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The Concept of Music from Kafka’s The Metamorphosis: Author vs Translator
Get PDFThe article was submitted on 30.05.2023.Статья посвящена проблеме сохранения смысла при переводе художественного текста. В основе исследования – перевод на русский язык фразы из новеллы Ф. Кафки «Превращение» «War er ein Tier, da ihn Musik so ergriff? ». В единственном переводе новеллы на русский язык, выполненном С. К. Аптом, в данной фразе допущена неточность, искажающая семантику первоисточника. Основания этой неточности в переводе связываются с интуитивным неприятием со стороны переводчика той концепции музыкального искусства в творчестве Кафки, которая нашла свое отражение в анализируемой фразе. Реконструируя мысль писателя, автор статьи приходит к выводу, что в творчестве Кафки понимание музыки категорически не совпадает с классическим представлением европейской музыкальной философии, вытекающей из романтической эстетики. У Кафки неромантическое понимание музыки: он отказывается от ее почитания в качестве идеальной метафизической сущности, размышляя о характере ее воздействия на слушателя. Выдвигается гипотеза, что в творчестве Кафки происходит переосмысление философии музыкального искусства Ф. Ницше, который противопоставлял музыку немузыкальному человеческому миру, подчиненному логике и языку. Кафка радикализирует это противопоставление: в его логике музыка отторгает человека от рационального мира, ввергая его в первозданное природное состояние. Открывшаяся у Грегора Замзы после метаморфозы чувствительность к музыке заставляет его признаться в своей животной сущности, что требует перевода анализируемой фразы как предложения с придаточным причины («Он был животным, потому что музыка так его волновала?»), а не придаточным условия (у С. К. Апта: «Был ли он животным, если музыка так волновала его?»). Обращение к другим новеллам о «музыкально чувствующих животных» подкрепляет предложенную реконструкцию кафковского понимания музыки, которая, в свою очередь, открывает важные смысловые пласты новеллы, связанные с интерпретацией образов других ее персонажей и ее глубинного трагического содержания.This article examines the problem of preserving the meaning of the translation of fiction texts. The author refers to the translation into Russian of “War er ein Tier, da ihn Musik so ergriff?”, a phrase from Kafka’s The Metamorphosis. It is argued that in the only translation of the novella into Russian by S. K. Apt, there is an inaccuracy in the translation of this phrase, which distorts the semantics of the source. The article reveals the grounds for the assumption of this inaccuracy in the translation of the outstanding Russian Germanist. They relate to the translator’s intuitive rejection of the concept of musical art, which is reflected in the phrase analysed. While reconstructing Kafka’s thought, the author of the article concludes that Kafka’s work expresses an understanding of music that completely disagrees with the one that distinguishes the classical works of European philosophy of music, forged on the basis of Romantic aesthetics. Kafka has a non-Romantic understanding of music: he refuses to venerate it as an ideal metaphysical essence, reflecting on the nature of the impact of music on the listener. The author puts forward a hypothesis that in Kafka’s work, there is a rethinking of the philosophy of musical art belonging to F. Nietzsche, who opposed music to the non-musical human world, subordinated to logic and language. Kafka radicalises this opposition: in his logic, music alienates people from the rational world, plunging them into an animal, primordially natural state. Gregor Samsa’s sensitivity to music, which he discovers after the metamorphosis, makes him recognise his animal essence, which requires that the analysed phrase be translated as a sentence with a clause of reason (“Was he an animal because music excited him so much?”) rather than a clause of condition (as in Apt: “Was he an animal if music excited him so much?”). The reference to other novellas about “animals responsive to music” (Investigations of a Dog, Josephine the Singer, or the Mouse Folk) reinforces the proposed reconstruction of Kafka’s understanding of music, which, in turn, opens significant semantic layers of the novella related to the interpretation of the images of other characters (Gregor’s family, three guests in Mr. Samsa’s apartment) and its deep tragic content
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
Kiss of Christ in profane version: hidden quoting from Dostoevsky's novel in A. Nothomb's "Antichristа"
No full textПредметом анализа в статье является эпизод из повести современной бельгийской писательницы А. Нотомб "Антихриста", предположительно заимствованный из романа Достоевского "Братья Карамазовы". Предлагается аргументация в пользу намеренно умалчиваемой цитаты и размышления относительно ее смысловой функции в повести.The subject of analysis in the article is an episode from the story "Antichristа" of the modern Belgian writer A. Nothomb, presumably borrowed from Dostoevsky's novel "The Brothers Karamazov". The author of the article offers arguments in favor of deliberately hidden quotes and regards their function in the novel
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Metaphors of reading in works by Vladimir Sorokin
No full textThe article is devoted to the analysis of metaphors used in the works of Vladimir Sorokin in relation to the image of a reading person. Metaphors of reading are considered as a form of the author's reflection on the forms and destinies of Russian literature-centrism. It is proved that reading in Sorokin's works is comprehended by means of the metaphor of violence, and literature in the framework of this metaphor appears both as a subject of directed aggression and as its object. Among the works in which the reader is displayed as a victim, the play Dostoevsky-trip, the novel Roman, the short story "A Month in Dachau" are analyzed. Among the works in which literature itself is derived in the image of a victim of violence, the stories from the collection Feast, the novels of the Ice Trilogy, the novel Manaraga are analyzed. The conclusion is made about the evolution of the author's thought about the nature of the artistic word's functioning in the modern culture. Thus, in the 1990s, metaphorically identifying the reading process with the reader's death, Sorokin deconstructs literature-centrism. In the first decade of the 2000s, the writer is already thinking about the dangers of desacralizing literature, and in the latest novel (2018), he compares literature with a sacred victim, claiming its lasting value. This direction of the author's thought about literature is explained by the fact that in different periods of modern Russian history, special aspects of the relationship between a person and a book are actualized. Thus, in the last decade of the twentieth century, Sorokin developed the idea of literature as a form of the power of ideology. In the first decade of the new century, he actualizes the danger of the desacralization of literature itself. According to the author of the Ice Trilogy, it is no longer the power of literature that dehumanizes, but its discredit, which makes a person a victim of the same ideological manipulations. Finally, a new metaphorization of literature as a sacred victim in Sorokin's works grows on the basis of a complex author's reflection. Firstiy, it is formed by the criticism of consumerism and, secondly, by modern literary theory. It seems that, in his texts about reading, the writer transfers the reflection on the status and fate of literature that already exists in theoretical discourse into a figurative plan. In his early literature-centric works, he also embodied the ideas of the postmodern literary theory of that time: about the death of the novel, about the death of the reader, about the power of the text, about literature as a form of ideology, about reading as consumption, about the literatizing of life and consciousness. For the novel Manaraga, such a support was a scientific reflection on the revolutionary development of book culture, on mass literature, on politics and the market as the most important factors in the development of book culture, on the literary canon as a form of political thought, on the reader as a subject of the literary process. The author of the article does not assign Sorokin the obligation of purposeful reliance on the theoretical thought of the turn of the century. The theoretical "chargedness" of his works is explained by the phenomenon that received its classic description from Roland Barthes: the idea that every work of art has a code of the culture to which it belongs. © 2020 Tomsk State University - Faculty of Philology. All rights reserved
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