Phonetics and Fidelity: A Study of Roman Ingarden’s Aesthetics of Translation

Yang Yu

doi:doi:10.11648/j.hss.20231104.13

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Phonetics and Fidelity: A Study of Roman Ingarden’s Aesthetics of Translation

Yang Yu

Published in Humanities and Social Sciences (Volume 11, Issue 4)

Received: 8 June 2023 Accepted: 8 July 2023 Published: 17 July 2023

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Abstract

The phenomenological philosopher Roman Ingarden is the translator of the Polish version of the Critique of Pure Reason. Based on this translation experience and his concern with language issues, he discusses the question of criteria for faithful translation in his book On Translation, using the common difficulties of fidelity in translation practice as an index. he proposes a “double stratum” faithful translation view to tackle the common difficulties of faithfulness in translation practice. In contrast to the traditional criteria of faithful translation, Ingarden stresses the necessity and importance of phonological faithfulness based on semantic faithfulness and the hierarchical structure of literary works. He carries out a phenomenological description and analysis of various “language-pronunciation” constructs, such as “rhythmic quality” “melodic property”, and other typical phonetic qualities, considering them as important aesthetic-related factors that affect the “polyphonic harmony” of literary works. On this basis, he explores the importance of the phonological stratum in the linguistic transformation of literary works. This paper argues that the formation of his view of translation is closely related to his phenomenological and aesthetic research, and that his ontology of works and linguistic thought is more specific and clearly in his view of translation, which provides a reference 'cross-strategy' for the intercultural communication of literary works and the interdisciplinary communication between literature and translation.

Published in	Humanities and Social Sciences (Volume 11, Issue 4)
DOI	10.11648/j.hss.20231104.13
Page(s)	133-140
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Roman Ingarden, Phonetics, Faithful Criterion, Translation Thoughts

References

[1]	Li Yuliang (China), Intentionality, diversity, and identity in literary translation [J] Translation Forum, 2 (2015): 7-12.
[2]	Thomas Huxley (England). Tianyan Theory, trans by Yan Fu (Nanjing: Yilin Publishing House, 2014), p. 7.
[3]	Luo Xinzhang (China), Translation Essays (Beijing: Commercial Press, 1984), p. 694.
[4]	Qian Zhongshu (China), Lin Shu's Translation, (Beijing: The Commercial Press. 1981).
[5]	Peter Newmark (England), Approaches to Translation,(Shanghai: Shanghai Foreign Language Education Press, 2001), p. 38.
[6]	Roman Ingarden (Poland). On translations, ed. by A T. Tymieniecka (Dordrecht: Springer Science & Business Media, 1991), p. 131-192.
[7]	Michał Wilczewski (Poland), Translator’s creativity in rendering neologisms of a literary text, Acta neophilologica, XIII (2011): 151-160.
[8]	Roman Ingarden (Poland) The literary work of art.(Evanston, Illinois: Northwestern University Press, 1973).
[9]	Roman Ingarden (Poland), The Cognition of the Literary Work of Art, translated by ruth Ann Crowley and Kenneth R. olson. Northwestern University Press Evanston, 1973.
[10]	Herman Parret (Dutch). Taalfilosofische perspectieven in het werk van Roman Ingarden, Tijdschrift voor Filosofie, 33 (1971): 684-736.
[11]	Su Hongbin (China), A Study of the Three Dimensions of Ingarden’s Literary Language Phenomenology: Linguistic sound, Meaning and Object, Social Science Front, 9 (2019): 165.
[12]	Meng Xinxiang (China), On the Rhythm of Li Bai's Poetry, Journal of Hubei University (Philosophy and Social Sciences Edition), 37 (2010): 23-28.
[13]	Mo Yan (China), New Record of Mo Yan's Dialogue, (Beijing: Culture and Art Publishing House, 2012), p. 108.
[14]	Jiang Jing (China), Thirty Years of Foreign Dialect Translation Research: Current Situation and Trends, Journal of the PLA Foreign Language Institute, 39 (2016): 123-131.
[15]	MO Yan (China). Sandalwood death, trans. by Howard Goldblatt,(Norman: University of Oklahoma Press, 2013).
[16]	Mo Yan (China), Sandalwood Punishment (Beijing: Writer's Publishing House, 2012), p. 382-383.
[17]	Wawrzycka, Jolanta (Poland), “Tell us in plain words”: textual implications of re-languaging Joyce, Joyce Studies in Italy, 10 (2007): 1000-1014.
[18]	John Catford (England), A linguistic theory of translation, (Oxford: Oxford University Press, 1965), p. 227.
[19]	Pi Fangyu (China), Further Discussion on Translation Standards, Journal of Southwest Minzu University (Humanities and Social Sciences Edition), S1 (2007): 56-59.

