Pub Date : 2024-01-07DOI: 10.1080/23306343.2023.2295719
Jiang Yun
{"title":"Translation as intervention: Wu Mi’s translation of William Thackeray’s novels","authors":"Jiang Yun","doi":"10.1080/23306343.2023.2295719","DOIUrl":"https://doi.org/10.1080/23306343.2023.2295719","url":null,"abstract":"","PeriodicalId":29872,"journal":{"name":"Asia Pacific Translation and Intercultural Studies","volume":"30 20","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-01-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139448632","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 : 2023-12-05DOI: 10.1080/23306343.2023.2288456
Huiyu Zhang, Qi Jin, Binji Zao
{"title":"Audience reception of translated classic films: Zhang Yimou’s\u0000 Hero\u0000 in the digital English world","authors":"Huiyu Zhang, Qi Jin, Binji Zao","doi":"10.1080/23306343.2023.2288456","DOIUrl":"https://doi.org/10.1080/23306343.2023.2288456","url":null,"abstract":"","PeriodicalId":29872,"journal":{"name":"Asia Pacific Translation and Intercultural Studies","volume":"21 6","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138601026","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 : 2023-12-04DOI: 10.1080/23306343.2023.2285175
Zhonggang Sang
{"title":"Towards a methodology for translation activity: an activity theory approach","authors":"Zhonggang Sang","doi":"10.1080/23306343.2023.2285175","DOIUrl":"https://doi.org/10.1080/23306343.2023.2285175","url":null,"abstract":"","PeriodicalId":29872,"journal":{"name":"Asia Pacific Translation and Intercultural Studies","volume":"18 2","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138604358","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 : 2023-11-28DOI: 10.1080/23306343.2023.2287868
Yun Wang, Haslina Haroon, Y. F. Chow
{"title":"The translator as an observant reader in the Story of the Stone from the perspective of aesthetic illusion and habitus","authors":"Yun Wang, Haslina Haroon, Y. F. Chow","doi":"10.1080/23306343.2023.2287868","DOIUrl":"https://doi.org/10.1080/23306343.2023.2287868","url":null,"abstract":"","PeriodicalId":29872,"journal":{"name":"Asia Pacific Translation and Intercultural Studies","volume":"17 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139226854","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 : 2023-10-18DOI: 10.1080/23306343.2023.2265765
Kun Zhu, Guoliang Guo
ABSTRACTThe practice of transediting classic English novels for children is common in China, but remains under-researched. From a narratological perspective, this article explores this practice through a case study of Gulliver’s Travels. It first identifies the factors, including the view of childhood, common presuppositions of the features of children’s literature, censorship, and the mainstream educational philosophy in China, that may influence this practice. Then, it finds that the Chinese children’s editions of Gulliver’s Travels experience noticeable changes both on the story and discourse level, such as the excision of scenes that reflect satirical criticism and the shift from indirect speech to direct speech. Lastly, it points out that although the observed changes are understandable, some seem inappropriate for the target young Chinese readers due to the ignorance of the differences in children’s literature for readers of different ages. Therefore, this article suggests that literature for young readers aged 11 to 16 should challenge them cognitively and affectively, be somewhat subversive, and present a complete picture of the reality, and that translators of children’s literature should truly put themselves in the position of children and consider the needs of young readers of different ages.KEYWORDS: Transeditingclassic English novelChinese childrennarratologyGulliver’s Travels Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. It is worth noting that a translation task usually involves different editorial agents, including publishers, translators, editors, and proofreaders, who work cooperatively to ensure the final product is acceptable and attractive to target text readers. It means that transediting might be made by not only translators but also other agents. As this article is not concerned with which agent is responsible for certain changes in the target text, it simply uses the term “translator” to refer to all the agents that might be involved in transediting.2. The first edition of Sun’s translation was published by Shanghai Translation Publishing House in 2003.3. Admittedly, the features of a target text are inevitably affected by the translator’s habitus. However, since this article does not focus on a particular translator, it chooses not to discuss the influence of translators’ own wishes on the target text in the analysis.4. Because Sun’s translation is faithful to the original text and no noticeable change is observed, this article will not quote examples from Sun’s translation.5. According to the statistics posted on the website, Gulliver’s Travels has a total of 107,349 words. https://commonplacebook.com/art/books/word-count-for-famous-novels/6. Unless otherwise specified, all translations of Chinese citations in this article are the authors’.7. Since the focus is on the reporting clause, the complete dialogue of this scene in the Kaiming Press edition is not cited here.Additio
