Relevant bibliographies by topics / Japanese fiction in translation

Academic literature on the topic 'Japanese fiction in translation'

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Published: 25 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Japanese fiction in translation"

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Yokota-Murakami, Takayuki. "The Historically Changing Notion of (Female Bodily) Proportion and Its Relevance to Literature." Perichoresis 18, no. 2 (June 1, 2020): 17–30. http://dx.doi.org/10.2478/perc-2020-0008.

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AbstractFutabatei Shimei (1864-1909) was an early modern Japanese novelist, translator, and critic. He wrote what is now generally conceived of as the first Japanese ‘modern’ novel, Drifting Clouds (1887-89). He translated works by Turgenev, Leo Tolstoy, Garshin, Gorky, and others. He also published a number of critical essays, treatises on literary theory, political papers, and so forth. His early translation of Turgenev’s short stories: Aibiki (Rendevous, 1888) and Meguriai (Three Trysts, 1889) were extremely influential on the contemporary literati, who were amazed at the fresh, poetic prose used in stark contrast to the traditional Japanese fiction in the pre-Reformation period. These translations, seen in the light of the present-day readers, were unique in what we might term today ‘foreignizing translation’. Lawrence Venuti in Invisibility of the Translator argues that the ideal of (English) translation has been to conceal itself as a translation, i.e. to present itself as an original text (chap I and passim). In that sense, Futabatei’s translations, scandalously presenting itself as a translation, that is to say, as an alien text, is extremely ‘foreignizing’.
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Harker, Jaime. "Contemporary Japanese Fiction & ‘Middlebrow’ Translation Strategies." Translator 5, no. 1 (January 1999): 27–44. http://dx.doi.org/10.1080/13556509.1999.10799032.

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Khamidov, Khayrillo, and Diyora Abdurakhimova. "Translation of Idioms from Japanese and Turkish to Uzbek Language." International Journal of Multicultural and Multireligious Understanding 8, no. 4 (April 4, 2021): 397. http://dx.doi.org/10.18415/ijmmu.v8i4.2579.

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This article is devoted using idioms in translating Japanese and Turkish fiction book into Uzbek language. This article analyses Japanese phrases and discusses methods of translating them. As a comparison, Russian and Turkish alternatives of some phrases are given as well. This article also emphasizes how idiomatic expression can illustrate delicate meaning of cultural heritage and uniqueness of the nation. Some proposals which have been put forth by the article and scientific deductions might be helpful for effectively translating the text. Obviously, there are many elements of cultural uniqueness in all fiction books and there have been problems during the translation. In order to solve these problems it requires great deal of talent which is not easy to gain. It can be easily seen in phraseological units which represent traditions, social life and customs of one particular nation. Because rebuilding phrases requires not only special approach but also distinguish those phrases among one thousand words. Moreover, translating them into another language comprehensively is very complex process. It requires to know about Uzbek and Japanese languages’ different original constructions of many phrases in completely different roots and this prioritizes to be careful with ethology of phraseological units and learning source thoroughly. In the following article authors focused on problems of translating phraseological aspects.
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Kordzińska-Nawrocka, Iwona. "Poetyka polskiego przekładu Genji monogatari, czyli Opowieści o księciu Genjim Murasaki Shikibu." Między Oryginałem a Przekładem 28, no. 4(58) (December 18, 2022): 107–25. http://dx.doi.org/10.12797/moap.28.2022.58.05.

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POETICS OF THE FIRST POLISH TRANSLATION OF GENJI MONOGATARI, OR THE TALE OF GENJI BY MURASAKI SHIKIBU: THE TRANSLATOR’S POINT OF VIEW The article identifies the most important translation strategies and challenges faced by the translator of the first Polish translation of Genji Monogatari, or The Tale of Genji. The work, written in 1008, is a masterpiece of not only Japanese but also world literature and is widely included in the cultural heritage of humanity. Its author, Murasaki Shikibu (?978-1025 or 1031) is considered a forerunner of modern literary fiction with a profound humanistic approach. The work itself has been translated into modern Japanese and many European languages. Originally written in classical Japanese, it is distinguished by the ambiguity of expression, lexical polysemy, elaborate honorific language, and cultural hermeticism. The author discusses how, in light of the above, the Polish translation will balance the goal of making Murasaki’s work intelligible for the Polish reader with the need of preserving the elements of ‘foreignness’ of the old Japanese culture, for the translation is intended to fulfill not only a mediating and communicative function between Polish and Japanese cultures but also a cognitive one.
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Young, Victoria. "Beyond “Transborder”: Tawada Yōko’s Vision of Another World Literature." Japanese Language and Literature 55, no. 1 (April 21, 2021): 1–33. http://dx.doi.org/10.5195/jll.2021.181.

