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THE COMMUNITY OF WORDS
THE NAMING OF SILENCE
VISIBILITY MEDIATION SPEECH
THE ECOLOGY OF THE WORD
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abuse alliteration allows already Auden Auden's translation becomes begins Benjamin Brecht called choice close completely concern Consequently context continually created deal deconstructive demands denies Derrida desire difference discourse displaced double effect elements English essay examine example existence fact Fall fidelity force Further German give given Goethe human important JENNY leads linguistic literal London longer look meaning nature never noun once original Paul perfection performance person phrase play poem poet poetic poetry presence Press proper pure reading recuperation relation remains rendering result sacred scene seeks semantic sense sentence signifiers silence similar song sound source text space speaks specific speech stage strategy Strophe structure suggests target language target text textual things third traditional trans translation truth turn University utterance verbal W.H. Auden words writing York
Seite 4 - Translation is so far removed from being the sterile equation of two dead languages that of all literary forms it is the one charged with the special mission of watching over the maturing process of the original language and the birth pangs of its own.
Seite 36 - Here is a verbal contraption. How does it work?' The second is, in the broadest sense, moral: 'What kind of a guy inhabits this poem? What is his notion of the good life or the good place? His notion of the Evil One? What does he conceal from the reader? What does he conceal even from...
Seite 39 - Every poem, therefore, is an attempt to present an analogy to that paradisal state in which Freedom and Law, System and Order are united in harmony.
Seite 126 - I know where Othin's eye is hidden, Deep in the wide-famed well of Mimir; Mead from the pledge of Othin each morn Does Mimir drink: would you know yet more? 30. Necklaces had I and rings from Heerfather, Wise was my speech and my magic wisdom ; • ••• •••••• Widely I saw over...
Seite 27 - The translation is the fragment of a fragment, is breaking the fragment — so the vessel keeps breaking, constantly — and never reconstitutes it...
Seite 29 - Ferdinand de Saussure, Course in General Linguistics, trans. Wade Baskin (New York: McGraw-Hill, 1966); Umberto Eco, A Theory of Semiotics (Bloomington: Indiana University Press, 1976); and Roland Barthes, Elements of Semiology, trans.
Seite 4 - On the other hand, as regards the meaning, the language of a translation can — in fact, must — let itself go, so that it gives voice to the intentio of the original not as reproduction but as harmony, as a supplement to the language in which it expresses itself, as its own kind of intentio.
Seite 85 - In this respect it is at the opposite pole of the language of painting. A painting can portray someone as beautiful, lovable, etc. but it cannot say who, if anybody, loves this person. Music, one might say, is always intransitive and in the first person; painting has only one voice, the passive, and only the third person singular or plural.
Seite 40 - The impulse to create a work of art is felt when, in certain persons, the passive awe provoked by sacred beings or events is transformed into a desire to express that awe in a rite of worship or homage, and to be fit homage this rite must be beautiful.
Seite 123 - ... As long as there shall be men, they will always exalt The great number of the descendants of Lofar. She knows that the horn of Heimdal is concealed Under the sacred and majestic tree : She sees that they drink with hasty draughts In the pledge of the Father of the Elect — Know you it ? But what ? She was seated without, solitary, when he came, the oldest, The most circumspect of the Ases, and looked in her eyes : — "Why sound me? why put me to the proof? I know all, Odin ; I know where thou...
Strange Likeness:The Use of Old English in Twentieth-Century Poetry: The Use ...
Keine Leseprobe verfügbar - 2006