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Yang Yu. (2023). Phonetics and Fidelity: A Study of Roman Ingarden’s Aesthetics of Translation. Humanities and Social Sciences, 11(4), 133-140. https://doi.org/10.11648/j.hss.20231104.13

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Yang Yu. Phonetics and Fidelity: A Study of Roman Ingarden’s Aesthetics of Translation. Humanit. Soc. Sci. 2023, 11(4), 133-140. doi: 10.11648/j.hss.20231104.13

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Yang Yu. Phonetics and Fidelity: A Study of Roman Ingarden’s Aesthetics of Translation. Humanit Soc Sci. 2023;11(4):133-140. doi: 10.11648/j.hss.20231104.13

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@article{10.11648/j.hss.20231104.13,
  author = {Yang Yu},
  title = {Phonetics and Fidelity: A Study of Roman Ingarden’s Aesthetics of Translation},
  journal = {Humanities and Social Sciences},
  volume = {11},
  number = {4},
  pages = {133-140},
  doi = {10.11648/j.hss.20231104.13},
  url = {https://doi.org/10.11648/j.hss.20231104.13},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.hss.20231104.13},
  abstract = {The phenomenological philosopher Roman Ingarden is the translator of the Polish version of the Critique of Pure Reason. Based on this translation experience and his concern with language issues, he discusses the question of criteria for faithful translation in his book On Translation, using the common difficulties of fidelity in translation practice as an index. he proposes a “double stratum” faithful translation view to tackle the common difficulties of faithfulness in translation practice. In contrast to the traditional criteria of faithful translation, Ingarden stresses the necessity and importance of phonological faithfulness based on semantic faithfulness and the hierarchical structure of literary works. He carries out a phenomenological description and analysis of various “language-pronunciation” constructs, such as “rhythmic quality” “melodic property”, and other typical phonetic qualities, considering them as important aesthetic-related factors that affect the “polyphonic harmony” of literary works. On this basis, he explores the importance of the phonological stratum in the linguistic transformation of literary works. This paper argues that the formation of his view of translation is closely related to his phenomenological and aesthetic research, and that his ontology of works and linguistic thought is more specific and clearly in his view of translation, which provides a reference 'cross-strategy' for the intercultural communication of literary works and the interdisciplinary communication between literature and translation.},
 year = {2023}
}

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TY  - JOUR
T1  - Phonetics and Fidelity: A Study of Roman Ingarden’s Aesthetics of Translation
AU  - Yang Yu
Y1  - 2023/07/17
PY  - 2023
N1  - https://doi.org/10.11648/j.hss.20231104.13
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PB  - Science Publishing Group
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AB  - The phenomenological philosopher Roman Ingarden is the translator of the Polish version of the Critique of Pure Reason. Based on this translation experience and his concern with language issues, he discusses the question of criteria for faithful translation in his book On Translation, using the common difficulties of fidelity in translation practice as an index. he proposes a “double stratum” faithful translation view to tackle the common difficulties of faithfulness in translation practice. In contrast to the traditional criteria of faithful translation, Ingarden stresses the necessity and importance of phonological faithfulness based on semantic faithfulness and the hierarchical structure of literary works. He carries out a phenomenological description and analysis of various “language-pronunciation” constructs, such as “rhythmic quality” “melodic property”, and other typical phonetic qualities, considering them as important aesthetic-related factors that affect the “polyphonic harmony” of literary works. On this basis, he explores the importance of the phonological stratum in the linguistic transformation of literary works. This paper argues that the formation of his view of translation is closely related to his phenomenological and aesthetic research, and that his ontology of works and linguistic thought is more specific and clearly in his view of translation, which provides a reference 'cross-strategy' for the intercultural communication of literary works and the interdisciplinary communication between literature and translation.
VL  - 11
IS  - 4
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Author Information

