Pub Date : 2022-11-16DOI: 10.14712/24646830.2021.24
Antonio Bueno García
The 15th century was a turning point for the Church after a period of decline that threatened its spiritual foundations and social credibility. Translation played a decisive role at the time, making reality the spirit of reform in the religious institution. Translation was the medium in which the Church relied to introduce new ideas based on humanism, promote theology, and serve as a bridge in the evangelical mission, within and outside the borders of the kingdom. Its practice reached great goals among the religious and made it possible to publicize fundamental texts of the Bible, theology, philosophy, literature, and science of renowned European authors.
{"title":"La traducción religiosa en España en el siglo XV","authors":"Antonio Bueno García","doi":"10.14712/24646830.2021.24","DOIUrl":"https://doi.org/10.14712/24646830.2021.24","url":null,"abstract":"The 15th century was a turning point for the Church after a period of decline that threatened its spiritual foundations and social credibility. Translation played a decisive role at the time, making reality the spirit of reform in the religious institution. Translation was the medium in which the Church relied to introduce new ideas based on humanism, promote theology, and serve as a bridge in the evangelical mission, within and outside the borders of the kingdom. Its practice reached great goals among the religious and made it possible to publicize fundamental texts of the Bible, theology, philosophy, literature, and science of renowned European authors.","PeriodicalId":234203,"journal":{"name":"AUC PHILOLOGICA","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129938531","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-16DOI: 10.14712/24646830.2021.25
Karolína Strnadová
This paper presents the particularities of translations of Czech literature into Spanish published in Mexico and focuses on the role of the translator in the translation-publishing process and on the genesis of a translation. The first aim is to discuss the particularities of literary translation from Czech into Spanish in relation to the book market in Spanish-speaking countries and to draw attention to the role of Spain and the different contexts of translation production outside this country. The second objective of this paper is to give voice to the five interviewed translators and, with the help of the obtained material and their statements, to interpret the relevant particularities of translation-publishing process on the axis author – original – translator – publisher – translation – reader. The main part of the paper consists of individual testimonies of contemporary translators whose Spanish translations of one or more Czech literary titles were published in Mexico. The testimonies, obtained by the method of interview, brought a new insight into the topic of Mexican translations of Czech literature and valuable information on the circumstances of a particular translation work’s genesis. The source of the presented results and the quoted translators’ statements is the research by Strnadová (2021) presented in the rigorosum thesis Translations of Czech Literature in Mexico, taking into account the Czech translations of Mexican literature.
{"title":"Překlady české literatury v Mexiku: příběhy geneze překladu z pohledu překladatelů","authors":"Karolína Strnadová","doi":"10.14712/24646830.2021.25","DOIUrl":"https://doi.org/10.14712/24646830.2021.25","url":null,"abstract":"This paper presents the particularities of translations of Czech literature into Spanish published in Mexico and focuses on the role of the translator in the translation-publishing process and on the genesis of a translation. The first aim is to discuss the particularities of literary translation from Czech into Spanish in relation to the book market in Spanish-speaking countries and to draw attention to the role of Spain and the different contexts of translation production outside this country. The second objective of this paper is to give voice to the five interviewed translators and, with the help of the obtained material and their statements, to interpret the relevant particularities of translation-publishing process on the axis author – original – translator – publisher – translation – reader. The main part of the paper consists of individual testimonies of contemporary translators whose Spanish translations of one or more Czech literary titles were published in Mexico. The testimonies, obtained by the method of interview, brought a new insight into the topic of Mexican translations of Czech literature and valuable information on the circumstances of a particular translation work’s genesis. The source of the presented results and the quoted translators’ statements is the research by Strnadová (2021) presented in the rigorosum thesis Translations of Czech Literature in Mexico, taking into account the Czech translations of Mexican literature.","PeriodicalId":234203,"journal":{"name":"AUC PHILOLOGICA","volume":"134 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116585558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-16DOI: 10.14712/24646830.2021.28
Petra Mračková Vavroušová, Jana Pokojová
The aim of this paper is to present how the online interpreter training was conducted during the Covid-19 pandemic at the Institute of Translation Studies (Charles University, Faculty of Arts) in the last three semesters (during the academic years 2019/2020 and 2020/2021). In this paper, we try to describe the advantages and disadvantages of distance interpreter training (DIT) both from the point of view of teachers and students, we explain how the online lectures of simultaneous and consecutive interpreting were organized and we also discuss the differences of the platforms that we used. The students were administered a questionnaire to explore the learners’ attitudes and feelings regarding remote interpreting in interpreter training with a view to identifying the possibilities and limits of this type of learning experience compared with conventional forms of instruction. The latter part of the paper will comment on the most interesting student responses.
