The Basis of Bantu Philology: Lecture Delivered at Capetown in January 1928

Africa ◽  
1929 ◽  
Vol 2 (1) ◽  
pp. 39-56 ◽  
Author(s):  
Carl Meinhof

The comparative philology of former times mainly occupied itself with the collection of such words in different languages as showed some similarity in sound, and even this phenomenon was not thought worthy of too much attention. It was not before the beginning of the nineteenth century that the scientific importance of the problems here involved were recognized, and it was seen that they called for thorough and exact investigation. First of all, the differences in structure that exist between the various European languages were examined more closely than had been done before, and those languages that were seen to possess a number of characteristics in common were then brought together into one group, which was called the Indo-European family of languages. Next, another group was found, namely that of the Semitic languages, the relationship to each other of which had been recognized long before on account of the greater uniformity in grammar and vocabulary. Indo-European and Semitic were then both classed together by virtue of their being ‘inflecting’ languages, that is to say, they change words not by means of endings only, but also through vowel change within the stem, and have grammatical gender.

Babel ◽  
2006 ◽  
Vol 52 (2) ◽  
pp. 124-132
Author(s):  
Laurence Wong

Abstract This paper discusses the relationship between syntax and translatability, particularly in respect of literary texts. By translatability is meant the degree of ease with which one language lends itself to translation into another language. Through practice in the translation between Chinese and some of the major European languages, such as English, French, Italian, German, Spanish, Latin, and Greek, as well as between the European languages themselves, it can be found that translating between the European languages is much easier than translating between Chinese and any one of the European languages. Of all the factors that determine whether a language translates more readily or less readily into another language, syntactic differences constitute one of the most decisive. This is because the translator is, during the translation process, constantly dealing with syntax in two directions: the syntax of the source language on the one hand and the syntax of the target language on the other. As a result, problems arising from the syntactic differences between the two languages are bound to figure more prominently than those arising from the differences between individual lexical items and phrases or between cultures. In this paper, syntax will be studied and analysed with reference to Chinese, English, French, German, Italian, Spanish, Latin, and Greek texts. Finally, it will be shown that, mainly because of syntactic differences, there is a higher degree of translatability between any two of the above European languages (which are members of the Indo-European family) than between Chinese (which is a member of the Sino-Tibetan family) and any one of these European languages, and that the syntax of any one of these European languages can cope comfortably with Chinese syntax, but not the other way round. Résumé Cet article traite de la relation entre la syntaxe et la traduisibilité, en particulier, en ce qui concerne les textes littéraires. On entend par traduisibilité le degré de facilité avec laquelle une langue se prête à la traduction dans une autre. Par la pratique de la traduction entre le chinois et quelques-unes des principales langues européennes, comme l’anglais, le français, l’italien, l’allemand, l’espagnol, le latin et le grec, ainsi qu’entre les langues européennes mêmes, on s’aperçoit qu’il est beaucoup plus facile de traduire entre les langues européennes qu’entre le chinois et n’importe quelle langue européenne. Parmi tous les facteurs qui déterminent si une langue se traduit plus ou moins aisément dans une autre, les différences syntactiques comptent parmi les plus décisifs. Ceci est dû au fait que le traducteur, pendant le processus de traduction, est constamment confronté à une syntaxe dans deux directions : la syntaxe de la langue source, d’une part, et la syntaxe de la langue cible, d’autre part. En conséquence, les problèmes dus à des différences syntactiques entre les deux langues doivent nécessairement apparaître de manière plus évidente que ceux provenant de différences entre les syntagmes et éléments lexicaux individuels ou entre les cultures. Dans cet article, la syntaxe sera étudiée et analysée en référence à des textes en chinois, anglais, français, allemand, italien, espagnol, latin et grec. Enfin, il montrera qu’en raison des différences syntactiques surtout, la traduisibilité est plus grande entre deux langues européennes précitées quelles qu’elles soient (qui appartiennent à la famille indo-européenne) qu’entre le chinois (qui appartient à la famille sino-tibétaine) et une quelconque de ces langues européennes. Il montrera que la syntaxe de toute langue européenne peut sans difficulté venir à bout de n’importe quelle syntaxe chinoise, mais que l’inverse n’est pas vrai.


2017 ◽  
Vol 10 (2) ◽  
pp. 197-216
Author(s):  
Sarah Irving-Stonebraker

Through an examination of the extensive papers, manuscripts and correspondence of American physician Benjamin Rush and his friends, this article argues that it is possible to map a network of Scottish-trained physicians in the late eighteenth and early nineteenth-century Atlantic world. These physicians, whose members included Benjamin Rush, John Redman, John Morgan, Adam Kuhn, and others, not only brought the Edinburgh model for medical pedagogy across the Atlantic, but also disseminated Scottish stadial theories of development, which they applied to their study of the natural history and medical practices of Native Americans and slaves. In doing so, these physicians developed theories about the relationship between civilization, historical progress and the practice of medicine. Exploring this network deepens our understanding of the transnational intellectual geography of the eighteenth and early nineteenth century British World. This article develops, in relation to Scotland, a current strand of scholarship that maps the colonial and global contexts of Enlightenment thought.


Romanticism ◽  
2018 ◽  
Vol 24 (2) ◽  
pp. 203-215
Author(s):  
Alex Broadhead

In 2009, Damian Walford Davies called for a counterfactual turn in Romantic studies, a move reflective of a wider growth of critical interest in the relationship between Romanticism and counterfactual historiography. In contrast to these more recent developments, the lives of the Romantics have provided a consistent source of speculation for authors of popular alternate history since the nineteenth century. Yet the aims of alternate history as a genre differ markedly from those of its more scholarly cousin, counterfactual historiography. How, then, might such works fit in to the proposed counterfactual turn? This article makes a case for the critical as well as the creative value of alternate histories featuring the Romantics. By exploring how these narratives differ from works of counterfactual historiography, it seeks to explain why the Romantics continue to inspire authors of alternate history and to illuminate the forking paths that Davies's counterfactual turn might take.


