Academic literature on the topic 'Translation of contemporary Chinese literature in France'
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Journal articles on the topic "Translation of contemporary Chinese literature in France"
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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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Guo, Yanli. "“Creation Through Translation” in Early Twentieth-Century Women’s Fiction: On a Literary Trend in the Initial Stages of Cultural Exchange Between China and the West." Journal of Chinese Humanities 2, no. 1 (January 28, 2016): 1–17. http://dx.doi.org/10.1163/23521341-12340023.
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In the 1910s, the trend of “creating through translation” emerged in fiction by female Chinese writers. This concept, similar to that of “covert translation,” introduced by the contemporary Western translation theorist Juliane House, sprang up from the early stages of new literary forms that developed in the context of changes in early modern Chinese literature. The works of female Chinese authors were influenced by the plot, characters, and narrative techniques in Western literary works from which they consciously or subconsciously took inspiration, passing from the imitation of foreign novels to “creation through translation.” The arrival of this phenomenon is closely connected to the increased dissemination of Western knowledge and to a wider circulation of foreign novels among female writers in China. When reading and translating foreign literature, female authors transposed, filtered, and rewrote it into new texts that featured local elements. Ideologically and artistically, the practice of “creating through translation” provided enlightening guidance for modern women’s fiction in that it broadened the means of learning from Western literature, proving beneficial to China’s literary and cultural development. The same trend appears in early vernacular poetry during the May Fourth era, from which it can be traced further back to scholarly texts of the early modern period, such as Wei Yuan’s Illustrated Treatise on the Maritime Kingdoms (Haiguo tuzhi 海國圖志) or Wang Tao’s Report on the Franco-Prussian War (Pu-fa zhan ji 普法戰紀). Also Liang Qichao’s writings on Western thought and culture, for example, his Notes on Rousseau (Lusuo xue’an 盧梭學案), are written in a similar form. The emergence of “creation through translation” therefore evidently represents both a conscious, active effort by a generation’s intellectual elite to seek knowledge and truth from cultural exchange between China and the West, and a new exploration and practice under Western influence that had a positive impact on China’s literary and academic history, in that it broadened cultural/academic perspectives and stimulated the development of Chinese literature and culture.
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Ibragimova, Karina R. "he 30th EPIC: The Scottish Ezra Pound. (The 30th Ezra Pound International Conference “Ezra Pound and the Legacy of The Cantos”, Edinburgh, Great Britain, June 27–30, 2023)." Literature of the Americas, no. 15 (2023): 356–64. http://dx.doi.org/10.22455/2541-7894-2023-15-356-364.
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The article provides an overview of the 30th international conference “Ezra Pound and the Legacy of The Cantos”. The conference was held at the University of Edinburgh (June 27–30, 2023). The conference was attended by researchers from fifteen countries, including scholars from the USA, China, Germany, France, South Korea, Great Britain, Russia. The forum was attended by over 60 delegates — teachers, scholars, writers, translators. The conference topics covered all aspects of the life and work of Ezra Pound, including not only the main theme of the conference — Pound's global epic The Cantos — but also addressed the study of the American poet’s early poetics, his last years, his opinions on science, politics, history, and the circle of his personal contacts. The main vectors of the conference were (1) Pound’s London years; (2) his Asian (Chinese and Japanese) studies; (3) the legacy of Antiquity, the Middle Ages and the Renaissance in Pound's work; (4) Pound’s image in different world cultures and literatures; (5) the methods of translation used by Pound; (6) different approaches to the analysis of The Cantos. A fruitful and heated discussion was sparked by the topic “Is there a future for Pound studies?” proposed for the roundtable discussion at the final section. One of the most important features of the conference was its focus on the study of not only Pound's poetry, but also on the poetry of contemporary authors: according to the established tradition, the closing panel of the conference was dedicated to poetry readings and subsequent discussion.
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Khanh, Lai Quoc, and Ngo Thi Huyen Trang. "The Concept of Nationalism and its Development in Vietnam." Journal of Law and Sustainable Development 11, no. 5 (September 1, 2023): e484. http://dx.doi.org/10.55908/sdgs.v11i5.484.
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Objective: This study aims to analyze the development and transformation of the Vietnamese identity through interactions with other countries and examines the significance of the north-south identity. Central to this research is the exploration of nationalism, its development, and implementation in Vietnam. Method: The research adopts a comprehensive approach that includes a literature review, historical analysis, and utilization of various data sources. A comparative study is conducted to contrast the North and South regions, considering their political ideologies, in-group favoritism, and challenges encountered in promoting nationalism. External factors' influence on nationalism is also examined, focusing on the roles of China, America, and France and Marxist ideology in shaping Vietnamese identity. Results: Vietnamese nationalism has its own characteristics that have been formed and formed through thousands of years of fighting for and keeping national independence and national sovereignty. Only a proper understanding of Vietnamese nationalism could be explained why in the past, the Vietnamese people still existed with their own identities after 1000 years of Northern domination with the strong assimilation policy of the Chinese feudal government, and in modern times from the Geneva Agreement (1954) until its collapse on April 30, 1975, the government of the Republic of Vietnam always claimed to be the embodiment of "nationalism" but was rejected and failed by the Vietnamese people themselves, while the government of the Democratic Republic of Vietnam has always been considered communist - in the sense of non-nationalism - and won the nation's support, completing the great cause of liberation of the South and reunification of the country. Conclusions: This research underscores the profound impact of external influences on Vietnam's orientation and translation of nationalism. The study emphasizes the continuing evolution of Vietnamese identity and its relevance in the broader global context. Understanding the development and transformation of the Vietnamese identity is essential for comprehending the dynamics of nationalism and cultural interaction in contemporary Vietnam. The insights gained from this research contribute to a broader understanding of how a nation's identity can be influenced and shaped by interactions with other as well as political ideologies that have influenced the world in each era.
