{"title":"Bastard Battle by Céline Minard, translated from the French by Alexandra Gough","authors":"","doi":"10.3366/ccs.2022.0426","DOIUrl":"https://doi.org/10.3366/ccs.2022.0426","url":null,"abstract":"","PeriodicalId":42644,"journal":{"name":"Comparative Critical Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45859648","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":"Antonella Braida, ed., Mary Shelley and Europe: Essays in Honour of Jean de Palacio","authors":"M. Schoina","doi":"10.3366/ccs.2022.0429","DOIUrl":"https://doi.org/10.3366/ccs.2022.0429","url":null,"abstract":"","PeriodicalId":42644,"journal":{"name":"Comparative Critical Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43379302","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":"Salvatore Pappalardo, Modernism in Trieste: The Habsburg Mediterranean and the Literary Invention of Europe, 1870–1945","authors":"M. Deganutti","doi":"10.3366/ccs.2022.0431","DOIUrl":"https://doi.org/10.3366/ccs.2022.0431","url":null,"abstract":"","PeriodicalId":42644,"journal":{"name":"Comparative Critical Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49455169","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}
Three recent texts emerging from distinct parts of China, all ‘dictionaries’ of sorts, each serve as a marker of the revolutionary potential of translation within their own contexts, but also as a marker of the limitations to translating the politics of translation to a world reader. At a moment when the Han-centric CCP (Chinese Communist Party) is reducing regional autonomy and forcing citizens into re-education camps, questions of language use and (un)translatability can have immediate and concrete consequences. The official and unofficial multiplicity of Chinese conceptions of ethnicity and nationality provide a necessary background for an understanding of the severity of the consequences of translation in the contemporary contexts. Likewise, a history of the dictionary in China provides insights as to why the dictionary form has been adopted to varying degrees by multiple contemporary texts. The parallax created between the Chinese contexts and world contexts of these texts, however, serves as a stark reminder of the potential bounds of the world literature paradigm.
{"title":"Dictionary (noun) – A Revolutionary Act or Performance: Socio-Political Lessons from China on the Power and (Un)Translatability of Words","authors":"Glenn A. Odom","doi":"10.3366/ccs.2022.0424","DOIUrl":"https://doi.org/10.3366/ccs.2022.0424","url":null,"abstract":"Three recent texts emerging from distinct parts of China, all ‘dictionaries’ of sorts, each serve as a marker of the revolutionary potential of translation within their own contexts, but also as a marker of the limitations to translating the politics of translation to a world reader. At a moment when the Han-centric CCP (Chinese Communist Party) is reducing regional autonomy and forcing citizens into re-education camps, questions of language use and (un)translatability can have immediate and concrete consequences. The official and unofficial multiplicity of Chinese conceptions of ethnicity and nationality provide a necessary background for an understanding of the severity of the consequences of translation in the contemporary contexts. Likewise, a history of the dictionary in China provides insights as to why the dictionary form has been adopted to varying degrees by multiple contemporary texts. The parallax created between the Chinese contexts and world contexts of these texts, however, serves as a stark reminder of the potential bounds of the world literature paradigm.","PeriodicalId":42644,"journal":{"name":"Comparative Critical Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48124621","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 focuses on two retellings of the story of Circe, the witch from Homer's Odyssey, exploring Augusta Webster's 1870 dramatic monologue ‘Circe’ and Madeline Miller's 2018 novel of the same name. In both texts Circe's main motivation is to escape from the island, depicted as an idyllic garden, where she has been exiled by the gods. This escape comes to symbolize movement towards revolutionary feminist change; however, there is no possibility of describing what form the escape will take according to existing discourses, suggesting paradoxically that change can only be represented through a failure of all forms of representation. This poses a difficulty in terms of conceptualizing practical social transformation. Michel Foucault's power-knowledge dialectic and Gilles Deleuze's work on virtuality are deployed here to illustrate how ideas of change and newness can be conceptualized from within the system purporting to be changed. Revolution etymologically suggests a recurring back to an idealized state of nature while simultaneously functioning as an invocation of utopian change and the progressively new. Circe's immortality functions as a symbol for this cultural paralysis but the garden represents a way of thinking beyond it. The garden is a space which purports to control or contain temporal and aesthetic movement. However, in fact this space encourages the risk of change in ways which threaten this control, or at least model how containment could be destabilized. For Circe, the garden is thus a platform from which subjective revolutionary possibilities can be modelled in preparation for application to the material world.
