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If "comparison" often presupposes cultural spaces as homogeneous and original, the concept of "cultural transfer" serves as a corrective to this assumption. It posits that every cultural space is the result of prior transfers and corresponds to a history marked by successive hybridizations. The identities of these entities are constructed through the incorporation of external factors. Consequently, the focus of research should shiftto the dynamics of " resemanticization" that occur when a cultural object is transferred from one context to another, with particular attention to the historical vectors mediating these processes. Two key examples of this can be seen in philological studies represented by Auerbach and the development of art history as a discipline. These cases illustrate specific scenarios in which "cultural transfer" takes place and reaffirm the notion that the appropriation of cultural objects breaks free from the constraints of their prototypes - forms of transplantation, even when distanced from the original, maintain equal legitimacy. Thus, the study of "cultural transfer" seeks to move beyond rigid comparativism and the vague question of intercultural communication, with the ultimate goal of writing a transnational history of the humanities at the intersection of hermeneutics and historico-sociological inquiry.