{"title":"Transediting classic English novels for children in China: a narratological case study of <i>Gulliver’s Travels</i>","authors":"Kun Zhu, Guoliang Guo","doi":"10.1080/23306343.2023.2265765","DOIUrl":"https://doi.org/10.1080/23306343.2023.2265765","url":null,"abstract":"ABSTRACTThe practice of transediting classic English novels for children is common in China, but remains under-researched. From a narratological perspective, this article explores this practice through a case study of Gulliver’s Travels. It first identifies the factors, including the view of childhood, common presuppositions of the features of children’s literature, censorship, and the mainstream educational philosophy in China, that may influence this practice. Then, it finds that the Chinese children’s editions of Gulliver’s Travels experience noticeable changes both on the story and discourse level, such as the excision of scenes that reflect satirical criticism and the shift from indirect speech to direct speech. Lastly, it points out that although the observed changes are understandable, some seem inappropriate for the target young Chinese readers due to the ignorance of the differences in children’s literature for readers of different ages. Therefore, this article suggests that literature for young readers aged 11 to 16 should challenge them cognitively and affectively, be somewhat subversive, and present a complete picture of the reality, and that translators of children’s literature should truly put themselves in the position of children and consider the needs of young readers of different ages.KEYWORDS: Transeditingclassic English novelChinese childrennarratologyGulliver’s Travels Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. It is worth noting that a translation task usually involves different editorial agents, including publishers, translators, editors, and proofreaders, who work cooperatively to ensure the final product is acceptable and attractive to target text readers. It means that transediting might be made by not only translators but also other agents. As this article is not concerned with which agent is responsible for certain changes in the target text, it simply uses the term “translator” to refer to all the agents that might be involved in transediting.2. The first edition of Sun’s translation was published by Shanghai Translation Publishing House in 2003.3. Admittedly, the features of a target text are inevitably affected by the translator’s habitus. However, since this article does not focus on a particular translator, it chooses not to discuss the influence of translators’ own wishes on the target text in the analysis.4. Because Sun’s translation is faithful to the original text and no noticeable change is observed, this article will not quote examples from Sun’s translation.5. According to the statistics posted on the website, Gulliver’s Travels has a total of 107,349 words. https://commonplacebook.com/art/books/word-count-for-famous-novels/6. Unless otherwise specified, all translations of Chinese citations in this article are the authors’.7. Since the focus is on the reporting clause, the complete dialogue of this scene in the Kaiming Press edition is not cited here.Additio","PeriodicalId":29872,"journal":{"name":"Asia Pacific Translation and Intercultural Studies","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135884702","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 : 2023-10-09DOI: 10.1080/23306343.2023.2243432
Jon Eugene von Kowallis
Despite the ups and downs in their relationship, China and Japan have been engaged in a process of cultural exchange for nearly two millennia. A recent outcome of this interaction has been the discourse surrounding the founder of modern Chinese literature, Lu Xun 鲁迅 (1881-1936), his foremost exponent in 20th century Japan, the writer and thinker Takeuchi Yoshimi 竹内好 (1910-1977) and the effect of their interaction ever since on intellectuals in both countries. This is an interaction which had substantial influence on the intellectual climate in post-war Japan and still plays a role in intellectual discourse in contemporary China, particularly in the debates surrounding modernity and nationalism. I have worked with Joshua Fogel in making the first translation into English of Takeuchi’s classic monograph Ro Jin (1944) into English from the Japanese. In the process, we have attained new insights into historical and contemporary intellectual developments in both countries, as well as a deepening understanding of “Takeuchi’s Lu Xun”. I have also examined two rival translations into Chinese by Li Xifeng 李心峰 (1986) and Li Dongmu 李冬木 (2005) from the angle of fidelity to the original and readability.
