By George Steiner
In his vintage paintings, literary critic and student George Steiner tackles what he considers the Babel “problem”: Why, over the process heritage, have people constructed millions of alternative languages while the social, fabric, and financial merits of a unmarried tongue are visible? Steiner argues that diversified cultures’ wishes for privateness and exclusivity ended in each one constructing its personal language. Translation, he believes, is on the very center of human communique, and hence on the center of human nature. From our daily conception of the realm round us, to creativity and the uninhibited mind's eye, to the usually inexplicable poignancy of poetry, we're continually translating—even from our local language.
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Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 34 BOOK FORMAT book format: Format signifies the page size, shape, and other physical features of a book. The printer begins with a large “sheet”; if the sheet is folded once so as to form two “leaves” of four pages, the book is a folio (the Latin word for “leaf ”).
A Bloomsbury Group Reader (1993). Bombast: Bombast denotes a wordy and inflated diction that is patently disproportionate to the matter that it signifies. The magniloquence of even so fine a poet as Christopher Marlowe is at times inappropriate to its sense, as when Faustus declares (Dr. Faustus, 1604; III. i. ” Bombast is a frequent component in the heroic drama of the late seventeenth and early eighteenth centuries. The pompous language of that drama is parodied in Henry Fielding’s Tom Thumb the Great (1731), as in the noted opening of Act II.
4. The proliferation of middle-class readers in the late seventeenth and eighteenth centuries, and the attendant explosion in the number of literary titles printed, and in the number of writers required to supply this market. Both Foucault and Barthes, in the essays cited above, emphasized that the modern concept of an author as an individual who is the intellectual owner of his or her literary product was the result of the ideology engendered by the emerging capitalist economy in this era. Other scholars have stressed the importance of the shift during the eighteenth century, first in England and then in other European countries, from a reliance by writers on literary patrons to that of support by payments from publishers and booksellers.