{"title":"Maria Stepanova: War of the Beasts and the Animals, translated by Sasha Dugdale; Maria Stepanova: The Voice Over, edited by Irina Shevelenko, translated by several hands","authors":"R. France","doi":"10.3366/tal.2022.0502","DOIUrl":"https://doi.org/10.3366/tal.2022.0502","url":null,"abstract":"","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45759321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Elfriede Jelinek: On The Royal Road: The Burgher King, translated by Gitta Honegger; Christoph Ransmayr: Cox: or The Course of Time, translated by Simon Pare","authors":"Byron Spring","doi":"10.3366/tal.2022.0501","DOIUrl":"https://doi.org/10.3366/tal.2022.0501","url":null,"abstract":"","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49461812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Christian Felix Weiße the Translator: Cultural Transfer and Literary Entrepreneurship in the Enlightenment, by Tom Zille","authors":"Ina Schabert","doi":"10.3366/tal.2022.0498","DOIUrl":"https://doi.org/10.3366/tal.2022.0498","url":null,"abstract":"","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48239114","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Tony Harrison: Poet of Radical Classicism, by Edith Hall","authors":"S. Perris","doi":"10.3366/tal.2022.0500","DOIUrl":"https://doi.org/10.3366/tal.2022.0500","url":null,"abstract":"","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46852536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Three Cantos from Dante’s Purgatorio","authors":"P. Terry","doi":"10.3366/tal.2022.0495","DOIUrl":"https://doi.org/10.3366/tal.2022.0495","url":null,"abstract":"","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45950337","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The past two decades have seen a growing ‘activist’ turn in Translation Studies, whereby the translator is not considered a subservient mediator of the source text, but rather an engaged agent whose translation activity promotes particular political and social ends. The translation and adaptation into Chinese of an English version of Victor Hugo's Les Misérables in 1903 by a Buddhist monk, Su Manshu, illustrates the complex range of social and cultural factors that must be taken into account when considering a text of activist translation. Su Manshu radically edited a portion of Charles E. Wilbour's English translation of Hugo's novel, freely adding new elements, for serialization in a Chinese revolutionary newspaper. The present article traces the nature and impact of the changes made to the English bridging text by Su Manshu in the process of creating a polemical adaptation that would reframe Hugo's representation of the volatile events leading to the 1832 Paris Uprising as a work designed to encourage a contemporary Chinese audience to rise up against its rulers.
{"title":"Su Manshu's Adaptation of Les Misérables: The Manipulation of a Bridging Text in an Activist Translation","authors":"Li Li","doi":"10.3366/tal.2022.0493","DOIUrl":"https://doi.org/10.3366/tal.2022.0493","url":null,"abstract":"The past two decades have seen a growing ‘activist’ turn in Translation Studies, whereby the translator is not considered a subservient mediator of the source text, but rather an engaged agent whose translation activity promotes particular political and social ends. The translation and adaptation into Chinese of an English version of Victor Hugo's Les Misérables in 1903 by a Buddhist monk, Su Manshu, illustrates the complex range of social and cultural factors that must be taken into account when considering a text of activist translation. Su Manshu radically edited a portion of Charles E. Wilbour's English translation of Hugo's novel, freely adding new elements, for serialization in a Chinese revolutionary newspaper. The present article traces the nature and impact of the changes made to the English bridging text by Su Manshu in the process of creating a polemical adaptation that would reframe Hugo's representation of the volatile events leading to the 1832 Paris Uprising as a work designed to encourage a contemporary Chinese audience to rise up against its rulers.","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47610471","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines two Latin translations of The Shepheardes Calender by John Dove (1584) and Theodore Bathurst ( c.1602) respectively. It explores their versions of three aspects of Spenserian pastoral (all prominent in E.K.'s gloss): community and competition; allegory and allusion; register and rusticity. Throughout, it argues for the influence of translation theory on the translations and The Shepheardes Calender. It revises misinformation about the translations, demonstrating that Dove's translation influenced Bathurst's and that Bathurst's is collectively authored. It explores the way in which the translations ‘re-allegorize’ the Calender and reproduce Spenser's rustic style. While Bathurst's translation reveals an interest in Spenser's experience of patronage and poetic career, Dove attends to the poem's religious allegory, political significance, and linguistic agenda, ultimately using his translation to allude to the public disputations of Edmund Campion. Rather than ‘missing the point’ of Spenser's vernacular achievement, the translations extend the remit of Spenserian pastoral.
