In Difference and Repetition, Deleuze defines his transcendental empiricism as an “apodictic” aesthetics, by which he means a science not simply of the sensible, but of the being of the sensible. Yet, to the extent that the sensibility which is at stake in the Transcendental Aesthetics is a sensibility without sensation, Kantian aesthetics is not apodictic. Sensation is the only contact we have with the being of the sensible, namely that which is exterior with respect to the interior of representation. (...) But transcendental idealism is a subjectivism. Indeed, if one connects what Heidegger considers to be the greatest achievement of Kant’s Copernican revolution with the achievement that Kant held highest in this regard, then the two main precepts of Kant’s subjective phenomenalism fall into place. The first is that we cannot feel outside of us – this amounts to non-sensuous sensibility as transcendental idealism; the second is that we can feel inside – this amounts to non-sensuous sensibility as empirical realism. The aim of this article is to show how Kant's treatment of sensation prevented him from refuting Berkeley’s idealism. (shrink)

Contemporary debate explores and enhances the relationship between philosophy and translation from various perspectives and cultural traditions. Nevertheless, there seems to be a lack of reflection on the aesthetic significance of the relation- ship between philosophy and translation and the specificity of the translation of philosophical texts. After attempting to explore the reasons for this, the paper aims at showing how philosophy reveals the aesthetic side of conceptual production when it is confronted with the problem of translation, both as a (...) translation of experience into concepts and as a translation practice of conceptual language. (shrink)

In this paper we investigate some important trends in contemporary naturalist aesthetics in relation to two decisive issues. Firstly, it is important to explicitly clarify what kind of naturalism is at stake within the debate, more specifically whether an account of the topic involves forms of physical reductionism, emergentism, and/or continuistic views of art and culture with nature. Secondly, we argue that it is necessary to define what conception of art is assumed as paradigmatic: whether this conception deals with basically (...) autonomist approaches to art, assuming aesthetic experience to coincide with the disinterested contemplation of formal features, independently of cognitive, practical, and ethical implications, or whether the arts are considered an enhancement of the features of human expe- rience and developments of other human behaviours. The second part of the paper will investigate some recent developments in current neuroaesthetics and fresh enactivist proposals in the aesthetic field which display a tendency toward a non-reductive naturalism, views of the arts as continuous with other modes of behav- iour and more conscious attitudes about the risks of scientism within scientific in- vestigations. Generally speaking, we espouse an idea of culture as the natural development of human organic experience that involves new emerging properties depending on the re-organization of already existing natural resources and favour continuistic and emergentist views as more suited to dealing with specific prob- lems in the field of the arts and as better responding to the criticism of irrelevancy directed against the latter, compared to reductive naturalist approaches. (shrink)

A specific interest and attention to translation and to the relation between signs, natural languages, and thought spread out not only from the so called “linguistic turn” in the 20th century, but also from the cross-cultural dimension that gained prominency in the last decades. Interlinguistic translation can thus be considered and analyzed as a particular and fruitful field of study for philosophy, because in that experience we have to face the intimate relationship that intertwine form and content, the contingency of (...) expression and the ideal aspiration to a shared, universal truth. The case of Chinese language and thought provide further material to explore, in order to raise more questions about the links among grammar, morphology, system of writing, and the meanings that those structures intrinsecally brings and convey. Re-considering Hegel’s ideas about alphabetical and non-alphabetical writing, and through a peculiar case study of a poem by Wang Wei, we can learn to appreciate in a new way the alterity of Chinese characters and language. Finally, the act of translation can be seen as a model of ethical understanding, in order take into account the Other, without enclosing it into the frames that have been shaped with our own categories. (shrink)

Through an unedited comparison between Gadamer and Benjamin, a brief reflection on the hermeneutic practice of translation is proposed here, which assumes, as a driver, the affinity between the figurative act of portraying and the linguistic act of translating. Just as the portrait is representation, interpretation and translation of the expressive sense of a single face, from the side of reality to that of the image, so the translation is representation, interpretation and translation of the expressive sense of a single (...) poetic composition from the side of the original language to that of the hosting language. Both the portrait and the translation have an aesthetic and ethical status: "aesthetic", since they exhibit the true mimetic po- tency of the image and the word; "ethical", since this potency is expressed in the maximum welcoming openness towards the object, whose individual expression, in order to be understood and recreated by the painter and the translator, must first of all be respected, safeguarded, guarded and preserved in its unproducible and irreducible otherness. (shrink)

