About these texts
The intention behind the translation style used here is to maximise the transmission of the original polyvalence of semiotic interconnections between particular wordings (i.e. their semiotic loci), constrained by the limitations of translator etc., at the expense of suboptimal translation of the structure of rhythms and rhymes. This expresses the intuition that the latter reflect foremostly the structural properties of a particular language (thus, a large-scale global feature, providing a data type that is common to many users), while the specific choices of the semiotic interconnections represents more the individual soundscape of an author (so the rhythms and rhymes characteristic to his individual data type are represented primarily in the relationships between meanings) – corresponding to two, global and highly local, ranges of agency. (In a rough analogy, an automated translation from C++ syntax into some other higher order language may produce a compilable and executable program, yet at the expense of a writing style, which carries the contextual adaptations, and thus the intricacies of author's meaning, of the code. The poetry is mostly the writing style, cf. Der Untergang des Abendlandes and Entstehung und Entwicklung einer wissenschaftlichen Tatsache, hence any choice in between the above two ranges, forming a middle-range effective model of a reasonably consistent translation, amounts to a choice of some particular own meta-translation style, bounded below by – and thus grounded in – some particular loci of perceiving. Similarly, mergers of some particular classes of general relativistic solutions, such as Kerr's solution mergers, can be seen as 2-categorical maps, with their own variability and subtleties.) In practice though, I feel that the these particular translations sound still insufficiently closely to the sound of the drums of the original sources. Thus, occasionally, some of these texts receive little (usually undocumented) updates. The same commentary applies also to other texts below.
~III.2019, Sopot/~VI.2025, Bratislava