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Yokota-Murakami, Takayuki. "The Historically Changing Notion of (Female Bodily) Proportion and Its Relevance to Literature". Perichoresis 18, n.º 2 (1 de junho de 2020): 17–30. http://dx.doi.org/10.2478/perc-2020-0008.
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AbstractFutabatei Shimei (1864-1909) was an early modern Japanese novelist, translator, and critic. He wrote what is now generally conceived of as the first Japanese ‘modern’ novel, Drifting Clouds (1887-89). He translated works by Turgenev, Leo Tolstoy, Garshin, Gorky, and others. He also published a number of critical essays, treatises on literary theory, political papers, and so forth. His early translation of Turgenev’s short stories: Aibiki (Rendevous, 1888) and Meguriai (Three Trysts, 1889) were extremely influential on the contemporary literati, who were amazed at the fresh, poetic prose used in stark contrast to the traditional Japanese fiction in the pre-Reformation period. These translations, seen in the light of the present-day readers, were unique in what we might term today ‘foreignizing translation’. Lawrence Venuti in Invisibility of the Translator argues that the ideal of (English) translation has been to conceal itself as a translation, i.e. to present itself as an original text (chap I and passim). In that sense, Futabatei’s translations, scandalously presenting itself as a translation, that is to say, as an alien text, is extremely ‘foreignizing’.
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Harker, Jaime. "Contemporary Japanese Fiction & ‘Middlebrow’ Translation Strategies". Translator 5, n.º 1 (janeiro de 1999): 27–44. http://dx.doi.org/10.1080/13556509.1999.10799032.
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Khamidov, Khayrillo, e Diyora Abdurakhimova. "Translation of Idioms from Japanese and Turkish to Uzbek Language". International Journal of Multicultural and Multireligious Understanding 8, n.º 4 (4 de abril de 2021): 397. http://dx.doi.org/10.18415/ijmmu.v8i4.2579.
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This article is devoted using idioms in translating Japanese and Turkish fiction book into Uzbek language. This article analyses Japanese phrases and discusses methods of translating them. As a comparison, Russian and Turkish alternatives of some phrases are given as well. This article also emphasizes how idiomatic expression can illustrate delicate meaning of cultural heritage and uniqueness of the nation. Some proposals which have been put forth by the article and scientific deductions might be helpful for effectively translating the text. Obviously, there are many elements of cultural uniqueness in all fiction books and there have been problems during the translation. In order to solve these problems it requires great deal of talent which is not easy to gain. It can be easily seen in phraseological units which represent traditions, social life and customs of one particular nation. Because rebuilding phrases requires not only special approach but also distinguish those phrases among one thousand words. Moreover, translating them into another language comprehensively is very complex process. It requires to know about Uzbek and Japanese languages’ different original constructions of many phrases in completely different roots and this prioritizes to be careful with ethology of phraseological units and learning source thoroughly. In the following article authors focused on problems of translating phraseological aspects.
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Kordzińska-Nawrocka, Iwona. "Poetyka polskiego przekładu Genji monogatari, czyli Opowieści o księciu Genjim Murasaki Shikibu". Między Oryginałem a Przekładem 28, n.º 4(58) (18 de dezembro de 2022): 107–25. http://dx.doi.org/10.12797/moap.28.2022.58.05.
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POETICS OF THE FIRST POLISH TRANSLATION OF GENJI MONOGATARI, OR THE TALE OF GENJI BY MURASAKI SHIKIBU: THE TRANSLATOR’S POINT OF VIEW
The article identifies the most important translation strategies and challenges faced by the translator of the first Polish translation of Genji Monogatari, or The Tale of Genji. The work, written in 1008, is a masterpiece of not only Japanese but also world literature and is widely included in the cultural heritage of humanity. Its author, Murasaki Shikibu (?978-1025 or 1031) is considered a forerunner of modern literary fiction with a profound humanistic approach. The work itself has been translated into modern Japanese and many European languages. Originally written in classical Japanese, it is distinguished by the ambiguity of expression, lexical polysemy, elaborate honorific language, and cultural hermeticism. The author discusses how, in light of the above, the Polish translation will balance the goal of making Murasaki’s work intelligible for the Polish reader with the need of preserving the elements of ‘foreignness’ of the old Japanese culture, for the translation is intended to fulfill not only a mediating and communicative function between Polish and Japanese cultures but also a cognitive one.
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Young, Victoria. "Beyond “Transborder”: Tawada Yōko’s Vision of Another World Literature". Japanese Language and Literature 55, n.º 1 (21 de abril de 2021): 1–33. http://dx.doi.org/10.5195/jll.2021.181.
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This article presents a critical examination of “transborder” literary approaches that seek to renegotiate the position of Japanese fiction within the world. The concept of transborder fiction has emerged in recent decades as a means of breaking down the boundaries of Japanese literature that assume agreement between the nationality of a writer and the language of her text. However, as it takes its cues from David Damrosch’s influential study of 2003, What is World Literature?, which suggests that literature gains in value in translation, transborder literature betrays its desires to promote Japan’s national literature in a globalising literary context. This more critical view reveals that despite their calls for greater literary diversity, transborder approaches exhibit problematic tendencies that threaten to erase the multiple flows of language and intertextuality already extant within modern Japanese fiction and turn its eye away from history. This critique is focalised through the writing of Tawada Yōko, whose prolific output of literary works and essays in Japanese and German appear to epitomise the image of transborder writing, and yet which frequently challenge these assumptions. Both the book-length essay Exophony (2003) and the Japanese novel Tabi o suru hadaka no me (2004) offer prescient critiques rooted in history that expose moments of rupture, asymmetry and untranslatability, which an emphasis on border crossings threatens to overlook. However, by choosing to peer through those gaps, guided by the latter’s Vietnamese narrator, these texts also incite hitherto unseen connections between Tawada’s Japanese fiction and the world.
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KIM, Jiyoung. "Toward the Translation Zone of Solidarity and Hospitality Beyond Hate：On the Reception of “K-Literature” in Japan". Border Crossings: The Journal of Japanese-Language Literature Studies 17, n.º 1 (28 de dezembro de 2023): 251–69. http://dx.doi.org/10.22628/bcjjl.2023.17.1.251.
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The 2010s in Japan saw a boom in “hate books” inciting hatred toward Korea and China, along with the spread of hate speech against diverse minority groups and socially vulnerable people. Discrimination and oppression against women and minorities had emerged globally as a serious social issue during this period, as symbolized by the #MeToo movement and the BLM movement. This paper examines the meaning and potential of translation literature against this backdrop of an age of hatred. Since the Japanese translation of Cho Nam-ju’s novel <i>Kim Jiyoung, Born</i> 1982 became a bestseller in 2019, there has been a surge in the translation of Korean literature in Japan, known as the “K-literature” boom. Feminism is an important keyword in the active reception of Korean literature, and translation has mediated women’s solidarity against misogyny. Recently, Japanese readers have gained a great familiarity through magazines and translations with contemporary Korean feminist science fiction, a prominent feature of which is its subversive imagination that seeks symbiotic relationships between women, minorities, and non-human beings. It remains to be seen whether translation literature can build solidarity and hospitality among diverse Others transcending hate.
