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Tag: Humboldt

Eco: Translation

Diego de Torres Rubio de la Copania de Jesus, 1616

Diego de Torres Rubio (1547-1638), Arte de la lengua aymara, Lima, Francisco del Canto, 1616. Digitized courtesy of the John Carter Brown Library. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.

“Today more than ever before, at the end of its long search, European culture is in urgent need of a common language that might heal its linguistic fractures.

Yet, at the same time, Europe needs to remain true to its historic vocation as the continent of different languages, each of which, even the most peripheral, remains the medium through which the genius of a particular ethnic group expresses itself, witness and vehicle of a millennial tradition.

Is it possible to reconcile the need for a common language and the need to defend linguistic heritages?

Both of these needs reflect the same theoretical contradictions as well as the same practical possibilities. The limits of any possible international common language are the same as those of the natural languages on which these languages are modeled: all presuppose a principle of translatability.

If a universal common language claims for itself the capacity to re-express a text written in any other language, it necessarily presumes that, despite the individual genius of any single language, and despite the fact that each language constitutes its own rigid and unique way of seeing, organizing and interpreting the world, it is still always possible to translate from one language to another.

However, if this is a prerequisite inherent to any universal language, it is at the same time a prerequisite inherent to any natural language. It is possible to translate from a natural language into a universal and artificial one for the same reasons that justify and guarantee the translation from a natural language into another.

The intuition that the problem of translation itself presupposed a perfect language is already present in Walter Benjamin: since it is impossible to reproduce all the linguistic meanings of the source language into a target language, one is forced to place one’s faith in the convergence of all languages.

In each language “taken as a whole, there is a self-identical thing that is meant, a thing which, nevertheless, is accessible to none of these languages taken individually, but only to that totality of all of their intentions taken as reciprocal and complementary, a totality that we call Pure Language [reine Sprache].” (Benjamin 1923).

This reine Sprache is not a real language. If we think of the mystic and Kabbalistic sources which were the inspiration for Benjamin’s thinking, we begin to sense the impending ghost of sacred languages, of something more akin to the secret genius of Pentecostal languages and of the language of birds than to the ideal of the a priori languages.

“Even the desire for translation is unthinkable without this correspondence with the thought of God (Derrida 1980: 217; cf. also Steiner 1975: 64).

In many of the most notable projects for mechanical translation, there exists a notion of a parameter language, which does share many of the characteristics of the a priori languages.

There must, it is argued, exist a tertium comparationis which might allow us to shift from an expression in language A to an expression in language B by deciding that both are equivalent to an expression of a metalanguage C.

If such a tertium really existed, it would be a perfect language; if it did not exist, it would remain a mere postulate on which every translation ought to depend.

The only alternative is to discover a natural language which is so “perfect” (so flexible and powerful) as to serve as a tertium comparationis. In 1603, the Jesuit Ludovico Bertonio published his Arte de lengua Aymara (which he supplemented in 1612 with a Vocabulario de la lengua Aymara).

Aymara is a language still partially spoken by Indians living between Bolivia and Peru, and Bertonio discovered that it displayed an immense flexibility and capability of accommodating neologisms, particularly adapted to the expression of abstract concepts, so much so as to raise a suspicion that it was an artificial invention.

Two centuries later, Emeterio Villamil de Rada described it as the language of Adam, the expression of “an idea anterior to the formation of language,” founded upon “necessary and immutable ideas” and, therefore, a philosophic language if ever there were one (La Lengua de Adan, 1860). After this, it was only a matter of time before the Semitic roots of the Aymara language were “discovered” as well.

Recent studies have established that unlike western thought, based on a two-valued logic (either true or false), Aymara thought is based on a three-valued logic, and is, therefore, capable of expressing modal subtleties which other languages can only capture through complex circumlocutions.

Thus, to conclude, there have been proposals to use Aymara to resolve all problems of computer translation (see Guzmán de Rosas n.d., which includes a vast bibliography). Unfortunately, “due to its algorithmic nature, the syntax of Aymara would greatly facilitate the translation of any other idiom into its own terms (though not the other way around)” (L. Ramiro Beltran, in Guzmán de Rosas n.d.: III).

Thus, because of its perfection, Aymara can render every thought expressed in other mutually untranslatable languages, but the price of this is that once the perfect language has resolved these thoughts into its own terms, they cannot be translated back into our natural native idioms.

One way out of this dilemma is to assume, as certain authors have recently done, that translation is a matter to be resolved entirely within the destination (or target) language, according to the context.

This means that it is within the framework of the target language that all the semantic and syntactic problems posed by the source text must be resolved.

This is a solution that takes us outside of the problem of perfect languages, or of a tertium comparationis, for it implies that we need to understand expressions formed according to the genius of the source language and to invent a “satisfying” paraphrase according to the genius of the target language.

