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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.
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Ван, Ц., and С. Гэн. "Translation and popularization of contemporary Russian female literature in China." Modern scientist, no. 3 (April 8, 2024): 158–63. http://dx.doi.org/10.58224/2541-8459-2024-3-158-163.
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современная русская женская проза является важной составляющей русской литературы, и китайские ученые давно начали уделять внимание современной русской женской прозе и проводить исследования по ней. Данная статья состоит из 3 части: обзор произведении современной русской женской прозы в Китае, переведённых с русского на китайский; проблема о переводе произведении современной русской женской прозы в Китае; заключение. В первой части обобщают общую ситуацию с переводом современных русских женских литературных произведений в Китае. Во второй части анализируют проблему “количество произведений современных российских писательниц, переведённых с русского на китайский, крайне неравномерно”. На российской литературной сцене активно деятельны множество писательницы, но у большинства из них до сих пор нет переводов своих произведений на китайский язык. В Китае только произведения двух писательниц (Людмилы Улицкой и Людмилы Петрушевской) имеют наибольшее количество переводов на китайский язык, хотя в России существует большое количество российских писателей. В заключительной части выдвигаются соответствующие предложения: в частности, русскоязычное сообщество в Китае должно активно воспитывать преемников в области перевода современной русской женской прозы, переводить больше произведений выдающихся российских писательниц и уделять особое внимание творчеству нового поколения русской прозы. contemporary Russian female literature is an important part of Russian literature, and Chinese scholars have been paying attention to contemporary Russian female literature for a long time and conducting research on it. This article consists of three parts: a summary of Chinese translations of contemporary Russian female literature in China; A study on the translation of contemporary Russian female literary works in China; summary. The first part summarizes the general situation of the translation of contemporary Russian female literature works in China. The second part analyzes this problem - "The number of works of modern Russian writers translated from Russian to Chinese is extremely uneven". There are many active writers in the Russian literary scene, but most of their works have not been translated into Chinese. Although there are many female literary writers in Russia, in China, two authors, Lyudmila Ulitskaya and Lyudmila Petrushevskaya, have a significant advantage in the number of Chinese translations of their works. The final section makes the following recommendations: in particular, the Russian language community in China should actively cultivate successors capable of translating contemporary Russian female literature, translate more works of Russian writers, and pay attention to the creation of a new generation of Russian literature.
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Tianyue, Zhao, and Hua Jing. "On Cross-Cultural Reception of Contemporary Chinese Literature -- with the Leeds Centre for New Chinese Writing as an Example." South Asian Research Journal of Arts, Language and Literature 5, no. 03 (May 17, 2023): 85–90. http://dx.doi.org/10.36346/sarjall.2023.v05i03.005.
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As an important part of Chinese literature, Chinese contemporary literature is a powerful force to promote Chinese culture to go out. However, in the cross-cultural context, the previous studies on Chinese contemporary literature focus on dissemination rather than acceptance. Domestic promoters are more important than foreign institutions. In view of this, this paper, based on The Leeds Centre for New Chinese Writing, which is a world public welfare organization for the independent translation and introduction of Chinese contemporary literature, investigates the characteristics and preferences of the research centre in the selection of authors and works in the introduction of Chinese contemporary literature from a macro perspective, and explores the factors affecting the cross-cultural acceptance of these works based on the comments of English readers.
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Liu, Zhengyuan. "Analysis of Translation of Wuhan Diary: Dispatches from Original Epicenter by Michael Berry in a Post-colonialist Perspective." BCP Education & Psychology 8 (February 27, 2023): 28–32. http://dx.doi.org/10.54691/bcpep.v8i.4267.
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The West always abashes China by public opinion not only in news report and literature, but also in translation including the ones of the Chinese literature and the ones of diaries, news report, documentaries, government announcement, etc. Researchers have worked on several translations of Chinese literary works; however, they have rarely much worked on diaries. Michael Berry is a professor of Contemporary Chinese Cultural Studies at UCLA and the Director of the UCLA Center for Chinese Studies. He has been a translator who translates from Chinese into English for many years as well, his works include Speaking in Images: Interviews with Contemporary Chinese Filmmakers, A History of Pain: Trauma in Modern Chinese Fiction and Film, and Jia Zhangke's Hometown Trilogy. Therefore, this analysis focuses on the translation strategy of translation of Wuhan Diary: Dispatches from Original Epicenter by Michael Berry, and observe if the translator has demonized China by his translation strategy.
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Wang, Mingxing. "Translation, Rewriting and Creation: Interview of Professor Noël Dutrait, Translator of Gao Xingjian’s Lingshan (La Montagne de l’âme)." TranscUlturAl: A Journal of Translation and Cultural Studies 12, no. 2 (September 30, 2020): 39–49. http://dx.doi.org/10.21992/tc29504.
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Li, Xiaofan Amy. "Pascal Quignard as Sinophile: Recreating Chinese Antiquity in Contemporary France." Comparative Literature 72, no. 1 (March 1, 2020): 32–52. http://dx.doi.org/10.1215/00104124-7909961.
