الوزن - الدماغ - الزمن

الأخ الكريم العوريفي
الأخت الكريمة لينة

شكرا لمتابعتكما، وأنتظر من القادرين المساعدة في الترجمة.
------------------------

قد لا يفتح الرابط الأصلي أحيانا أودعه هنا احتياطا وأحذف ما يترجم منه أولا بأول تسهيلا للمشاركين في الترجمة واختصارا للحيز.

الجزء الأول

But other traditions do not possess such codifications, or else use the same specific devices to convey entirely different ideas.
The predicament of the critic, in fact, can be likened to that of a viewer of a visual artifact who is so convinced
that what he is looking at is a page of writing that he does not realize that the artifact is actually a picture. Perhaps it is a picture of something he had never seen (or never noticed), and thus his mistake is a natural one. But the attempt to extract a sort of linguistic meaning out of the planes, lines, corners, masses, and angles of a picture would be frustratingly arbitrary-especially if he had a whole series of paintings of different subjects, in which the same visual elements were used for entirely different purposes; the same curve for a face, a hillside, and the sail of a ship. Linguistic meaning and pictorial meaning are based on codes so fundamentally different that no code-cracking algorithm that would work on one could possibly work on the other. Their mutual intelligibility cannot be sought in the direction of analysis, but only within the context of a synthetic whole which contains both of them.
What we are suggesting is that a linguistic type of analysis of meter, as of music (or painting, e.g., Chinese landscape painting), is likely to be fruitful only when the composer has arbitrarily imposed linguistic meaning on the elements of his composition; and that the meaning of metrical variation must be sought in a fashion much more like that of the recognition of a tune or the subject of a picture.[/align]