ABSTRACT

Translation is by nature interdisciplinary and traditionally envisaged in relation to other arts and humanities disciplines. From social sciences to literary, art and media studies, Translation Studies incorporates their problematics and methodologies, as a way to advance the thinking about these other disciplines. However, such an outwardness is rarely recognised outside the realm of Translation Studies where translation tends to be relegated to its statutory role as purveyor of semiotic paradigms. How can such a tendency be reversed? To what extent can translation export its fundamental concepts and theoretical models in a productive dialogue with other disciplines?

Taking two artworks by Wolf Vostell as examples, this article proposes to explore such fundamental questions. It seeks to show how translation can help us envision art as a space not only of dialogue, but of confrontation of beliefs, perceptions and memories. Translation has indeed great potential to have a leavening effect across art and media studies in defining our relationship not only to texts but to the world in all its contingencies. This article thus seeks to delineate the phenomenology of visual art and the elusive space in which the interpreter’s memories confront Vostell’s mediated images.

摘要

翻译本质上是跨学科的，传统上是与其他艺术和人文学科相关的。从社会科学到文学，艺术和媒体研究，翻译研究都结合了它们的问题和方法论，以此来推动人们对其他学科的思考。但是，这种外在性在翻译研究领域之外很少被认可，在翻译研究领域，翻译往往被归类为符号学范式提供者的法定角色。如何扭转这种趋势？在与其他学科进行富有成效的对话中，翻译可以在多大程度上导出其基本概念和理论模型？

本文以沃尔夫·福斯特尔（Wolf Vostell）的两幅作品为例，提出了探索这些基本问题的建议。它试图表明翻译如何帮助我们将艺术构想成不仅是对话的空间，而且是信仰，观念和记忆对抗的空间。在定义我们不仅与文本而且在所有偶然情况下与世界的关系方面，翻译确实具有巨大的潜力，可以在艺术和媒体研究中产生消极影响。因此，本文旨在描述视觉艺术的现象学和难以理解的空间，在该空间中，解释者的记忆与Vostell的中介图像相对。