{"title":"Glossing The Shepheardes Calender in Latin Translation","authors":"Katie Mennis","doi":"10.3366/tal.2022.0492","DOIUrl":"https://doi.org/10.3366/tal.2022.0492","url":null,"abstract":"This article examines two Latin translations of The Shepheardes Calender by John Dove (1584) and Theodore Bathurst ( c.1602) respectively. It explores their versions of three aspects of Spenserian pastoral (all prominent in E.K.'s gloss): community and competition; allegory and allusion; register and rusticity. Throughout, it argues for the influence of translation theory on the translations and The Shepheardes Calender. It revises misinformation about the translations, demonstrating that Dove's translation influenced Bathurst's and that Bathurst's is collectively authored. It explores the way in which the translations ‘re-allegorize’ the Calender and reproduce Spenser's rustic style. While Bathurst's translation reveals an interest in Spenser's experience of patronage and poetic career, Dove attends to the poem's religious allegory, political significance, and linguistic agenda, ultimately using his translation to allude to the public disputations of Edmund Campion. Rather than ‘missing the point’ of Spenser's vernacular achievement, the translations extend the remit of Spenserian pastoral.","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44571012","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines translations of Salman Rushdie's second novel, Midnight's Children, into French, German, Italian, and Turkish. Specific examples reveal that while all translators maintain a foreignizing stance toward the source text, their respective target languages and cultures make foreignizing a relative effect, dependent on the target language and target culture's distance from or proximity to the source text/culture. The article also argues that Rushdie's novel fits the notion of literatures of the world, because the translations replicate and also refract the source text in different contexts, thus effectively multiplying a single source novel to become plural in its multiple (language) worlds.
{"title":"Reading Rushdie in Translation: Midnight's Children, Postcolonial Writing/Translation, and Literatures of the World","authors":"Adelheid Rundholz, M. Kırça","doi":"10.3366/tal.2021.0480","DOIUrl":"https://doi.org/10.3366/tal.2021.0480","url":null,"abstract":"This article examines translations of Salman Rushdie's second novel, Midnight's Children, into French, German, Italian, and Turkish. Specific examples reveal that while all translators maintain a foreignizing stance toward the source text, their respective target languages and cultures make foreignizing a relative effect, dependent on the target language and target culture's distance from or proximity to the source text/culture. The article also argues that Rushdie's novel fits the notion of literatures of the world, because the translations replicate and also refract the source text in different contexts, thus effectively multiplying a single source novel to become plural in its multiple (language) worlds.","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45864350","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Satan's first words in Paradise Lost (‘how changed | From him’) famously allude to Book 2 of the Æneid. Interpretations of Satan's character and of the relationship between Milton's epic and its precursor have been enriched through recognition of this arresting intertextual moment. Recent theoretical and methodological innovations can help to reveal yet more about these intertextual dynamics. Milton alludes in a way that takes account of prior links in an allusive chain, responding not only to the Æneid but also to mediating texts, including Vida's Christiad, whose wresting of the Vergilian phrase to fresh use Milton repeats with crucial changes. Milton's allusion should also be situated within an even broader and more generically variegated network of print diffusion. Vergil's phrase became a commonplace, but still ran within semantic circuits relevant to the allusive chain linking post-Vergilian epics. Milton's ‘how changed’ in turn established itself as a poetic formula.
{"title":"How Changed? Milton, Vida, Vergil, and a Network of Allusion","authors":"David Currell","doi":"10.3366/tal.2021.0478","DOIUrl":"https://doi.org/10.3366/tal.2021.0478","url":null,"abstract":"Satan's first words in Paradise Lost (‘how changed | From him’) famously allude to Book 2 of the Æneid. Interpretations of Satan's character and of the relationship between Milton's epic and its precursor have been enriched through recognition of this arresting intertextual moment. Recent theoretical and methodological innovations can help to reveal yet more about these intertextual dynamics. Milton alludes in a way that takes account of prior links in an allusive chain, responding not only to the Æneid but also to mediating texts, including Vida's Christiad, whose wresting of the Vergilian phrase to fresh use Milton repeats with crucial changes. Milton's allusion should also be situated within an even broader and more generically variegated network of print diffusion. Vergil's phrase became a commonplace, but still ran within semantic circuits relevant to the allusive chain linking post-Vergilian epics. Milton's ‘how changed’ in turn established itself as a poetic formula.","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48646628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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