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Abstract This article examines the question of reinventing Chinese antiquity in the works of the contemporary French writer Pascal Quignard. It focuses on three aspects of Quignard’s Chinese-inspired works: his rewriting of ancient Chinese texts, his views on the idea of language via classical Chinese language and thought, and his recreation of Chinese antiquity via a radical contemporization of the past. This examination demonstrates that Quignard poses important questions about cultural reception and appropriation, especially as regards the problematic relation between sinophilia, Orientalism, and the reception of antiquity. Finally, the article proposes a nuanced view of Quignard’s sinophilia that recognizes both its merits and drawbacks. It concludes by arguing that despite the pitfalls of cultural misunderstanding and misrepresentation, Quignard spells out the conceptual death of French Orientalism in his refusal to fetishize Chinese antiquity and attests to a tendency in contemporary French literature and thought to creatively recycle foreign cultures and revise one’s understanding through the other.
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Hua, Meng, and Jun Li. "A rare glimpse into the Chinese novella." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 17, no. 1 (July 26, 2019): 120–25. http://dx.doi.org/10.1075/forum.17010.hua.
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Abstract The Chinese novella has been playing an important role in the evolution of modern Chinese literature. To provide English readers with a rare glimpse into the heart of contemporary Chinese fictional writing, this paper introduces the content and style of a book titled By the River: Seven Contemporary Chinese Novellas, and comments on its English translation from perspectives of a reader. This book is a handsomely recommended production for readers who are interested in Chinese literature or novellas.
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Marin-Lacarta, Maialen. "Mediated and Marginalised: Translations of Modern and Contemporary Chinese Literature in Spain (1949-2010)." Meta 63, no. 2 (December 18, 2018): 306–21. http://dx.doi.org/10.7202/1055141ar.
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The history and reception of translations of modern and contemporary Chinese literature in Spain form the basis of the discussion in this article. Eighty-four translations of modern and contemporary Chinese literature were published in Spain – either in Spanish or in Catalan – between 1949 and 2010. Using this under-researched corpus as a starting-point, this article explores two interrelated premises: the marginalisation of modern and contemporary Chinese literature in Spain and the mediation of its Spanish reception by Anglophone and Francophone literary systems. To do so, the study investigates the history of translations, pays attention to the evolution of types of translation (direct and indirect), and uses concrete examples from paratexts (back covers and prefaces) and translation reviews. After a discussion of the predominance of indirect translations, three recurring motifs inferred from an analysis of the paratexts and reviews are presented: (a) a preference for documentary value, (b) an insistence on difference and (c) an emphasis on politics and trauma (censorship, dissidence and the Cultural Revolution). In addition, I demonstrate the connections between these recurring motifs in the Spanish reception of Chinese literature in relation to European orientalism and area studies. Ultimately, the recent history of translations of modern and contemporary Chinese literature in Spain helps us to reflect on the complexity and hierarchical nature of literary exchanges on a global scale.
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Zhong, Ying. "A Report on C-E Translation of Children’s Literature: A Case Study of Gen Niao (Excerpts)." Journal of Education and Educational Research 7, no. 3 (March 17, 2024): 117–21. http://dx.doi.org/10.54097/p4sby241.
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Gen Niao is a short story crafted by Cao Wenxuan, a distinguished contemporary writer in the realm of children’s literature. This story chronicles the maturation journey of a young protagonist named Gen Niao. Currently, there is no published translated edition of this book. This paper takes Gen Niao as an example to primarily explore the English translation of Chinese children’s literature. As international cultural exchanges deepen, English translation of contemporary Chinese children’s literature assumes paramount significance in facilitating cultural outreach. Due to the cultural and linguistic disparities between Chinese and English, translators often find it challenging to accurately and vividly convey the precise connotations of the source text, especially when the target audience is children. Hence, in order to convey the meaning of the source language as faithfully as possible, the author tackles the translation process from two aspects: lexical choices and syntactic structures. Based on the strategies of domestication and foreignization proposed by Venuti, the author primarily employs a strategy of domestication, supplemented by occasional foreignization to translate the selected passages, aiming to maintain fidelity to the original while ensuring readability for the target audience. By exploring strategies for translating Chinese children’s literature into English, this research encapsulates reflections and analyses concerning the practice of translating children’s literature, aiming to discover methods that can enhance the international impact of translated works and propel Chinese children’s literature towards global recognition.
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Xavier, Subha. "The global afterlife: Sino-French literature and the politics of translation." French Cultural Studies 30, no. 2 (May 2019): 153–65. http://dx.doi.org/10.1177/0957155819842980.
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Following the critical acclaim of Sino-French literature in recent years, an increasing number of Chinese presses have solicited translations of prize-winning novels written in French by authors of Chinese descent. Yet as the work of authors like François Cheng, Shan Sa, Ya Ding and Dai Sijie travels from French into Chinese, it also undergoes a transformation via the politics of translation and publication in China. This essay exposes the inner workings of translation between French and Chinese, as well as the politics that colour its publication and reception between France and China. The act of translating these works back into their authors’ native tongue signals a return to the national paradigms the writers initially sought to evade by writing in French. Translation here functions as a form of aggression, a forced return home that ultimately breaks with the poetic ethos that animates the original creative works.
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Yujie, Li, and Wang Feng. "On the English Translation of Li Qingzhao’s Ci-poems--A Contrastive Study on the Translations of the Ci-Poem “To the Tune of Tipsy in Flower Shade”." English Literature and Language Review, no. 55 (May 15, 2019): 64–70. http://dx.doi.org/10.32861/ellr.55.64.70.