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Chan, Leo Tak-Hung, e Jindan Ni. "Archaism, “Elegant Paraphrase,” and the Chinese Translation of Three Modern Japanese Novels". Comparative Literature Studies 60, n.º 4 (novembro de 2023): 647–72. http://dx.doi.org/10.5325/complitstudies.60.4.0647.
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ABSTRACT The article examines the use of archaization as a strategy of aesthetic translation in rendering modern Japanese fiction into Chinese. The “classical” style, which resurged at the end of the twentieth century after decades of active championing of the vernacular in China, has been deployed in domesticating major Japanese fictional works originally written in quite different registers. Through close textual analyses of Tanizaki Jun’ichirō’s “Portrait of Shunkin (1933),” Kawabata Yasunari’s Snow Country (1935–1947), and Murakami Haruki’s Norwegian Wood (1987), this article shows how the inclusion of elements from the literary language significantly reshapes the source texts for the Chinese audience and how attempts were made to justify these stylistic deviations. In reading these cases against the belles infidèles tradition in seventeenth-century France and contemporary translation theories that favor foreignization, one sees the underlying ideology that led to the preference for “elegant paraphrase” in the late twentieth-century China.
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Murakawa, Hide. ""Film Director Tanaka Kinuyo": The Challenges of Female Authorship". JCMS: Journal of Cinema and Media Studies 62, n.º 4 (junho de 2023): 130–54. http://dx.doi.org/10.1353/cj.2023.a904630.
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abstract: In 1953, Tanaka Kinuyo, one of Japan's legendary stars, made her debut as a film director, becoming the first Japanese woman to regularly direct feature-length fiction films. In "Eiga kantoku Tanaka Kinuyo" ("Film Director Tanaka Kinuyo," 2016), Murakawa Hide explores Tanaka's early directorial career through interviews with actors and staff members who worked under Tanaka at the time. These interviews provide valuable insight into the industrial and political context in which Tanaka debuted and how she was perceived inside the industry. Included here is an original translation of Murakawa's article as well as an introduction from the translator addressing how the gendered experiences of authorship, stardom, and ageism intersect in Tanaka's directorial career.
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Liu, Zhiqiang, e Hui Xiong. "Jiang Guangci as a Translator of Russian Literature into Chinese". Nauchnyi dialog 11, n.º 10 (6 de janeiro de 2023): 220–36. http://dx.doi.org/10.24224/2227-1295-2022-11-10-220-236.
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The translation activity of the founder of revolutionary Chinese literature, Jiang Guangci, is considered. The novelty of the study is due to the fact that the translations of Russian and Soviet literature by Jiang Guangci are almost not studied in scientific circles. The relevance of the study is due to the importance of building and strengthening Chinese-Russian cultural ties, including in the field of translation of fiction, in which Jiang Guangci was successful in the 20s of the XX century. It has been established that Jiang Guangci’s translations corresponded to his revolutionary ideals, which he embodied in his original works. It is noted that Jiang Guangci's worldview determined his choice of Russian and Soviet works embodying revolutionary ideals for translation. It is shown that his translations received wide support from young people due not only to the content, but also to the simple, understandable language of presentation. The participation of Jiang Guangci in the literary discussion about the translation strategy is presented. Due to his good knowledge of the Russian, he made translations from the original, and not from Japanese translations of Russian works. The authors come to the conclusion that the translation activity of Jiang Guangci has not been sufficiently studied and has prospects for study.
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이한정. "The Conditions and Characteristics of Translation of Japanese Fiction into Korean". Journal of the society of Japanese Language and Literature, Japanology ll, n.º 51 (novembro de 2010): 329–50. http://dx.doi.org/10.21792/trijpn.2010..51.017.
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Hedberg, William C. "Translation, Colonization, and the Fall of Utopia: The Qing Decline as Explained through Chinese Fiction". Japanese Language and Literature 54, n.º 1 (30 de março de 2020): 115–35. http://dx.doi.org/10.5195/jll.2020.79.
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This study focuses on Meiji-period Japanese engagement with the late imperial Chinese novel Sequel to ‘The Water Margin’ (Shuihu houzhuan): an early Qing continuation of the classic Water Margin that focuses on the Liangshan outlaws’ colonization of a mythical “Siam” in the wake of the fall of the Northern Song dynasty. Like its parent work, Shuihu houzhuan found an enthusiastic readership beyond the borders of China. The novel was translated into Japanese several times during the Meiji period: most famously, by the poet and scholar Mori Kainan, whose translation was published by the Tokyo-based Kōin shinshisha publishing house between 1893 and 1895. In addition to the fact that Japan itself appears as a setting in the novel, I argue that Meiji-period interest in Shuihu houzhuan was related to its radically new mode of representing the central characters, who were transformed from rebellious bandits in the original Water Margin into civilized colonizers responsible for protecting and transplanting a reified Chinese essence on an international stage. This interest in expansion and colonization took on new significance against the backdrop of the First Sino-Japanese War, which bisected the publication of the translation and was explicitly addressed in both Mori’s commentary to the novel and the publishers’ marketing of the translation itself. In the context of the shifting relationship between Meiji-period Japan and Qing-period China, “Siam” is ultimately divested of its symbolic significance as a refuge from dynastic crisis and reconstituted as an unintentional trope for the complex linguistic, cultural, and political negotiation underlying Mori’s translation.
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M.N., Mester, e Proshina Z.G. "CULTURAL AND LINGUISTIC IDENTITY OF A TRANSLINGUAL AUTHOR AND CHALLENGES IN MAINTAINING IT IN TRANSLATION". Humanities And Social Studies In The Far East 17, n.º 1 (2020): 113–20. http://dx.doi.org/10.31079/1992-2868-2020-17-1-113-120.
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The article discusses the problems of objectivization of a translingual author’s cultural and linguistic identity when works of fiction are created in a second language, which is very active in the author’s linguistic repertoire. The article analyzes a novel by Kazuo Ishiguro, the British-Japanese author, the 2017 Nobel Prize winner. The focus of attention is on the syncretic manifestation of the author’s Japanese and English identity that causes challenges in translating them into Russian, a third language participating in the artistic representation of the novel.
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Saito, Kumiko. "Reframing Modern Japanese Literature: Translation and Science Fiction in Meiji-Era Japan". Journal of Japanese Studies 49, n.º 1 (janeiro de 2023): 57–83. http://dx.doi.org/10.1353/jjs.2023.0003.
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Wong, Elaine, e Li Kotomi. "A Translingual Voice in Japanese Literature: A Conversation between Li Kotomi and Elaine Wong". Journal of Literary Multilingualism 2, n.º 1 (23 de abril de 2024): 119–29. http://dx.doi.org/10.1163/2667324x-20240107.
