On the Question of the Translation of Some Philosophical Terms in the Article of G. Oberhammer “The Forgotten Secret of Human Love”

Author(s):  
Lev I. Titlin ◽  

The article deals with the problem of translation of some Sanskrit, English and German philosophical terms found in the article of Austrian indologist G. Ober­hammer “The Forgotten Secret of Human Love. An Attempt of an Approach”, which is devoted to the phenomenon of human love in India of the ancient and medieval period in such texts as Kāmasūtra of Vātsyāyana, Sātvatasaṃhitā, Nyāyabhāṣya of Pakṣilasvāmin, Śaraṇāgatigadya of Rāmānuja, etc. (translation of the article is attached below). At the beginning of the article, brief information on Oberhammer and the study of his creative heritage in Russia is provided. In particular, such Sanskrit terms as “śṛṅgāra” (erotic mood), “kāma” (sexual de­sire), the English term “rest”, the German “Rest” are considered. The author poses the following questions: is it possible to translate the word “kāma” as “love”, “śṛṅgāra” (erotische Stimmungen) – as erotic mood, whether to translate the Eng­lish “rest” as “peace”, or as “remainder”: and replies that, basing on contextual use, for “kāma” it is better to use the translation “desire” (“sexual desire”) or leave the Sanskrit term as it is, as Oberhammer does for the most part, “erotic mood”, to be more precise, means “erotic feeling”, not “mood” and the English “rest” clearly means “the remainder”, more specifically – the abandonment of oneself to God. The author concludes that for the correct translation of English terms in articles devoted to Indological problems, it is necessary to refer directly to Sanskrit terms, in the case of translated articles, we must also check the text against the original language, and for translation of Sanskrit terms we should use specialized dictionaries, referring to cases of contextual use of that terms.

Author(s):  
Alicia Finan

In modern Western society the study of astrology is not taken seriously by the majority of people. However, in the medieval period astrology was held to be a hard science. Astrology was studied in the East long before it came to be pursued by Western scholars. The 8th century A.D. Moslem invasion of Spain meant that much of this knowledge was brought to Europe. One of the key figures in the reacquisition of this knowledge was King Alfonso X, known as El Sabio, or The Wise, for his love of learning. Shortly after his coronation he established groups of translators at his court in Toledo who were responsible for translating texts from their original language into Spanish. The majority of the works he ordered to be translated were Eastern texts on the sciences, the majority of Arabic origin. In particular he had a great interest in the study of astrology, and included many Eastern astrological texts in his library. In addition to translation Alfonso occasionally expanded upon the work of the Eastern scholars, contributing his own observations to theirs. In this paper I give an overview of the contributions Alfonso made to the study of astrology, with particular focus placed upon two of his works: Lapidario, and Libro de formas e ymagenes, both of which study the relationship between astrology and stones. These texts demonstrate scientific experimentation and analysis in its earliest stages and by studying these documents, the role of Alfonso X in the development of modern Western science can clearly be seen.


Tempo ◽  
1948 ◽  
pp. 9-13
Author(s):  
W. H. Haddon Squire

The late Professor Collingwood claimed that the dance is the mother of all languages in the sense that every kind or order of language (speech, gesture, and so forth) is an offshoot from an original language of total bodily gesture; a language which we all use, whether aware of it or not—even to stand perfectly still, no less than making a movement, is in the strict sense a gesture. He also relates the dance to the artist's language of form and shape. He asks us to imagine an artist who wants to reproduce the emotional effect of a ritual dance in which the dancers trace a pattern on the ground. The emotional effect of the dance depends not on any instantaneous posture, but on the traced pattern. Obviously, he concludes, the sensible thing would be to leave out the dancers altogether, and draw the pattern by itself.


1998 ◽  
Vol 1 (3) ◽  
pp. 119-121 ◽  
Author(s):  
Goldmeier ◽  
Green
Keyword(s):  

1990 ◽  
Vol 35 (8) ◽  
pp. 786-787
Author(s):  
Daniel C. Goldberg ◽  
Lawrence A. Pervin
Keyword(s):  

Sign in / Sign up

Export Citation Format

Share Document