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Li Qingzhao (1084-ca. 1155?) is widely lauded as the most celebrated and talented woman poet in the history of classical Chinese literature. This study, with the theoretical guidance of Dr. Wang Feng’s “Harmony-Guided Three-Level Poetry Translation Criteria”, focuses on a comparative analysis of the collected renditions of the ci-poem “to the tune of Tipsy in Flower Shade” at the macro, middle and micro levels, to further promote the translation and communication of classical Chinese literature. This study aims to exert far-reaching influences on the process of Chinese literature going global, which has unprecedented contemporary significance.
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Sharifova, Salida. "One Belt – One Way: Perspectives on the Research and Distribution of Contemporary Literature in China." Transcultural Studies 15, no. 2 (October 21, 2019): 178–85. http://dx.doi.org/10.1163/23751606-01502008.
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Project One Belt – One Way opens up new opportunities. On the one hand, to provide for the translation of contemporary Chinese authors into foreign languages, and on the other, to carry out a literary analysis of these works in terms of principles and methods characteristic of Western literary criticism. And this will allow the literary circles of various countries to consider contemporary Chinese literature as part of the world cultural heritage.
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Yu, Chen-Wei. "Childhood, Identity Politics, and Linguistic Negotiation in the Traditional Chinese Translation of the Picture Book The Gruffalo in Taiwan." Jeunesse: Young People, Texts, Cultures 3, no. 2 (December 2011): 30–45. http://dx.doi.org/10.3138/jeunesse.3.2.30.
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In contemporary Taiwan, the identity politics of childhood are interlaced with changing educational policies that follow a winding course through the Chinese cultural legacy, local Taiwanese values, and Western cultures. One important way in which Western values influence children’s construction of Taiwanese identity is through the translation of texts from English. The Chinese translation of the award-winning UK picture book The Gruffalo is typical of current practices of translation in Taiwan: it demonstrates the attempts to incorporate, fuse, and negotiate heterogeneous Chinese, Taiwanese, and Western cultural elements.
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Odom, Glenn. "Dictionary (noun) – A Revolutionary Act or Performance: Socio-Political Lessons from China on the Power and (Un)Translatability of Words." Comparative Critical Studies 19, no. 1 (February 2022): 41–60. http://dx.doi.org/10.3366/ccs.2022.0424.
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Three recent texts emerging from distinct parts of China, all ‘dictionaries’ of sorts, each serve as a marker of the revolutionary potential of translation within their own contexts, but also as a marker of the limitations to translating the politics of translation to a world reader. At a moment when the Han-centric CCP (Chinese Communist Party) is reducing regional autonomy and forcing citizens into re-education camps, questions of language use and (un)translatability can have immediate and concrete consequences. The official and unofficial multiplicity of Chinese conceptions of ethnicity and nationality provide a necessary background for an understanding of the severity of the consequences of translation in the contemporary contexts. Likewise, a history of the dictionary in China provides insights as to why the dictionary form has been adopted to varying degrees by multiple contemporary texts. The parallax created between the Chinese contexts and world contexts of these texts, however, serves as a stark reminder of the potential bounds of the world literature paradigm.
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Ying, Yan, and Weiqing Xiao. "Chinese Popular Culture in Translation and Transmission." East Asian Journal of Popular Culture 9, no. 2 (September 1, 2023): 165–72. http://dx.doi.org/10.1386/eapc_00105_2.
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The introduction to the Special Issue, ‘Chinese Popular Culture in Translation and Transmission’, provides an overall view of the theme. It starts with a discussion of the definition of popular culture and its powerful presence in today’s world assisted by technological development. To follow is a sketch of Chinese popular culture in the contemporary political and cultural context. We then propose a translational perspective, through which modes and issues of exchange, mediation and intervention when Chinese popular culture enters the western cultural and ideological landscape can be located, examined and analysed. Finally, five articles in this special issue – respectively on ‘tai chi’, Peppa Pig and China, internet celebrities and Chinese learning, Chinese online literature in English translation and fan translation of BL web novels – are briefly introduced. When read together, the collection reveals some paradigms and trends of Chinese popular culture in global cultural flow.
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Zhang, Yuting. "A Comparative Study of the Translation of Shakespeare’s Sonnets from the Perspective of “Three Beauties”." Journal of Education and Educational Research 8, no. 1 (April 12, 2024): 244–51. http://dx.doi.org/10.54097/59xdrg81.
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The sonnet is a relatively old form of poetry that originated in Italy and was later introduced to England. Shakespeare’s sonnets are a type of sonnet composed of rhyme, pentameter and iambic pentameter, which occupy an important place in the world’s poetry and literature and have been translated in various ways in China. Chinese translators have gone through various explorations on the way to translate Shakespeare’s sonnets and have tried many different translation methods. However, when we look back at previous translation studies, most of them analysed the translations from the perspectives of meter, style, and rhetoric, but few of them analysed the translations in perspective of contemporary Chinese poetry translation theory, for reveal the extent to which different translators reproduced the aesthetic characteristics of the sonnets. Xu Yuanchong’s translation theory system has inherited the essence of traditional Chinese translation thought, among which the principle of “three beauties” takes “beauty” as the principle of pursuit, which breaks the traditional “faithfulness-centered” translation idea and concentrates on the aesthetic requirements of contemporary poetry translation. The two Chinese translations of Shakespeare’s sonnets, namely Tu An and Dai Liuling’s translation, have different identities and reproduce the beauty of the original poem to different degrees. Under the guidance of the translation principle of “three beauties”, this thesis compares and analyses the two translations, and studies the aesthetic reproduction of “sense, sound and form” by the two translators, aiming to enlighten the translators in the process of poetry translation and to inspire the cause of Chinese poetry translation.