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Xuchen, Zhu. "Taciana Fisac’s Translation of Chinese Modern and Contemporary Literature." Sinología hispánica 7, no. 2 (January 14, 2019): 29. http://dx.doi.org/10.18002/sin.v7i2.5729.
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The internationalization of literature manifests achievement of source language literature and witnesses the target language readers’ requirement of understanding the source language country. Moreover, it reflects the developments and changes on international strategies and relationships. The translation of Chinese literature to Spanish began from 1949, but the first translation from Chinese original edition arose in 1978. Taciana Fisac is one of the first Chinese-Spanish translators in Spain. All her translations were translated from Chinese original edition since Lu Xun’s “Argument” and “Such soldiers” in 1982. Although it is much more difficult, this translation mode is closer to target reader’s habit, and forms personal translation method. This methodology requires translator’s overall grasp and connoisseurship of source literature as well as literature expression and culture delivery ability in target language. Besides, it not only pays attention to source language literatures narrative style, but also considers target language reader’s reception psychology and expression. Taciana Fisac’s translation enriched theory of literature<br />translation, and made significant contribution for internationalization of Chinese modern and contemporary literature.
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Lee, Leo Ou-fan. "Contemporary Chinese Literature in Translation—A Review Article." Journal of Asian Studies 44, no. 3 (May 1985): 561–67. http://dx.doi.org/10.2307/2056268.
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This article surveys the available English translations of contemporary Chinese literature from the People's Republic. In view of the post-Mao Party policy of relative freedom for creative writing, more works are pouring out of China than ever before. Of the most recent translations, the largest share belongs to Panda Books, a publishing subunit of the Foreign Languages Press in Beijing. Under the leadership of the Yangs (Xianyi and Gladys), a husband-and-wife team of great renown, this new Panda series has published more than a dozen titles as of 1984, and new ones continue to be received.Despite its voluminous production, the editors of the Panda series have made certain choices that are of dubious value. Especially weak is the representation of traditional literary works, which are often drastically abridged or collected in slender anthologies. In comparison, coverage of modern and contemporary works is more exciting. The translations are generally correct, the most felicitous from the hands of Gladys Yang. However, the translations suffer from a certain uniformity of style and sometimes from severe cuts. Volumes in the series are nevertheless a useful addition to the increasing library of English translations of contemporary Chinese literature, now more than adequate for an undergraduate course.
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McDougall, Bonnie S. "World literature, global culture and contemporary Chinese literature in translation." International Communication of Chinese Culture 1, no. 1-2 (June 19, 2014): 47–64. http://dx.doi.org/10.1007/s40636-014-0005-7.
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Cordasco, Rachel S. "Broken Stars: Contemporary Chinese Science Fiction in Translation." World Literature Today 93, no. 2 (2019): 96–97. http://dx.doi.org/10.1353/wlt.2019.0302.
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Ye, Zheng, and Xu Hong. "Translation and reception of Wang Anyi’s Works in Russia." OOO "Zhurnal "Voprosy Istorii" 2022, no. 12-3 (December 1, 2022): 354–67. http://dx.doi.org/10.31166/voprosyistorii202212statyi94.
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Wang Anyi is one of the most versatile writers in contemporary Chinese literature. A systematic review of the reception of Wang Anyi and her creative works in Russia will help expand the scope of our research on Wang Anyi, meet the spirit of the times of Chinese culture “going out", and provide a mirror to improve the influence of contemporary Chinese literature in the international literary arena.
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Xue, Zhao. "Perception of Contemporary Chinese Literature in Russia." Philology & Human, no. 1 (July 15, 2021): 145–56. http://dx.doi.org/10.14258/filichel(2021)1-10.
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This article attempts to comprehend the perception of contemporary Chinese literature in Russia. One of the main research areas of Russian Sinology focused on the study of Chinese literature is Chinese classical literature and modern literature. However, at the turn of the XX-XXI centuries, the interest for contemporary Chinese literature becomes more and more obvious. In recent years, the translation of contemporary Chinese literary works has been continuously developing. The most typical characteristic of contemporary Chinese literature in the interpretation of Russian sinologists is pluralism, which is understood as the simultaneous existence of various literary trends, ideologies, genres, etc. The author analyzes the main trends of reception in the research of Russian scientists and comes to the conclusion that the most interesting for sinologists is the problem of attention to “People” in contemporary Chinese literature, the problem of tradition and modernity, the works of Chinese women writers.
Dissertations / Theses on the topic "Translation of contemporary Chinese literature in France"
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Meng, Yinghua. "La traduction de la littérature chinoise contemporaine en France (1981-2012) : état des lieux, stratégies de traduction, problèmes et réflexions." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0397.
