Understanding the Sick and the Healthy, Franz Rosenzweig predicated the restoration of what he called healthy consciousness upon the recognition of death7apos;s sovereignty. “[One] must direct [one's] life to no other goal but death,” he wrote. “A healthy man has the strength to continue towards the grave. The sick man invokes death and lets himself be carried away in mortal fear.” Rosenzweig juxtaposed the Grim Reaper with weary life. The healthy understanding knows that death will dash life to the ground. Yet it takes comfort from knowing that death will accept it with open arms. In the end, eloquent life falls silent as the eternally taciturn one speaks, “Do you finally recognize me? I am your brother.”In his notes to the English translation, Nahum Glatzer remarks with shock, “This concluding chapter–on death–stands in a striking contrast to the final passage of The Star of Redemption.” As if to offset our text's more mordant tone, Glatzer then quotes verbatim the seemingly life-affirming paragraphs that conclude Rosenzweig's magnum opus. Glatzer is not the only commentator to emphasize the importance of life in Rosenzweig's system. Indeed, Else-Rahel Freund notes that The Star of Redemption begins with the phrase “from death” and concludes with the words “into life.”

scholarly journals Der Proceβ in Yiddish, or The Importance of being Humorous

2007 ◽  
Vol 7 (2) ◽  
pp. 35-62
Author(s):  
Iris Bruce
Keyword(s):  
English Translation ◽  
Walter Benjamin ◽  
Franz Kafka ◽  
Literary Genre ◽  
Culturally Specific ◽  
Cultural Contexts ◽  
German Original ◽  
German Speaking ◽  
Post War

Abstract Der Proceß in Yiddish, or the Importance of being Humorous — The article argues for a "humorous" Franz Kafka rather than a kajkaesque one and criticizes the "Kafka myth" which cristallized after WWII and emphasized foremost Kafka's existential anguish. Even before the war Max Brod as well as Walter Benjamin recognized the humorous dimension in Kafka's texts, much of which lies in word plays and gesture; otherwise, the humour in Kafka was largely ignored, especially after WWII. The focus in this article is on English, German and Yiddish cultural contexts and ideologies which have determined different readings/ translations of Kafka's texts. In particular, the article compares the pre-war English translation of Der Proceß by Edwin and Willa Muir, which contributes to the "Kafka myth," with a post-war Yiddish translation by Melech Ravitch, which highlights the novel's humorous qualities. Not only does the Yiddish translation place Kafka's novel within a culturally specific literary genre and suggest an alternate "Jewish" reading of the text; by drawing on both the English translation and the German original, Ravitch also "corrects" the anguish laden "Kafka myth" and constitutes a challenge to the rather humourless genre of the kafkaesque so widespread still in contemporary English and German speaking cultures.

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