{"title":"On-line výuka tlumočnických seminářů (na příkladu pražského Ústavu translatologie FF UK)","authors":"Petra Mračková Vavroušová, Jana Pokojová","doi":"10.14712/24646830.2021.28","DOIUrl":"https://doi.org/10.14712/24646830.2021.28","url":null,"abstract":"The aim of this paper is to present how the online interpreter training was conducted during the Covid-19 pandemic at the Institute of Translation Studies (Charles University, Faculty of Arts) in the last three semesters (during the academic years 2019/2020 and 2020/2021). In this paper, we try to describe the advantages and disadvantages of distance interpreter training (DIT) both from the point of view of teachers and students, we explain how the online lectures of simultaneous and consecutive interpreting were organized and we also discuss the differences of the platforms that we used. The students were administered a questionnaire to explore the learners’ attitudes and feelings regarding remote interpreting in interpreter training with a view to identifying the possibilities and limits of this type of learning experience compared with conventional forms of instruction. The latter part of the paper will comment on the most interesting student responses.","PeriodicalId":234203,"journal":{"name":"AUC PHILOLOGICA","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132635349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-15DOI: 10.14712/24646830.2022.3
Martin Blahota
In the 1920s and 1930s, the Japanese proletarian literary movement had an enormous impact on East Asian writers, who often translated and adapted Japanese tales. Amongst them, Hayama Yoshiki’s 1925 short story “Inbaifu” (The Prostitute) enjoyed great popularity. This paper focuses on the Taiwanese writer Lang-shi-sheng’s adaptation of “Inbaifu”, the 1935 “Yami” (Darkness), and Manchukuo writer Yuan Xi’s adaptation of the same Japanese source text, the 1938 short story “Shi tian” (Ten Days). By comparing the Taiwanese and Manchukuo stories, this paper suggests that both versions of “Inbaifu” reflect the Japanese debate on proletarian literature that was fashionable in East Asia in the 1930s. However, by resetting the stories in Taiwan and Manchukuo, respectively, the authors created cultural products that defy borders and simple nationalist interpretations.
{"title":"Hayama Yoshiki’s “The Prostitute” in Taiwanese and Manchukuo Proletarian Literature","authors":"Martin Blahota","doi":"10.14712/24646830.2022.3","DOIUrl":"https://doi.org/10.14712/24646830.2022.3","url":null,"abstract":"In the 1920s and 1930s, the Japanese proletarian literary movement had an enormous impact on East Asian writers, who often translated and adapted Japanese tales. Amongst them, Hayama Yoshiki’s 1925 short story “Inbaifu” (The Prostitute) enjoyed great popularity. This paper focuses on the Taiwanese writer Lang-shi-sheng’s adaptation of “Inbaifu”, the 1935 “Yami” (Darkness), and Manchukuo writer Yuan Xi’s adaptation of the same Japanese source text, the 1938 short story “Shi tian” (Ten Days). By comparing the Taiwanese and Manchukuo stories, this paper suggests that both versions of “Inbaifu” reflect the Japanese debate on proletarian literature that was fashionable in East Asia in the 1930s. However, by resetting the stories in Taiwan and Manchukuo, respectively, the authors created cultural products that defy borders and simple nationalist interpretations.","PeriodicalId":234203,"journal":{"name":"AUC PHILOLOGICA","volume":"92 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124568064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-15DOI: 10.14712/24646830.2022.5
Mariia Guleva
This article examines Sino–Soviet relations in the 1950s through the medium of political cartoons in Manhua and Krokodil, satire magazines published in the People’s Republic of China and the Soviet Union. Images of friendship and enmity produced an intricate narrative about world affairs and the paths of socialism and capitalism. By comparing the stories and visual representations in Krokodil and Manhua, this study underscores the similarities and contradictions existing between the Soviet Union and China in the years before their split. This approach provides an example of two ideological machines working to reflect unexpected shifts in alliances while maintaining a claim on the teleological coherence of socialist development. It also exemplifies the mechanics of visual propaganda under the stress of contradictory policies and purposes.