{"title":"Circe’s Garden: Rewriting Epic and Revolutionary Time","authors":"Anna Rivers","doi":"10.3366/ccs.2022.0422","DOIUrl":"https://doi.org/10.3366/ccs.2022.0422","url":null,"abstract":"This article focuses on two retellings of the story of Circe, the witch from Homer's Odyssey, exploring Augusta Webster's 1870 dramatic monologue ‘Circe’ and Madeline Miller's 2018 novel of the same name. In both texts Circe's main motivation is to escape from the island, depicted as an idyllic garden, where she has been exiled by the gods. This escape comes to symbolize movement towards revolutionary feminist change; however, there is no possibility of describing what form the escape will take according to existing discourses, suggesting paradoxically that change can only be represented through a failure of all forms of representation. This poses a difficulty in terms of conceptualizing practical social transformation. Michel Foucault's power-knowledge dialectic and Gilles Deleuze's work on virtuality are deployed here to illustrate how ideas of change and newness can be conceptualized from within the system purporting to be changed. Revolution etymologically suggests a recurring back to an idealized state of nature while simultaneously functioning as an invocation of utopian change and the progressively new. Circe's immortality functions as a symbol for this cultural paralysis but the garden represents a way of thinking beyond it. The garden is a space which purports to control or contain temporal and aesthetic movement. However, in fact this space encourages the risk of change in ways which threaten this control, or at least model how containment could be destabilized. For Circe, the garden is thus a platform from which subjective revolutionary possibilities can be modelled in preparation for application to the material world.","PeriodicalId":42644,"journal":{"name":"Comparative Critical Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49470042","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":"Sonnets by Matthias Politycki, translated from the German by Christophe Fricker","authors":"","doi":"10.3366/ccs.2022.0425","DOIUrl":"https://doi.org/10.3366/ccs.2022.0425","url":null,"abstract":"","PeriodicalId":42644,"journal":{"name":"Comparative Critical Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47180439","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}
It can be argued that translations of Surrealist works entail obstacles and contradictions specific exclusively to this mode of literary production. What renders ‘Surrealist translations’ incomparable with other interlingual adventures of the literary avant-garde is the irreducible opposition between translation as a norm-governed, self-reflexive and intersubjective activity and ‘pure psychic automatism’ unconstrained by linguistic and cultural factors other than effectiveness of artistic self-expression. Hence, the translational mimesis involves mimicking the original creative process rather than its product. Indeed, the translators of Surrealist works have often no other choice than to take ‘unmimetic turns’ to convey the oneiric appeal, aleatoricity and figurativeness of the originals. Moreover, the translations of Surrealist works owe their distinctiveness to the neutralization of the opposition between foreignization and domestication in the sense established in translation studies. Their main task is rather to sustain the effect of defamiliarization and to recreate the unexpected clashes of entire semantic fields that animate Surrealist poetry. Of no less importance are the language- and culture-specific possibilities of recreating Surrealist ‘metaphors’ based on divergence and contradiction rather than correlations. Translation as a product of rational decision-making processes inevitably stumbles over the Surrealist metaphor born out of the irrational and coincidental.
