Cultural Transfer through Translation. The Circulation of by Stefanie Stockhorst

By Stefanie Stockhorst

On condition that the dissemination of enlightened inspiration in Europe was once quite often effected via translations, the current selection of essays specializes in how its cultural variation came about in a number of nationwide contexts. For the 1st time, the theoretical version of 'cultural move' (Espagne/Werner) is utilized to the eighteenth century: The intercultural dynamics of the Enlightenment develop into happen within the transformation strategy among the unique and aim cultures, be it in terms of acculturation, artistic enhancement, or false impression. leading to shifts of which means, translations supply a key not only to modern translation perform yet to the discursive community of the eu Enlightenment regularly. The case reports united right here discover either how translations contributed to the transnational standardisation of convinced key strategies, values and texts, and the way they replicate nationwide necessities of enlightened discourses. consequently, the amount contributes to Enlightenment experiences, not less than up to to old translation reports.

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Undated letter (sent in 1760), Göttingen, Niedersächsische Staats- und Universitätsbibliothek, Codex Michaelis 324, p. 51r-v. The translation of the prize essay so exhausted Merian, that he made further collaboration with Michaelis conditional on higher remuneration and the employment of a copyist: Merian to Michaelis, 17 Nov 1761, Codex Michaelis 324, p. 68r-69r. 38 Avi S. Lifschitz The arduous work and difficult interaction finally justified the efforts on both sides. Michaelis extended the original essay with several appendices, Merian proved a submissive though astute translator, and Prémontval took care of some stylistic revisions.

1396-1398 (col. 1398). 13. Reynolds, ‘Discourses’, p. 117. Plagiarism and originality in painting 49 Dryden and Reynolds acknowledged the imitation of nature as the intrinsic methodical approach demanded of both artist and poet, for the artistic imagination could not extend beyond the field of human experience, ‘a picture being the representation of a human action […] ’tis impossible to express that with the hand, which never entered into the imagination’. 14 But the imitation of nature in the literal sense ends there, for proponents of neoclassical ideals sought to represent general nature.

We cannot suppose that any one can really mean to exclude all imitation of others. ’ Reynolds, ‘Discourses’, p. 100. 32. , p. 102. Plagiarism and originality in painting 53 True genius, invention and imagination therefore grew with the progression of art and were thereby inevitably bound together in Reynolds’s concept of imitation: ‘I am […] persuaded, that by imitation only, variety, and even originality of invention, is produced. ’33 Artists who ignored the work of their predecessors had no chance of advancing their art.

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