{"title":"Thoughts after translating Takeuchi Yoshimi’s <i>Ro Jin</i> 鲁迅 (Lu Xun)","authors":"Jon Eugene von Kowallis","doi":"10.1080/23306343.2023.2243432","DOIUrl":"https://doi.org/10.1080/23306343.2023.2243432","url":null,"abstract":"Despite the ups and downs in their relationship, China and Japan have been engaged in a process of cultural exchange for nearly two millennia. A recent outcome of this interaction has been the discourse surrounding the founder of modern Chinese literature, Lu Xun 鲁迅 (1881-1936), his foremost exponent in 20th century Japan, the writer and thinker Takeuchi Yoshimi 竹内好 (1910-1977) and the effect of their interaction ever since on intellectuals in both countries. This is an interaction which had substantial influence on the intellectual climate in post-war Japan and still plays a role in intellectual discourse in contemporary China, particularly in the debates surrounding modernity and nationalism. I have worked with Joshua Fogel in making the first translation into English of Takeuchi’s classic monograph Ro Jin (1944) into English from the Japanese. In the process, we have attained new insights into historical and contemporary intellectual developments in both countries, as well as a deepening understanding of “Takeuchi’s Lu Xun”. I have also examined two rival translations into Chinese by Li Xifeng 李心峰 (1986) and Li Dongmu 李冬木 (2005) from the angle of fidelity to the original and readability.","PeriodicalId":29872,"journal":{"name":"Asia Pacific Translation and Intercultural Studies","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135095285","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 : 2023-10-02DOI: 10.1080/23306343.2023.2260212
Hua Tan
ABSTRACTThis interview was conducted face-to-face at the University of Manchester. The focus of the interview between Hua Tan and Dr. Anna Strowe, the Book Reviews Editor for Translation Studies, was on how to write good academic book reviews, especially for translation studies. Academic book reviews play an important role in academic communication. They introduce and evaluate newly published academic works and provide a forum for academics to evaluate each other’s research. In the eyes of many scholars, book reviews are easy to write and publish. Yet, a good academic book review is not that easy to write. Dr. Anna Strowe held that academic book reviews are not confined to fixed structures, but vary from text to text and reviewer to reviewer. In her opinion, the evaluation of the book reviewed or the critical comment on it, or in a different term, the intellectual engagement, is the most important for a good book review. She suggested that young scholars build up their networks and read many book reviews first before starting to write one.KEYWORDS: Book reviewstranslation studiesintellectual engagementTranslation Studies Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationFundingThis research was supported by China Postdoctoral Science Foundation (Grant No. 2023M730702); the Center for Translation Studies of Guangdong University of Foreign Studies (Grant No. CTS202010); the Humanities and Social Sciences Funds of Department of Education of Hubei Province (Grant No. 20G012); the Self-determined research funds of CCNU from the colleges’ basic research and operation of MOE (Grant No. CCNU20TD008).Notes on contributorsHua TanHua Tan, is a Postdoc at College of Foreign Languages and Literature, Fudan University, and a lecturer of the School of Foreign Language, Central China Normal University. His research areas include studies of CTS (Corpus-based Translation Studies), stylometry, and digital humanities. TAN Hua, lecturer, Ph.D., academic visitor at The University of Manchester during Dec. 2017 and Dec. 2018, research areas include studies of CTS (Corpus-based Translation Studies), literary translation, the history of translation theories, stylometry.