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Abstract Li Kotomi learned Japanese as a teenager in Taiwan. She is a prolific author writing in Japanese and has received several literary awards in Japan, including an Akutagawa Prize in 2021. Li translates her own works into Mandarin Chinese, her first language. Her novels and short stories often depict experiences of crossing between Japanese and Chinese, such as how a character’s encounter with a new language shapes or even determines her understanding of a new country. In this interview, Li talks about the influences of language and linguistic differences on her creative writing, her learning of Japanese, her thoughts about Japanese and Chinese, self-translation, and linguistic identity. She also discusses, from a queer perspective, her way of innovating Japanese literature by incorporating original Chinese classical poems into contemporary Japanese fiction, and how this act of innovation subverts heteronormativity in Chinese and Japanese literatures for different reasons.
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Hashimoto, Satoru. "Regional Literary Tradition in Modern World Literature: The Allegorization of Democracy in Yano Ryūkei’s Beautiful Story of Statesmanship and Its Chinese and Korean Translations". Comparative Literature Studies 59, n.º 4 (novembro de 2022): 768–87. http://dx.doi.org/10.5325/complitstudies.59.4.0768.
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ABSTRACT Yano Ryūkei’s popular political novel Keikoku bidan (The Beautiful Story of Statesmanship, 1883-84) is a fictionalization of the dramatic victory of the democrats over the oligarchs in ancient Thebes, and is among the first modern Japanese literary works to be translated into Chinese and Korean. As such, this work may be construed as a typical case of the translation of modern ideas from the European center into an East Asian periphery. But in playing that function, it notably makes an anachronistic use of a style of classical Japanese fiction that, along with its Korean counterpart, had developed in tight relationship to late-imperial Chinese vernacular fiction. The adoption of the classical narrative form of regional provenance allowed Ryūkei to create a political allegorization of democracy whose legitimacy is not just ideologically imposed but indigenously grounded on history, and facilitated its translation into Chinese and Korean. By examining these texts, this article considers an interperipheral structure of literary exchanges that helped enable a transposition of democracy into the region. It thus illuminates a palimpsestic construct of textual circulation in turn-of-the-century East Asia where the modern center-periphery relationship is intersected with the interperipheral dynamics activated by the afterlives of a classical transnational cultural tradition.
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Manfredi, Adam. "The Poetics of Space in Enchi Fumiko’s The Waiting Years / 円地文子『女坂』における空間の詩学". U.S.-Japan Women's Journal 65, n.º 1 (2024): 56–74. http://dx.doi.org/10.1353/jwj.2024.a922155.
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Abstract: This article examines how Enchi Fumiko, in her novel The Waiting Years ( Onnazaka 1957), uses verbs of motion, such as kuru (to come) and iku (to go), to carefully shift the novel’s focalization, allowing readers to grasp the subtle nuances of relationships within the Shirakawa household as characters move through the Shirakawa residence. This construction of the physical and social space of the home allows Enchi to explore the constraints women faced within the patriarchal ie seido (family system) that largely governed gender roles in prewar Japanese society. It argues that while Japanese third-person fiction (with its flexible use of tense, deixis, and person) tends to be told from the here and now of a story, English third-person fiction (told in the past tense) has greater difficulty entering a story’s here and now. As a result of these linguistic constraints, this layer of social critique is not always replicated in John Bester’s English translation (1971).
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Kanesaka, Kirk, e Gladys Mac. "Labour of love: Chinese-to-English fan translations of BL web novels". East Asian Journal of Popular Culture 9, n.º 2 (1 de setembro de 2023): 243–59. http://dx.doi.org/10.1386/eapc_00110_1.
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The genre of boys’ love (BL) has enjoyed huge popularity since its Japanese beginnings in the 1960s, and it has taken root in popular cultures in many countries. BL arrived in China via fan translations of Japanese manga into Chinese. With the rise of online fiction platforms in China, local writers produced widely popular male–male romances that gained traction locally and abroad. The outflow of Chinese BL mirrors fan activities that led to the popularity of Japanese manga and anime in the United States. Fan translations of Chinese-to-English BL fiction are one of the most important links in introducing Chinese BL to the rest of the world. This article focuses on the cultural outflow of Chinese BL through fan translations in gloBLizing the genre. Through interviews with five teams and one individual fan translator, this article examines their roles played in the dissemination of BL web novels beyond the native Chinese-speaking world. These fan translators all resided in anglophone countries, and are diverse in their cultural and linguistic backgrounds, ages and BL interests. We interviewed fan translators that translated works from fantasy, alternative history and contemporary romance. Some of these works have been adapted into multimedia and some have not.
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Wijana, I. Dewa Putu. "THE COURTESY CALL: STUDY ON POLITENESS OF FICTION CHARACTERS". International Journal of Humanity Studies (IJHS) 3, n.º 2 (21 de fevereiro de 2020): 192–200. http://dx.doi.org/10.24071/ijhs.v3i2.2391.
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This research is an attempt to study politeness issues based on utturances of Osamu Dazais short story characters entitled The courtesy Call, the English translation from Japanese Shinyu Kokan by Ivan Morris. By using politeness maxim theory proposed by Leech, it is found that the antagonist often violates 6 politeness maxims which are tend to obey by the protagonist and his wife. The violation and the obedience of politeness maxims constitute a reflection of character differences intended by the writer. Utterances expressed by Fictions characters are a rich source to exploit for studying politeness for pragmatic studies as their creation are based on careful observations of the author toward the world realities.
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Cantrill, Aoife. "Growing Together: Yang Shuangzi's Queer Adaptation of Taiwan's Colonial Fiction". Comparative Critical Studies 20, supplement (outubro de 2023): 60–79. http://dx.doi.org/10.3366/ccs.2023.0495.
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Readings of Taiwan's Japanophone colonial-era fiction are typically influenced by politicised interpretations of Japanese rule (1895–1945) on the island and its significance to contemporary Taiwanese identity. Till recently, these discussions often marginalised colonial-era texts by Taiwanese women, initially due to limited translation during Taiwan's period of martial law (1945–1987), and later due to the fragmentary nature of these short stories. This article explores how millennial author Yang Shuangzi (1984-) overcomes the anticipatory politics of reception surrounding colonial-era fiction by adapting a short story by Yang Qianhe (1921–2011) through the lens of ‘Girls’ Love’ (GL), a predominantly online subculture made up of media (fanfiction, manga, fanart) portraying queer relationships between women and girls. By understanding the text as an adaptation, it is possible to explore how contemporary Taiwanese authors read and relate to colonial fiction, breathing new life into such texts through interpretations grounded in contemporary culture. In Yang Shuangzi's case, I argue that she not only emphasises Yang Qianhe's importance to Taiwanese women's fiction through adaptation, but that she also creates space for literary play and creativity. The article focuses on the process of adaptation to develop an argument about literary connection between generations of Taiwanese women, whilst also outlining how online subcultures can revitalise literatures caught in the back-and-forth of nation-state politics by establishing their own practices of language and form.