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La littérature chinoise contemporaine, presque inconnue il y a une trentaine d’années en France, commence aujourd’hui à occuper une place que l’on ne peut plus ignorer. Notre étude, qui présentera d’abord un panorama de la traduction et de la réception de cette littérature en France (1981-2012), s’efforcera ensuite d’explorer en détail des aspects techniques de la traduction : étudier les stratégies mises en place, mettre en valeur les efforts tentés par les traducteurs et analyser des difficultés et problèmes de traduction existants. Une telle recherche descriptive et analytique portera sur six objets de traduction, qui constituent toutes des défis traductologiques : “graphie et dessin des caractères chinois’’, “jeux de mots’’, “proverbes’’, “xiehouyu’’, “onomatopées’’ et “discours direct sub-libre’’, ceci dans le cadre de trente-quatre traductions de sept écrivains contemporains : Mo Yan 莫言, Su Tong 苏童, Yu Hua 余华, Bi Feiyu 毕飞宇, Chi Li 池莉, A Cheng 阿城 et Jia Pingwa 贾平凹. L’exploration des stratégies s’effectuera dans une approche dialectique qui va bien au-delà des dichotomies théoriques opposant radicalement l’auteur et le lecteur. En étudiant convergences, diversités et complexités de pratiques, nous tenterons d’apporter un éclairage sur des facteurs qui influencent ou régissent l’agir du traducteur, et ceci de façon ciblée selon chacun des six objets étudiés. Loin de vouloir dresser une liste des inadéquations, pertes ou erreurs de traduction, ou encore donner des injonctions, nous espérons attirer l’attention sur les réelles contraintes ou difficultés que les traducteurs du chinois rencontrent durant leur travail, et susciter des occasions de réflexionChinese contemporary literature, while almost unknown thirty or more years ago in France, begins to occupy a place we can non longer ignore. In the present work, after presenting a panorama of the translation and the reception of this literature in France (1981-2012), we will try to explore in detail some technical aspects of its translation : strategies used by the translators and the efforts they make when facing translation problems. Being a descriptive and analytical research, it will deal with six translation objects : “spelling and image of Chinese characters’’, “wordplay’’, “proverbs’’, “xiehouyu’’, “onomatopoeia’’ and “sub free direct discourse’’, taking into account thirty four translations of seven Chinese contemporary writers : Mo Yan 莫言, Su Tong 苏童, Yu Hua 余华, Bi Feiyu 毕飞宇, Chi Li 池莉, A Cheng 阿城 and Jia Pingwa 贾平凹. The analysis of different strategies will be done in an dialectic approach which aims to overcome theoretical dichotomies opposing radically the author and the reader. While studying convergences, diversities and complexities of methods, we will try to shed light on factors that influence or govern the choices of the translator, in a targeted manner, according to each of the six studied objects. Far from establishing a list of unsuitable choices, losses and translation mistakes or issuing instructions, we wish to draw attention to the real constraints or difficulties that translators of the Chinese language come across during their work, and offer opportunity for thought
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Yin, Jing. "La réception de Mo Yan en France : traduction, diffusion, critique (1988-2014)." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA101.
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Mo Yan莫言, de son vrai nom Guan Moye管谟业, est l’un des écrivains chinois contemporains les plus célèbres mais aussi l’un des plus traduits en français. Son enfance rurale inspire ses premières réflexions sur la littérature et son royaume de lettres. Mêlant le vrai au faux, le réel au fabuleux, son œuvre, profuse et originale, suscite des travaux critiques considérables tant académiques que médiatiques, notamment depuis son obtention du prix Nobel de littérature en 2012 à Mo Yan. La présente thèse porte sur l’œuvre de Mo Yan en France : la traduction, la diffusion et la critique. Ainsi, s’agit-il non seulement d’une investigation sur l’imaginaire de la Chine, mais également d’une investigation littéraire. Cette étude, à la fois monographique et comparatiste, s’appuie principalement sur les créations les plus retentissantes en France : Le Clan du sorgho rouge (1986), Le Pays de l’alcool (1993), Beaux seins, belles fesses (1995), Le Supplice du santal (2001), Quarante et un coups de canon (2003), La Dure Loi du karma (2006), Grenouilles (2009)Guan Moye, better known by his pen name Mo Yan, was born in Gaomi County in Shandong province in 1955. The pen name "Mo Yan" means "don't speak" in Chinese. Mo Yan is one of the most famous Chinese contemporary writers in France, and his works have been widely translated into French. His childhood in Gaomi County inspired his first conception of literature and is, to some extent, the portal through which we enter his realm of letters. The unique style of his works attracts many academic and media criticism, and even more after winning the Noble Prize of literature in 2012. This dissertation intends to study the translation, publication, criticism and reception of Mo Yan’s works in France. Besides a literary study, the dissertation also focuses on the imaginary of China. The research is monographic and comparative, based on his several best-known works: Red Sorghum (1986), The Republic of Wine (1993), Big Breasts and Wide Hips (1995), Sandalwood Death (2001), Pow! (2003), Life and Death Are Wearing Me Out (2006), Frog (2009)…
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Li, Lanxue. "论文题目 : 王安忆作品在法国的翻译 与接受研究（1981-2020)." Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030048.
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Wang Anyi est l’une des figures les plus marquantes de la littérature chinoise contemporaine. Cette thèse traite de la traduction et de la réception de ses œuvres de 1981 à 2020 dans le monde francophone. Si la plupart des œuvres de Wang Anyi sont traduites en français, l’auteur reste néanmoins « méconnu » dans le lectorat français, ce qui représente une situation paradoxale où se trouve la plupart des écrivains chinois contemporains. Notre recherche comprend trois parties : les activités traductives, la démarche des traducteurs français et la réception des œuvres de Wang Anyi en France. Nous essayons de comprendre les facteurs qui influencent le voyage d’un écrivain chinois contemporain à l’étranger. Nous explorons aussi la formation et la déformation des images littéraires de l’écrivain à travers ses œuvres traduites en français, à travers un examen approfondi sur son identité shanghaienne, son « féminisme » et son réalisme façonnés par le prisme françaisWang Anyi is a prominent figure in contemporary Chinese literature, and this thesis focuses on the translation and reception of her works from 1981 to 2020 in the French-speaking world. Although most of Wang Anyi’s works have been translated into French, the author remains largely unknown among French readers, creating a paradoxical situation many contemporary Chinese writers face. Our research is divided into three parts: translation activities, the approach of French translators, and the reception of Wang Anyi’s works in France. We aim to understand the factors that influence contemporary Chinese writers when travelling abroad and explore the formation and distortion of Wang Anyi’s literary images through her works translated into French; this will be done by examining her Shanghainese identity, her feminism, and her realism as seen through the French perspective
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Xu, Ran. "Translation, Cultural Diplomacy and China’s “Going Out” Strategy: Official Storytelling Through the Translation of Contemporary Chinese Literature in Pathlight." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/42436.