2013 ◽  
Vol 3 (2) ◽  
pp. 119-135
Author(s):  
Giles Whiteley

Walter Pater's late-nineteenth-century literary genre of the imaginary portrait has received relatively little critical attention. Conceived of as something of a continuum between his role as an art critic and his fictional pursuits, this essay probes the liminal space of the imaginary portraits, focusing on the role of the parergon, or frame, in his portraits. Guided by Pater's reading of Kant, who distinguishes between the work (ergon) and that which lies outside of the work (the parergon), between inside and outside, and contextualised alongside the analysis of Derrida, who shows how such distinctions have always already deconstructed themselves, I demonstrate a similar operation at work in the portraits. By closely analysing the parerga of two of Pater's portraits, ‘Duke Carl of Rosenmold’ (1887) and ‘Apollo in Picardy’ (1893), focusing on his partial quotation of Goethe in the former, and his playful autocitation and impersonation of Heine in the latter, I argue that Pater's parerga seek to destabilise the relationship between text and context so that the parerga do not lie outside the text but are implicated throughout in their reading, changing the portraits constitutively. As such, the formal structure of the parergon in Pater's portraits is also a theoretical fulcrum in his aesthetic criticism and marks that space where the limits of, and distinctions between, art and life become blurred.


2001 ◽  
Vol 22 (1) ◽  
pp. 7-45 ◽  
Author(s):  
Kenneth Ober

Although the noted nineteenth-century Danish-Jewish writer Meïr Goldschmidt (1819–1887) made his entry into literature with a novel on Jewish themes, his later novels treated non-Jewish subjects, and his Jewish heritage appeared progressively to recede into the background of his public image. Literary historians have paid little attention to his complex perception of his own Jewishness and have made no effort to discover the immense significance he himself felt that Judaism had for his life and for his literary works. Moreover, no previous study has comprehensively treated Goldschmidt’s far-reaching network of interrelationships with an astonishing number of other major Jewish cultural figures of nineteenth-century Europe. During his restless travels crisscrossing Europe, which were facilitated by his phenomenal knowledge of the major European languages, he habitually sought out and associated with the leading Jewish figures in literature, the arts, journalism, and religion, but this fact and the resulting mutually influential connections he formed have been overlooked and ignored. This is the first focused and documented study of the Jewish aspect of Goldschmidt’s life, so vitally important to Goldschmidt himself and so indispensable to a complete understanding of his place in Danish and in world literatures.


Author(s):  
Elaine Auyoung

The conclusion of this book calls attention to the relationship between comprehending realist fiction and Aristotle’s claim that mimetic representation provides a form of aesthetic pleasure distinct from our response to what is represented. It also argues that, by demonstrating how much nineteenth-century novelists depend on the knowledge and abilities that readers bring to a text, cognitive research on reading helps us revisit long-standing theoretical assumptions in literary studies. Because the felt experience of reading is so distinct from the mental acts underlying it, knowing more about the basic architecture of reading can help literary critics refine their claims about what novels can and cannot do to their readers.


Author(s):  
Ritchie Robertson

Ritchie Robertson situates Lessing’s text within debates over the proper depiction of extreme suffering in art, focusing on Goethe’s essay on the Laocoon group (1798), as well as other late eighteenth- and early nineteenth-century works on the representation of pain. The issue of suffering in art was of utmost significance to Goethe’s ideology of the classical, Robertson explains; more than that, the themes introduced in Lessing’s essay—above all, its concerns with how suffering can be depicted in words and images—proved pivotal within Goethe’s prescriptions about the relationship between idealism and individuality (or ‘the characteristic’) in art. As part of a larger campaign against what he called ‘naturalism’ in art, Goethe argued that the ancients did not share the false notion that art must imitate nature. For Goethe, responding to Lessing, the power of the Laocoon group lay precisely in its depiction of bodily suffering as something not just beautiful, but also anmutig (‘sensuously pleasing’).


Author(s):  
Isaac Land

This chapter is central to the volume’s chronological contentions, as its argument accounts for the specialized, one-dimensional Dibdin of ‘Tom Bowling’ that has endured into recent scholarship. Focusing on Dibdin’s posthumous reception, it examines the moral and rhetorical difficulties of repackaging Dibdin’s works for a Victorian sensibility; it explores the specifics of mid-century concert culture previously highlighted by Derek Scott and William Weber as central to changes in nineteenth-century taste and programming; and it develops the theme of nostalgia into a revelatory consideration of the relationship between new naval technologies, national pride, and military training, and the songs, people, and language of a remembered Napoleonic ‘golden age’—to which Dibdin proves to have been as central, in the Victorian imagination, as Nelson.


Author(s):  
Chris Jones

This introductory chapter contextualizes the philological study of language during the nineteenth century as a branch of the evolutionary sciences. It sketches in outline the two phases of poetic Anglo-Saxonism for which the rest of the book will subsequently argue in more detail. Moreover, the relationship between Anglo-Saxonism and nineteenth-century medievalism more generally is articulated, and historical analogies are drawn between nineteenth-century Anglo-Saxonism and more recent political events in the Anglophone world. Finally, the scholarly contribution of Fossil Poetry itself is contextualized within English Studies; it is argued that ‘reception’ is one of the primary objects of Anglo-Saxon or Old English studies, and not merely a secondary object of that field’s study.


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