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Kasarełło, Lidia. "Introducing Taiwan Chinese Contemporary Short Stories in Poland: Cultural Contexts, Fields of Representation and Equivalence." Roczniki Humanistyczne 69, no. 9 (December 3, 2021): 159–74. http://dx.doi.org/10.18290/rh21699-8.
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This paper investigates basic issues related to the translation of Taiwanese literature in Poland. Assuming the Juliane House’s definitions that translation is “a cognitive procedure and a social, cross-linguistic and cross-cultural practice”, I discuss this matter theoretically and practically on three major levels pertaining to literature and communication between both languages and cultures. According to the system approach, the model is divided into: 1) Source/Taiwan literature; 2) Target/Polish reader; 3) Mediation/Translator and is imbued with reflection on representation, cultural and political context and equivalence in translation’s polysystem. In the practical dimension the analysis refers to a particular case, which is the preparation of the first Polish translation of Taiwanese Contemporary Short Stories. This article also reveals the decision-making process concerning the most representative selection of different genres, periods, stylistics, authors and messages. The anthology of contemporary Taiwanese short stories[1] debated here is being compiled from the perspective of translators, who are Sinologists teaching at the University of Warsaw. In line with the concepts of anthology theoreticians, this kind of academic edition with references and critical comment supports the Polish reader in the process of correct decoding of the text and many contexts of Taiwanese literature.
[1] In Polish: Na drugim brzegu. Antologia współczesnych opowiadań tajwańskich, red. Lidia Kasarełło, Państwowy Instytut Wydawniczy, 2020 [On the Other Shore: Anthology of Contemporary Taiwanese Short Stories, ed. Lidia Kasarełło, Państwowy Instytut Wydawniczy, 2020].
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Li, Li. "Translating children’s stories from Chinese to English." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 4 (November 20, 2017): 506–22. http://dx.doi.org/10.1075/babel.63.4.03li.
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Translation, according to the German functional approach to Translation Studies, is a purpose-driven interaction that involves many players. Translating children’s stories is no exception. Using her personal experience of translating Mr. Wolf’s Hotline, a book comprising 47 Chinese children’s stories by Wang Yizhen, a contemporary Chinese writer , in light of the Skopos and text-type theories of functional approach in particular, the author has outlined the strategies and methods adopted in her translations in terms of language, structure and culture. With child readers in mind during the translation process, the translator has used rhetorical devices, onomatopoeic words, modal particles, and also changed some of the sentence structures of the stories, such as from indirect sentences into direct quotations, and from declarative sentences into questions. In terms of culture, three aspects, namely, the culture-loaded images, the names of the characters and nursery rhymes are singled out for detailed analyses. Though marginalized, ‘children’s literature is more complex than it seems, even more complex’ (Hunt 2010: 1), and translation of children’s literature is definitely challenging. This paper outlines the strategies and methods the author has adopted in translating some children's stories from Chinese to English.
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She, Xiaoling, and Mengya Li. "On the history of the Russian translation of Chinese new literature in the 1920–1930s." Neophilology, no. 3 (2022): 559–70. http://dx.doi.org/10.20310/2587-6953-2022-8-3-559-570.
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The issue of literary relationship between China and Russia in the first half of the twentieth century remains relevant to contemporary Russian and Chinese literary studies. The purpose of this work is to examine the history of the Russian translation of Chinese new literature in the 1920s-1930s and explore how Soviet critics evaluated them. The paper provides a cultural-historical analysis and indicates that, in the USSR, the introduction to Chinese new literature was inextricably linked to the activities of Academician V.M. Alekseev in the 1920s, when systematic publication of the works of Soviet Orientalists was launched, and in the late 1930s, due to the persecution against the translation group, the intensity of the translation and publication of modern literary works began to wane. In the 1920s–1930s, the first translations, reviews, and literary-critical reviews appeared, most of which belonged to those who had direct contact with Chinese intelligentsia. Chinese cultural figures such as translators of Russian literature including Cao Jinghua and Xiao Can also played an important role in promoting modern Chinese literature in the USSR. Chinese new narrative prose was praised by Soviet critics for revealing a real picture of the changes in China. Much attention was paid to the thematic-ideological and ethical aspects of the works of Lu Xin and Mao Dun, who were deemed as “leaders” of modern Chinese literature in the USSR.
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Doloughan, Fiona J. "Text design and acts of translation." Discourse Analysis and Translation Studies 4, no. 1 (June 5, 2009): 101–15. http://dx.doi.org/10.1075/tis.4.1.06dol.
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In relation to two contemporary works of literature, Monica Ali’s Brick Lane (2003) and Xiaolu Guo’s A Concise Chinese-English Dictionary for Lovers (2007), this essay sets out a view of reading and writing as essentially translational and transformational acts. It argues that text design and production in the contemporary age, at a time when many writers of works in English are the product of more than one culture and language, depend upon access to and the ability to transform a range of cultural and material resources. It is concerned with ‘how newness enters the world’ (Bhabha 2007) in the era of globalization and postmodernity and sees creativity as an outcome of both readerly and writerly acts of cultural, generic and linguistic translation.
