romantiques allemands – English Translation – Keybot Dictionary

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  www.guggenheim-bilbao.es  
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Comme dans ses images de nuages et autres paysages, les marines de Richter rappellent l'œuvre des romantiques allemands du XIXe siècle comme Caspar David Friedrich, dont les peintures évocatrices et tempéramentales captent la rencontre de l'homme avec une nature imposante et spirituelle.
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Like his images of clouds and landscapes, Richter's seascapes recall the work of nineteenth-century German Romantic artists such as Caspar David Friedrich, whose moody, atmospheric paintings capture man's encounter with a spiritually infused and awe-inspiring nature.
  www.galeriethomasbernard.com  
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Oui, il est possible de rester romantique tout en affirmant qu'il y a une continuité entre l'expérience quotidienne et celle de l'art. Peut-on faire coïncider la dimension politique des romantiques allemands et celle des cyniques grecques ?
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Yes, it is possible to remain a romantic whilst asserting that there is a continuity between daily life and art. Can we make the political dimension of the German Romantics and the Greek cynics coincide? If we stick to the pragmatist vision of philosopher John Dewey (
  www.journal.forces.gc.ca  
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C'est ici que je diffère d'opinion, cependant, car il me semble plus probable que Clausewitz a été profondément influencé par la façon dont les romantiques, et plus particulièrement les romantiques allemands, ont interprété l'héritage du siècle des Lumières, l'idéalisme de Kant, Schelling et Fichte de même que la nature de la science.
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This is where I would part company with the author. It seems more likely that Clausewitz was profoundly influenced by the way in which Romanticism, and especially German Romanticism, interpreted the legacy of the Enlightenment, the idealism of Kant, Schelling, and Fichte, and the nature of science. According to Dietrich von Engelhardt in
  artsalive.ca  
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Le langage musical de Tchaïkovski a été fortement influencé par les romantiques allemands et Hector Berlioz pour l’orchestration. Son œuvre est également porteuse de la tradition russe initiée par Mickaïl Ivanovitch Glinka.
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Some musical historians believe that this Sixth Symphony, considered one of his darker and quieter works (a stark contrast to the more joyous Second Symphony), was in some way his own Requiem. The first movement displays a marked change in theme and tone from a dramatic melody to a quiet, harmonized chorale played by ominous trombones. This trombone theme is strangely placed in the piece because it is not directly relevant to any of the other themes in the piece that emerge before it or after it. But the tune is taken from the Russian Orthodox Mass for the Dead that is set to the words, "And may his soul rest with the souls of all the saints."
  eipcp.net  
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Si le traducteur n’est pas guidé par cette intention lorsqu’il traduit des textes étrangers, à savoir par l’idée de Bildung de sa nation, sa traduction, au lieu de devenir une réalisation patriotique, peut avoir l’effet contraire en le rendant coupable d’agissements destructifs envers le langage et la culture de sa nation, mettant ainsi en péril sa véritable essence ou, comme on dirait aujourd’hui, son identité. Les romantiques allemands théoriciens de la traduction établissaient des distinctions politiques entre les différentes méthodes de traduction littéraire.
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However natural and self-evident this image of translator and this understanding of translation appear to us today, they are in fact historically particular and ideologically framed. Moreover, in its past, the theory of translation conceived of this linguistic practice in a very different way. For German romantic philosophers and theorists of language and literature, translation is far from being socially neutral and politically unbiased. For Wilhelm von Humboldt, for instance, it always has a socially formative function; concretely, it plays a crucial role in what he calls Bildung (education, formation, building, creation) of a nation. It is precisely because of this function that translation cannot be morally neutral in itself. If a translator translating foreign texts is not lead by this interest, i.e. by the idea of the Bildung of his nation, his translation, instead of becoming a patriotic achievement, can become the opposite, making him guilty of acting destructively toward the language and culture of his nation and thus jeopardizing its very essence or, as we would say today, its identity. German Romantic translation theorists also differentiated between various methods of literary translation in a clearly political sense. They distinguished the so-called German school of translation from its French counterpart, which at the time—the era of the Napoleonic wars—had a patriotic political stance in mind. The idea of translator taking a position in the middle between the original text and its translation, a position equally distant from two different languages, cultures, or nations, was strange to Schleiermacher too. For him there is no space for neutrality and equidistance in translation. Either a translator leaves the readers in peace and moves the author toward them, making the text of the original sound as though it had been originally written in the language of the translation, or he leaves the author in peace and moves the readers toward him, estranging the language of translation.[1] The latter, so-called literalist (word for word) method, preferred by Schleiermacher, was considered to be “German.” It favoured foreignizing rather than domesticating the language of translation, i.e. it welcomed the foreign (das Fremde, W. v. Humboldt) as an added cultural value for the language and culture of the translator. In short, it was teleologically inscribed into the politics of nation-building.  This is why the “German” method was also considered “nation
  transversal.at  
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Si le traducteur n’est pas guidé par cette intention lorsqu’il traduit des textes étrangers, à savoir par l’idée de Bildung de sa nation, sa traduction, au lieu de devenir une réalisation patriotique, peut avoir l’effet contraire en le rendant coupable d’agissements destructifs envers le langage et la culture de sa nation, mettant ainsi en péril sa véritable essence ou, comme on dirait aujourd’hui, son identité. Les romantiques allemands théoriciens de la traduction établissaient des distinctions politiques entre les différentes méthodes de traduction littéraire.
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However natural and self-evident this image of translator and this understanding of translation appear to us today, they are in fact historically particular and ideologically framed. Moreover, in its past, the theory of translation conceived of this linguistic practice in a very different way. For German romantic philosophers and theorists of language and literature, translation is far from being socially neutral and politically unbiased. For Wilhelm von Humboldt, for instance, it always has a socially formative function; concretely, it plays a crucial role in what he calls Bildung (education, formation, building, creation) of a nation. It is precisely because of this function that translation cannot be morally neutral in itself. If a translator translating foreign texts is not lead by this interest, i.e. by the idea of the Bildung of his nation, his translation, instead of becoming a patriotic achievement, can become the opposite, making him guilty of acting destructively toward the language and culture of his nation and thus jeopardizing its very essence or, as we would say today, its identity. German Romantic translation theorists also differentiated between various methods of literary translation in a clearly political sense. They distinguished the so-called German school of translation from its French counterpart, which at the time—the era of the Napoleonic wars—had a patriotic political stance in mind. The idea of translator taking a position in the middle between the original text and its translation, a position equally distant from two different languages, cultures, or nations, was strange to Schleiermacher too. For him there is no space for neutrality and equidistance in translation. Either a translator leaves the readers in peace and moves the author toward them, making the text of the original sound as though it had been originally written in the language of the translation, or he leaves the author in peace and moves the readers toward him, estranging the language of translation.[1] The latter, so-called literalist (word for word) method, preferred by Schleiermacher, was considered to be “German.” It favoured foreignizing rather than domesticating the language of translation, i.e. it welcomed the foreign (das Fremde, W. v. Humboldt) as an added cultural value for the language and culture of the translator. In short, it was teleologically inscribed into the politics of nation-building.  This is why the “German” method was also considered “nation