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This thesis focusses on contemporary China. It examines the role the dominant ideology plays in determining the kinds of texts and narratives that are translated for export as part of government-sponsored translation projects. The literary magazine Pathlight, launched as an instrument of Chinese cultural diplomacy, is at the centre of this research project. At the turn of the 21st century, the Chinese government stepped up its funding of cultural diplomacy activities in efforts to disseminate Chinese traditional culture and Chinese discourse internationally. This move was fuelled by mounting criticism and negative reporting from the Western mainstream media on China, and China’s declining image worldwide. As part of this, the Chinese government initiated a number of projects to enhance the country’s image and discursive power through cross-cultural exchanges and cultural diplomacy, and thus forge its own narrative on China in the international community (K. Zhao, 2016).
Drawing upon notions of patronage and ideology from Lefevere’s rewriting theory and anchoring on previous research on similar translation projects, this study applies qualitative content analysis methods to pinpoint the recurring themes and narratives in the English translations exported in Pathlight from 2011 to 2019. It searches for links between these recurring themes and narratives and current Chinese mainstream ideology as expressed by “the Chinese dream.” The findings of this dissertation reveal that, although the dominant ideology in China does put certain limitations on what kinds of stories and narratives are selected for translation and export in government-sponsored translation projects, compared to years prior to the economic reforms of the 1980s, the variety of stories and narratives translated and exported has greatly increased. Arguably, this could be explained by the changes in the country’s dominant ideology over the past 30 years, and by how the Chinese government is turning to “softer” methods of control.
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Allouche-Chemla, Marie-Rose. "Etude de la réception de la littérature hébraïque en France : nature et enjeux culturels, économiques et politiques des œuvres de fiction en prose traduites en français depuis l'an 2000." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080046/document.
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Les traductions en français de la littérature israélienne ont nettement augmenté au cours des dernières décennies. Ce phénomène s'inscrit dans le cadre général de l'augmentation des échanges littéraires internationaux mais tient également à des raisons politiques, commerciales ou culturelles. Notre étude recense les œuvres de fiction en prose traduites en français entre 2000 et 2012 et établit des statistiques sur leur nombre, les auteurs les plus traduits, les maisons d’édition et les traducteurs impliqués dans cette importation. Elle précise le rôle des principaux acteurs de cette exportation/ importation : institutions gouvernementales israéliennes et françaises, agents littéraires, éditeurs et traducteurs et en analyse les enjeux politiques, économiques et culturels. Notre étude tente enfin de cerner la nature de la réception de ces œuvres dans les médias et le grand public. Nos conclusions s’appuient d’une part sur un large corpus d’œuvres littéraires israéliennes et d’articles de presse et d’autre part sur des entretiens ou réponses écrites d’écrivains, agents littéraires, éditeurs, traducteurs, directeurs de bibliothèques et lecteurs. Elles soulignent non seulement un changement quantitatif de cette réception de la littérature israélienne en France mais aussi une évolution en termes de choix de traduction qui tiennent à l’évolution de la littérature israélienne elle-Même et à la volonté de quelques personnes fortement impliquées dans cette exportation / importation. Si l’approche des médias français reste aujourd’hui, quoique dans une moindre mesure, orientée politiquement, le public de lecteurs est principalement sensible à ses qualités littérairesThere are been a significant increase in French translations of Israeli literature in recent decades. This phenomenon fits into the general framework of increased international literary exchange, but also due to political, commercial or cultural reasons. Our study identifies the works of prose fiction of Israeli literature translated into French between 2000 and 2012, and provides statistical data on the number of translations to Hebrew, on the most translated authors and on the publishers and translators involved in the import into France.It clarifies the role of the main actors involved in such export / import: Israeli and French governmental institutions, literary agents, editors and translators, and it analyses for each of them the importance of political, cultural and commercial issues.Lastly, our study attempts to understand how these works were accepted into France by the media and by the general public.Our conclusions are based on the one hand on a broad corpus of Israeli literary works and press articles and on the other hand on interviews or written responses of writers, literary agents, editors, translators, library directors and readers. They highlight not only a quantitative change in the acceptance of Israeli literature in France, but also a change in terms of choice of translation that reflect evolution of Israeli literature itself and the individual will of a few people much involved in such export / import. If the approach of the French media remains today, although to a lesser extent, politically oriented, the public of readers is primarily sensitive to its literary qualities
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Checcoli, Paola. "Scambi culturali tra Francia e Italia : questioni di traduzione, ricezione letteraria e politiche editoriali agli inizi del XXI° secolo." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100209/document.
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Cette Thèse porte sur les échanges culturels entre la France et l’Italie, au début du XXIe siècle, dans le domaine de la traduction littéraire et de l’édition. Son but principal est l’étude des phases qui précèdent, accompagnent et suivent la publication d’une œuvre littéraire française en Italie. Après avoir situé notre sujet dans le cadre des relations historiquement très importantes entre les deux pays dans le domaine littéraire, notre analyse se focalise sur trois moments cruciaux : le choix de l’œuvre ; sa traduction ; sa parution et réception.C’est que le goût, le canon, la tradition littéraire et la culture propres à chacun des deux pays ont une influence certaine sur la réception, sur l’horizon d’attente des lecteurs et des critiques, ainsi que sur les stratégies éditoriales, tout au long des étapes qui vont de l’achat des droits aux décisions « paratextuelles » censées susciter l’intérêt du lecteur ou fournir des informations. Nous ne négligerons pas le rôle du traducteur, véritable « passeur » du texte, ses choix linguistiques et stylistiques étant souvent la clé de la bonne compréhension d’une œuvre. Si la publication et la fortune d’une œuvre littéraire dans un pays étranger sont donc le résultat d’un processus complexe, d’une accumulation stratifiée d’échanges, de stéréotypes, et de multiples interventions d’acteurs différents, notre recherche fait appel à des outils méthodologiques relevant de plusieurs champs disciplinaires, appliqués, enfin, à une sélection des romans publiés en Italie dans les dix dernières annéesThis thesis focuses on the cultural exchanges between France and Italy in the fields of literary translation and publishing at the beginning of the 21st century. Its main goal is to study the various stages that precede, accompany and follow the publication of a work of French literature in Italy. Having placed our subject in the context of the main historical relations between the two countries in the field of literature, our analysis concentrates on three key moments: the choice of book, its translation and finally, its publication and reception.At the centre of our analysis is the knowledge that the tastes, canons, literary traditions and cultures of the two countries undoubtedly affect the reception of a work and the expectations of readers and critics. We will therefore take into consideration the role of editorial strategies throughout this process from the purchase of the copyright to paratextual decisions, i.e. the methods used to arouse readers’ interest or supply information. We will also examine the figure of the translator, the “driving force” in the text’s transition, as it is often their choice of language and style that provides the key to our understanding of it.Given that the publication and fortune of a literary work in a foreign country are the result of a complex process and a stratified accumulation of exchanges, stereotypes and multiple operations, our research has adopted analytical methods from a wide range of fields and applied them to a selection of novels published in Italy over the last ten years
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Yuan, Wei. "La traduction des romans français en Chine (1993-2017) :Champs, agents et paysages littéraires." Doctoral thesis, Universite Libre de Bruxelles, 2020. https://dipot.ulb.ac.be/dspace/bitstream/2013/314399/3/Contrat.pdf.
