By George Steiner
In his vintage paintings, literary critic and pupil George Steiner tackles what he considers the Babel “problem”: Why, over the process historical past, have people built hundreds of thousands of alternative languages while the social, fabric, and fiscal benefits of a unmarried tongue are noticeable? Steiner argues that assorted cultures’ wants for privateness and exclusivity ended in every one constructing its personal language. Translation, he believes, is on the very middle of human verbal exchange, and therefore on the center of human nature. From our daily belief of the realm round us, to creativity and the uninhibited mind's eye, to the usually inexplicable poignancy of poetry, we're continuously translating—even from our local language.
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Additional info for After Babel: Aspects of Language and Translation
3 Roland Barthes, ‘‘Introduction to the Structural Analysis of Narratives’’ (1966), Image-MusicText, ed. and trans. Stephen Heath (New York: Hill and Wang, 1977) 81. 4 Lubbock, The Craft of Fiction 11. 5 Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca, NY: Cornell University Press, 1981) 47. 6 Wayne C. Booth, introduction, Problems of Dostoevsky’s Poetics, by Mikhail Bakhtin, ed. and trans. Caryl Emerson, Theory and History of Literature, vol. 8 (Minneapolis: Minnesota University Press 1984) xxiv.
Nothing [p. 5]. Then his remarks about the homunculus (fetus) are spiced with anecdotal references to its right to legal defense (pp. 5–6). Only on pages 8 through 9 do we get an explanation of this whole passage and a description of the odd punctiliousness of the father in his family affairs. Thus, from the very beginning, we find displacement of time in Tristram Shandy. The causes follow the consequences, and the author himself prepares the groundwork for erroneous assumptions. This is one of Sterne’s characteristic techniques.
5]. Then his remarks about the homunculus (fetus) are spiced with anecdotal references to its right to legal defense (pp. 5–6). Only on pages 8 through 9 do we get an explanation of this whole passage and a description of the odd punctiliousness of the father in his family affairs. Thus, from the very beginning, we find displacement of time in Tristram Shandy. The causes follow the consequences, and the author himself prepares the groundwork for erroneous assumptions. This is one of Sterne’s characteristic techniques.
After Babel: Aspects of Language and Translation by George Steiner