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This article presents a critical examination of “transborder” literary approaches that seek to renegotiate the position of Japanese fiction within the world. The concept of transborder fiction has emerged in recent decades as a means of breaking down the boundaries of Japanese literature that assume agreement between the nationality of a writer and the language of her text. However, as it takes its cues from David Damrosch’s influential study of 2003, What is World Literature?, which suggests that literature gains in value in translation, transborder literature betrays its desires to promote Japan’s national literature in a globalising literary context. This more critical view reveals that despite their calls for greater literary diversity, transborder approaches exhibit problematic tendencies that threaten to erase the multiple flows of language and intertextuality already extant within modern Japanese fiction and turn its eye away from history. This critique is focalised through the writing of Tawada Yōko, whose prolific output of literary works and essays in Japanese and German appear to epitomise the image of transborder writing, and yet which frequently challenge these assumptions. Both the book-length essay Exophony (2003) and the Japanese novel Tabi o suru hadaka no me (2004) offer prescient critiques rooted in history that expose moments of rupture, asymmetry and untranslatability, which an emphasis on border crossings threatens to overlook. However, by choosing to peer through those gaps, guided by the latter’s Vietnamese narrator, these texts also incite hitherto unseen connections between Tawada’s Japanese fiction and the world.
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KIM, Jiyoung. "Toward the Translation Zone of Solidarity and Hospitality Beyond Hate：On the Reception of “K-Literature” in Japan." Border Crossings: The Journal of Japanese-Language Literature Studies 17, no. 1 (December 28, 2023): 251–69. http://dx.doi.org/10.22628/bcjjl.2023.17.1.251.

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The 2010s in Japan saw a boom in “hate books” inciting hatred toward Korea and China, along with the spread of hate speech against diverse minority groups and socially vulnerable people. Discrimination and oppression against women and minorities had emerged globally as a serious social issue during this period, as symbolized by the #MeToo movement and the BLM movement. This paper examines the meaning and potential of translation literature against this backdrop of an age of hatred. Since the Japanese translation of Cho Nam-ju’s novel <i>Kim Jiyoung, Born</i> 1982 became a bestseller in 2019, there has been a surge in the translation of Korean literature in Japan, known as the “K-literature” boom. Feminism is an important keyword in the active reception of Korean literature, and translation has mediated women’s solidarity against misogyny. Recently, Japanese readers have gained a great familiarity through magazines and translations with contemporary Korean feminist science fiction, a prominent feature of which is its subversive imagination that seeks symbiotic relationships between women, minorities, and non-human beings. It remains to be seen whether translation literature can build solidarity and hospitality among diverse Others transcending hate.
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Chan, Leo Tak-Hung, and Jindan Ni. "Archaism, “Elegant Paraphrase,” and the Chinese Translation of Three Modern Japanese Novels." Comparative Literature Studies 60, no. 4 (November 2023): 647–72. http://dx.doi.org/10.5325/complitstudies.60.4.0647.

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ABSTRACT The article examines the use of archaization as a strategy of aesthetic translation in rendering modern Japanese fiction into Chinese. The “classical” style, which resurged at the end of the twentieth century after decades of active championing of the vernacular in China, has been deployed in domesticating major Japanese fictional works originally written in quite different registers. Through close textual analyses of Tanizaki Jun’ichirō’s “Portrait of Shunkin (1933),” Kawabata Yasunari’s Snow Country (1935–1947), and Murakami Haruki’s Norwegian Wood (1987), this article shows how the inclusion of elements from the literary language significantly reshapes the source texts for the Chinese audience and how attempts were made to justify these stylistic deviations. In reading these cases against the belles infidèles tradition in seventeenth-century France and contemporary translation theories that favor foreignization, one sees the underlying ideology that led to the preference for “elegant paraphrase” in the late twentieth-century China.
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Murakawa, Hide. ""Film Director Tanaka Kinuyo": The Challenges of Female Authorship." JCMS: Journal of Cinema and Media Studies 62, no. 4 (June 2023): 130–54. http://dx.doi.org/10.1353/cj.2023.a904630.