{"title":"What makes a good book review on translation studies? An interview with Reviews Editor Anna Strowe","authors":"Hua Tan","doi":"10.1080/23306343.2023.2260212","DOIUrl":"https://doi.org/10.1080/23306343.2023.2260212","url":null,"abstract":"ABSTRACTThis interview was conducted face-to-face at the University of Manchester. The focus of the interview between Hua Tan and Dr. Anna Strowe, the Book Reviews Editor for Translation Studies, was on how to write good academic book reviews, especially for translation studies. Academic book reviews play an important role in academic communication. They introduce and evaluate newly published academic works and provide a forum for academics to evaluate each other’s research. In the eyes of many scholars, book reviews are easy to write and publish. Yet, a good academic book review is not that easy to write. Dr. Anna Strowe held that academic book reviews are not confined to fixed structures, but vary from text to text and reviewer to reviewer. In her opinion, the evaluation of the book reviewed or the critical comment on it, or in a different term, the intellectual engagement, is the most important for a good book review. She suggested that young scholars build up their networks and read many book reviews first before starting to write one.KEYWORDS: Book reviewstranslation studiesintellectual engagementTranslation Studies Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationFundingThis research was supported by China Postdoctoral Science Foundation (Grant No. 2023M730702); the Center for Translation Studies of Guangdong University of Foreign Studies (Grant No. CTS202010); the Humanities and Social Sciences Funds of Department of Education of Hubei Province (Grant No. 20G012); the Self-determined research funds of CCNU from the colleges’ basic research and operation of MOE (Grant No. CCNU20TD008).Notes on contributorsHua TanHua Tan, is a Postdoc at College of Foreign Languages and Literature, Fudan University, and a lecturer of the School of Foreign Language, Central China Normal University. His research areas include studies of CTS (Corpus-based Translation Studies), stylometry, and digital humanities. TAN Hua, lecturer, Ph.D., academic visitor at The University of Manchester during Dec. 2017 and Dec. 2018, research areas include studies of CTS (Corpus-based Translation Studies), literary translation, the history of translation theories, stylometry.","PeriodicalId":29872,"journal":{"name":"Asia Pacific Translation and Intercultural Studies","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135895614","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 : 2023-10-02DOI: 10.1080/23306343.2023.2263931
Shaobo Xie
ABSTRACTThis paper begins by posing the following questions: Who are the subaltern in the global present? What refigurations has the concept of subalternity undergone since its inaugural use in Antonio Gramsci’s writing? What does a genealogical account of such revisions and discontinuities suggest? Can the subaltern speak or be heard in a digital world? Why translate for the subaltern? If translation is an impossible necessity, what risks and pitfalls are encountered in translation for the subaltern? What potential does a politically empowering ethics of translation offer for surmounting such obstacles? Using these questions as a point of departure, this paper proceeds to explore how in the age of digital media communications the previously colonized or subalternized are further hegemonized, and what mechanisms are involved when digital imperialism is further marginalizing and silencing the subaltern. If the history of colonialism has witnessed translation being manipulated as a vehicle to achieve and maintain domination and control, the paper argues, then translation can also serve as a powerful site or tool for repairing social injustice and epistemic or representational violence against the subaltern, and therefore help enable the subaltern to speak for themselves and be heard sympathetically and respectfully.KEYWORDS: Translationthe subalternthe otheruniversalityjutice Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. See Nolan, “Language Barrier,” p. 27.2. Matteo Ricci (1552–1610) was an Italian Jesuit priest and a founding figure of the Jesuit China Missions. He was the first Western scholar reading and studying Chinese classics in Chinese.3. See Chinua Achebe, Things Fall Apart, chapter 10.4. The Kiama, the council of elders, is responsible for looking after the ancestral land and maintaining social cohesion of the tribe, making decisions on judicial, religious, and political matters.Additional informationNotes on contributorsShaobo XieShaobo Xie is Professor of English at the University of Calgary. He teaches literary theory, postcolonial literature and theory, and translation studies. His articles have appeared in journals such as Boundary 2, New Literary History, Cultural Critique, Telos, Neohelicon, Semiotica, Canadian Review of Comparative Literature, Science & Society, Asia Pacific Translation and Intercultural Studies, Theoretical Studies in Literature and Art, and International Social Science Journal. Among his recent publications are “Green Religion as a Way of Life: Thoreau and his Ecocentric Aesthetics of Existence,” “Chinese Beginnings of Cosmopolitanism: A Genealogical Critique of Tianxia Guan,” “Translation and Globalization,” and “World Literature, Translation, Untranslatability.”