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Trowell, Haydn, e Satoshi Nambu. "“Pseudo-dialect” or “role language”? Speech varieties in three Japanese translations of Gone with the Wind". Journal of Japanese Linguistics 39, n.º 2 (1 de novembro de 2023): 237–60. http://dx.doi.org/10.1515/jjl-2023-2014.
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Abstract This study considers the use of dialectal and distinctive language features in three Japanese translations of the 1936 novel Gone with the Wind by Margaret Mitchell, published in 1938, 2015, and 2015–2016. Previous studies have noted that these translations adopt various linguistic features originating in dialects from Japan’s Tōhoku region when rendering the African American Vernacular English–influenced eye dialect spoken by Black enslaved characters, and suggest that this translation strategy draws on and reinforces negative social perceptions of real-life Tōhoku-dialect speakers. Conversely, through a dual approach involving both a comparative textual analysis and a quantitative perceptual survey, this study argues that these speech styles should be viewed rather as an enregistered form of “role language”: a speech variety unique to fictional contexts serving to identify a character archetype that in the eyes of a majority of readers is disassociated from any historical origin.
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Jung, Hyeyoung. "Colonial Ditective Fiction and Judicial System - Concentrating on Kim Rae-sung's Translation of Japanese Detective Novel into Korean". Studies of Korean & Chinese Humanities 60 (30 de setembro de 2018): 165–88. http://dx.doi.org/10.26528/kochih.2018.60.165.
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Bourdaghs, Michael. "Translating Mount Fuji: Modern Japanese Fiction and the Ethics of Identity (review)". Journal of Japanese Studies 34, n.º 1 (2008): 216–20. http://dx.doi.org/10.1353/jjs.2008.0038.
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Ouyang, Wen-chin. "The Qur’an and Identity in Contemporary Chinese Fiction". Journal of Qur'anic Studies 16, n.º 3 (outubro de 2014): 62–83. http://dx.doi.org/10.3366/jqs.2014.0166.
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How is it possible to comprehend and assess the impact of the Qur’an on the literary expressions of the Hui Chinese Muslims, who have been integrated into Sinophone and China’s multicultural community since the third/ninth century, when the first ‘translations’ of the Qur’an in Chinese made by non-Muslims from Japanese and English appeared only in 1927 and 1931, and that by a Muslim from Arabic in 1932? This paper looks at the ways in which the Qur’an is imagined, then embodied, in literary texts authored by two prizewinning Chinese Muslim authors. Huo Da (b. 1945) alludes to the Qur’an in her novel The Muslim’s Funeral (1982), and transforms its teachings into ritual performances of alterity in her saga of a Muslim family at the turn of the twentieth century. Zhang Chengzhi (b. 1948) involves himself in reconstructing the history of the Jahriyya Ṣūfī sect in China between the seventeenth and nineteenth centuries in his only historical novel, A History of the Soul (1991), and invents an identity for Chinese Muslims based on direct knowledge of the sacred text and tradition.
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Mazur, S. M. "SUGGESTIVNESS OF THE “OFUDESAKI” TEXT: INTENTION OR FORTUITOUSNESS?" Opera in linguistica ukrainiana, n.º 28 (28 de setembro de 2021): 325–38. http://dx.doi.org/10.18524/2414-0627.2021.28.236854.
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The article goal is to single out and describe verbal means of suggestive influence on the recipient of “Ofudesaki” text a translation erbatim from Japanese: “At the tip of the brush”), which is the main script of the Tenrikyo religion, one of the “oldest” among the many newest syncretic religions in Japan, founded by a simple peasant Nakayama Miki (1797-1887) in 1838. The text “Ofudesaki”, written by the founder of this religion “from the words of God the Father” in 1869-1881, consists of 17 chapters and 1711 tanka poems, which vividly reflect the Japanese language of the second half of the 19th century. This makes it possible to consider “Ofudesaki” as a valuable source of spoken and literary language of this historical era, as well as the then Kansai dialect, because, despite the poetic form, this work is saturated with colloquial vocabulary and dialectal expressions. Thus, the subject of research is the graphic, phonetic, lexical and syntactic features of “Ofudesaki” text, which reflect not only the idiolect of the author of this sacred work, but also give good reason to make assumptions about the intentional pastiche of this text by Nakayama Miki at almost all language levels. The methods of semantic, grammatical, etymological analysis, as well as historical and descriptive ones are used in the work. One of the main results and substantiated by specific examples study findings is the hypothesis put forward by the author of the article that the convergence of Japanese spoken language with literary language was bidirectional. Not only the language of fiction actively influenced the normative base of the national language through the education system, but also the spoken element had a significant impact on the then Japanese language, “eroding” the limits defined by the literary tradition: changing the pronunciation of words, lexical composition, grammar rules, stylistic norms, and so on.
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Fowler, Edward. "Rendering Words, Traversing Cultures: On the Art and Politics of Translating Modern Japanese Fiction". Journal of Japanese Studies 18, n.º 1 (1992): 1. http://dx.doi.org/10.2307/132706.
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Garza, James. "Dominant Forms and Marginal Translations: Re-reading the Emergence of the Novel in Nineteenth-Century Japan". Comparative Critical Studies 17, n.º 3 (outubro de 2020): 413–32. http://dx.doi.org/10.3366/ccs.2020.0372.
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Franco Moretti has defined form as ‘the repeatable element of literature’. However, without a precise definition of the form(s) analysed in a given study, it is difficult to gauge what has been repeated. Moreover, no matter what guise we consider ‘form’ to take, the following objection remains: just because some element has been (or seems to have been) repeated, this does not mean that its function has been repeated too. In terms of Japanese literary history, perhaps no period better demonstrates this than the Meiji period (1868–1912). The main innovation of this paper is to adapt the text-linguistic notions of acceptability and intertextuality (see de Beaugrande and Dressler) to show that this period's ‘familiar history of rupture’ (cf. Zwicker) is indeed a valid framework for understanding the emergence of modern Japanese prose fiction. In this appeal to local context, I locate an alternative to the temptation to see, as Moretti does, an increasing amount of ‘sameness’ on the global literary stage.
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Leontovich, Olga Arkad'evna. "“A Sensible Image of the Infinite”: Intersemiotic Translation of Russian Classics for Foreign Audiences". Russian Journal of Linguistics 23, n.º 2 (15 de dezembro de 2019): 399–414. http://dx.doi.org/10.22363/2312-9182-2019-23-2-399-414.