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Ce travail aborde la place de la littérature française en Chine en retraçant les parcours de traduction des romans français contemporains. Ce processus de traduction s’est vu transformé à partir de la fin 1992, lorsque la Chine a adhéré aux conventions internationales des droits d’auteur. Inspirée par l’approche sociologique de la traduction, cette thèse adopte les outils conceptuels de Pierre Bourdieu et propose une étude sur la base d’une recherche de terrain et de l’analyse quantitative des statistiques de première main. Il s’agit ainsi d’identifier les agents de la traduction d’œuvres romanesques françaises en Chine à travers un mécanisme façonné par la structure sociale, et de chercher à comprendre qui traduit et quoi dans ce processus conditionné. À travers une première partie qui retrace l’histoire de la traduction littéraire en Chine avec les outils bourdieusiens, nous constatons que peu importe qui domine la traduction – les écrivains, les traducteurs, l’État ou les académiques – la littérature traduite du français véhicule habituellement un riche capital symbolique en Chine. Nous argumentons dans une deuxième partie que l’introduction de la logique du marché depuis 1993 a refaçonné le rapport de force entre les différents agents, et a poussé l’éditeur à jouer un rôle relativement décisif – même si toujours sous contrôle de l’État. Par conséquent, la production commerciale est largement renforcée. Dans ce paysage, la situation des romans français semble en décalage. Nous dévoilons dans la troisième partie que sur le plan du processus, elle mobilise surtout des agents formés par le champ académique et qui ont pour vocation de se lancer plutôt dans la littérature de production restreinte que dans la littérature de grande production, comme l’étude du catalogue de l’éditeur le plus actif du domaine (Shanghai 99) en témoigne. Le panorama des auteurs contemporains traduits présenté dans la quatrième partie relativise la présomption que les œuvres françaises traduites sont concentrées dans le pôle de traduction restreinte :les best-sellers français sont également traduits, mais ils ne se vendent pas bien en Chine. Cependant, nous observons tout de même que les auteurs français au lectorat plus restreint ont pu trouver un éditeur chinois qui correspond à leur genre littéraire et faire traduire leurs œuvres systématiquement. En somme, nous argumentons qu’en Chine aujourd’hui, les romans français ne sont pas moins traduits, mais ils sont plutôt gérés par des agents qui se situent dans le sous-champ de production restreinte, dans un équilibre de force entre le champ académique et le champ économique.This work addresses the place of French literature in China by tracing the translation routes of contemporary French novels. The translation process was transformed at the end of 1992, when China signed two important international conventions of copyright. Inspired by the sociological approach of Translation Studies, this thesis adopts the conceptual tools of Pierre Bourdieu and proposes a study based on field research and quantitative analysis of first-hand statistics. The goal is thus to illustrate the translation mechanism shaped by the social structure, to identify the agents and to understand who translates what in this conditioned process. In the first section which traces the history of literary translation in China with Bourdieu's tools, we note that no matter who dominates the translation - writers, translators, the State or academics - the French literature conveys usually a rich symbolic capital in China. We argue in the second part that the introduction of a market economy in 1993 has reshaped the power relation between the various agents, and pushed the editors and publishers to play a relatively decisive role - even if still under state control. Therefore, commercial production is greatly enhanced. In this landscape, the situation of French novels seems out of step. We reveal in the third part that in terms of working process, French novels mobilize special agents trained by the academic field whose vocation lies in the literature of small-scale production rather than the large-scale production, and this observation is testified by analyzing the catalog of the most active publisher in the field (Shanghai 99). The fourth part presents a panorama of contemporary French authors who’s been translated, and realizes the presumption that French translated works are concentrated in the restricted pole: French bestsellers are also translated, but they do not sell well in China. However, we still observe that French authors with a limited readership have been able to find a Chinese publisher who corresponds to their literary genre and have their works translated systematically. In short, we argue that in China today, French novels are no less translated, but they are rather managed by agents who are located in the sub-field of small-scale production, in a balance of power between academic field and economic field.
Doctorat en Langues, lettres et traductologie
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Cheng, Guanyu. "A tradução indireta de literatura chinesa contemporânea para português europeu : o caso de Mo Yan." Doctoral thesis, 2020. http://hdl.handle.net/10400.14/36286.
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A presente tese é um estudo de caso sobre a tradução indireta de literatura chinesa contemporânea para português europeu via inglês, que se destina a aproximar-se à questão de tradução indireta que, apesar de ser menos visível nos estudos de tradução, desempenha um papel importante sobretudo na tradução da literatura chinesa para as línguas ocidentais “periféricas” (Heilbronn, 2000:14; Casanova, 2004: 20).
O nosso estudo tem como objetivo principal verificar se a tradução indireta é necessariamente distante do texto original. A investigação é focada na análise textual que se centra em examinação do nível de influência do texto intermediário na tradução indireta, procurando, assim, respostas para as questões principais subjacentes ao nosso objetivo central: que papel tem o tradutor intermediário na cadeia da tradução indireta; qual é a razão para a existência de tradução indireta e quais são os méritos e os efeitos que apresenta.
