On Translation: by John Sallis

By John Sallis

"Everyone complains approximately what's misplaced in translations. this can be the first account i've got visible of the doubtless confident influence of translation, that it represents... a really new contribution." -- Drew A. HylandIn his unique philosophical exploration of translation, John Sallis exhibits that translating is way greater than an issue of transposing one language into one other. on the very middle of language, translation is operative all through human notion and event. Sallis methods translation from 4 instructions: from the dream of nontranslation, or common translatability; via a scene of translation staged by means of Shakespeare, during which the total diversity of senses of translation is performed out; during the query of the strength of phrases; and from the illustration of untranslatability in portray and song. Drawing on Jakobson, Gadamer, Benjamin, and Derrida, Sallis exhibits how the classical inspiration of translation has passed through mutation and deconstruction.

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Page 18 nifications that translation will have made our own. What, then, are the radical measures needed?  . "20 It is not only a matter of taking over from the Greeks what they have thought and said but of setting ourselves back into the Greek, into the domain from which Greek thinking and saying issued. In his lecture course Parmenides, in connection with a discussion of the translation of as Unverborgenheit, Heidegger explains the translation that in this connection is required of us as translators: "If we merely replace the Greek with the German 'Unverborgenheit,' we are not yet translating.

Even with Kant, who rarely addresses the theme,13 the dream 13. One text in which this theme does arise, though briefly, is a short piece from 1785 entitled On the Injustice of Counterfeiting Books. In this text Kant makes his case against counterfeiting books by insisting on the distinction between a work (Werk) and an act (Handlung); indeed, as if to stabilize the distinction and protect it from such erosion as living and popular language might produce, Kant appeals to—translates back into—Latin, that is, he translates the distinction as that between opus and opera.

Page 20 nonetheless leave a certain disjointure. They leave, most notably, a disjointure of that which disjoints everything (even eventually from itself): time itself. 24 Disjointing time from itself, the play—in other respects too—forestalls resolution into nontranslation, remains to the very end a play of translation. 24. At the outset of the play Hippolyta says: Four days will quickly steep themselves in night; Four nights will quickly dream away the time. 7–8) This is in a sense just what happens: the time is dreamed away, but not in four nights, not in the four days that will steep themselves in night.

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