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abstract: In 1953, Tanaka Kinuyo, one of Japan's legendary stars, made her debut as a film director, becoming the first Japanese woman to regularly direct feature-length fiction films. In "Eiga kantoku Tanaka Kinuyo" ("Film Director Tanaka Kinuyo," 2016), Murakawa Hide explores Tanaka's early directorial career through interviews with actors and staff members who worked under Tanaka at the time. These interviews provide valuable insight into the industrial and political context in which Tanaka debuted and how she was perceived inside the industry. Included here is an original translation of Murakawa's article as well as an introduction from the translator addressing how the gendered experiences of authorship, stardom, and ageism intersect in Tanaka's directorial career.
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Liu, Zhiqiang, and Hui Xiong. "Jiang Guangci as a Translator of Russian Literature into Chinese." Nauchnyi dialog 11, no. 10 (January 6, 2023): 220–36. http://dx.doi.org/10.24224/2227-1295-2022-11-10-220-236.

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The translation activity of the founder of revolutionary Chinese literature, Jiang Guangci, is considered. The novelty of the study is due to the fact that the translations of Russian and Soviet literature by Jiang Guangci are almost not studied in scientific circles. The relevance of the study is due to the importance of building and strengthening Chinese-Russian cultural ties, including in the field of translation of fiction, in which Jiang Guangci was successful in the 20s of the XX century. It has been established that Jiang Guangci’s translations corresponded to his revolutionary ideals, which he embodied in his original works. It is noted that Jiang Guangci's worldview determined his choice of Russian and Soviet works embodying revolutionary ideals for translation. It is shown that his translations received wide support from young people due not only to the content, but also to the simple, understandable language of presentation. The participation of Jiang Guangci in the literary discussion about the translation strategy is presented. Due to his good knowledge of the Russian, he made translations from the original, and not from Japanese translations of Russian works. The authors come to the conclusion that the translation activity of Jiang Guangci has not been sufficiently studied and has prospects for study.
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이한정. "The Conditions and Characteristics of Translation of Japanese Fiction into Korean." Journal of the society of Japanese Language and Literature, Japanology ll, no. 51 (November 2010): 329–50. http://dx.doi.org/10.21792/trijpn.2010..51.017.

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Dissertations / Theses on the topic "Japanese fiction in translation"

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Jaques, Thomas Matthew. "Translating the Nakazuri : translation of eighteen contemporary Japanese short stories and critical essay /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/6687.

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Bradshaw, Daniel. "The unseen world an exploration of contemporary Japanese short fiction in translation /." Connect to resource, 2006. http://hdl.handle.net/1811/6511.

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Thesis (Honors)--Ohio State University, 2006.
Title from first page of PDF file. Document formatted into pages: contains 55 p.; also includes graphics. Available online via Ohio State University's Knowledge Bank.
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Kindler, Jessica Claire. "Tokuya Higashigawa's After-Dinner Mysteries: Unusual Detectives in Contemporary Japanese Mystery Fiction." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1011.

