INTERPRETATION AND DIALOGUE PURCHASE
Editorial Volume 4 closes with an issue on “dialogue and interpretation.” The Latin etymology of the word, interpretari, already contained elements of what we usually mean nowadays by interpreting something: clarifying, explaining, understanding, or even translating. Of course, interpretation also came to designate the transmission, expression, or embodiment of meaning found in messages of all kinds; the artist can interpret the world as much as the musician a piece of music or the actor a play. To interpret, in other words, is not always about ascribing meaning to something at a distance; it can also be about incarnating the meaning of the world, a musical piece, or a play. Depending on schools of philosophy, cultures and historical periods, emphases have fluctuated between the objective, subjective, and experiential natures of interpretation. Each of these different emphases has been determined by how the interpreter relates to the interpreted and, needless to say, by the ethical validity individuals, communities, systems, ideologies, cultures, or periods see in the act of interpretation. In any case, whether interpretation incarnates the revelation of being or attempts to retrieve the alleged original meaning of messages or the true nature of things; whether interpretation is a means by which the interpreter expresses his or her subjectivity or relives the experience of the world of the interpreted, interpretation is inherently relational. In that sense, interpretation is not only an essential element of conscious life; it shapes the way we relate to worlds, whether in space or time, whether human or natural. By doing so, interpretation shapes self and worlds. I interpret therefore we are. The relevance of “interpretation” as a theme to Culture and Dialogue is therefore self-evident: the act of “inter-preting” involves “between-ness.” Each contribution in this issue of the Journal discusses, analyses, describes, or provides examples of the fundamental of interpretative “between-ness” at work. Nicholas Davey’s opening essay draws critically from Hans-Georg Gadamer’s conception of the “in-between” to formulate an understanding of hermeneutics as practice “between faith and reason.” Laura Di Summa-Knoop discusses a form of “missing dialogue” between contemporary art and philosophy by focusing on three interpretative aspects of artistic experience today: its “enactive accounts,” the “ethical content of artworks,” and the influence of “the art market” on artistic appreciation. Alexander Naraniecki bridges science and art by showing how Karl Popper’s “later writings on evolutionary epistemology and theory of objective knowledge” can renew our understanding of artistic creativity. Inspired by Krishnachandra Bhattacharyya’s “improvisations” from his reading and understanding of classical Indian texts and thought, Daniel Raveh provides an example of interpretative “in-between” at work by “interfering creatively” with Milan Kundera’s novel Slowness through the lens of poets and thinkers from ancient and contemporary India alike. Jonathan Day questions the relevance of Immanuel Kant’s account of judgement of beauty to understand the inherently ineffable nature of aesthetic experience as found in interpretative practices such as Zen writing, composition, musical improvisation and jazz. The two last essays of this issue of the Journal explore in different ways the metaphysics and ethics of translation as interpretation. Yong Zhong provides a detailed analysis of how the concept of “discourse” was introduced and translated into Chinese. The ensuing problems of interpretative inadequacy, Zhong argues, can only be addressed by adopting “an informed strategy” when it comes to translating such Western critical cultural concepts in the Chinese language. Validity in types of interpretation is also what Takeshi Morisato tackles by introducing the thought of Kyoto School philosopher Miki Kiyoshi on translation and understanding in the context of modern Japan. Morisato also offers the first English translation ever of Miki’s text “Disregarded Translation.” Finally, Robert Clarke reviews the recent publication of another form of interpretative journey, that of Stephen Pax Leonard in The Polar North: Ways of Speaking, Ways of Belonging (2014).
As usual, I would like to thank again my editorial colleagues, Martin Ovens and Loni Reynolds, as well as all the scholars who accepted to review the contributions that make up this issue, and the members of the Board for their continuous patience, support and trust. Gerald Cipriani
Gerald Cipriani 225 Hermeneutics: Between Faith and
Reason
Nicholas
Davey 246 Art Today and Philosophical
Aesthetics: A Missing Dialogue
Laura
T. Di Summa-Knoop 263 Karl Popper on
the Unknown Logic of Artistic Production and Creative Discovery
Alexander
Naraniecki 283 A Short Improvisation on Milan
Kundera's Slowness
Daniel
Raveh 301 Jazz, Kant and Zen: The Philosophy of Improvisation
Jonathan
Day 317 Becoming Equivalent: Tracking the
Chinese Renditions of “Discourse”
Yong Zhong 338 Miki Kiyoshi and Interpretation: An Introduction to “Disregarded Translations” 349 Book Review
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