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The article is a continuation of the author’s cycle of works devoted to foreign cinematographic and stage adaptations of Russian classical literature for foreign audiences. The research material includes 17 American, European, Chinese, Indian, Japanese fiction films and TV series, one Broadway musical and 9 Russian films and TV series used for comparison. The paper analyses different theoretical approaches to intersemiotic translation, ‘de-centering of language’ as a modern tendency and intersemiotic translation of literary works in the context of intercultural communication. Key decisions about the interpretation of original texts are made by directors and their teams guided by at least three goals: commercial, creative and ideological. Intersemiotic translation makes use of such strategies as foreignization, domestication and universalization. The resignifying of a literary text by means of the cinematographic semiotic system is connected with such transformations as: a) reduction - omission of parts of the original; b) extension - addition, filling in the blanks, and signifying the unsaid; c) reinterpretation - modification or remodeling of the original in accordance with the director’s creative ideas. A challenge and at the same time one of the key points of intersemiotic translation is a difficult choice between the loyalty to the original, comprehensibility for the target audience and freedom of creativity. The research shows that transformations and use of different translation strategies can have both positive and negative consequences. Positive outcomes include: visualization and comprehension of the Russian cultural space; adaptation of Russian experiences for the target culture; retranslation of universal values expressed by the original. Negative consequences result in: the distortion of the original due to insufficient cultural literacy; purposeful deformation of cultural meanings for ideological reasons; erroneous interpretation of the literary text; deformation of the original macromeaning; preservation of the plot, but loss of the in-depth meaning of the original text. Any degree of creative freedom still requires intercultural competence and a careful choice of semiotic signs aimed at expressing the key ideas of the original.
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Kirillova, Anna. "PROBLEMS OF ACTUAL SYNTAX IN PRACTICE OF JAPANESE-RUSSIAN TRANSLATION OF FICTIONAL TEXTS". RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, n.º 1 (2015): 98–115. http://dx.doi.org/10.28995/2073-6355-2015-1-98-115.
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Vogl, Stefan. "Izutarō Suehiro (1888–1951), Uso no kōyō / Die Nützlichkeit der Lüge (1922)1)". Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Germanistische Abteilung 139, n.º 1 (1 de julho de 2022): 295–324. http://dx.doi.org/10.1515/zrgg-2022-0013.
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Abstract Izutarō Suehiro (1888–1951), Uso no kōyō The Utility of Lies (1922). This translation presents an essay by the influential professor for private law at Tokyo Imperial University, Izutarō Suehiro that gives some insight into the historical roots of modern Japanese civil law methodology as it highlights the shift in Japanese jurisprudence away from the so-called German ‘conceptual jurisprudence’. Rejecting the traditional formalistic application of rigid statutory law, which in Suehiro’s eyes forced judges regularly to resort to legal fictions and lies about the facts of a case in order to be able to deliver humane judgements, his new ‘Japan-compatible’ approach expected the judiciary to develop flexible case law, which would enable judges to achieve ‘concretely appropriate’ judgements. In this context the judiciary was no longer to assume litigants as rationally acting, self-concerned individuals in general, but to admit the possibility of irrational, altruistic etc. personalities and to adjust the application of law to these individual differences. This raises however concerns regarding the principle of equality before the law and the role of a democratically legitimated legislator.
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Lancashire, Edel. "The Lock of the Heart Controversy in Taiwan, 1962–63: A Question of Artistic Freedom and a Writer's Social Responsibility". China Quarterly 103 (setembro de 1985): 462–88. http://dx.doi.org/10.1017/s030574100003071x.
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The early 1960s marked a period of intellectual and literary ferment in Taiwan. The East-West Controversy, which had its roots in the debate that took place in the middle of the last century regarding the continued validity of the Chinese tradition in the face of western military and economic superiority and in the controversy regarding westernization as the road to modernization in the 1930s, had broken out afresh. Creative writers, musicians and painters were experimenting with new forms and new techniques. As early as 1954 the writers of modern Chinese poetry had started the search for a more contemporary expression of their art form; and modern poetry societies, each with its own philosophy on how modernization should take place, had come into being. Writers of fiction who up till then had been almost exclusively concerned with the Sino-Japanese War; the mainland before the communist takeover in 1949, or the various aspects of the struggle against communism, were moving away from this kind of “propaganda-motivated writing” towards the production of “pure literature.” However, there were few modern Chinese creative writers of stature on whom either the poet or fiction writer could model himself. This was because of the ban imposed by the government in Taiwan on the works of writers prior to 1949 due to the association of many of them with communism or with ideologies unacceptable to the authorities. This meant that they had to seek for inspiration in the works of western writers which could be found in translation or in pirated versions of the original texts in the major cities of Taiwan. The traditionalists viewed this growing trend with alarm as did those writers who were closely associated with the Kuomintang. The latter had formed themselves during the early 1950s into three writers' associations, the China Association of Literature and Art, the Chinese Youth Writers' Association, and the Taiwan Women Writers' Association.
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Gibney, Frank B. "Reply to Edward Fowler's "Rendering Words, Traversing Cultures: On the Art and Politics of Translating Modern Japanese Fiction"". Journal of Japanese Studies 19, n.º 1 (1993): 279. http://dx.doi.org/10.2307/132901.
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Johnson, Jamie. "Writing Animality in Yoko Tawada’s Memoirs of a Polar Bear". Word and Text - A Journal of Literary Studies and Linguistics 11 (2021) (dezembro de 2021): 147–58. http://dx.doi.org/10.51865/jlsl.2021.10.
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Yoko Tawada, an author writing in both Japanese and German, is what critics call an exophonic writer, that is, a writer who uses a language other than one’s mother tongue for creative purposes. Writing from a foreign point of view is part of Tawada’s interest in acquiring perceptions of otherness both linguistically and culturally. We might apply Tawada’s exophonic writing when entering animal worlds by creating what Frederike Middelhoff terms ‘literary auto-zoographies’. Tawada’s novel Memoirs of a Polar Bear contains three generations of polar bear narratives: two circus performers and one zoo inhabitant. The text takes a postmodern metafictional approach to problems that arise in speaking for the animal other, a subject under much discussion in Animal Studies scholarship today. My article examines each of the three characters and their corresponding narrative modes. First, the grandmother polar bear writes a first-person autobiography of her life as a performer; in doing so, Tawada combines fiction and nonfiction to deconstruct the bear character’s identity thus resulting in what might be called a more authentic animal autobiography. Second, the article focuses on Tawada’s fascination with translation through the human-animal shared spaces between Tosca (the daughter of the unnamed grandmother polar bear character) and her human trainer. Lastly, the article examines the grandson, Knut, as an example of the current humanimal subject of ecopoetics with an emphasis on Knut as an environmental figure.
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Grushitskaya, Marina. "Impressionism in Pierre Loti’s “Madame Chrysanthème”". Ideas and Ideals 12, n.º 3-2 (23 de setembro de 2020): 305–13. http://dx.doi.org/10.17212/2075-0862-2020-12.3.2-305-313.