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The detective fiction (tantei shōsetsu) genre is one that came into Japan from the West around the time of the Meiji Restoration (1868), and soon became wildly popular. Again in recent years, detective fiction has experienced a popularity boom in Japan, and there has been an outpouring of new detective fiction books as well as various television and movie adaptations. It is not a revelation that the Japanese detective fiction genre, while rife with imitation and homage to Western works, took a dramatic turn somewhere along the line, away from celebrated models like Poe, Doyle, and Christie, and developed into a unique subgenre of Japanese prose. However, despite its popularity and innovation, Japanese detective fiction has often been categorized as popular literature (taishū bungaku), which is historically disregarded as vulgar and common. My thesis first consists of a brief introductory history oftantei shōsetsugenre in Japan. This includes a discussion of Japanese writers' anxiety concerning imitation of Western forms and their perception of themselves as imposters and imitators. Following this, I examine the ways in whichtantei shōsetsuwriters--particularly Edogawa Ranpo (1894 - 1965), the grandfather of the genre in Japan--began to deviate from the Western model in the 1920's. At the same time, I investigate the bias againsttantei shōsetsuas a vulgar or even pornographic genre. Through a discussion of literary critic Karatani Kōjin's ideas on the construction of depth in literature, I will demonstrate how Edogawa created, through his deviance from the West, a new kind of construction in detective fiction to bring a different sort of depth to what was generally considered merely a popular and shallow genre. This discussion includes a look at the ideas of Tsubouchi Shōyō on writing modern novels, and Japanese conceptions of "pure" (junsui) and "popular" (taishū) literature. Through an examination of several of Edogawa's works and his use of psychology in creating interiority in his characters, I propose that the depth configuration, put forth by Karatani in his critique of canonical modern Japanese literature, is also present in popular fiction, like Edogawa'stantei shōsetsu. When viewed through the lens of Karatani's depth paradigm, we discover how detective fiction and the vulgarity therein may actually have more in common with "pure" fiction created by those writers who followed Shōyō's prescriptions. In the final section of the introduction, I propose a definition of Japanese detective fiction that links Edogawa's works from the 1920's to the contemporary Japanese detective novel After-Dinner Mysteries (Nazotoki wa dinaa no ato de, 2010), by Higashigawa Tokuya. Thus we see that many of the themes and conventions present in Edogawa remain prevalent in contemporary writing. Finally, I present my translation of the first two chapters of After-Dinner Mysteries.
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Hedberg, William. "Locating China in Time and Space: Engagement with Chinese Vernacular Fiction in Eighteenth-Century Japan." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10197.

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This dissertation discusses the Edo-period Japanese translation, adaptation, and theoretical analysis of Chinese popular fiction and drama between 1680 and 1815. I focus on the ways in which Japanese encounters with fiction and drama written in the unfamiliar “vernacular” engendered reinterpretations of Japan’s cultural relationship to China. Whereas this relationship had previously centered largely on the Confucian classics and their ongoing interpretation in Japan, I argue that the introduction of vernacular texts enabled new modes of visualizing China’s position as a locus of textual and cultural authority. I connect the increasingly formalized study of vernacular texts to a discourse on temporality and linguistic change, and demonstrate the degree to which engagement with late imperial Chinese fiction and drama led to the reformulation of definitions of culture, literature, and language. By dramatically widening the range of materials and texts that could be used to construct a vision of China, the introduction of vernacular fiction and drama encouraged Edo-period philologists and fiction connoisseurs to reconceptualize both the criteria for judging textual competence, and the position of their own writing with respect to China. Rather than focusing on eighteenth-century efforts to efface traces of China’s cultural imprint on Japan, I seek to complicate accounts of the development of Japanese literature by exploring the oeuvres of philosophers, philologists, and fiction writers who attempted to theorize areas of convergence between Chinese and Japanese literary production. The study is divided into four chapters. Chapter One introduces the major themes of the dissertation as a whole and analyzes the rhetoric surrounding both the introduction of Chinese vernacular texts and subsequent attempts at reifying their study as an independent academic discipline. Chapter Two develops these themes further through an analysis of three eighteenth-century explorations of aesthetics, genre, and literary translation. In Chapters Three and Four, I examine a group of anomalous “reverse translations” of Japanese fiction and drama into the language and structure of vernacular Chinese fiction—using these largely overlooked texts to map out networks of literary contact and discuss the hermeneutics underlying eighteenth-century Japanese engagement with vernacular Chinese fiction and drama.
East Asian Languages and Civilizations
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Mussakhanova, G. "Translation of metonymy in fiction." Thesis, Sumy State University, 2017. http://essuir.sumdu.edu.ua/handle/123456789/52086.

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Metonymy is one of the most common tropes in fiction based on the interaction of logical and contextual meanings of lexical units or groups of lexical units where the context is the artwork and idea inserted by the author.
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Tanaka, Motoko. "Apocalypticism in postwar Japanese fiction." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/32065.