{"title":"Translating Surrealist Poetics","authors":"T. Brzostowska-Tereszkiewicz","doi":"10.3366/ccs.2022.0423","DOIUrl":"https://doi.org/10.3366/ccs.2022.0423","url":null,"abstract":"It can be argued that translations of Surrealist works entail obstacles and contradictions specific exclusively to this mode of literary production. What renders ‘Surrealist translations’ incomparable with other interlingual adventures of the literary avant-garde is the irreducible opposition between translation as a norm-governed, self-reflexive and intersubjective activity and ‘pure psychic automatism’ unconstrained by linguistic and cultural factors other than effectiveness of artistic self-expression. Hence, the translational mimesis involves mimicking the original creative process rather than its product. Indeed, the translators of Surrealist works have often no other choice than to take ‘unmimetic turns’ to convey the oneiric appeal, aleatoricity and figurativeness of the originals. Moreover, the translations of Surrealist works owe their distinctiveness to the neutralization of the opposition between foreignization and domestication in the sense established in translation studies. Their main task is rather to sustain the effect of defamiliarization and to recreate the unexpected clashes of entire semantic fields that animate Surrealist poetry. Of no less importance are the language- and culture-specific possibilities of recreating Surrealist ‘metaphors’ based on divergence and contradiction rather than correlations. Translation as a product of rational decision-making processes inevitably stumbles over the Surrealist metaphor born out of the irrational and coincidental.","PeriodicalId":42644,"journal":{"name":"Comparative Critical Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44260904","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}
Daryaganj Sunday Book Market, popularly known as Daryaganj Sunday Patri Kitab Bazaar, is a weekly informal market for used, rare, and pirated books that has been operating on the streets of Old Delhi for the past fifty years. In this essay, I focus on one of the circuits that has been flourishing in this market, that of pirated or ‘duplicate’ or D-books. In order to examine the forms in which piracy thrives in the present-day Patri Kitab Bazaar, and the reasons behind it, I compare two types of pirated books found here: a low-price self-help manual in Hindi and a ‘D’ copy of an English novel by popular Indian author Chetan Bhagat. As I examine the essential role that ‘randomness’ plays in the constitution of pirated texts, I suggest that there is organization to this apparent lack of pattern or unpredictability. Such permutation of order and chaos resonates with the location of the bazaar – a site that thrives on the serendipity of the streets.
Daryaganj Sunday Book Market，俗称Daryaganji Sunday Patri Kitab Bazaar，是一个每周一度的非正式市场，出售二手、稀有和盗版书籍，在过去的五十年里一直在老德里的街道上经营。在这篇文章中，我关注的是这个市场上蓬勃发展的一个循环，即盗版、“复制品”或D书。为了研究盗版在当今的Patri Kitab Bazaar盛行的形式及其背后的原因，我比较了这里发现的两种盗版书籍：一种是印地语的低价自助手册，另一种是印度著名作家Chetan Bhagat的英文小说的D版。当我研究“随机性”在盗版文本构成中所起的重要作用时，我认为这种明显缺乏模式或不可预测性的现象是有组织的。这种秩序和混乱的排列与集市的位置产生了共鸣 – 一个因街道的偶然发现而繁荣起来的地方。
{"title":"The ‘D-Books’ of Daryaganj Sunday Book Market","authors":"Kanupriya Dhingra","doi":"10.3366/ccs.2021.0408","DOIUrl":"https://doi.org/10.3366/ccs.2021.0408","url":null,"abstract":"Daryaganj Sunday Book Market, popularly known as Daryaganj Sunday Patri Kitab Bazaar, is a weekly informal market for used, rare, and pirated books that has been operating on the streets of Old Delhi for the past fifty years. In this essay, I focus on one of the circuits that has been flourishing in this market, that of pirated or ‘duplicate’ or D-books. In order to examine the forms in which piracy thrives in the present-day Patri Kitab Bazaar, and the reasons behind it, I compare two types of pirated books found here: a low-price self-help manual in Hindi and a ‘D’ copy of an English novel by popular Indian author Chetan Bhagat. As I examine the essential role that ‘randomness’ plays in the constitution of pirated texts, I suggest that there is organization to this apparent lack of pattern or unpredictability. Such permutation of order and chaos resonates with the location of the bazaar – a site that thrives on the serendipity of the streets.","PeriodicalId":42644,"journal":{"name":"Comparative Critical Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42892529","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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