摘要本文首先提出以下问题:谁是全球当下的次等人?自从安东尼奥·葛兰西首次使用次等性概念以来，它经历了哪些重构?这种修订和不连续性的家谱说明了什么?在一个数字世界里，庶民能说话或被听到吗?为什么要为庶民翻译?如果翻译是一种不可能的必要性，那么对于庶民来说，翻译会遇到哪些风险和陷阱呢?在政治上赋予翻译道德以权力，为克服这些障碍提供了什么样的潜力?以这些问题为出发点，本文继续探讨在数字媒体传播时代，以前被殖民或次代化的人如何进一步被霸权化，以及当数字帝国主义进一步边缘化和沉默次等人时，涉及到什么机制。如果殖民主义的历史见证了翻译被操纵为实现和维持统治和控制的工具，那么翻译也可以作为一个强大的网站或工具来修复社会不公正和对次等人的认知或代表性暴力，因此有助于使次等人为自己说话，并被同情和尊重地听到。关键词:翻译次等普遍性正义披露声明作者未发现潜在的利益冲突见诺兰《语言障碍》第27.2页。利玛窦(1552-1610)，意大利耶稣会牧师，耶稣会中国传教会创始人之一。他是第一个用中文阅读和研究中国经典的西方学者。参见Chinua Achebe, Things Fall Apart，第10.4章。Kiama，即长老会议，负责照管祖传的土地，维护部落的社会凝聚力，对司法、宗教和政治事务作出决定。谢少波，加拿大卡尔加里大学英语教授。他教授文学理论、后殖民文学与理论以及翻译研究。曾在《边界2》、《新文学史》、《文化批判》、《Telos》、《Neohelicon》、《Semiotica》、《加拿大比较文学评论》、《科学与社会》、《亚太翻译与跨文化研究》、《文学与艺术理论研究》、《国际社会科学杂志》等期刊发表文章。他最近的著作有《绿色宗教作为一种生活方式:梭罗及其生态中心主义的生存美学》、《世界主义的中国起源:关天下的宗谱批判》、《翻译与全球化》和《世界文学、翻译、不可译性》。
{"title":"Translation for the subaltern","authors":"Shaobo Xie","doi":"10.1080/23306343.2023.2263931","DOIUrl":"https://doi.org/10.1080/23306343.2023.2263931","url":null,"abstract":"ABSTRACTThis paper begins by posing the following questions: Who are the subaltern in the global present? What refigurations has the concept of subalternity undergone since its inaugural use in Antonio Gramsci’s writing? What does a genealogical account of such revisions and discontinuities suggest? Can the subaltern speak or be heard in a digital world? Why translate for the subaltern? If translation is an impossible necessity, what risks and pitfalls are encountered in translation for the subaltern? What potential does a politically empowering ethics of translation offer for surmounting such obstacles? Using these questions as a point of departure, this paper proceeds to explore how in the age of digital media communications the previously colonized or subalternized are further hegemonized, and what mechanisms are involved when digital imperialism is further marginalizing and silencing the subaltern. If the history of colonialism has witnessed translation being manipulated as a vehicle to achieve and maintain domination and control, the paper argues, then translation can also serve as a powerful site or tool for repairing social injustice and epistemic or representational violence against the subaltern, and therefore help enable the subaltern to speak for themselves and be heard sympathetically and respectfully.KEYWORDS: Translationthe subalternthe otheruniversalityjutice Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. See Nolan, “Language Barrier,” p. 27.2. Matteo Ricci (1552–1610) was an Italian Jesuit priest and a founding figure of the Jesuit China Missions. He was the first Western scholar reading and studying Chinese classics in Chinese.3. See Chinua Achebe, Things Fall Apart, chapter 10.4. The Kiama, the council of elders, is responsible for looking after the ancestral land and maintaining social cohesion of the tribe, making decisions on judicial, religious, and political matters.Additional informationNotes on contributorsShaobo XieShaobo Xie is Professor of English at the University of Calgary. He teaches literary theory, postcolonial literature and theory, and translation studies. His articles have appeared in journals such as Boundary 2, New Literary History, Cultural Critique, Telos, Neohelicon, Semiotica, Canadian Review of Comparative Literature, Science & Society, Asia Pacific Translation and Intercultural Studies, Theoretical Studies in Literature and Art, and International Social Science Journal. Among his recent publications are “Green Religion as a Way of Life: Thoreau and his Ecocentric Aesthetics of Existence,” “Chinese Beginnings of Cosmopolitanism: A Genealogical Critique of Tianxia Guan,” “Translation and Globalization,” and “World Literature, Translation, Untranslatability.”","PeriodicalId":29872,"journal":{"name":"Asia Pacific Translation and Intercultural Studies","volume":"292 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135895611","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 : 2023-09-25DOI: 10.1080/23306343.2023.2247848
Min-Hua Wu