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Bour, Isabelle. "What Happened to the ‘Truth Universally Acknowledged’? Translation as Reception of Jane Austen in France." Humanities 11, no. 4 (June 23, 2022): 77. http://dx.doi.org/10.3390/h11040077.
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There are now, in 2022, sixteen French translations of Jane Austen’s Pride and Prejudice. The incipit includes one of the most famous statements in the English language, as well as a modal auxiliary, the rendering of which constitutes a minor challenge for any translator. This essay will analyse all translations of the incipit, relating translation choices to historical circumstances, the contemporary status of British literature and attitudes to the translation of fiction as well as to the state of the book market.
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Nguyen Thi Mai, Chanh. "The journey to “go global” of the contemporary Chinese woman writer Can Xue." Journal of Science Social Science 66, no. 3 (August 2021): 3–11. http://dx.doi.org/10.18173/2354-1067.2021-0041.
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Can Xue is a contemporary Chinese writer of international stature, while in Vietnam, it is assumed that no more than three translations of her works are noticed. This woman writer possesses the most literary works appearing in foreign high school and university textbooks compared with other contemporary Chinese writers. To date, no less than thirty volumes of hers have been translated into more than ten languages and published in a number of countries including the UK, France, Germany, Italy, Sweden, Japan, etc. A myriad of professional researchers, critics and scholars, Sinologists in the West and Japan have written papers on the author's creations. This writing places a priority on introducing the situation of translation and publication of Can Xue's works in two major countries, Japan and the United States, over the past two decades.
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CAO, Shunqing, and Lu ZHAI. "The Variation of Chinese Literature and the Formation of World Literature." Cultura 19, no. 2 (January 1, 2022): 7–23. http://dx.doi.org/10.3726/cul022022.0001.
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Abstract: In "The Variation of Chinese Literature and the Formation of World Literature" Shunqing Cao and Lu Zhai discuss how Chinese works of literature entered other countries' literary circles through variation, and became an essential part of world literature. Both ancient Chinese literature and contemporary Chinese literature have undergone textual circulation, language translation and cultural filtering before becoming part of world literature, all of which are the reasons why literary variation occurs. According to Cao and Zhai, the occurrence of variation is a key factor for Chinese literature to become world literature, and an important foundation for the formation of world literature. A country's literature absorbs the characteristics of other countries' literature through variation, thus adapting to the cultural background and reading habits of other countries' readers in terms of language and style, in order to enter the world literature market. Variation may lead to a certain loss of nationality in literary works, and result in significant differences from the original texts. However, the formation of world literature does not come at the cost of eliminating nationality; variation facilitates the formation of world literature.
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Zhang, Fuling. "Translation and Communication of Shanhaijing under Transknowletology." Journal of Innovation and Development 5, no. 3 (December 14, 2023): 51–57. http://dx.doi.org/10.54097/lexsw1kw.
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Shanhaijing has unique academic value and cultural significance, and its rich content, ingenious expressions and in-depth research have received widespread attention not only from domestic readers, but also from overseas readers. With the wide dissemination of Chinese literary works in the international arena, it has become a topic full of contemporary significance to present Chinese classic literature to the world, to promote the globalization of local knowledge, and to incorporate it into the vast fence of world literature. Shanhaijing, with its rich intellectual connotation, remarkable literary style and distinctive local characteristics, has become an outstanding representative of this proposition. Starting from the characteristics of the original works, integrating the relevant theories of intellectual translation, and giving full play to the advantages of modern multimedia and materials, the translation practice should be in line with the pulse of the times and satisfy the readers' preferences, so as to ensure the effectiveness of the translation and dissemination of Shanhaijing.
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Wu Tiyi and Hua Jing. "STRATEGIES AND THOUGHTS OF NICKY HARMAN IN DIALECT TRANSLATION —— A CASE STUDY OF BROKEN WINGS." International Journal of Language, Linguistics, Literature, and Culture 02, no. 03 (2023): 12–19. http://dx.doi.org/10.59009/ijlllc.2023.0022.
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Based on the analysis of some typical examples with Shaanxi dialect’s characteristics in the Broken Wings, which are divided into three categories: dialect verbs with obvious local characteristics, nouns with Chinese cultural elements and Chinese proverbs, this paper probes into Nicky Harman's translation strategies and translation thoughts on dialects and local cultures. The results show that Nicky Harman adheres to the strategy of literal translation, focusing on accurate understanding and good expression, and at the same time, makes up for cultural incomprehension and differences by supplementing explanatory elements, which uncover the reader-oriented translation thought on the basis of being faithful to the original text. Nicky Harman plays an important role in the cross-cultural communication of contemporary literature in China.
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Chunli, Yu, Nor Shahila Mansor, Lay Hoon Ang, and Sharon Sharmini. "The Pattern and Translation of Chinese Address Terms in Contemporary Film Happiness Around the Corner." World Journal of English Language 13, no. 1 (November 18, 2022): 19. http://dx.doi.org/10.5430/wjel.v13n1p19.
