To see the other types of publications on this topic, follow the link: Chinese literature, translations into french.
Journal articles on the topic 'Chinese literature, translations into french'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Chinese literature, translations into french.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
Liu, Chao Peng. "Research on Web Application Technology for Building a Chinese-French Parallel Corpus of the Four Great Chinese Classical Novels." Applied Mechanics and Materials 473 (December 2013): 206–10. http://dx.doi.org/10.4028/www.scientific.net/amm.473.206.
Full textAbstract:
As masterpieces in Chinese classical literature, the Four Great Chinese Classical Novels with their multilingual translations have exerted a profound influence in literature and translation studies both home and abroad. Building a Chinese-French bilingual parallel corpus of the Four Great Chinese Classical Novels is believed to facilitate large-scale investigations into the original Chinese text and their French translations in terms of stylistics, diction, culture and translation techniques. In this paper, we introduced the French translations of the four novels and illustrated the process of building the parallel corpus in detail. When the parallel corpus is completed, statistical analysis can thereby be carried out by employing different corpus tools. In order to enhance the availability and convenience of the parallel corpus, a web-based query platform is designed to provide world-wide search through the Internet for interested researchers and language learners.
3
Wu, Kan. "Reception of Jin Yong’s Wuxia Novels in English and French: A Sentiment Analysis with Reflection." International Journal of Linguistics, Literature and Translation 4, no. 3 (March 30, 2021): 117–23. http://dx.doi.org/10.32996/ijllt.2021.4.3.13.
Full textAbstract:
This research investigates the reception of English and French translations of Jin Yong’s Wuxia novels through sentiment analysis --- a text mining technique which helps uncover readers’ opinions of these translated literary works from their online reviews. The findings show that almost all of the published English/French versions of Jin Yong’s Wuxia novels are well received by readers in both languages in terms of fictional details like “character”, “plot” and “narratives”, despite there are some minor complains. These findings lead us to reflect on the current literary position of Wuxia translations in the English and French-speaking countries, where translated Wuxia works positioning as “Chinese literary classics” may partly help facilitate further reception of this type of traditional Chinese literature in the West.
4
TAMBURELLO, Giusi. "Baudelaire’s Influence on Duo Duo’s Poetry through Chen Jingrong, a Chinese Woman Poet Translating from French." Asian Studies, no. 2 (September 25, 2012): 21–46. http://dx.doi.org/10.4312/as.2012.-16.2.21-46.
Full textAbstract:
As a woman poet, Chen Jingrong’s productions encompassed the whole 20th century: of particular interest are her poetry translations from the French language. Thanks to her translation work, valuable understanding of Charles Baudelaire’s poetry was made available in China, which influenced the Chinese contemporary poet, Duo Duo, when he first started writing poetry during his youth. This paper tries to depict the importance of this contribution of Chen Jingrong and its effect on the process of renovation of the contemporary poetic scene in China.
5
Trakhtenberg, Lev A. "O. Goldsmith’s Oriental Parable in the Magazine Ni To Ni Sio (Neither This Nor That)." Studia Litterarum 6, no. 1 (2021): 382–95. http://dx.doi.org/10.22455/2500-4247-2021-6-1-382-395.
Full textAbstract:
The essay argues that the oriental parable “Ziou-Zioung. A Chinese Anecdote” published in No. 9 of the magazine Ni To ni Sio (“Neither This nor That”) on April 25, 1769, is a fragment of “The Citizen of the World, or Letters from a Chinese Philosopher” by Oliver Goldsmith (1760–1761, book edition 1762), translated with some changes. The translation is presumably attributed to Fyodor Lazinsky. The paper traces the way of Goldsmith’s plot from the English original to the Russian version. The parable is taken from the French translation of Goldsmith’s book by P. Poivre (1763) and reprinted in the magazine Recueil pour l’esprit & pour le cœur under the title “Ziou-Zioung” (1764). The text of the French magazine is translated into German; it appears in Berlinisches Magazin (1765), from where it is borrowed by the Russian translator. The separation from the original context and a chain of transformations in successive translations, although each of these transformations is minor leads to a substantial change of meaning. While Goldsmith aims his satire at those who are proud of unworthy things, German and Russian versions condemn pride as such.
6
REYNOLDS, MATTHEW. "Translation – Theory and Practice: A Historical Reader. Edited by Daniel Weissbort and Astradur Eysteinsson. Pp. 672. Oxford: Oxford University Press, 2006. Hb. £65. An Anthology of Chinese Discourse on Translation. Edited by Martha P. Y. Cheung. Vol. 1: From the Earliest Times to the Buddhist Project. Pp. 300. Manchester: St Jerome Publishing, 2006. Hb. £45." Translation and Literature 17, no. 1 (March 2008): 85–93. http://dx.doi.org/10.3366/e0968136108000083.
