{"title":"《Logodaedalus:近代早期欧洲独创性的文字历史》作者:亚历山大·马尔等人(书评)","authors":"Bradley J. Nelson","doi":"10.5325/caliope.25.2.0256","DOIUrl":null,"url":null,"abstract":"Logodaedalus is an enlightening and often surprising historical and cultural lexicography of ingenuity and genius in early modern Europe. The express intent of the four authors is to provide an “antiteleological” prehistory of the Romantic concept of “genius” by following the uneven and unpredictable— contradictory even—development of meanings and functions of terms such as ingenuity, genius, wit, ingenio, ésprit, ingegno, Sinn, and the like. By focusing on the “particularity,” “peculiarity,” and “dynamism” of language and practices related to and emanating from the Latin ingenium, Marr, Garrod, Marcaida and Oosterhoff demonstrate the creative power of a philological method that maps the historical situatedness and complexity of etymological, artistic-literary, and philosophical instantiations of the terms in question: “It is a kind of philology that seeks to show how significant words produced meaning in history and as history” (2). At the same time, the lexicographical framework successfully challenges statistically driven, “big data” conclusions through its intraand intercultural analyses of distinct iterations in a wide array of texts. In fact, the entire enterprise could itself be called ingenious, since dividing the lexical terrain between “keywords” that display a “family resemblance” and other verba that are merely “neighbors” requires judgment rather than brute numbers, which places the scholarship of the authors inside the realm of ingenuity (5). One of the central plot lines of Logodaedalus is that the Romantic understanding of genius can be traced back to the lexicography of ingenium rather than genius. The cultural-semantic field of ingenuity moves around and through a changeable group of specific characteristics that normally includes “natural inclination, creative potential, craft talent, or mental agility” (5) and organizes itself around “four axes of meaning: moral, cognitive, presentational, and artificial” (7). 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The express intent of the four authors is to provide an “antiteleological” prehistory of the Romantic concept of “genius” by following the uneven and unpredictable— contradictory even—development of meanings and functions of terms such as ingenuity, genius, wit, ingenio, ésprit, ingegno, Sinn, and the like. By focusing on the “particularity,” “peculiarity,” and “dynamism” of language and practices related to and emanating from the Latin ingenium, Marr, Garrod, Marcaida and Oosterhoff demonstrate the creative power of a philological method that maps the historical situatedness and complexity of etymological, artistic-literary, and philosophical instantiations of the terms in question: “It is a kind of philology that seeks to show how significant words produced meaning in history and as history” (2). At the same time, the lexicographical framework successfully challenges statistically driven, “big data” conclusions through its intraand intercultural analyses of distinct iterations in a wide array of texts. In fact, the entire enterprise could itself be called ingenious, since dividing the lexical terrain between “keywords” that display a “family resemblance” and other verba that are merely “neighbors” requires judgment rather than brute numbers, which places the scholarship of the authors inside the realm of ingenuity (5). One of the central plot lines of Logodaedalus is that the Romantic understanding of genius can be traced back to the lexicography of ingenium rather than genius. 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引用次数: 0
摘要
Logodaedalus是一部启发性的,经常令人惊讶的历史和文化词典编纂的独创性和天才在早期现代欧洲。这四位作者的明确意图是,通过跟踪诸如独创性、天才、机智、ingenio、阴郁、ingegno、Sinn等术语的含义和功能的不平衡、不可预测甚至矛盾的发展,为浪漫主义的“天才”概念提供一个“反目的论”的史前史。Marr、Garrod、Marcaida和Oosterhoff通过关注与拉丁语ingenium相关的语言和实践的“特殊性”、“独特性”和“动态性”,展示了一种语言学方法的创造力,这种方法描绘了所讨论术语的历史情境性和词源学、艺术文学和哲学实例的复杂性:“这是一种文献学,旨在展示重要词汇在历史上和作为历史是如何产生意义的”(2)。与此同时,词典编纂框架通过对大量文本中不同迭代的内部和跨文化分析,成功地挑战了统计驱动的“大数据”结论。事实上,整个事业本身可以被称为巧妙,因为将词汇领域划分为显示“家族相似性”的“关键词”和其他仅仅是“邻居”的词汇需要判断,而不是野蛮的数字,这将作者的学术置于独创性的领域(5)。《罗哥代达罗斯》的中心情节之一是,浪漫主义对天才的理解可以追溯到ingenium而不是genius的词典编纂。匠心的文化语义领域围绕着一组可变的特定特征移动,这些特征通常包括“自然倾向、创造潜力、工艺天赋或心理敏捷性”(5),并围绕“四个意义轴:道德、认知、表象和人工”(7)组织自己。当不同的特征被考虑到这些B O O R E V I E W S
Logodaedalus: Word Histories of Ingenuity in Early Modern Europe by Alexander Marr et al. (review)
Logodaedalus is an enlightening and often surprising historical and cultural lexicography of ingenuity and genius in early modern Europe. The express intent of the four authors is to provide an “antiteleological” prehistory of the Romantic concept of “genius” by following the uneven and unpredictable— contradictory even—development of meanings and functions of terms such as ingenuity, genius, wit, ingenio, ésprit, ingegno, Sinn, and the like. By focusing on the “particularity,” “peculiarity,” and “dynamism” of language and practices related to and emanating from the Latin ingenium, Marr, Garrod, Marcaida and Oosterhoff demonstrate the creative power of a philological method that maps the historical situatedness and complexity of etymological, artistic-literary, and philosophical instantiations of the terms in question: “It is a kind of philology that seeks to show how significant words produced meaning in history and as history” (2). At the same time, the lexicographical framework successfully challenges statistically driven, “big data” conclusions through its intraand intercultural analyses of distinct iterations in a wide array of texts. In fact, the entire enterprise could itself be called ingenious, since dividing the lexical terrain between “keywords” that display a “family resemblance” and other verba that are merely “neighbors” requires judgment rather than brute numbers, which places the scholarship of the authors inside the realm of ingenuity (5). One of the central plot lines of Logodaedalus is that the Romantic understanding of genius can be traced back to the lexicography of ingenium rather than genius. The cultural-semantic field of ingenuity moves around and through a changeable group of specific characteristics that normally includes “natural inclination, creative potential, craft talent, or mental agility” (5) and organizes itself around “four axes of meaning: moral, cognitive, presentational, and artificial” (7). When different characteristics are considered in light of these B O O K R E V I E W S