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This paper discusses the translation and classification of Chinese address terms by selecting a representative film with a range of contexts. The data for this study were collected from a Chinese comedy film Happiness Around the Corner screened in 2018 with a length of 91.34 minutes. This film was chosen firstly because it was highly rated by the Chinese mainstream media People’s Daily Overseas Edition for its conveying of positive energy in a humorous manner. Furthermore, considering a range of contexts and interlocutors in this film, the data collected from this film would be sufficient to reach the expected goals of the study. This study employs a qualitative approach to explore a proper classification of Chinese contemporary address terms. The Chinese address terms found in the selected film were classified into seven types: namely nickname, professional title, kinship terms, fictive kinship terms, professional title with surname, offensive address terms and full name. The findings show that professional title, nickname and kinship terms appeared with higher frequency than offensive address terms and full name in this film, which could be explained from the perspective of sociolinguistics. Literal plus liberal translation strategies are recommended to translate address terms using homophonic puns, and equivalent words in target language are advised in most cases. These findings could not only throw light on the classification of address terms in Chinese, but also promote translation studies.
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Chen, Hui, and Shilei Zhai. "The Politics of Translation in Intercultural Discourse Relationships: Translation of龍/lung and 夷/i into English as a Case in Point." Journal of Foreign Languages and Cultures 6, no. 2 (December 28, 2022): 143–53. http://dx.doi.org/10.53397/hunnu.jflc.202202013.
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The translation equivalence between龍/lung and dragon as well as夷/i and barbarian embodies the way of discourse power competition between China and the United Kingdom of Great Britain with different discourse pedigrees and discourse systems. The translation equivalence between龍/lung and dragon was constructed by means of mutation and discourse rewriting, and the political implication and cultural value of龍/lung in Chinese context were ablated. The equivalence between 夷/i and barbarian in the English context was established through the translation manipulation of the British, and the meaning of夷/i was separated from the Chinese historical context forcibly. The British operated discourse mutation on core Chinese political discourses via translation manipulation to weaken the subjectivity of China and bring China into the modern international discourse system dominated by the West, providing support for the expansion and colonization of British imperial discourse. This research provides reference for dealing with the cultural characteristics and universality, and the relationship between subject and object of discourse in the translation of contemporary Chinese discourse.
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Xia, Mengzhu. "Analysis of Metaphor Translation from the Perspective of Relevance Theory—A Case Study of the Translation of Metaphor in Fortress Besieged." Journal of Language Teaching and Research 12, no. 1 (January 1, 2021): 194. http://dx.doi.org/10.17507/jltr.1201.21.
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Fortress Besieged is a unique satirical novel in the history of Chinese contemporary literature. It is deeply loved by readers at home and abroad for its humorous and refined language. There are abundant Chinese metaphors in the novel, so it is of certain significance to explore the translation of metaphors for the cultural exchanges between China and the West. Taking the English translation of Fortress Besieged as the research subject, this paper explores how to translate metaphor in novel from the perspective of relevance theory. It is found that the translator adopts the following methods in dealing with metaphor translation: retaining the original metaphor image, transforming the original metaphor image, retaining the original metaphor image and annotating it, explaining or omitting the original metaphor image.
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Zhu, Shuang. "Aesthetic Representation in Three English Versions of A Tale of the Fountain of the Peach Blossom Spring from the Perspective of Translation Aesthetics." International Journal of Education and Humanities 13, no. 3 (April 24, 2024): 44–46. http://dx.doi.org/10.54097/mns6jg91.
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How to make Chinese literature better accessible to the world and how to represent the beauty of the original text is one of the heated discussion in translation. The article takes the aesthetic features embodied in A Tale of the Fountain of the Peach Blossom Spring as an example, and on the basis of the theory of translation aesthetics proposed by Liu Miqing, it explores the aesthetic representation in the English translations of A Tale of the Fountain of the Peach Blossom Spring by Lin Yutang, Luo Jingguo, and Xie Baikui at the levels of the formal system and the non-formal system, so as to provide the reference and significance for the contemporary translation of the classical Chinese text.
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Wang, Jie, and Josh Stenberg. "Soft power from Ningxia to Cairo: Chinese-to-Arabic translation of modern and contemporary literature." Translation Studies 12, no. 3 (November 29, 2018): 321–37. http://dx.doi.org/10.1080/14781700.2018.1534698.
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张, 玉. "Audience Awareness Study of the Contemporary Chinese Translation Literature from the Perspective of Medio-Translatology." Modern Linguistics 12, no. 04 (2024): 400–405. http://dx.doi.org/10.12677/ml.2024.124264.
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LIU, YANJIN. "Translating Agendas in Children’s Literature: Oscar Wilde’s Fairy Tales in China." International Journal of Linguistics, Literature and Translation 6, no. 1 (January 5, 2023): 45–53. http://dx.doi.org/10.32996/ijllt.2023.6.1.7.
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Children’s literature is recently regarded as an emergent vehicle for the expression of opposing political views (Simpson, 2020), becoming an up-and-coming part of contemporary political discourse. To examine the discursive properties of agendas and political discourse in fairy tales and their translation particulars, this study adopts the political and critical discourse analysis (Schäffner, 2004; Van Dijk, 2003) with the method of micro-textual lexis analysis and macro social-historical analysis. It is found that: 1) political discourse in children’s literature exhibits a marked discursive property of substantial adjective usage; 2) denotation expansion, trivialization, and contrast explicitation are three recurrent translation strategies under the strategic functions of dissimulation and delegitimization; 3) translation initiation manifests political awareness with local, ideological, and political implications. The study, with a specific focus on the Chinese context, foregrounds the empowerment of translation with local, ideological, and political implications, highlighting the delicate strategies adopted by translators in a likewise delicate genre of children’s literature.