O trabalho inicia-se com a contextualização dos elementos em estudo, designadamente a literatura contemporânea chinesa e a sua tradução; a mundividência chinesa e a cultura chinesa; o autor, os tradutores e o corpus. O segundo passo é o levantamento do corpus que consiste em dois romances do escritor chinês Mo Yan, 丰乳肥臀 [Peito Grande, Ancas largas] (1996) e 变 [Mudanças] (2010) e as suas traduções portuguesas e inglesas. O levantamento dos dados é realizado através da comparação paralela entre os originais e as traduções, e os resultados são organizados conforme as categorias a que pertençam, a saber, as onomatopeias e reduplicações, a não-tradução, a redução, o acrescento, a tradução de formas de tratamento e linguagem tabu, as expressões idiomáticas e a tradução das referências culturais. A articulação é organizada por categoria, partindo da análise dos dados e centrando-se nas especificidades de tradução indireta em cada categoria. Ao longo do nosso percurso de investigação, várias realidades da tradução indireta são reveladas, entre as quais, os méritos dela que contribuem para a justificação da sua existência, enquanto os defeitos podem iluminar o caminho para o seu aperfeiçoamento.This dissertation is a case study on the indirect translation of contemporary Chinese literature into European Portuguese via English and aims to approach the question of indirect translation which, except for its limited visibility in translation studies, plays an important role especially in the translation of Chinese literature into western “peripheral” languages (Heilbronn, 2000: 14; Casanova, 2004: 20). Our study has as its main objective to verify if indirect translation is necessarily distant from the original text. The investigation is focused on textual analysis around examination of the influence level of intermediate texts on indirect translation, thus looking for answers to the main questions underlying our central objective: what does the intermediate translator do in the chain of indirect translation; what is the reason for the existence of indirect translation and what are its merits and effects. The work begins with the contextualization of the elements under study, namely contemporary Chinese literature and its translation; the Chinese worldview and Chinese culture; the author, the translators and the corpus. The second step is a survey of the corpus consisting in two novels by the Chinese writer Mo Yan, 丰乳肥臀 [Big Breasts and Wide Hips] (1996) and 变 [Change] (2010) as well as their Portuguese and English translations. The data collection is carried out through a parallel comparison between originals and translations, and the results are organized according to the categories they belong to, namely, onomatopoeia and reduplications, non-translation, reduction, addition, translation of forms of address and taboo language, translation of cultural references. The articulation is organized by category, starting with the data analysis and focusing on the specifics of indirect translation for each category. Throughout our investigation, several realities of indirect translation are revealed, among which the merits that contribute to the justification of its existence, while the defects may perhaps illuminate the way for its improvement.
Books on the topic "Translation of contemporary Chinese literature in France"
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Kung, Szu-Wen. Translation of Contemporary Taiwan Literature in a Cross-Cultural Context: A Translation Studies Perspective. Taylor & Francis Group, 2021.
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Translation of Contemporary Taiwan Literature in a Cross-Cultural Context: A Translation Studies Perspective. Taylor & Francis Group, 2021.
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Kung, Szu-Wen. Translation of Contemporary Taiwan Literature in a Cross-Cultural Context: A Translation Studies Perspective. Taylor & Francis Group, 2021.
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Kung, Szu-Wen. Translation of Contemporary Taiwan Literature in a Cross-Cultural Context: A Translation Studies Perspective. Taylor & Francis Group, 2021.
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Wang, Xiu Lu. Bridging the Political and the Personal: Literary Translation in Contemporary China. Lang AG International Academic Publishers, Peter, 2015.
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Wang, Xiu Lu. Bridging the Political and the Personal: Literary Translation in Contemporary China. Lang AG International Academic Publishers, Peter, 2015.
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Wang, Xiu Lu. Bridging the Political and the Personal: Literary Translation in Contemporary China. Lang AG International Academic Publishers, Peter, 2015.
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Bruno, Cosima, Lucas Klein, and Chris Song, eds. The Bloomsbury Handbook of Modern Chinese Literature in Translation. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350215337.
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Offering the first systematic overview of modern and contemporary Chinese literature from a translation studies perspective, this handbook provides students, researchers and teachers with a context in which to read and appreciate the effects of linguistic and cultural transfer in Chinese literary works. Translation matters. It always has, of course, but more so when we want to reap the benefits of intercultural communication. In many universities Chinese literature in English translation is taught as if it had been written in English. As a result, students submit what they read to their own cultural expectations; they do not read in translation and do not attend to the protocols of knowing, engagements and contestations that bind literature and society to each other. The Bloomsbury Handbook of Modern Chinese Literature in Translation squarely addresses this pedagogical lack. Organised in a tripartite structure around considerations of textual, social, and large-scale spatial and historical circumstances, its thirty plus essays each deal with a theme of translation studies, as emerged from the translation of one or more Chinese literary works. In doing so, it offers new tools for reading and appreciating modern and contemporary Chinese literature in the global context of its translation, offering in-depth studies about eminent Chinese authors and their literary masterpieces in translation. The first of its kind, this book is essential reading for anyone studying or researching Chinese literature in translation.
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(Foreword), Susan Bassnett, ed. Contemporary German Prose in Britain and France (1980-1999): A Case Study of the Significance of Otherness in Translation. Edwin Mellen Pr, 2007.
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Xie, Miao. Deguo Han xue shi ye xia Zhongguo dang dai wen xue de yi jie yu yan jiu: The translation and study of Chinese contemporary literature from the perspective of German Sinology. Translation and study of Chinese contemporary literature from the perspective of German Sinology, 2016.