Full textAbstract:
Both these anthologies fence in new territory for thoughts about translation to roam. Volume 1 of Martha Cheung's Anthology of Chinese Discourse on Translation – compiled with the help of a large advisory board of Chinese scholars – ranges from Laozi in the sixth century BC to the mid Song dynasty in the twelfth century. Almost all this material is brought into English for the first time. Daniel Weissbort and Astradur Eysteinsson's Historical Reader, again edited with the help of other experts, reaches out to include snippets of ethnography and life-writing alongside the familiar core of St Jerome, Dryden, Pound, Benjamin, et al. Though focused on translation into English, it gives space to German romantic arguments and to French views from the Renaissance and eighteenth century. And, though most concerned with the translation of literature, especially poetry, it also samples the counterpoint tradition of Bible translation, into German as well as English. Best of all, it is truly – as its title announces – an anthology of both Theory and Practice. Many translations (and some of their source texts) are included, in recognition of the obvious but neglected fact that translations themselves often resist or elude the statements criticism and theory make about them; that they are themselves instances of thinking through translation, not just raw material to be thought about. It is a magnificently compendious volume.
7
Broden, Thomas F. "A. J. Greimas in the world: travels, translations, transmissions." Semiotica 2021, no. 243 (November 1, 2021): 187–228. http://dx.doi.org/10.1515/sem-2020-0040.
Full textAbstract:
Abstract This essay adopts a semiotic perspective focused on practices of communication, movement, and translation to examine the global impact of A. J. Greimas (1917–1992) and his oeuvre. The linguist and semiotician’s lecture trips abroad, the number and provenance of international students in his Paris seminar, and the chronology and linguistic geography of translations of his work help describe, gauge, and explain the dissemination and development of his ideas throughout the world. His project has engendered distinctive appropriations and at times productive institutional structures in a number of cultural and linguistic contexts, notably Romance, Anglo-American, Germanic, Russian, Lithuanian, and Chinese. The broader historical relations between France and other lands, and the extent of each society’s use of the French language have conditioned, fostered, or impeded responses to his proposals. The conclusion’s discussion of the relative importance of personal contacts, socio-historical context, and the sociolinguistic and pedagogical status of French for his international reception aims to contribute to general methodological debates in the history of science and ideas and in transnational history.
8
Li, Shuangyi. "Novel, Film and the Art of Translational Storytelling: Dai Sijie's Balzac et la petite tailleuse chinoise." Forum for Modern Language Studies 55, no. 4 (July 13, 2019): 359–79. http://dx.doi.org/10.1093/fmls/cqz019.
Full textAbstract:
Abstract This article examines the novel and film Balzac et la Petite Tailleuse chinoise, by the Franco-Chinese writer and filmmaker Dai Sijie, the story of which takes place against the background of the Cultural Revolution. The first part of my analysis will make clear how the film illuminates and dramatizes the special texture, aesthetic and structure of the novel, highlighting the cinematic sensibility of Dai’s literary aesthetic. I then move on to investigate the linguistic aspects of the various translations between the novel and the film in French, Mandarin Chinese and Sichuanese. The aesthetic effects of dubbing, in particular, will allow me to investigate new possibilities of reading exophone literature. Finally, this paper highlights the central role of oral storytelling in the Chinese tradition in/through various forms of translation: interlingual as well as intermedial. In so doing, this article aims to add nuance to and enrich current debates on issues such as intercultural misreading and exoticism in Dai’s works.
9
Wang, Baorong. "George Kin Leung’s English Translation of Lu Xun’s A Q Zhengzhuan." Archiv orientální 85, no. 2 (September 18, 2017): 253–81. http://dx.doi.org/10.47979/aror.j.85.2.253-281.
Full textAbstract:
Republican China (1912–49) saw the rise and fall of a sub-field of source cultureinitiated foreign language translations of Chinese literature targeted at both expatriate and domestic audiences in China. This unique translation phenomenon, which challenges Gideon Toury’s generally held assumption that “translations are facts of target cultures,” has hitherto been under-researched in and outside of China. This paper presents the findings of a case study of George Kin Leung’s English translation of Lu Xun’s fictional masterpiece A Q Zhengzhuan (The True Story of Ah Q). Four socio-cultural factors which engendered the emergence of this sub-field in the early Republican years are analyzed. Inspired by French sociologist Pierre Bourdieu’s theory of the field of cultural production, this putative sub-field of restricted production is interpreted as functioning primarily on the basis of the accumulation of symbolic capital. Leung’s participation in the dynamics of this historical field is examined by tracing his professional trajectory, followed by an analysis of his motivation for translating A Q Zhengzhuan – to make a name for himself or to accumulate symbolic capital in the field. It is then found through text analysis that Leung’s version shows a combination of overall literalness and occasional license. A tentative explanation is sought by drawing on André Lefevere’s theory of rewriting. The primary conclusion is that Leung’s literalistic approach to translation was dictated by the intended readership and the translation norm (i.e., literal translation) that prevailed in 1920s’ China, while the liberties Leung took with the original text reveal the influence ofhis ideology, poetics and aesthetics.
