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A quite distinctive opinion related to untranslatability is provided by the German language philosopher Walter Benjamin, who argues that a "sacred text is untranslatable (.
Glatstein fetishizes the "original scent" of a language, its authenticity and its untranslatability.
Emily Apter's Against World Literature: On the Politics of Untranslatability reemphasizes the importance of the untranslatable, "an intransigent nub of meaning that triggers endless translating in response to its resistant singularity" (20).
8) See Emily Apter, Against World Literature: On the Politics of Untranslatability (London: Verso, 2013).
As referred to above, inter-semiotic translations paradoxically happen in the situation of untranslatability, as we can only speak of conditional, not absolute, equivalence between the elements of different semiotic modalities.
The essential untranslatability of "Canada" and all it represents is a recurring theme: Elle finds herself "At the threshold of another world, where strangeness and confusion rule where all words are untranslatable" (130).
A sampling of topics: iterative techniques in the Commedia, theological poetics of Paradiso VII, and an approach to untranslatability in Dante's works.
Tennyson, in an assertion about the sonic singularity of a language and its meter, the untranslatability of the sound-sense nexus, honorably discharges himself from a classical slavishness, and frees himself from imitation that is anyhow doomed to fail.
First, it insists that the meaning of a word is always dependent on its context; for Derrida, there was the limitation of an endless chasing of the deferred meaning, while for Lindbeck there was the limitation of the untranslatability of the religious idiom into another cultural language.
Cultural untranslatability is due to the absence in the target language culture of a relevant situational feature for the source language.
Through the analysis of L'Arve et l'Aume, we come to appreciate the place of untranslatability within literary practice, and the potential inherent in anti-grammatical writing for simultaneously destroying and renewing language, while providing a context for curing the language user from the perceived madness of language itself.
Kingsley-Smith's argument is sound, certainly, but with her acceptance of literature as a refuge--"a place to live" (Kingsley-Smith 2003: 177)--she does close the door on the issue of the historical realities that Said raises and their inherent untranslatability into literature.