{"title":"Through the Looking Glass of Intimate Friendship and Common Enemies: Images of Sino–Soviet Relations in Chinese and Soviet Political Cartoons of the 1950s","authors":"Mariia Guleva","doi":"10.14712/24646830.2022.5","DOIUrl":"https://doi.org/10.14712/24646830.2022.5","url":null,"abstract":"This article examines Sino–Soviet relations in the 1950s through the medium of political cartoons in Manhua and Krokodil, satire magazines published in the People’s Republic of China and the Soviet Union. Images of friendship and enmity produced an intricate narrative about world affairs and the paths of socialism and capitalism. By comparing the stories and visual representations in Krokodil and Manhua, this study underscores the similarities and contradictions existing between the Soviet Union and China in the years before their split. This approach provides an example of two ideological machines working to reflect unexpected shifts in alliances while maintaining a claim on the teleological coherence of socialist development. It also exemplifies the mechanics of visual propaganda under the stress of contradictory policies and purposes.","PeriodicalId":234203,"journal":{"name":"AUC PHILOLOGICA","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129543151","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-15DOI: 10.14712/24646830.2022.4
Dušan Andrš
This study examines Feng Zikai’s essays from 1956 to 1965 as products of his attempts to come to terms with the social, political, and cultural situation of the era through writing literary pieces and essays. This analysis of his prose writings that were created over a ten-year stretch bookmarked by the Hundred Flowers Campaign and the Cultural Revolution presents Feng Zikai’s hesitant reassessment of his own work, its intellectual and artistic foundations, and his difficult search for a conformist but at the same time authentic essayistic voice that would allow him to grasp and accept the reality of this period.
{"title":"Writing Personal Essays between the Hundred Flowers Campaign and the Cultural Revolution: Feng Zikai, Conformist and Authenic","authors":"Dušan Andrš","doi":"10.14712/24646830.2022.4","DOIUrl":"https://doi.org/10.14712/24646830.2022.4","url":null,"abstract":"This study examines Feng Zikai’s essays from 1956 to 1965 as products of his attempts to come to terms with the social, political, and cultural situation of the era through writing literary pieces and essays. This analysis of his prose writings that were created over a ten-year stretch bookmarked by the Hundred Flowers Campaign and the Cultural Revolution presents Feng Zikai’s hesitant reassessment of his own work, its intellectual and artistic foundations, and his difficult search for a conformist but at the same time authentic essayistic voice that would allow him to grasp and accept the reality of this period.","PeriodicalId":234203,"journal":{"name":"AUC PHILOLOGICA","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129670927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-15DOI: 10.14712/24646830.2022.2
Lenka Chaloupková
The Chinese art song, yishu gequ 藝術歌曲, is a typical genre of New Music (Xin yinyue 新音樂) of the May Fourth Movement. Such pieces were primarily composed by Chinese graduates of European and American universities who found inspiration in European Romantic art songs, especially nineteenth-century German lieder. The existing Western literature about this genre emphasizes the connections between the Chinese art songs of the twentieth century and European Romantic songs and does not consider any relationship with the domestic Chinese tradition. Publications by Chinese scholars also do not examine in any detail specific connections to the Chinese tradition at the ideational level. As this paper demonstrates, the Chinese art songs that emerged during the May Fourth Movement were not created solely by following a Western model. Their uniqueness is the result of combining the search for “new culture” with the significant traces of domestic roots in the social role of music and the tradition of joining words and music in a single artistic whole. The paper first explores the emergence of the art song in the context of Chinese musical modernization, and then, through citing theoretical works and analyses of select compositions by three of the most famous art song composers – Xiao Youmei 萧友梅 (1884–1940), Zhao Yuanren 趙 元任 (1892–1982), and Huang Zi 黃自 (1904–38) – it demonstrates the various approaches to creating art songs, especially in terms of how they were related to the domestic tradition. I have chosen examples that allow us to observe the gradual adoption of an originally European genre in the Chinese cultural environment and various factors that influenced how this genre changed. I also examine the changing ways in which this foreign genre interacted with the domestic Chinese environment.