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Pierre Loti was a novelist and a marine officer who visited lots of countries. He gained popularity writing about his travels and travel impressions. This article analyses his travel to Nagasaki back in 1885 where he lived for half a year and had a ‘temporary wife’. His novel written during that travel is called “Madame Chrysanthème”. It’s one of his most extravagant and interesting pieces which made the author world-famous. It reflected common interest in the oriental life typical for that time and it predetermined the image of Japan in the European consciousness of the second half of the 19th century. Pierre Loti wrote about his ambition to make the novel as impressionist as possible determining impressionism not as an intellectual but as a decorative phenomenon related mostly to arts and translation of sensory perception. His interpretation of impressionism was expressed in “Madame Chrysanthème”, which is an attempt to describe the world around us, represented not only by the material world but by the author’s sensory perceptions and feelings. To be exact, this is impressionism in fiction. The world is a product of our sensory experience, and the author’s goal is to fix this experience, which is the sum of his observation and impressions. Pierre Loti creates his work where color plays the main role together with sounds and words. They are a sum total of the elements determining the reality in equal amounts. Stylistically “Madame Chrysanthème” is created according to impressionist canons, with lots of epithets, comparisons, metaphors, the author’s neologisms. The novel is written as a diary where separate episodes in chapters are separated from one another by large white empty gaps. The article discusses similarity of impressionism and the Japanese culture. However, a closer look demonstrates considerable differences between the European and the Oriental minds.
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Kawashima, Terry. "Translating Mount Fuji: Modern Japanese Fiction and the Ethics of Identity. By Dennis Washburn. New York: Columbia University Press, 2006. 320 pp. $40.00 (cloth)." Journal of Asian Studies 67, n.º 1 (fevereiro de 2008): 329–30. http://dx.doi.org/10.1017/s0021911808000478.
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Li, San Yun. "The realities of Korean culture and The literary translation (using Park Kyongni’s novel "Daughters of pharmacist Kim" as an example)". NSU Vestnik. Series: Linguistics and Intercultural Communication 16, n.º 3 (2018): 127–37. http://dx.doi.org/10.25205/1818-7935-2018-16-3-127-137.
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Famous South Korean writer Park Kyongni’s novel «Daughters of Pharmacist Kim» covers the period from the end of the 19th century to the beginning of the 20th century which was tragic for Korean people and their social norms because of the Japanese occupation. It depicts particularly the religious beliefs of Korean people, the relationships in the society and the family, the role of the woman, and the daily life of people of different social groups (aristocrats, the wealthy, servants). The objective of this article is to critically analyze the translation of the novel that touches upon many phenomena exotic for most Russian readers, such as the national identity of Korean culture or the material and spiritual life of Korean society. The comparison of the Korean and the Russian texts shows that the translation of some ethnographic realia does not quite match the original. For example, some words related to the following phenomena are translated incorrectly: Korean traditional underfloor heating (ondol), superstitions, Koreans’ religious beliefs and their perception of ancestors’ spirits, supernatural forces, mourning ceremonies, and attire worn to a funeral. In addition to believing in ancestors’ spirits, Koreans also believed in prophecies. For example, children of someone who died of arsenic poisoning were believed to be destined to leave no male offspring. This prophecy comes true in the novel: Pharmacist Kim’s first son dies in childhood and six daughters are born afterwards. Koreans paid special attention to shamans and believed in their supernatural essence. To this day, Koreans’ religious beliefs dating back to ancient times and various folk beliefs peacefully coexist with other world religions. In modern South Korea, people still observe customs and traditions related to funeral rites and wakes, they fear and revere the spirits of the dead, and perform «feeding ancestors’ spirits» ceremonies twice a year on certain days chosen according to the lunar calendar. In addition to the shortcomings of the Russian translation described above, some dialectal items of the Southern province Kyungsan-do are translated incorrectly, and so are occasionally rendered the rules of the traditional verbal etiquette. It may be considered as a gross error because the latter are anchored in the very essence of Korean language and make up an important part of Korean mentality. Conclusion. So, this analysis of conveying background information through Korean realia in the novel «Daughters of Pharmacist Kim» confirms the theorists’ conclusion that the translator must know background cultural information of the source text. Errors and flaws found in the translation of some ethnographic realia show that those errors and flaws are not likely to affect significantly the novel’s content or its artistic value. At the same time, the fictional quality of the novel is affected by the lack of translator’s knowledge of its dialectal peculiarities and some facts of non-material culture related to customs, elements of cult and public relations among Koreans. All of the above leads to the incorrect perception of some cultural realia of Korea described in the novel of Korean classic writer Park Kyongni.
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Wakabayashi, Judy. "Three-way transmesis in EnJoe Toh’s Matsunoe no ki". Beyond transfiction 11, n.º 3 (7 de novembro de 2016): 381–97. http://dx.doi.org/10.1075/tis.11.3.04wak.
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The postmodern novella Matsunoe no ki (The Matsunoe family; or, Branches of the Pine, 2012) by the Japanese writer EnJoe Toh falls within the category of what Thomas Beebee (2012) calls “transmesis,” here taking the specific form of a metafictional and metanarrative exploration of author-translator relationships. One feature that distinguishes this instance of transmesis is that the fictional author and translator both take on each of these roles, thereby blurring the boundaries between writing and translating. In addition, a brain injury leads to a dissociation between the cognitive functions of reading and writing in one of the protagonists, resulting in effect in three distinct personas. This further complicates this representation of author-translator relationships and highlights the separate but interrelated components within and across the processes of writing and translating.
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Goldstein, Sanford. "Other Worlds: Arishima Takeo and the Bounds of Modern Japanese Fiction, and: The Saga of Dazai Osamu: A Critical Study with Translations (review)". MFS Modern Fiction Studies 31, n.º 4 (1985): 861–63. http://dx.doi.org/10.1353/mfs.0.1147.
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Durante, Daniele. "Shizu no odamaki or "The Thread from the Spool": Male Same-Sex Love and the Warrior Ethos in a Nineteenth-Century Historical Tale". Japanese Language and Literature 56, n.º 2 (30 de setembro de 2022): 411–30. http://dx.doi.org/10.5195/jll.2022.197.