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Li, Li. "Su Manshu's Adaptation of Les Misérables: The Manipulation of a Bridging Text in an Activist Translation." Translation and Literature 31, no. 1 (March 2022): 35–51. http://dx.doi.org/10.3366/tal.2022.0493.
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The past two decades have seen a growing ‘activist’ turn in Translation Studies, whereby the translator is not considered a subservient mediator of the source text, but rather an engaged agent whose translation activity promotes particular political and social ends. The translation and adaptation into Chinese of an English version of Victor Hugo's Les Misérables in 1903 by a Buddhist monk, Su Manshu, illustrates the complex range of social and cultural factors that must be taken into account when considering a text of activist translation. Su Manshu radically edited a portion of Charles E. Wilbour's English translation of Hugo's novel, freely adding new elements, for serialization in a Chinese revolutionary newspaper. The present article traces the nature and impact of the changes made to the English bridging text by Su Manshu in the process of creating a polemical adaptation that would reframe Hugo's representation of the volatile events leading to the 1832 Paris Uprising as a work designed to encourage a contemporary Chinese audience to rise up against its rulers.
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Belavina, Ekaterina M. "Desbordes-Valmore, Smirdin and Pushkin in the Face of “Industrial Literature”." Literary Fact, no. 1 (31) (2024): 151–66. http://dx.doi.org/10.22455/2541-8297-2024-31-151-166.
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The article is devoted to the influence of “industrial literature” (Sainte-Beuve’s term) and Anglomania on Franco-Russian cultural relations of the Romantic era. In particular, the author considers the reader’s reception of the short story collection “Lady Betty’s Salon,” published in France under the name of Desbordes-Valmore (March 1836). The translation of the collection into Russian, signed with the cryptonym N.D., was published in the printing house of A.F. Smirdin in the same year. The article reveals the economic and cultural prerequisites of the publication, as well as the peculiarities of the French edition, which is a transposition of popular stories by English authors of keepsakes of 1810–1830. Numerous facts improve the popularity of Desbordes-Valmore’s works in aristocratic salons of Moscow and St. Petersburg (Rostopchina, Dargomyzhsky, Glinka, Annenkov). The author of the article suggests that Pushkin may have influenced Smirdin’s decision to publish the work. The analysis of an anonymous critical book review, signed with the initial R.M. and published in the newspaper “Northern Bee” (November 1836), reveals the similarity of the judgments expressed in the critical note with Pushkin’s views on the state of French literature contemporary to him, as well as his profound knowledge of the material. The book has become a bibliographic rarity in France, but has survived in Russian translation, although it is the only case of translation of Desbordes-Valmore’s prose into Russian in the 19th century.
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Vo, Nhon Van. "TRANSLATED LITERATURE IN COCHINCHINA IN THE LATE 19th CENTURY AND IN THE EARLY 20th CENTURY." Science and Technology Development Journal 13, no. 1 (March 30, 2010): 5–12. http://dx.doi.org/10.32508/stdj.v13i1.2099.
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Being colonized by France, Cocochina (the South of Vietnam) was the region where Western literature was introduced into earlier than the North. Truong Minh Ky was considered the first translator of Western literature in Vietnam. His earliest works of translation appeared in 1884. By the early 20th century, introduced to Vietnamese readers were Western literary works not only of French origin but also of British, American and Russian origins; not only poetry, prose but also drama. In the late 19th century, many writers such as Truong Vinh Ky, Huynh Tinh Cua were interested in Chinese literature. In the first decade of the 20th century, a wide variety of Chinese novels were translated into Vietnamese, forming a strong movement of translating "truyen Tau” (Chinese fictions). The remarkable characteristics of the translation of Western literature in Cochinchina were as follows - The newspapers and magazines in “Quoc Ngu” (Vietnamese language written in Latin characters) where the first works of translation were published played very important role. - The translators were greatly diverse, coming from different social and cultural backgrounds. - More translation was made on prose. Novels of martial arts, historical stories, novels of heroic deeds attracted the attention of the translators and the publishers. Therefore, they were translated much more than romance novels were, because of their compatibility with popular audience. - By translating the works of Western literature, the writers tried to express new concepts of humanism, such as women rights, or gender issues. Translated literature in Cocochina in the late 19th and early 20th centuries reflects a paradox: Western influences started to leave their marks but the Chinese influence was still strongly engraved. However, this was a remarkable step in the journey of modernization of national literature. Through these early translated works, new literary genres were introduced and Vietnamese readers gradually became familiar with them. Translation experiences were the first steps for Cocochina writers to achieve thorough understanding, to learn Western writing techniques and styles, which helped them become the pioneers of new literature in Vietnam.
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ZHUANG, Peina, and Jie Zhang. "On Variations of the Classical Chinese Literary Genre terminchinesescript (Fu) in Literary History." Cultura 19, no. 2 (January 1, 2022): 131–45. http://dx.doi.org/10.3726/cul022022.0009.