Yet how are we to establish what the criteria of “satisfaction” could be?

These were theoretical difficulties that Humboldt had already foreseen. If no word in a language exactly corresponds to a word in another one, translation is impossible. At most, translation is an activity, in no way regulated, through which we are able to understand what our own language was unable to say.

Yet if translation implied no more than this it would be subject to a curious contradiction: the possibility of a relation between two languages, A and B, would only occur when A was closed in a full realization of itself, assuming to had understood B, of which nothing could any longer be said, for all that B had to say would by now have been said by A.

Still, what is not excluded is the possibility that, rather than a parameter language, we might elaborate a comparative tool, not itself a language, which might (if only approximately) be expressed in any language, and which might, furthermore, allow us to compare any two linguistic structures that seemed, in themselves, incommensurable.

This instrument or procedure would be able to function in the same way and for the same reason that any natural language is able to translate its own terms into one another by an interpretive principle: according to Peirce, any natural language can serve as a metalanguage to itself, by a process of unlimited semiosis (cf. Eco 1979: 2).

See for instance a table proposed by Nida (1975: 75) that displays the semantic differences in a number of verbs of motion (figure 17.1).

Umberto Eco, The Search for the Perfect Language, Figure 17.1, p. 348.png

Umberto Eco, The Search for the Perfect Language, 1995, Figure 17.1, p. 348.

We can regard this table as an example of an attempt to illustrate, in English–as well as by other semiotic means, such as mathematical signs–what a certain class of English terms mean.

Naturally, the interpretative principle demands that the English speaker also interpret the meaning of limb, and indeed any other terms appearing in the interpretation of the verbal expression.

One is reminded here of Degérando’s observations concerning the infinite regress that may arise from any attempt to analyze fully an apparently primitive term such as to walk.

In reality, however, a language always, as it were, expects to define difficult terms with terms that are easier and less controversial, though by conjectures, guesses and approximations.

Translation proceeds according to the same principle. If one were to wish, for example, to translate Nida’s table from English into Italian, one would probably start by substituting for the English verbs Italian terms that are practically synonymous: correre for run, camminare for walk, danzare for dance, and strisciare for crawl.

As soon as we got to the verb to hop, we would have to pause; there is no direct synonym in Italian for an activity that the Italian-English dictionary might define as “jumping on one leg only.”

Nor is there an adequate Italian synonym for the verb to skip: Italian has various terms, like saltellare, ballonzolare and salterellare; these can approximately render to skip, but they can also translate to frisk, to hop or to trip, and thus do not uniquely specify the sort of alternate hop-shuffle-step movement specified by the English to skip.

Even though Italian lacks a term which adequately conveys the meaning of to skip, the rest of the terms in the table–limb, order of contact, number of limbs–are all definable, if not necessarily by Italian synonyms, at least by means of references to contexts and circumstances.

Even in English, we have to conjecture that, in this table, the term contact must be understood as “contact with the surface the movement takes place upon” rather than as “contact with another limb.”

Either to define or to translate, we thus do not need a full fledged parametric language at our disposition. We assume that all languages have some notion that corresponds to the term limb, because all humans have a similar anatomy.

Furthermore, all cultures probably have ways to distinguish hands from arms, palms from fingers, and, on fingers, the first joint from the second, and the second from the third; and this assumption would be no less true even in a culture, such as Father Mersenne imagined, in which every individual pore, every convolute of a thumb-print had its own individual name.

Thus, by starting from terms whose meanings are known and working to interpret by various means (perhaps including gestures) terms whose meanings are not, proceeding by successive adjustments, an English speaker would be able to convey to an Italian speaker what the phrase John hops is all about.

These are possibilities for more than just the practice of translation; they are the possibilities for coexistence on a continent with a multilingual vocation. Generalized polyglottism is certainly not the solution to Europe’s cultural problems; like Funes “el memorioso” in the story by Borges, a global polyglot would have his or her mind constantly filled by too many images.

The solution for the future is more likely to be in a community of peoples with an increased ability to receive the spirit, to taste or savor the aroma of different dialects.

Polyglot Europe will not be a continent where individuals converse fluently in all the other languages; in the best of cases, it could be a continent where differences of language are no longer barriers to communication, where people can meet each other and speak together, each in his or her own tongue, understanding, as best they can, the speech of others.

In this way, even those who never learn to speak another language fluently could still participate in its particular genius, catching a glimpse of the particular cultural universe that every individual expresses each time he or she speaks the language of his or her ancestors and his or her own tradition.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 344-51.