Find full textBook chapters on the topic "Translation of contemporary Chinese literature in France"
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Li, Xiaofan Amy. "Making classical Chinese literature contemporary." In Translation and Literature in East Asia, 13–48. New York, NY : Routledge, [2019] | Series: Routledge studies in East Asian translation: Routledge, 2019. http://dx.doi.org/10.4324/9781351108676-2.
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Wang, Xiulu. "On the "Clamour of Voices" in Translation Anthologies of Contemporary Chinese Literature." In Transcultural Poetics, 66–82. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003368168-5.
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King Lee, Tong. "Memesis and Contemporary Chinese Poetry." In The Making of Chinese-Sinophone Literatures as World Literature, 164–85. Hong Kong University Press, 2022. http://dx.doi.org/10.5790/hongkong/9789888528721.003.0009.
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This chapter proposes a conception of world literature based around the idea of distribution. Advancing the idea of memes, it rescales the notion of translation into a more inclusive rubric for imagining the multimodal trajectories of works as their semiotic potentialities are unraveled into assemblages of myriad texts. Using examples from concrete poetry in translations and remediations of contemporary Chinese poetry on new media, it argues that an enlarged notion of translation is needed in respect of world literature. The crosslingual, intersemiotic, and transmedial instantiations of contemporary Chinese writing demonstrate that world literature must take into account the potentialities of translation beyond language as such, that is: where a work may distribute itself across linguistic as well as modal and medial repertoires to herald a new global literary imaginary.
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Walsh, Lisa. "Introduction The Swell of the Third Wave." In Contemporary French Feminism, 1–12. Oxford University PressOxford, 2004. http://dx.doi.org/10.1093/oso/9780199248346.003.0001.
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Abstract Simone de Beauvoir’s famous dictum, literally translated: ‘One is not born woman, one becomes this1, quite aptly encapsulates the theoretical bulwark of what has come to be known as ‘first wave* feminism in France.1 Although many French women had fought for varying degrees of equal status under the law prior to the late nineteenth century, the first wave of French feminism is generally considered to have begun with the suffragettes’ turn of the century struggles for the right to vote and to have concluded with existentialist feminism’s call for equal recognition for women at all levels of the social and symbolic orders. De Beauvoir’s groundbreaking opus, The Second Sex, dissects the inner and outer workings of a historical, patriarchal oppression of women—in such diverse domains as biology, politics, philosophy, and literature—as a means to demonstrating the undeniable veracity of the above dictum. Expanding existentialism’s claim, that ‘existence precedes essence’ to include the essence of the ‘fairer sex’, de Beauvoir sets herself the monumental task of a thoroughgoing examination of the ways in which femininity, and even femaleness, are cultural constructs which may or may not be taken up by any given individual. And here the rather awkward literal translation proves useful. The French pronoun ‘on’, like its English equivalent ‘one’ is not gender specific: ‘one’, in other words, is born free of gender definition and only later becomes ‘woman’—pronominalized here with a masculine/ neuter pronoun best translated as ‘this’. One does not become ‘her’ (in which case the feminine pronoun ‘la’ would have been chosen) but rather ‘this’—a social category called ‘woman’.
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Taylor, Helena. "Conclusion." In Women Writing Antiquity, 243–51. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192870445.003.0008.
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Abstract The Conclusion draws together the contributions of this study which has examined the ways in which the struggle to define the female intellectual in seventeenth-century France mapped onto a broader struggle for a definition of literature and literary knowledge in a context of significant cultural change. It has reframed early modern classical reception through the prisms of literary ideologies and authorial strategy. In addition to instances of reception and translation, the study has also looked at the (related) roles played by the reception of ancient Greek and Roman culture in shaping professional identities (biographical and rhetorical) and in the development of genre; and has considered tensions in contemporary and historiographical ideas of collective categories. The Conclusion then analyses the afterlives of the figure of the ‘femme savante’, from Bluestocking, le Bas bleu, and the Girton Girl to contemporary definitions, to show the enduring influence of Scudéry’s satire.
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Codeluppi, Martina. "“The Limits of My Language Mean the Limits of My World”: Translated Migrations in Xiaolu Guo’s Novels." In Diaspore. Venice: Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-396-0/016.
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In the case of migrant writers, the representation of the female body can be considered the most intimate expression of individuality, as well as an expression of the dislocation that often transpires from their stories. In the context of contemporary Chinese literature, which has now become transnational, Xiaolu Guo is a representative example of féminité migrante. Raised in China, she emigrated to the UK as an adult, and relies mainly on the English language to codify her literary creativity. This study focuses on the analysis of the relationship between space and language, and between body and translation. It will explore two novels by Xiaolu Guo through a linguistic/comparative approach and a spatial analysis of the literary text.
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Underhill, James W., and Mariarosaria Gianninoto. "The People." In Migrating Meanings, 23–113. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9780748696949.003.0002.
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This long chapter is divided into the keywords used in European languages to refer to ‘the people’, and the various keywords that the Chinese language has used throughout its history. In Chinese, the keyword 人民 rénmín is at times regarded as the most important element in the nation. And the authors show how the people were celebrated in Mao’s China. Even though ‘citizen’ [gōngmín 公民) has made a comeback in recent years, according to the authors’ findings, the Chinese keyword 人民 rénmín remains a central concept, despite ironic uses in contemporary Chinese literature and the press. In European languages, the authors argue, the people can be considered as the masses, as a political force, or as a group that is marginalized or ignored. In English and French, the people are often regarded with condescension, as such expressions as ‘the common people’ and ‘fils du peuple’ suggest. However, French has a radical revolutionary tradition that means that ‘le peuple’ can be activated at strategic moments in history, as was proven in recent years. Radical right-wing movements in France are contrasted with the Farage’s Brexit rhetoric, championing ‘the people’. In contrast ‘the Volk’ in German has a much more resilient tradition with roots that spread throughout the lexicon of the language as a whole. And Czech provides the authors with communist rhetoric that parallels Mao’s celebration of the people (人民 rénmín) in Chinese.