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Shizu no odamaki賤のおだまき(trans. The Thread From the Spool), a work of fiction composed presumably in the first half of the nineteenth century by an anonymous author, tells the novelized account of the lives and love story of two historical Japanese bushi 武士 or “warriors,” respectively named Yoshida Ōkura Kiyoie 吉田大蔵清家 (c. 1575-1599) and Hirata Sangorō Munetsugu 平田三五郎宗次 (c. 1585-1599). The two fighters lived in the Warring States period (Sengoku jidai戦国時代, 1467-1600) and died in combat during the “disturbance of Shōnai district” (Shōnai no ran庄内の乱, 1599-1600), one of the many conflicts that took place in this age of constant bloodshed. In presenting their fictionalized biography, Shizu no odamaki operates on two intertwining levels: one romantic, providing an idealized narration of the protagonists’ tie based on the so-called “Way of the Youth” (Wakashudō若衆道), the relationship between an adult man and an adolescent male, and of Sangorō’s juvenile beauty, and one ethical, depicting the characters’ feelings as a powerful catalyzer that assists them in their pursuit of the “Way of the Warrior” (Bushidō武士道). The two Ways, of male same-sex love and combat, thereby support each other in a virtuous circle. In proving the connection between Kiyoie and Sangorō’s sentiments and their commendable behavior as soldiers, the text pursues a didactic end by indicating their amorous and martial deeds as an authoritative example for the contemporaneous reader to emulate.In the following I provide an annotated translation of Shizu no odamaki. To prepare readers for the text, I offer in the next sections an overview of the lives of the historical Sangorō and Kiyoie figures as well as information about the records from which the narrative draws inspiration. Second, I present an analysis of the main coeval notions and social practices that the title invokes to conceptualize and portray the romantic relation between the two characters. Finally, I insert an outline of the diverging, and often conflicting, ways the narration was received and reinterpreted in the first decades of the Meiji era.
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Gerstle, C. Andrew. "Modern Japanese fiction". Asian Studies Association of Australia. Review 13, n.º 3 (abril de 1990): 115–20. http://dx.doi.org/10.1080/03147539008712651.
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Kwon, Seokwoo. "Is Mythos Myth, and Logos Reason? : The Rise and Fall of Mytho-Logos in the 20th Century". Criticism and Theory Society of Korea 27, n.º 3 (31 de outubro de 2022): 35–65. http://dx.doi.org/10.19116/theory.2022.27.3.35.
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In my previous article, “Is Mythos Myth, and Logos Reason: Etymological and Philological Reflections”(2020), I observed the foundation of ancient Greek philosophy in its relationship with the notions of mythos and logos. I argued that the history of Western philosophy in its initiatory phase took the format of progress “from mythos to logos,” and that this framework holds Homeros and Hesiodos totally different from Socrates and Plato, giving rise to the bifurcation of mythos and logos, and further accounting for the concomitant conceptual differentiation between myth and reason/rationality which has gone around until recently without enough critical assessment. In this article, I seek to argue continuously that misunderstandings come to light when one reaches the conclusion that in the ancient Greek society the words mythos and logos referred respectively to established authoritative speech and emergent reasonable discourse or theory — that neither of them really had anything to do with the fictional properties, or the degree of fictionality, of the messages under consideration. The English translation of mythos into myth — or for that matter, into its later 19th-century Japanese rendering, “神話,” — may well be held responsible for the prevalent false notion of mythos. In our age when Reason no more seems to be reason, and Enlightenment no more enlightenment, everything strikes us as a myth, posing questions as to the real nature, or even the adequacy, of the mythos-logos dichotomy. Horkheimer and Adorno did this kind of job while questioning and emphasizing the need of both in the fascist Germany where logos-reason proved to be nothing but a madness.
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Baryshnikova, G. V., e I. I. Dubinina. "GENDER PREFERENCES IN FICTION TRANSLATION". Вестник Московского государственного лингвистического университета. Гуманитарные науки, n.º 13 (2021): 38–50. http://dx.doi.org/10.52070/2542-2197_2021_13_855_38.
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Nykytchenko, Kateryna P., e Halyna V. Onyshchak. "TRANSLATION, MULTIMODALITY AND HORROR FICTION". Alfred Nobel University Journal of Philology 2, n.º 26/2 (26 de dezembro de 2023): 253–69. http://dx.doi.org/10.32342/2523-4463-2023-2-26/2-16.
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The paper outlines a framework for approaching the complexities of translating multimodal means in horror fiction. Nowadays, the horror genre is reaching its peak, becoming the most remarkable mass product in demand. It is sharply distinguished from other literary genres due to generating a morbid mood and heart-stopping suspense in the textual canvas. From this perspective, the research aims to identify multimodal means essential for creating suspense in King’s horror novels “Pet Sematary” (1983) and “Outsider” (2018) and determine the translation strategies used to render them into Ukrainian. In this regard, multimodal means stir fresh interest since they implicitly complement and clarify the information transmitted verbally. The research framework is designed with two primary objectives. Firstly, to disclose the phonic and graphic means utilized in recreating horror imagery in the TL text. Secondly, to examine the translation strategies employed in rendering the multimodal means into the TL. The principles of the comparative approach were chosen to identify the similarities and differences between translation strategies in the analyzed texts. The research methodology adopted in this study enables a comprehensive study of the multimodal means in the horror fiction genre, employing a meticulous approach that involves data collection, analysis, and interpretation through the lens of translation strategies, contextual and pragmatic analyses. The conducted research reveals the involvement of phonic and graphic means to influence the readership unconsciously. The frequency of phonic means depends on the context of their occurrence. Graphic means are represented by syngraphemic, supragraphemic, and topographemic elements. To render the sense of the SL adequately and meet the TL audience expectations, the translators of “Pet Sematary” and “Outsider” advocated semantic, grammatical, and pragmatic translation strategies. Synonymous and contextual substitution, loan, antonymous and descriptive translation, addition, and compression proved to be the dominant translation transformations. The in-depth analysis has shown that the translators faced multiple hindrances, making some errors in encoding polysemiotic signs. However, the TL version makes sense, undeniably affecting the reader and retaining the author’s communicative intent.
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Gao, Jiali, e Yan Hua. "On the English Translation Strategy of Science Fiction from Humboldt's Linguistic Worldview —Taking the English Translation of Three-Body Problem as an Example". Theory and Practice in Language Studies 11, n.º 2 (1 de fevereiro de 2021): 186. http://dx.doi.org/10.17507/tpls.1102.11.
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In recent years, many science fictions have been published, such as The Three-body Problem, The Wandering Earth, and so on. The number of people who are interested in science fiction is increasing. Meanwhile, the translation of science fiction has become more important. The Linguistic Worldview proposed by Humboldt is of great importance to the translation of science fiction. This thesis is based on Linguistic Worldview. It analyzes The Three-body Problem (English version) and the importance of such theory to the translation of science fiction. It proposes three translation strategies: free translation, literal translation, and transcreation.
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Yu, Shuang. "Translation and canon formation". FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 18, n.º 1 (16 de junho de 2020): 86–104. http://dx.doi.org/10.1075/forum.19010.yu.
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Abstract As an essential part of the “Globalization of Chinese Culture” strategy, the translation of Chinese fiction into English has gained more significance and deserves more academic attention. Through making a survey of Chinese fiction in English translation from 1978 to 2018, the article not only presents different trajectories of the development of Chinese fiction in English translation in mainland China and the English-speaking countries but also shows that different canons of Chinese fiction in English translation have been formed in the course of this development. Reasons for the formation of the prevailing canon(s) are explored and explained from perspectives taking into account concrete factors such as ideology, poetics and patronage as well as influences of the literary award mechanism. Based on this description and explanation, the article concludes with a few suggestions for the future development of cultural activity of introducing Chinese literature into English-speaking countries.