ABSTRACTYu Kwang-chung embarked on a translational project, Anthology of American Poetry, around 1960. Edited by Stephen Soong, the anthology was published by World Today Press, Hong Kong, in 1961. This research commences with Yu’s plight in selecting what poems of Dickinson’s to translate, a plight associated with Poundian translatology. It follows with textual analyses of Yu’s translations of and introduction to Dickinson’s poetry. I aruge that Yu is far from being an absolutist inasmuch as translational fidelity is concerned. In contrast, what he pursues in poetry translation is an optimal fidelity, one that intends to bring about as profuse poetics as possible in the target language. The translator exerts optimal faithfulness to a variety of traditional literary elements, all of which amount to what I call “fidelity to the deep structure of literature.” It is with such a flexible fidelity that Yu transplants Dickinson’s metaphysical universe onto the Chinese soil.KEYWORDS: Yu Kwang-chungEmily DickinsonPoetry TranslationAnthology of American PoetryEzra Pound Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. The interview by Te-Hsing Shan was originally executed in Chinese and the quotation was also originally written in the Chinese language. For the sake of easy reading, the author of the study has taken the liberty to translate the entire passage into English. Henceforth, if the author of the essay quotes a Chinese passage, it is he who has done the Chinese-English translation to serve the need of the English readers.2. Yahoo Dictionary. Accessed July 20, 2020. https://tw.dictionary.search.yahoo.com/;_ylt=AwrtXWtEKI5bRm4Awz19rolQ?_guc_consent_skip=1595227041.Additional informationFundingThis work was supported by the National Science and Technology Council [MOST 111-2410-H-004-177].Notes on contributorsMin-Hua WuMin-Hua Wu is Associate Professor at the Department of English, National Chengchi University, Taipei, Taiwan. He served as Associate Vice President for the Office of International Cooperation, NCCU from Aug. 1, 2020 to Jul. 31, 2022. He completed his doctoral dissertation in English literature at Paris-Sorbonne University fully funded by a Taiwan government scholarship. Besides a Chinese-French translation prize awarded by the Council for Cultural Affairs, Taiwan, he is a three-time awardee for the National Taiwan University Chinese-English Literary Translation Awards and three-time awardee in English-Chinese translation contest for the Liang Shih-ch’iu Literary Awards. As the Co-author of Chang Pao Chun Chiu: Li Ao’s Landscape of Lettres (Ink Publishing, Taipei), he has published in The Wenshan Review, The Translator, Concentric, Brontë Studies, The Emily Dickinson Journal, Review of English and American Literature, Asia Pacific Translation and Intercultural Studies, East Journal of Translation, Chengchi University Press, and Modern Chinese Literature, amongst others. He has co-edited a speci
{"title":"Fidelity to the deep structure of literature: Yu Kwang-chung’s translation of Emily Dickinson","authors":"Min-Hua Wu","doi":"10.1080/23306343.2023.2247848","DOIUrl":"https://doi.org/10.1080/23306343.2023.2247848","url":null,"abstract":"ABSTRACTYu Kwang-chung embarked on a translational project, Anthology of American Poetry, around 1960. Edited by Stephen Soong, the anthology was published by World Today Press, Hong Kong, in 1961. This research commences with Yu’s plight in selecting what poems of Dickinson’s to translate, a plight associated with Poundian translatology. It follows with textual analyses of Yu’s translations of and introduction to Dickinson’s poetry. I aruge that Yu is far from being an absolutist inasmuch as translational fidelity is concerned. In contrast, what he pursues in poetry translation is an optimal fidelity, one that intends to bring about as profuse poetics as possible in the target language. The translator exerts optimal faithfulness to a variety of traditional literary elements, all of which amount to what I call “fidelity to the deep structure of literature.” It is with such a flexible fidelity that Yu transplants Dickinson’s metaphysical universe onto the Chinese soil.KEYWORDS: Yu Kwang-chungEmily DickinsonPoetry TranslationAnthology of American PoetryEzra Pound Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. The interview by Te-Hsing Shan was originally executed in Chinese and the quotation was also originally written in the Chinese language. For the sake of easy reading, the author of the study has taken the liberty to translate the entire passage into English. Henceforth, if the author of the essay quotes a Chinese passage, it is he who has done the Chinese-English translation to serve the need of the English readers.2. Yahoo Dictionary. Accessed July 20, 2020. https://tw.dictionary.search.yahoo.com/;_ylt=AwrtXWtEKI5bRm4Awz19rolQ?