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Abstract: In 'On Variations of the Classical Chinese Literary Genre terminchinesescript (Fu) in Literary History,' the authors analyze the representation of the classical Chinese literary genre Fu, or namely, rhapsode, in Chinese literary histories compiled in English. A unique classical literary genre, Fu commonly appears in classical Chinese literature as well as in aesthetics and philosophy, thus constituting an important part in Chinese literature in all periods from ancient to contemporary. However, Fu falls outside the quartered-division of modern western stylistics, so is bound to cause problems in the compilation of a literary history in the Anglophone literary culture, as is the case in Sinology. This paper argues that variations caused in the translation of the name Fu and its configuration set-up in the English context have resulted in the under exploration of its full meanings in existing relevant studies, which necessitates future research for the sake of substantially changing the peripheral status of Chinese literature in the arena of world literature.
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Kim, Soo-young, Jeongwoo Song, Juhee Ham, and Ruiqing Qui. "Translation and Annotation of Chunhyangjeon writtenby Yeo Gyu-hyeong." Daedong Hanmun Association 78 (March 30, 2024): 289–398. http://dx.doi.org/10.21794/ddhm.2024.78.289.
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In the early 20th century, Yeo Gyu-hyeong was commissioned by the Wongaksa(圓覺社) to create the drama Chunhyangjeon written in Classical Chinese. Yeo Gyu-hyeong's Chunhyangjeon is a unique text that shows the contemporary changes in pansori literature and has points worthy of further discussion in several adjacent academic fields. Nonetheless, a complete translation of this work has not yet been done. Therefore this paper preliminarily examined the bibliographic characteristics and genre of Yeo Gyu-hyeong's Chunhyangjeon and performed punctuation, translation, and commentary on the entire text.
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Chen, YanYing. "The Application of the Functional Equivalence Theory in Prose Translation- Taking the Sight of Fathers Back Translated by Zhang Peiji as an Example." Communications in Humanities Research 3, no. 1 (May 17, 2023): 511–16. http://dx.doi.org/10.54254/2753-7064/3/20220468.
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Eugene Nida makes the Functional Equivalence Theory claim, an American famous linguist, and translator, which emphasizes that the goal of translation is to translate a message into the target language as accurately and organically as feasible. In order for the intended readers to respond and feel the same as the original readers, it heavily emphasized the informational and formal comparability. Chinese prose, a flexible kind of narrative fiction that reveals the actual feelings of the author, is one of the most significant genres in Chinese literature. Therefore, prose translation should not be underestimated and should be fully integrated with the Functional Equivalence Theory to better serve the information included in the source language, as well as the formal features of the language and the target readers' reading background. This paper examines the functional equivalence theory's application to the translation of contemporary Chinese prose by using a famous passage from The Sight of Father's Back to compare and contrast the source text and target text.
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Starky, Thomas. "The Greenwich Meridian of Literature and the „Peripheries” of World Literature: Lu Xun’s Alternative Cartography." Tekstualia 2, no. 65 (September 13, 2021): 41–48. http://dx.doi.org/10.5604/01.3001.0015.2748.
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The article discusses Pascale Casanova’s mapping of world literature according to a division into center and peripheries, focusing on her idea of the Greenwich Meridian of literature as a spatial and temporal measure of the world’s literary production. The related idea of literary consecration of peripheral writers is explained. The possibility of an alternative cartography that emphasizes literary transfers via translations between peripheries is analyzed on the basis of the famous modern Chinese writer Lu Xun’s theoretical and translation output. His practice of translating peripheral writers, often carried out second-hand via German editions, potentially challenges popular contemporary mappings of literary space such as those developed by P. Casanova and F. Moretti.
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ZHUANG, Peina. "On Variations of Classical Chinese Literary Theory for a Framework of Global Literary History." Cultura 18, no. 1 (January 1, 2021): 23–40. http://dx.doi.org/10.3726/cul012021.0002.
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Abstract: In "On Variations of Classical Chinese Literary Theory for a Framework of Global Literary History" Peina Zhuang discusses texts of classical Chinese literary theory as a reservoir for philosophical reflections on literary art. The aesthetics of Chinese literature originate in Confucianism and Taoism and hence represent an important background for any discussion of ancient, modern, or contemporary Chinese literature and literary history. Zhuang analyzes texts of classical Chinese literary theory within such a framework of a literary history and aims at furthering Chinese literature to become an integral part of world literatures. Further, Zhuang argues that "history" and "literary history" present a different picture of works on classical Chinese literary theory owing to the variation caused in representing their literary and aesthetic features. Zhuang also posits that the translation of Chinese literary texts to Western languages, while relevant and important, is not enough to advance Chinese literature from a peripheral status to a status of recognition hence the importance of scholarship with regard to literary history specifically.
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Kong, Naizhuo, and Yuanfei Yao. "A Cultural Journey of Eileen Chang's Half Lifelong Romance—A Study of Karen Kingsbury’s English Translation." Theory and Practice in Language Studies 10, no. 7 (July 1, 2020): 798. http://dx.doi.org/10.17507/tpls.1007.11.
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Half Lifelong Romance translated and introduced by Karen Kingsbury, a translation research expert of Eileen Chang, was published by Penguin Press in 2012. This modern and contemporary female literature has been known by Western readers from the eastern continent, and its cultural journey has crossed the language barrier. Based on this, this paper will explain the cultural travel of Eileen Chang's English version from the perspective of classics, translator's view and Eugene Nida's division of culture, in order to bring some enlightenment to the translation of Chinese and English studies.