scholarly journals The Vernaculars of No One, Really. The (Un?)Translatable Fictional Languages

2021 ◽  
Vol 7 (2) ◽  
pp. 125-141
Author(s):  
Anca Chiorean ◽  
Keyword(s):  
Fundamental Feature ◽  
Avant Garde

The present paper aims to show the two possible directions, effects, manifestations of the fictional languages in general. Thus, according to the purposes of their creation, fictional languages have, throughout history, been created in order to achieve certain political, aesthetic or playful purposes, but the most fundamental feature that divides them into two categories is one strongly linked to the purpose of their creation: whether or not they can be learned and used in day-to-day life. Thus, whether they originated in the Sci-Fi, Fantasy or in the literary Avant-Garde universes, the issue of their purpose (to hide or to reveal meaning) also raises the issue of their translatability and, most of all, the issue of their “educability”, issues that may or may not harm their aesthetic dimensions.

A Realist Perspective on Contemporary "Economic Theory" (Foreword by O. Ananyin)

2006 ◽  
pp. 75-98 ◽  
Author(s):  
T. Lawson
Keyword(s):  
Economic Theory ◽  
Life Events ◽  
Alternative Model ◽  
Economic Life ◽  
Social Phenomenon ◽  
Methodological Issues ◽  
Neoclassical Theory ◽  
Fundamental Feature ◽  
Major Powers ◽  
Realist Perspective

The author elaborates on methodological issues of current tendencies in neoclassical theory and demonstrates the necessity of an alternative model of science, which he calls "realist". According to this perspective, constant and regular conjunctions of economic life events should not be the main object of analysis. Rather, the author proposes to consider structures and mechanisms governing events in question. Instead of deductivism, which, as Lawson believes, is a fundamental feature of orthodox economics, the abductive method of economic explanation is proposed that entails investigation of major powers, on which any social phenomenon depends. Society is thereby regarded not as a closed, but rather as an open system.

Multisensory Modalities and Modernist Translation

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
Sensory Integration ◽  
Cultural Anthropology ◽  
Sensory Perception ◽  
Cross Cultural ◽  
Avant Garde ◽  
Artistic Production ◽  
High Modernism ◽  
The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

The Spanish Reception of Le Sacre du Printemps (1913–1936)

2018 ◽  
Vol 36 (1) ◽  
pp. 48-66
Author(s):  
Idoia Murga Castro
Keyword(s):  
Nineteenth Century ◽  
Civil War ◽  
Spanish Civil War ◽  
Original Work ◽  
Silver Age ◽  
Avant Garde ◽  
Ballets Russes ◽  
Rite Of Spring ◽  
Le Sacre Du Printemps ◽  
Cultural Expansion

Centenary celebrations are being held between 2016 and 2018 to mark the first consecutive tours of Diaghilev's Ballets Russes in Spain. This study analyses the Spanish reception of Le Sacre du Printemps (The Rite of Spring) (1913), one of its most avant-garde pieces. Although the original work was never performed in Spain as a complete ballet, its influence was felt deeply in the work of certain Spanish choreographers, composers, painters and intellectuals during the so-called Silver Age, the period of modernisation and cultural expansion which extended from the end of the nineteenth century to the beginning of the Spanish Civil War.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

Avant-Garde Meat

2002 ◽  
Vol 6 (2) ◽  
Author(s):  
Jake Kennedy
Keyword(s):  
Avant Garde
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