The aim of this paper is to investigate a peculiar acoustic feature of translation – its echoicity. In the first step, I will revisit the story of Echo, the mythological character who repeats the words of the other and distorts its meaning. Moving from this figure, the article will pose the question of how the mechanism of repetition is structured in translation. This will be done through an analysis of the passages from Benjamin’s “The Task of the Translator”, in which (...) translation is explicitly described as an echo, involved in a chain of multiple resonances. It will be showed that Benjamin’s text as well, especially its terminology, acts through the same multiple resonances. In the last part of the paper, the problem of contradiction will be introduced, making reverberate some concepts and points from Hegelian philosophy, in order to argue the contradictory process of echoing the voice of the other in translation. (shrink)

This paper aims to investigate the intersections between Hegel’s aesthetics lec- tures and translation theory and praxis, with reference to the French-Italian translation project Hegel Art Net. Against the background of the historical recon- struction that sees Hegel repeatedly confronted with the fruition and production of translations, we intend to examine the hermeneutic, philological and political challenges that a translator of the aesthetics Nachschriften encounters today, following the “philological turn” of the 1990s and the publication of new sources documenting Hegel’s (...) Berlin lectures on the philosophy of art. (shrink)

In this article I outline a conception of translation as a human practice that is dia- lectical, reasonable and not entirely governed by rules. In my contribution I use a concept of dialectics that is general and broad, not connected in a strict way to a single thinker or a single paradigm of dialectical thinking, and that is aimed to emphasize that a translation work is always characterized by dualities, by the simulta- neous presence of different or even opposite dimensions (...) that a good translator must take into account and be aware of. Following a stimulating insight offered by the Italian historian of philosophy and translator Franco Volpi, I attempt to investigate the particular form of reasonableness that a good translator must have and that can be understood in terms of sensitivity, tactfulness, know-how and respect for the otherness of the translated text. On this basis, following the suggestions offered by such different thinkers as Quine, Davidson, Benjamin and Gadamer about the partial indeterminacy and incompleteness of every translation and about the role played by interpretive components, I finally propose to understand translation as a human practice that, while necessarily relying on the possession of certain norms, methods or techniques, at the same time cannot be simply reduced to a mechanical application of rules. This leads me, in the final section of my article, to take into account Wittgenstein’s so-called rule-following paradox and to see if, how and to what extent it also applies to the specific case of translation. (shrink)

Martin Heidegger never devoted a self-standing volume to translation. Nevertheless, his occasional brief remarks on translation contain an implicit resemantization of the concept. Translation is an activity that helps us to think – a jump over a ditch, a crossing of the translating subjectivity to another shore. The effort of the translator is an attempt to say what has thus far remained unthought but in the custody of the inherited word, especially the Greek word. While Heidegger focuses on translation as (...) the way in which our philosophical tradition proceeds and has built itself up, he does not seem to be completely aware of the fact that his own move, his own strategy for dismantling that same tradition, cannot be but another translation. (shrink)

The term “translation” has three meanings: the practice of the translator, the textual outcome of this practice, and the relationship it creates between texts and languages. In this article, I would like to draw attention to this third aspect, translation as a relation. To do so, I will first propose a historical overview of the first two meanings, as well as of the normative or descriptive aims associated to them. Secondly, I identify three motives for thinking about translation that are (...) primarily concerned with its relational dimension: the lack of a language to speak about the relationship between languages, i.e. about what’s incomparable and what gets subtracted. I conclude this article with the hypothesis that translation as a relation constitutes a refuge event for the plurality of languages. (shrink)

The purpose of this essay is to address the problem of the relationship between translation and art by relying on F. Hölderlin’s and W. Benjamin’s theories of trans- lation. These theories, which at first appear to be opposed, are actually very close since they discuss both art and translation as marked by a linguistic and theoretical renunciation. In the first section, I demonstrate in what sense this relationship is fundamental for an aesthetic consideration of translation. The second section discusses the (...) two main reasons for the divergence between art and translation, focusing especially on the philosophical limitations of Hölderlin’s theory as indicated in Benjamin’s The task of the translator. In the third section, I deal with the commonalities of the two theories, which are both marked by the notion of lin- guistic failure. I argue that Benjamin’s juvenile essay On language as such can be approached from a confrontation with Hölderlin’s lyric Patmos. In the fourth and last section, I conclude that the concept of the linguistic renunciation can mark both Hölderlin’s and Benjamin’s theories of translation. I finally argue that renun- ciation can be attributed to both art and translation, which are therefore inti- mately related critical activities. (shrink)