_guc_consent_skip=1595227041.Additional informationFundingThis work was supported by the National Science and Technology Council [MOST 111-2410-H-004-177].Notes on contributorsMin-Hua WuMin-Hua Wu is Associate Professor at the Department of English, National Chengchi University, Taipei, Taiwan. He served as Associate Vice President for the Office of International Cooperation, NCCU from Aug. 1, 2020 to Jul. 31, 2022. He completed his doctoral dissertation in English literature at Paris-Sorbonne University fully funded by a Taiwan government scholarship. Besides a Chinese-French translation prize awarded by the Council for Cultural Affairs, Taiwan, he is a three-time awardee for the National Taiwan University Chinese-English Literary Translation Awards and three-time awardee in English-Chinese translation contest for the Liang Shih-ch’iu Literary Awards. As the Co-author of Chang Pao Chun Chiu: Li Ao’s Landscape of Lettres (Ink Publishing, Taipei), he has published in The Wenshan Review, The Translator, Concentric, Brontë Studies, The Emily Dickinson Journal, Review of English and American Literature, Asia Pacific Translation and Intercultural Studies, East Journal of Translation, Chengchi University Press, and Modern Chinese Literature, amongst others. He has co-edited a speci","PeriodicalId":29872,"journal":{"name":"Asia Pacific Translation and Intercultural Studies","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135864180","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 : 2023-09-20DOI: 10.1080/23306343.2023.2260208
Lin He
ABSTRACTTranslingual practice in a historical context conceptualizes translation as travel; when examined in a social network, translation can be perceived as an innovative force of knowledge-making. This study is concerned with the travels of a critical artistic term in Medieval China: qiyun shengdong. Predicated on their distinct connotations, Xie He combined the meanings of qi and yun to refer to the vitality evinced in the human body, as well as the beauty of the talent and elegance emanating from the posture. Sinologists such as Herbert Giles and Laurence Binyon translated and introduced the term based on the Western cultural milieu, making qiyun commensurate with “rhythm,” eventually developing the mainstream translation of “rhythmic vitality.” With an examination of the rewriting and repositioning of qiyun from Binyon to Vortex leaders Ezra Pound and Wyndham Lewis as well as Roger Fry, a key member of the Bloomsbury circle and the pioneering modernist and formalist, the emergence of modernist discourse is highlighted with translation as an agent. This research will expose the understated process of knowledge formation through translation across cultures by analyzing the travel and reception of the term qiyun shengdong to recapture translation as an influential aspect of artistic innovation.KEYWORDS: Qiyunrhythmtranslingual practiceknowledge-makingtravel Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. The Six Canons/Laws are as follows (as translated by the present author): “What are the six canons/laws? The first is about rhythm and vividness; the second is about the use of the brush in balancing qi; the third is about responding to objects and portraying the image; the fourth is about allocating color to the category; the fifth is about arrangement and composition; and the sixth is about transferring and modelling.”(六法者何？一曰，气韵生动是也; 二曰，骨法用笔是也; 三曰，应物象形是也; 四曰，随类赋彩是也; 五曰，经营位置是也; 六曰，传移模写是也。)2. “六法精论，万古不移。然而骨法用笔以下，五者可学，如其气韵，必在生知，固不可以巧密得，复不可以岁月到。默契神会，不知然而然也。人品既已高，气韵不得不高，气韵既已高矣，生动不得不至。