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Udovichenko, H. M., e V. L. Demchenko. "TRANSLATION TRANSFORMATIONS IN THE PROCESS OF FICTION TEXTS TRANSLATION". INTELLIGENCE. PERSONALITY. CIVILIZATION, n.º 1 (26) (30 de junho de 2023): 62–66. http://dx.doi.org/10.33274/2079-4835-2023-26-1-62-66.
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Objective of the article is to justify that the translation of the text can be artistically adequate only if it is considered as a two-level monolith with the obligatory selection of a code-schematic layout and its decomposition on the lines of the author's perspective on a micro-theme, theme, macro- theme and hyper-theme. Methods. The main scientific results are obtained applying a set of general scientific and special methods of research, namely: analysis and generalization of scientific literature on the problems of comparison in linguistics; theoretical generalization, analysis and synthesis; holistic and integral approaches to the study of comparison in linguistics; comparative, descriptive and analytical methods. Results. The doctrine notes that literary translation is a translation of works of fiction, and the main goal of a work of this type is to achieve an aesthetic impact, to create an artistic image; such an aesthetic orientation distinguishes artistic speech from other acts of speech communication. We cannot but agree with their opinions that the space of literary translation is insatiable, it absorbs all world literature with its hidden meanings, sifting through the cells of translations from language to language unstoppable, at first glance, time. Currently, there are many works on translation studies devoted to translation transformations, the problems of which occupy a central place in the theory of translation, and knowledge of its theoretical foundations is extremely important in the work of any translator. Giving definitions to translation transformations, philologists write that in fact we are talking about the relationship between the initial and final language expressions, about the replacement in the process of translation of one form of expression by another, about the replacement, which we figuratively call transformation. Referring to the works of other researchers, they note that translation transformation is such a process of translation, during which the system of meanings contained in the speech forms of the source text, perceived and understood by the translator due to his competence, is naturally transformed due to interlingual asymmetry into a more or less similar system of meanings, clothed in the form of the target language. The issues of typology and functionality of translation transformations are currently debatable.
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Yukhymets, Svitlana. "Peculiarities of the Scientific and Technical Discourse Translation (based on translations from English into Ukrainian)". Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 26, n.º 27 (fevereiro de 2019): 233–43. http://dx.doi.org/10.24195/2616-5317-2018-27-26.
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The article deals with the problem of rendering emotive units in Belles-lettres translation. The fiction text as an object of translation analysis is considered; the role of emotive units in fiction is established; the translation operations employed to render emotive units of Agatha Christie’s “The Mysterious Mr. Quin” from English into Chinese, Russian and Ukrainian languages are regarded; quantitative indicators of obtained results are justified and their linguistic interpretation is made. Key words: work of fiction, translation, emotive statements, translation operations.
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Lofgren, Erik R., Van C. Gessel e Van C. Gessel. "Japanese Fiction Writers, 1868-1945". World Literature Today 72, n.º 3 (1998): 688. http://dx.doi.org/10.2307/40154226.
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Martynyuk, Alla, e Elvira Akhmedova. "Cognitive translation analysis of fiction simile". Cognition, Communication, Discourse, n.º 23 (31 de dezembro de 2021): 72–86. http://dx.doi.org/10.26565/2218-2926-2021-23-05.
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This paper introduces a method of cognitive translation analysis of English-Ukrainian translation of fiction simile. Our analysis of Ukrainian and foreign research on fiction simile translation has revealed that such papers are mostly based on traditional structural-semantic translation analysis. Cognitive translation analysis of fiction simile, which allows identifying cognitive models that underpin simile functioning in speech and affect its translation, has been done in very few papers and therefore it requires developing. This paper aims at establishing correlations between linguacultural specificity or, conversely, similarity of cognitive models of English fiction similes and a choice of a translation strategy to render English similes into Ukrainian. The research sample consists of 1200 English similes, collected from D. Tartt’s novels, The Goldfinch and The Secret History, and M. Atwood’s novel, The Blind Assassin, and their Ukrainian translations, performed, respectively, by V. Shovkun, B. Stasiuk and O. Oksenych. Achieving this goal involves fulfilling the following tasks: 1) identifying and comparing cognitive models of English similes and their Ukrainian translations; 2) revealing translation procedures used to render fiction similes – retention, replacement, reduction, omission or addition; 3) establishing correlations between translation procedures and translation strategies – the foreignization strategy and the domestication strategy. A fiction simile is addressed as an explicit conceptual metaphor structured by a propositional model (A is like B), where A is the target concept / domain representing the entity that is compared, B is source the concept / domain representing the entity to which the target is compared (its language / speech instantiation is called a vehicle). Simile can also explicate the characteristic, which is the basis for comparison (A (target) is like B (source / conductor) by characteristic B). Conducting the translation analysis, we take into account the type of fiction simile. We distinguish between conventional simile, grounding on universal knowledge, and original simile, reflecting individual knowledge and creative imagination of an author. Among conventional similes, we differentiate between allusive similes that are mostly based on subcultural knowledge, and idiomatic similes that can be based on both universal and culturally specific knowledge embodied in idioms. Our cognitive translation analysis led to the following conclusions. Retention of similes realizes different translation strategies depending on the type of the simile and the presence / absence of its linguacultural specificity. Retention of conventional and original similes correlates with neutral translation strategy, as neither the former nor the latter has linguacultural specificity that would indicate the inconsistency of their cognitive models and thus constrain the translator's choice, causing a translation problem. Retention of allusive similes can also correlate with neutral strategy if the allusion is part of universal knowledge although more often retention of allusive simile realizes foreignization strategy as such similes are based on subculturally specific knowledge and thus rest on cognitive models that are unestablished in the minds of most representatives of both cultures. If a translator adds a commentary, foreignization is neutralized by domestication. Replacement, reduction, omission or addition of similes correlate with domestication, which can be compulsory if English and Ukrainian similes are based on different cultural cognitive models, or optional if they are based on similar cognitive models. Moreover, domestication can be complete if the simile cognitive model is replaced or partial if the concepts of the model are specified or explained, but the model remains unchanged. These results call for further research, specifically, conducting a quantitative analysis to establish quantitative correlations between the procedures and strategies of English-Ukrainian translation of fiction similes.
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Shulyatyeva, Dina V., e Marina A. Bulavina. "Characters’ Speech in Fiction: Translation Methods". New Philological Bulletin, n.º 1 (2022): 415–23. http://dx.doi.org/10.54770/20729316-2022-1-415.
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Baranova, Anastasia V. "Periods of Thomas Hardy's fiction translation in Russia: towards translation reception of Hardy's fiction in Russia". Vestnik Tomskogo gosudarstvennogo universiteta, n.º 401 (1 de dezembro de 2015): 13–20. http://dx.doi.org/10.17223/15617793/401/2.
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