c) For a geography of the territory

The map is not the territory. Only a view from above enables a description of the territory. And yet, looking at the scenery through the window of an aeroplane will not allow one to pick daisies. The translator’s aporia is the hiatus between beauty and truth. If I analyze, I do not participate; if I participate, I do not analyze. The grammatical site of this eminently ‘literary’ aporia is the epexegetic particles. In Greek culture, where everything was theatre (theatre has the same etymological root as theory: both derive from the Greek ‘thea’, meaning ‘a view’), the particles 'gar', 'katà', 'epì', 'kai' indicate the places of the description where a self-reference passage has been left out. In the stream of consciousness of the narrative, a nexus is silenced; therefore it becomes a demonstrative linguistic ‘act’: the epexegetic particle. German is the modern language closest to this connotation. For example, in German, ‘durch’ means ‘through’ in the spatial sense, ‘by means of’, and ‘after’ in the sense of one event ensuing from another, in the temporal sense. However, none of these meanings expresses what ‘durch’ conveys to a German reader. When translating, entering into linguistic logic involves the introduction of a ‘principle of responsibility’. The key to a correct translation lies in not translating; in deferring the translation, as a catabolic function of the ‘reading’ in a language. A translation is really just a ‘reading’: a ‘collection’ of the meanings. If, at this point, we consider every logical process an interpretative process, or a ‘reading’ – hence a translation – of reality (map, or territory: the appendix of an aporia), the only model that can subsume this escalation (but also Steigerung: 'raising', 'sublimation') of aporiae is the map of the human genome. In fact, as we have seen, every translation is specularity, b ut also rewriting, because with it the text, or potential system of meanings, is placed inside the time-space curve of acode: the language, which exists in time and through (‘durch’) time. In Musicology, durchkomponiert are defined as those Lieder where every word of the text is connoted by a different musical ‘inspiration’. The Lieder where the Greek notion of theatricality becomes music. The Lieder that, in contrast to the strophic form, seek the double helix of the semantic definition. Every total translation must therefore be durchkomponert. Hence, requiring from a theory the resolution of this rotation of aporiae, that we are defining, is in itself a linguistic abuse.