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This dissertation discusses modern Japanese apocalyptic fiction in novels, manga narratives, and animated films. It begins with an overview of the apocalyptic tradition from ancient times to the modern day, and reveals the ways in which apocalyptic narratives have changed due to major socio-cultural transitions. It focuses on two themes of apocalyptic narratives: the relationship between self and Other; and the opposition of conflicting values such as life/death and natural/artificial. Through a close study of these themes in apocalyptic fictions in postwar Japan, it becomes clear that such narratives primarily target a male audience and function as a tool to stabilize the damaged identities of the nation and the modern individual after the defeat in World War II. The study focuses on the period of transition after the end of World War II: Until the 1970s, Japanese apocalyptic narratives, targeting adult men, attempted to bring ideals into reality in order to reestablish the damaged national identity. The failures of social movements in the 1960s meant that it was no longer possible for Japanese to participate in real movements that aimed to counter the United States as threatening Other. This is reflected in the shift in apocalyptic narratives from the 1980s onward toward quests for ideals in fictional settings, targeted at younger males. After 1995, the Japanese apocalypse becomes totally postmodernized and explicitly targeted at young boys. Apocalypse after 1995 features characters who lack serious interpersonal relationships and those who inhabit an endless and changeless simulacrum world. It becomes difficult for the youth to establish their identities as mature members of society, for they are increasingly losing their connections with the wider community. In the contemporary Japanese apocalypse, there is no one left but a hypertrophic self-consciousness. This raises the question of whether it is possible for contemporary Japan to become fully mature. Japanese postmodern apocalyptic narratives suggest two different responses: one is to affirm that Japan is an eternally impotent adolescent state that tries to criticize power by subversively manipulating its relationships with the powerful. The other is to wait for an infinitesimal change of maturity in mundane daily life.
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Furukawa, Hiroko. "De-feminising translation : making women visible in Japanese translation." Thesis, University of East Anglia, 2010. https://ueaeprints.uea.ac.uk/48143/.

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When feminist translation is discussed, it tends to be proposing a feminising translation strategy to give women their own voice. My thesis, however, presents a de-feminising translation. This results from the over-feminising convention in Japanese literature, both original and translated. Female characters’ speech has been over-feminised despite the dissonance with real Japanese women’s language use, and the convention has reinforced and maintained gender ideology in Japanese society. My study offers theoretical description and a prescriptive approach. In the theoretical description, I offer empirical and statistical analyses to describe the over-feminising convention, which is a new contribution in this research area. I also investigate the history of the convention and its function in society from an ideological perspective, and then explore translation problems of the convention. The systematic explanation of the translation problems in relation to the overfeminising convention is also a new area of research in translation studies. The prescriptive approach is an attempt to integrate theories into practical translation by presenting an empirical de-feminising translation. Through my project, I have become aware that when western feminist theory is used in the Japanese context, we should adjust the idea to the recipient culture. Feminism, in the western sense, has not been widely accepted in Japanese culture and there is a danger in presenting a radical feminist translation. Having worked as a book editor in Tokyo, Japan, I am aware that most of the publishers cannot ignore the commercial side of the book business. Thus, if I translated a text with a radical feminist approach, it might not be accepted by the intended readership and this is not my aim. Therefore, the proposed strategy searches for the best balance between an academic approach and commercial acceptance.
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Bhowmik, Davinder Leslie. "Narrative acts of resistance and identity in modern Okinawan fiction /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11075.

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Hemsworth, Kirsty. "Translation and/as empathy : mapping translation shifts in 9/11 fiction." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/19920/.

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This thesis seeks to establish an unprecedented empathic approach to the comparative analysis of 9/11 fiction in translation. The central tenet of this study is that translation – as a creative, subversive and disarming force – is a fundamentally empathic process. As parallel and reciprocal works of fiction, 9/11 novels and their translations are not only bound by the centrifugal force of the traumatic event at their centres, but perform, expand and subvert the same empathic structures and interactions on which they are founded. By foregrounding an innovative comparison of translation shifts, this thesis will map the potential for interactivity and reciprocity across the translation divide, and reinstate the translated text as a rich terrain for textual analysis. This thesis will focus on four key works of fiction and their French translations: Falling Man and L’homme qui tombe (Don DeLillo), The Submission and Un Concours de Circonstances (Amy Waldman), Terrorist and Terroriste (John Updike), and The Zero and Le Zéro (Jess Walter). This topographical overview of 9/11 fiction offers a deliberately fragmentary and episodic account of a genre that is unsettled in translation, with a view to capturing, and testing the limits of, the vast temporal, empathic and imaginative networks in which the texts and their translations participate. By drawing complex empathic maps of 9/11 fiction and their translations, this thesis will emphasise the value of translation shifts as an innovative and critical tool for literary analysis. It seeks to expand the limits of contemporary literary translation approaches to accommodate dynamic, empathic forms of analysis and textual modes of comparison, where both source and target texts are indivisible from the empathically-unsettled terrains in which they are forged.
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Burton, William James. "In a perfect world : utopias in modern Japanese literature /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11144.