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Herold-Zanker, Katharina. "‘Ex septentrione lux’." In Decadence and Orientalism in England and Germany, 1880-1920, 179–228. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780191990489.003.0005.
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Abstract This chapter traces the development from the cosmopolitan decadence of the 1890s to a nationalist poetry negotiated through the inclusion and exclusion of the East, evident in the works of poet Stefan George. It compares unpublished archival material from the Stefan George Archiv in Stuttgart to George’s later poetry symptomatically referred to as ‘aesthetic fascism’ and situates his work in the larger context of international conservative modernism. As evident from his early letters to his London friend, George stylized himself as the cosmopolitan decadent dandy, embracing symbolist and Orientalist trends from France, Italy, Belgium, and England, which he gathered in his publication of his Blätter für die Kunst and his translation of Baudelaire, Ernest Dowson, and D’Annunzio. The chapter reads his early poetic masterwork Algabal (1892), dedicated to and modelled on King Ludwig II, as a companion piece to Wilde’s Salome in which George celebrates attributes of decadent Orientalism in the poem’s Byzantine splendour. Similar to the influence of ancient architecture on Wilde’s Orientalist writing, George imported pieces of ‘exotic’ architecture into his cycle of poetry. At the end of the 1900s, his ideology gravitated towards a purified poetry acting as a self-critique of his own former attachment to decadent literature. Exclusive of foreign influences and expressive of a messianic vision to reform German culture through a Nietzschean vitalist rather than decadent programme, his later poetic cycles are in dialogue with cultural anxieties of a decline of the West as expressed by contemporary authors Theodor Lessing and Oswald Spengler.
Conference papers on the topic "Translation of contemporary Chinese literature in France"
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"Research on English Translation of Chinese Contemporary Literature." In 2018 International Conference on Culture, Literature, Arts & Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icclah.18.037.
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Yang, Youneng. "Talking about Overseas Translation and Spread of Chinese Modern and Contemporary Literature." In 2016 International Conference on Humanity, Education and Social Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ichess-16.2016.33.
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Li, Xinmei. "TRANSLATIONS AND DISSEMINATION OF CONTEMPORARY RUSSIAN LITERATURE IN CHINA: ACHIEVEMENTS, CHALLENGES AND ADVICES." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.28.
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This article is devoted to the review of translations and dissemination of contemporary Russian literature in China, which begins in the mid-1980s. It contains three parts. The first part presents the achievements in the translation and dissemination of contemporary Russian literature in China. According to the number of editions of translated individual books, contemporary Russian writers are divided into four ranks. Alexander Solzhenitsyn belongs to the first rank, who has 26 editions of translated works. The second rank includes 5 writers with 10–20 editions of translated works. They are Nikolai Leonov, Yuri Bondarev, Daniil Granin, Viktor Astafiev and Sergey Lukyanenko. The third rank includes 21 writers with 2–8 editions of translated books. For example, Lyudmila Ulitskaya, Valentin Rasputin, Vladimir Makanin and others. The fourth rank includes 37 writers who have one work translated into Chinese in a separate book. The second part of the article provides a detailed analysis of the main incentives for the translation and dissemination of contemporary Russian literature in China.Chinese publishing houses play the biggest role in organizing translation and release. Many translated works are also published in various magazines. In recent years, the governments of Russia and China actively support the publication of literary works. The third part of the article puts forward problems in the organization of translation and dissemination of contemporary Russian literature in China, as well as offers appropriate recommendations and tips for solving these problems.
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CÎNDEA GÎȚĂ, Iulia Elena. "AN IN-DEPTH STUDY OF CHINESE CULTUREMES – CARRIERS OF THE MOST SUBTLE CULTURAL ALLUSIONS – EXCERPTED FROM CHINESE CONTEMPORARY NOVELS IN ROMANIAN TRANSLATION." In Synergies in Communication. Editura ASE, 2022. http://dx.doi.org/10.24818/sic/2021/04.01.
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Culturemes are the markers of the source culture, which can reach the reader in the target language only through the ability of the translator, who must, in fact, be a great connoisseur of the most hidden cultural details. For the transposition of a foreign culture into a new culture, for a proper communication between them, a loan is needed, retrieval and processing of information so that it is accepted. The motivation behind this study is to provide an overview of how to approach culturemes in the translation of works of contemporary Chinese literature in Romanian, works characterized by great linguistic and extra-linguistic generosity. In order to achieve this goal, we followed the stages of identifying the culturemes from thirty-one Chinese contemporary novels translated in Romanian; followed by creating a corpus based on fourteen categories and five equivalence methods to ensure the cultural equivalence, coherence and homogeneity of Chinese works recreated for the Romanian reader. Finally, we performed an in-depth study of a selection of culturemes from each category, with the aim of showing their distribution in the Romanian translation of Chinese fiction. The study intends to provoke but also to help raise the awareness that translations are not only transpositions (by this we mean moving from one linguistic register to another without operating the text as part of a cultural whole, approaching it externally to all of its sources of influence from the culture in which it has been created) of a work in another language, but they have the primary role of enriching knowledge about one's culture, civilization, literature – i.e. China’s cultural heritage for the present study. Culturally-aware literary translations are the most effective and most stable manner of intercultural exchange, of international prosperity of a culture, of understanding and acknowledging the cultural specifics of one nation. The intertextual references – the culturemes – studied, are part, as will be presented, of all cultural spheres, from those denoting the daily life of the Chinese, the food and basic needs, to those denoting holidays, toponymy, units of measurement, history, but also those that are politically motivated, while also spiritual, subtle, erudite, which only close study, extensive knowledge and diligent work can drive the translator to find and transfer them to the target reader.
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"The Influence of Chinese Diasporic Translators on Foreign Dissemination of Contemporary Chinese Literature: A Case Study of the Dissemination of Ken Liu’s Translation of the Three-Body Problem in English-speaking World." In 2021 International Conference on Society Science. Scholar Publishing Group, 2021. http://dx.doi.org/10.38007/proceedings.0001950.
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