{"title":"The Chinese Art Song, yishu gequ: Between Tradition and Modernity","authors":"Lenka Chaloupková","doi":"10.14712/24646830.2022.2","DOIUrl":"https://doi.org/10.14712/24646830.2022.2","url":null,"abstract":"The Chinese art song, yishu gequ 藝術歌曲, is a typical genre of New Music (Xin yinyue 新音樂) of the May Fourth Movement. Such pieces were primarily composed by Chinese graduates of European and American universities who found inspiration in European Romantic art songs, especially nineteenth-century German lieder. The existing Western literature about this genre emphasizes the connections between the Chinese art songs of the twentieth century and European Romantic songs and does not consider any relationship with the domestic Chinese tradition. Publications by Chinese scholars also do not examine in any detail specific connections to the Chinese tradition at the ideational level.\u0000As this paper demonstrates, the Chinese art songs that emerged during the May Fourth Movement were not created solely by following a Western model. Their uniqueness is the result of combining the search for “new culture” with the significant traces of domestic roots in the social role of music and the tradition of joining words and music in a single artistic whole.\u0000The paper first explores the emergence of the art song in the context of Chinese musical modernization, and then, through citing theoretical works and analyses of select compositions by three of the most famous art song composers – Xiao Youmei 萧友梅 (1884–1940), Zhao Yuanren 趙 元任 (1892–1982), and Huang Zi 黃自 (1904–38) – it demonstrates the various approaches to creating art songs, especially in terms of how they were related to the domestic tradition. I have chosen examples that allow us to observe the gradual adoption of an originally European genre in the Chinese cultural environment and various factors that influenced how this genre changed. I also examine the changing ways in which this foreign genre interacted with the domestic Chinese environment.","PeriodicalId":234203,"journal":{"name":"AUC PHILOLOGICA","volume":"230 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115939225","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-15DOI: 10.14712/24646830.2022.1
Jan Vrhovski
The article explores Jiang Menglin’s philosophy of life and his notion of rensheng guan (“view on life”) in the period between his studies in the USA and the year of the May Fourth events in 1919. In the first part, the paper traces the origins of Jiang’s idea back to the then-prevalent version of pragmatism propagated by John Dewey and other pragmatist thinkers gathered at Columbia University, while in the subsequent parts it aims to illuminate the later developments of Jiang’s own version of pragmatism in the context of the May Fourth intellectual discourse. While the article aims at presenting a positive outline of Jiang’s philosophy, it also endeavours to expose its less explicit aspects through its apophatic (exposition by negation or denial) expositions in Jiang’s writings from the period. Finally, it focuses on Jiang’s contributions to the debate on suicide that developed after Lin Deyang’s suicide in November 1919.
{"title":"Traverses Between Cognitive Consonance and Existential Crisis: Notes on Jiang Menglin’s Pragmatist Notion of Rensheng Guan and His Views on Suicide from 1919","authors":"Jan Vrhovski","doi":"10.14712/24646830.2022.1","DOIUrl":"https://doi.org/10.14712/24646830.2022.1","url":null,"abstract":"The article explores Jiang Menglin’s philosophy of life and his notion of rensheng guan (“view on life”) in the period between his studies in the USA and the year of the May Fourth events in 1919. In the first part, the paper traces the origins of Jiang’s idea back to the then-prevalent version of pragmatism propagated by John Dewey and other pragmatist thinkers gathered at Columbia University, while in the subsequent parts it aims to illuminate the later developments of Jiang’s own version of pragmatism in the context of the May Fourth intellectual discourse. While the article aims at presenting a positive outline of Jiang’s philosophy, it also endeavours to expose its less explicit aspects through its apophatic (exposition by negation or denial) expositions in Jiang’s writings from the period. Finally, it focuses on Jiang’s contributions to the debate on suicide that developed after Lin Deyang’s suicide in November 1919.","PeriodicalId":234203,"journal":{"name":"AUC PHILOLOGICA","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131255089","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-15DOI: 10.14712/24646830.2022.6
M. Song
This essay investigates how utopian thinking met with dystopian variations in contemporary Chinese science fiction. The dystopian gaze into the utopian dreams, the alternative histories contending with the utopian narratives, and the heterotopian experiments challenging ideological orthodoxy are the focus of my analysis. Reading the dystopian fiction by Chan Koonchung and science fiction stories and novels by Han Song, Bao Shu and Hao Jingfang etc., I do not intend to illustrate the utopian/ dystopian interventions in the political sense, but rather to explore the vigorous, multifaceted variations of utopia, dystopia, and heterotopia that these authors have created as discursive constructs to suggest alternatives to the utopia/dystopian dualism. Contemporary science fiction authors write back to the usual literary practice taking words as reflections of the world. To these writers, words are worlds.
{"title":"A Topology of Hope: Utopia, Dystopia, and Heterotopia in Contemporary Chinese Science Fiction","authors":"M. Song","doi":"10.14712/24646830.2022.6","DOIUrl":"https://doi.org/10.14712/24646830.2022.6","url":null,"abstract":"This essay investigates how utopian thinking met with dystopian variations in contemporary Chinese science fiction. The dystopian gaze into the utopian dreams, the alternative histories contending with the utopian narratives, and the heterotopian experiments challenging ideological orthodoxy are the focus of my analysis. Reading the dystopian fiction by Chan Koonchung and science fiction stories and novels by Han Song, Bao Shu and Hao Jingfang etc., I do not intend to illustrate the utopian/ dystopian interventions in the political sense, but rather to explore the vigorous, multifaceted variations of utopia, dystopia, and heterotopia that these authors have created as discursive constructs to suggest alternatives to the utopia/dystopian dualism. Contemporary science fiction authors write back to the usual literary practice taking words as reflections of the world. To these writers, words are worlds.","PeriodicalId":234203,"journal":{"name":"AUC PHILOLOGICA","volume":"253 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122378667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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