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Books on the topic "Japanese fiction in translation"

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Mack, David. Kabuki.: Lost in translation. Orange, CA: Image Comics, 2002.

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L, Apostolou John, and Greenberg Martin Harry, eds. The best Japanese science fiction stories. New York: Barricade Books, 1997.

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Kunisaki, Fumimaro, 1916- editor, translator and Inagaki, Taiichi, 1945- editor, translator, eds. Kŭmsŏk iyagijip: Ilbonbu : Kŭmsŏk murŏjip = A translation of "Konjaku monogatarishu". Sŏul: Sech'ang Ch'ulp'ansa, 2016.

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Mizuta, Lippit Noriko, and Selden Kyoko Iriye 1936-, eds. Japanese women writers: Twentieth century short fiction. Armonk, N.Y: M.E. Sharpe, 1991.

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Helen, Mitsios, ed. New Japanese voices: The best contemporary fiction from Japan. New York: Atlantic Monthly Press, 1991.

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Sō, Aono, ed. Chebi tungji ka innŭn chip ŭi chʻimipcha: Ilbon hyŏndae munhak taepʻyo chakka chasŏnjip. Sŏul: Sinʾgu Midiŏ, 1996.

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Kyōka, Izumi. Japanese gothic tales. Honolulu: University of Hawaiì Press, 1996.

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Barbara, Summerhawk, and Hughes Kimberly, eds. Sparkling rain: And other fiction from Japan of women who love women. Chicago, Ill: New Victoria Publishers, 2008.

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1955-, aKim Chae-yong, Kim Mi-ran, and No Hye-gyŏng 1958-, eds. Singminjuŭi wa pihyŏmnyŏk ŭi chŏhang: Ilchemal chŏnsigi Ilbonŏ sosŏlsŏn. Sŏul: Yŏngnak, 2003.

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Tanizaki, Junʾichirō. Seven Japanese tales. New York: Vintage Books, 1996.

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Book chapters on the topic "Japanese fiction in translation"

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Oskarsson, Erik. "Foreigner Talk or Foreignness: The Language of Westerners in Japanese Fiction." In International Perspectives on Translation, Education and Innovation in Japanese and Korean Societies, 75–93. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-68434-5_5.

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McMurran, Mary Helen. "Fiction." In Routledge Encyclopedia of Translation Studies, 185–89. 3rd ed. Third edition. | London ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315678627-40.

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Hamada, Iori. "Cross-Cultural Translation." In The Japanese Restaurant, 87–115. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003362463-4.

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Seago, Karen, and Victoria Lei. "Translation." In The Routledge Companion to Crime Fiction, 85–93. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429453342-11.

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Jin, Yuan. "The influence of translated fiction on chinese romantic fiction." In Translation and Creation, 283. Amsterdam: John Benjamins Publishing Company, 1998. http://dx.doi.org/10.1075/btl.25.18jin.

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Wakabayashi, Judy. "Words." In Japanese–English Translation, 1–20. Names: Wakabayashi, Judy, author. Title: Japanese–English translation: an advanced guide/Judy Wakabayashi. Description: London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003018452-1.

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Wakabayashi, Judy. "Non-standard varieties of language." In Japanese–English Translation, 161–77. Names: Wakabayashi, Judy, author. Title: Japanese–English translation: an advanced guide/Judy Wakabayashi. Description: London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003018452-10.

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Wakabayashi, Judy. "Languages interacting." In Japanese–English Translation, 178–91. Names: Wakabayashi, Judy, author. Title: Japanese–English translation: an advanced guide/Judy Wakabayashi. Description: London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003018452-11.

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Wakabayashi, Judy. "Translators at play." In Japanese–English Translation, 192–212. Names: Wakabayashi, Judy, author. Title: Japanese–English translation: an advanced guide/Judy Wakabayashi. Description: London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003018452-12.

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Wakabayashi, Judy. "Discourse-level issues." In Japanese–English Translation, 213–28. Names: Wakabayashi, Judy, author. Title: Japanese–English translation: an advanced guide/Judy Wakabayashi. Description: London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003018452-13.

