Abstract
The present paper aims to show the two possible directions, effects, manifestations of the fictional languages in general. Thus, according to the purposes of their creation, fictional languages have, throughout history, been created in order to achieve certain political, aesthetic or playful purposes, but the most fundamental feature that divides them into two categories is one strongly linked to the purpose of their creation: whether or not they can be learned and used in day-to-day life. Thus, whether they originated in the Sci-Fi, Fantasy or in the literary Avant-Garde universes, the issue of their purpose (to hide or to reveal meaning) also raises the issue of their translatability and, most of all, the issue of their “educability”, issues that may or may not harm their aesthetic dimensions.
Highlights
THE VERNACULARS OF NO ONE, REALLY instrumentation used in the practice of translation is wide and it employs an entire mechanism of interpretation that pendulates between cultures and different fields: translation understood as a symbolic shift; it recognises the plurality of knowledge by placing it on both sides of the linguistic frontier that separates nations and individuals. (...) Translations basically sets out to integrate the differences in its own cultural context, making them intelligible and fertile2 (216)
While Klingon, for example, has a very well-founded linguistic system that can be applied to day to day life and the purpose of its use requires subtitles, the fictional languages of the Romanian literature can function in both forms, but they cannot be applied outside their literary contexts
There is an immense theoretical potential in what would appear to be the untranslatability of the fictional languages created within the Romanian Avant-Garde literature
Summary
THE VERNACULARS OF NO ONE, REALLY instrumentation used in the practice of translation is wide and it employs an entire mechanism of interpretation that pendulates between cultures and different fields: translation understood as a symbolic shift; it recognises the plurality of knowledge by placing it on both sides of the linguistic frontier that separates nations and individuals. (...) Translations basically sets out to integrate the differences in its own cultural context, making them intelligible and fertile2 (216). While Klingon, for example, has a very well-founded linguistic system that can be applied to day to day life and the purpose of its use requires subtitles, the fictional languages of the Romanian literature can function in both forms, but they cannot be applied outside their literary contexts.
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