Eco: Philosophers Against Monogeneticism, 2

kircher_009

Athanasius Kircher (1602-80), hieroglyphic obelisk in honor of Honoratus Ioannis, from Principis Christiani Archetypon Politicum, Amsterdam, 1672, p. 235. Courtesy of Bayerische Staats Bibliothek and Stanford University. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

 

“In his Essai sur l’origine des connaissances humaines (1746), Condillac took Locke’s empiricism and reduced it to a radical sensationalism. According to Condillac, it was not only perception that derived from the senses, but all the working of our minds–memory, awareness, comparison and, consequently, judgement.

If a statue could be made possessing an internal organization identical to our own, Condillac argued, that statue would gradually, through its primary sensations of pain and pleasure, derive a collection of abstract notions identical to our own.

In this genesis of ideas, signs play a fundamental role: they express at first our primary feelings, by cries and gestures–a language of action. Afterwards this purely emotional language evolves to function as the mode in which we fix our thoughts–a language of institution.

The notion of a language of action had already been expressed by William Warburton (The Divine Legation of Moses, 1737-41). It was an idea that was to become an important tenet of sensationalist philosophy, as it provided a link that helped explain how human beings had passed from simple, immediate responses to more complex forms of cultural behavior, in the course of an irreversible historical development.

At the very end of the century, the Idéologues began to fill this picture in, elaborating a vision of the early course of human history that was, at once, materialist, historicist and sensitive to social factors.

They began to investigate every form of expression: various types of pictographic sign, gestures in the pantomime or in the language of deaf-mutes, orators and actors, algebraic characters, the jargons and passwords of secret societies (for it was in this period that masonic confraternities were founded and spread).

In works such as the Eléments d’idéologie by Antoine-Louis-Claude Destutt De Tracy (1801-15, 4 vols) and, even more, Des signes by Joseph-Marie de Degérando (1800: I, 5) a great historic panorama began to emerge.

At the first stage, human beings sought to make their intentions known to each other through simple actions; at the next stage they passed gradually to a language of nature, that is, an imitative language in which they could represent, by a sort of pantomime, a real action.

This would be a language still subject to misunderstandings, for there would be nothing to guarantee that both parties in a conversation would associate the mimed sign with the same idea, and that, consequently, the receiver would draw the intended conclusions about the purposes and circumstances for which the pantomime had been enacted.

Where the purpose was to refer to an object that was actually present, all that was necessary was a sign we might call indexical–a cry or glance in the direction of the object, a pointing of a finger.

Indexical signs would no longer do, however, where the intention was to refer to an object not present, either because the object was physically located at some other place or time, or because the “object” was, in fact, an interior state.

Where the absent object was physical and material, a mimed imitation might still be able to denote it–trying to imitate not substances but actions. To refer to non-physical, interior states, however, it was necessary to develop a more figurative language, a language of metaphor, synecdoche and metonymy.

Two weights hefted by the hands might, for example, suggest making a judgement between two parties; a flame might symbolize an ardent passion, and so on. Up to this point, we are still in a language of analogies, expressed in gestures, cries and primitive onomatopoeia, or by a symbolic or pictographic form of writing.

Slowly, however, these signs of analogy become signs of habitude; they are codified, more or less arbitrarily, up to the birth of a language in the strict sense of the term. Thus the semiotic machinery constructed by humanity is determined by environmental and historical factors.

This elaboration by the Idéologues implied a cogent and devastating critique of any idea of a perfect original language. It is a critique, moreover, that brought an argument initiated over two centuries earlier to a close.

This was the argument that had begun with the rediscovery of the hypothesis of Epicurus, and with the first reflections of Montaigne and Locke on the variety of cultures and the differences in beliefs among the variety of exotic peoples that the accounts of the explorers of their times were revealing.

Thus, under the entry “Language” in the Encyclopédie, Jaucourt could say that since languages were all reflections of the “genius” of the various peoples, it is impossible to conceive of a universal tongue.

Since customs and ideas were determined by climate, upbringing and government, it was not possible to impose the same customs, or the same ideas of vice and virtue, on all nations.

In this formulation, the notion of “genius” was employed as a means of explaining how each language contains its own particular vision of the world. Yet such a notion also implies that languages were mutually incommensurable.

This was an idea that already appears in Condillac (Essai sur l’origine des connaissances humaines, II, I, 5). It also appeared in Herder (Fragmente über die neuere deutsche Literatur, 1766-7), and was developed by Humboldt (Fragmente über die Verschiedenheit des menschlichen Sprachbaues und ihren Einfluss auf die geistige Entwicklung des Menschengeschlechts, 1836), for whom every language possesses its own innere Sprachform, an inner form expressing the vision of the world of the people who speak it.

When one assumes that there is an organic relation and a reciprocal influence between language and thought, it is clear that such an interaction does not only work within a given language at a given historical time: it affects the very historical development of every language and of every culture. (cf. De Mauro 1965: 47-63).”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 108-11.

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