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Conference papers on the topic "Japanese fiction in translation"

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Tursinaliyevna, Jabborova Zuhra. "Notions of translation with fiction and non-fiction sources." In TEACHING FOREIGN LANGUAGES IN THE CONTEXT OF SUSTAINABLE DEVELOPMENT: BEST PRACTICES, PROBLEMS AND OPPORTUNITIES. ISCRC, 2023. http://dx.doi.org/10.37547/geo-70.

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This article discusses the concept of translation materials with literary and non-literary materials in English. As it has been discussed above, translation is a highly versatile professional field. Translators are language experts who often specialize in a specific field, however, they not only need to possess knowledge, but also need to have a well-developed translation methodology. In this article, we will explore the different translation methods and techniques that occur in this line of work and explain how they work.
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Belova, Julia A. "LINGVOCULTURAL STRATEGIES OF FICTION TRANSLATION." In FUNCTIONAL ASPECTS OF INTERCULTURAL COMMUNICATION. TRANSLATION AND INTERPRETING ISSUES. Peoples' Friendship University of Russia, 2019. http://dx.doi.org/10.22363/2712-7974-2019-6-563-572.

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Белова, Юлия. "STRATEGIES OF FICTION TEXT TRANSLATION." In LINGUISTIC UNITS THROUGH THE LENS OF MODERN SCIENTIFIC PARADIGMS. Baskir State University, 2021. http://dx.doi.org/10.33184/yevssnp-2021-11-30.17.

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Gusakova, A. I. "Equivalence and adjectivity of translation fiction." In ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ. НИЦ «Л-Журнал», 2018. http://dx.doi.org/10.18411/lj-12-2018-14.

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Ma, Dongmei. "Teaching Translation and Interpreting through Fiction." In 2018 2nd International Conference on Management, Education and Social Science (ICMESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icmess-18.2018.131.

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Kunilovskaya, Maria, Ekaterina Lapshinova-Koltunski, and Ruslan Mitkov. "Fiction in Russian Translation: A Translationese Study." In International Conference Recent Advances in Natural Language Processing. INCOMA Ltd. Shoumen, BULGARIA, 2021. http://dx.doi.org/10.26615/978-954-452-072-4_084.

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Kusumastuti, Fenty. "Analyzing Translation through the Science Fiction Film Arrival." In 1st Bandung English Language Teaching International Conference. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0008214600050013.

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Jin, Yiming. "Found in Translation: Fiction, Lived Experience, and Translation as the Third Space." In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1588034.

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Zhang, Hong, and Fuji Ren. "Negative expression translation in Japanese and Chinese machine translation." In 2008 International Conference on Natural Language Processing and Knowledge Engineering (NLP-KE). IEEE, 2008. http://dx.doi.org/10.1109/nlpke.2008.4906788.

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Kim, Jung-in, and Kang-hyuk Lee. "Inflected Words Translation on Japanese-to-Korean Machine Translation." In 2006 International Conference on Hybrid Information Technology. IEEE, 2006. http://dx.doi.org/10.1109/ichit.2006.253663.

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Reports on the topic "Japanese fiction in translation"

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Abbott, Danny L., and R. L. Bandel. Japanese Economic Victory Over America: Fact or Fiction. Fort Belvoir, VA: Defense Technical Information Center, April 1990. http://dx.doi.org/10.21236/ada220698.

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Tabassi, Elham. AI Risk Management Framework - Japanese translation. Gaithersburg, MD: National Institute of Standards and Technology, 2024. http://dx.doi.org/10.6028/nist.ai.100-1.jpn.

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Kindler, Jessica. Tokuya Higashigawa's After-Dinner Mysteries: Unusual Detectives in Contemporary Japanese Mystery Fiction. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1011.

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Stine, Kevin. Japanese Translation of Framework for Improving Critical Infrastructure Cybersecurity Version 1.1 (Cybersecurity Framework). Gaithersburg, MD: National Institute of Standards and Technology, 2022. http://dx.doi.org/10.6028/nist.cswp.6.jpn.

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Zhou, Nan, Chris Marnay, Ryan Firestone, Weijun Gao, and Masaru Nishida. The potential for distributed generation in Japanese prototype buildings: A DER-CAM analysis of policy, tariff design, building energy use, and technology development (Japanese translation). Office of Scientific and Technical Information (OSTI), October 2004. http://dx.doi.org/10.2172/836809.

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