Yang Yu

School of Culture and Health Communication, Tianjin University of Traditional Chinese Medicine, Tianjin, China

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APA Style

Yang Yu. (2023). Phonetics and Fidelity: A Study of Roman Ingarden’s Aesthetics of Translation. Humanities and Social Sciences, 11(4), 133-140. https://doi.org/10.11648/j.hss.20231104.13

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ACS Style

Yang Yu. Phonetics and Fidelity: A Study of Roman Ingarden’s Aesthetics of Translation. Humanit. Soc. Sci. 2023, 11(4), 133-140. doi: 10.11648/j.hss.20231104.13

Copy | Download

AMA Style

Yang Yu. Phonetics and Fidelity: A Study of Roman Ingarden’s Aesthetics of Translation. Humanit Soc Sci. 2023;11(4):133-140. doi: 10.11648/j.hss.20231104.13

Copy | Download

@article{10.11648/j.hss.20231104.13,
  author = {Yang Yu},
  title = {Phonetics and Fidelity: A Study of Roman Ingarden’s Aesthetics of Translation},
  journal = {Humanities and Social Sciences},
  volume = {11},
  number = {4},
  pages = {133-140},
  doi = {10.11648/j.hss.20231104.13},
  url = {https://doi.org/10.11648/j.hss.20231104.13},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.hss.20231104.13},
  abstract = {The phenomenological philosopher Roman Ingarden is the translator of the Polish version of the Critique of Pure Reason. Based on this translation experience and his concern with language issues, he discusses the question of criteria for faithful translation in his book On Translation, using the common difficulties of fidelity in translation practice as an index. he proposes a “double stratum” faithful translation view to tackle the common difficulties of faithfulness in translation practice. In contrast to the traditional criteria of faithful translation, Ingarden stresses the necessity and importance of phonological faithfulness based on semantic faithfulness and the hierarchical structure of literary works. He carries out a phenomenological description and analysis of various “language-pronunciation” constructs, such as “rhythmic quality” “melodic property”, and other typical phonetic qualities, considering them as important aesthetic-related factors that affect the “polyphonic harmony” of literary works. On this basis, he explores the importance of the phonological stratum in the linguistic transformation of literary works. This paper argues that the formation of his view of translation is closely related to his phenomenological and aesthetic research, and that his ontology of works and linguistic thought is more specific and clearly in his view of translation, which provides a reference 'cross-strategy' for the intercultural communication of literary works and the interdisciplinary communication between literature and translation.},
 year = {2023}
}

Copy | Download

TY  - JOUR
T1  - Phonetics and Fidelity: A Study of Roman Ingarden’s Aesthetics of Translation
AU  - Yang Yu
Y1  - 2023/07/17
PY  - 2023
N1  - https://doi.org/10.11648/j.hss.20231104.13
DO  - 10.11648/j.hss.20231104.13
T2  - Humanities and Social Sciences
JF  - Humanities and Social Sciences
JO  - Humanities and Social Sciences
SP  - 133
EP  - 140
PB  - Science Publishing Group
SN  - 2330-8184
UR  - https://doi.org/10.11648/j.hss.20231104.13
AB  - The phenomenological philosopher Roman Ingarden is the translator of the Polish version of the Critique of Pure Reason. Based on this translation experience and his concern with language issues, he discusses the question of criteria for faithful translation in his book On Translation, using the common difficulties of fidelity in translation practice as an index. he proposes a “double stratum” faithful translation view to tackle the common difficulties of faithfulness in translation practice. In contrast to the traditional criteria of faithful translation, Ingarden stresses the necessity and importance of phonological faithfulness based on semantic faithfulness and the hierarchical structure of literary works. He carries out a phenomenological description and analysis of various “language-pronunciation” constructs, such as “rhythmic quality” “melodic property”, and other typical phonetic qualities, considering them as important aesthetic-related factors that affect the “polyphonic harmony” of literary works. On this basis, he explores the importance of the phonological stratum in the linguistic transformation of literary works. This paper argues that the formation of his view of translation is closely related to his phenomenological and aesthetic research, and that his ontology of works and linguistic thought is more specific and clearly in his view of translation, which provides a reference 'cross-strategy' for the intercultural communication of literary works and the interdisciplinary communication between literature and translation.
VL  - 11
IS  - 4
ER  -

Copy | Download