所谓神之又神，而能精焉。” (Guo Citation2001, 7) Translated by the present author.3. The story of Lunbian told by Zhuangzi started with the Duke of Qi Huan, who was reading in the hall when a wheel craftsman called Bian was making a wheel below the hall. This craftsman put down his axe and chisel and other tools, went up to the hall above and asked the Duke of Huan, “May I ask the King, what book are you reading?” The Duke said, “It is the book of the sage” The craftsman asked again, “Is the sage still alive?” The Duke said, “He is dead.” Bian said, “In that case, what you are reading is just the dross of the ancients.” The Duke said, “I am here reading, how can you, a craftsman who makes wheels, just talk about it? If you can tell me the truth, I can forgive you, and you are not guilty; but if you cannot reason, you will be executed.” Bian said: “Look at this from the point of view of my profession. If you make a wheel slowly, it is e
{"title":"Rethinking knowledge in the making of modernism through the translingual practice of Qiyun shengdong","authors":"Lin He","doi":"10.1080/23306343.2023.2260208","DOIUrl":"https://doi.org/10.1080/23306343.2023.2260208","url":null,"abstract":"ABSTRACTTranslingual practice in a historical context conceptualizes translation as travel; when examined in a social network, translation can be perceived as an innovative force of knowledge-making. This study is concerned with the travels of a critical artistic term in Medieval China: qiyun shengdong. Predicated on their distinct connotations, Xie He combined the meanings of qi and yun to refer to the vitality evinced in the human body, as well as the beauty of the talent and elegance emanating from the posture. Sinologists such as Herbert Giles and Laurence Binyon translated and introduced the term based on the Western cultural milieu, making qiyun commensurate with “rhythm,” eventually developing the mainstream translation of “rhythmic vitality.” With an examination of the rewriting and repositioning of qiyun from Binyon to Vortex leaders Ezra Pound and Wyndham Lewis as well as Roger Fry, a key member of the Bloomsbury circle and the pioneering modernist and formalist, the emergence of modernist discourse is highlighted with translation as an agent. This research will expose the understated process of knowledge formation through translation across cultures by analyzing the travel and reception of the term qiyun shengdong to recapture translation as an influential aspect of artistic innovation.KEYWORDS: Qiyunrhythmtranslingual practiceknowledge-makingtravel Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. The Six Canons/Laws are as follows (as translated by the present author): “What are the six canons/laws? The first is about rhythm and vividness; the second is about the use of the brush in balancing qi; the third is about responding to objects and portraying the image; the fourth is about allocating color to the category; the fifth is about arrangement and composition; and the sixth is about transferring and modelling.”(六法者何？一曰，气韵生动是也; 二曰，骨法用笔是也; 三曰，应物象形是也; 四曰，随类赋彩是也; 五曰，经营位置是也; 六曰，传移模写是也。)2. “六法精论，万古不移。然而骨法用笔以下，五者可学，如其气韵，必在生知，固不可以巧密得，复不可以岁月到。默契神会，不知然而然也。人品既已高，气韵不得不高，气韵既已高矣，生动不得不至。所谓神之又神，而能精焉。” (Guo Citation2001, 7) Translated by the present author.3. The story of Lunbian told by Zhuangzi started with the Duke of Qi Huan, who was reading in the hall when a wheel craftsman called Bian was making a wheel below the hall. This craftsman put down his axe and chisel and other tools, went up to the hall above and asked the Duke of Huan, “May I ask the King, what book are you reading?” The Duke said, “It is the book of the sage” The craftsman asked again, “Is the sage still alive?” The Duke said, “He is dead.” Bian said, “In that case, what you are reading is just the dross of the ancients.” The Duke said, “I am here reading, how can you, a craftsman who makes wheels, just talk about it? If you can tell me the truth, I can forgive you, and you are not guilty; but if you cannot reason, you will be executed.” Bian said: “Look at this from the point of view of my profession. If you make a wheel slowly, it is e","PeriodicalId":29872,"journal":{"name":"Asia Pacific Translation and Intercultural Studies","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136373977","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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