10
Wong, Laurence. "Lin Shu's Story-retelling as Shown in His Chinese Translation of La Dame aux camélias." Babel. Revue internationale de la traduction / International Journal of Translation 44, no. 3 (January 1, 1998): 208–33. http://dx.doi.org/10.1075/babel.44.3.03won.
Full textAbstract:
Abstract Lin Shu (1852-1924), one of the most important forerunners in China's history of modern literary translation, rendered some 170 works of European and American literature into Chinese during the late-Qing and early-Republican period from 1890 to 1919. In so doing, he not only heralded the advent of Western literature in China, but also introduced Chinese writers and readers to many new literary techniques. However, important as they are, Lin's translations are not translations in the true sense of the word, because, unable to read a single foreign language himself, he had to depend on his collaborators, who orally relayed the meaning of the original to him. During the process of translation, he freely resorted to such techniques as addition, omission, abridging, etc., giving his work a strong personal stamp. This article is an attempt to shed light on Lin's mode of translation and to evaluate his role as a translator by closely examining his version of La Dame aux camélias, the first Chinese translation of a work of Western literature, against the French original. Résumé Lin Shu (1852-1924), l'un des pionniers de l'histoire moderne de la traduction littéraire en Chine, a adapté en chinois quelque 170 oeuvres des littératures européenne et américaine au cours de la fin de la période Qing et au début de la pétiode républicaine s'étendant de 1890 à 1919. Son travail a été l'instrument de l'avènement de la littérature occidentale en Chine et a permis aux écrivains et lecteurs chinois de découvrir plusieurs nouvelles techniques littéraires. Néanmoins, malgré l'importance incontestable des traductions de Lin, celles-ci ne sont pas des traductions au sens littéral du mot, car étant lui-même totalement incapable de lire des langues étrangères. Lin dépendait de ses collaborateurs qui lui transmettaient oralement la signification des oeuvres originales. Au cours du processus de traduction, il faisait librement appel à différentes techniques, telles que l'addition, l'omission, les raccourcis, etc., de sorte qu'il imposait aux oeuvres traduites un cachet très personnel. Le présent article s'efforce de mettre en lumière le mode de traduction utilisé par Lin en examinant en détail sa version de La Dame aux camélias — la première traduction chinoise d'une oeuvre de littérature occidentale — par rapport à l'original.
11
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.
Full text
12
Hadhri, Sana, Zixiao Liu, and Zhiyong Wu. "The Dissemination of Laozi’s Text and Thought in the Arab World." Religions 13, no. 12 (December 2, 2022): 1177. http://dx.doi.org/10.3390/rel13121177.
Full textAbstract:
Based on Chinese and Arabic literature, this paper summarizes the spread of Laozi’s text and thought in the Arab world. The specific course of dissemination can be divided into two stages: from 1966 to 2000, the Dao De Jing was disseminated on the basis of indirect translations; from 2000 to today, the spread of the Dao De Jing in the Arab world reached a climax when the first direct translation was published. Laozi’s text and thought have gained acceptance and popularity largely because of their soothing function and similarity to the Sufi spirit found in Arab culture. The spread of Laozi’s text and thought in the Arab world presents three features: a long and friendly history of cultural exchange has served as a foundation; languages such as English and French have functioned as intermediaries; and similarities between Sufism and Daoism have provided points of connection.
13
Jiang, Pei. "Artistic originality of the first translation and publication of I. Krylov's plays in China." World of Russian-speaking countries 1, no. 11 (2022): 60–67. http://dx.doi.org/10.20323/2658-7866-2022-1-11-60-67.
Full textAbstract:
The article is devoted to the first translation of I. A. Krylov's plays in China, published in 2020. The translator is Li Chunyu, a lecturer at the Faculty of foreign languages of Xiamen University. This is the first book to introduce Chinese readers to Krylov as a playwright. As a fable writer he has long been well known in China, but his plays were translated for the first time by Li Chunyu, and he translated all 13 of Krylov's plays, including three unfinished ones. The article discusses some features of these translations, primarily the specifics of the title transformations, when the comic opera “The Coffee Lady” is translated as “The Soothsayer”, the comedy “Naughty Men” as “Chickens Fly and Dogs Jump”, the comedy “Pie” as “Chicken Cutlet”, and the most famous Krylov comedy “Lesson to Daughters” as “French Marquis” (the entire book is also called that). The article explains that the names of Krylov's plays were not changed accidentally, that the choice made by the translator is justified both by the peculiarities of the literary text perception by Chinese readers, and in terms of the history of Russian literature, when the title of Krylov's play “The French Marquis” (instead of “The lesson for daughters”), according to the translator, corresponds to the name of the famous comedy by N. V. Gogol “The Inspector General”. The article pays special attention to the analysis of the Golden Russia series of books, whose publication was launched in 2014 by the People's Publishing House (Zhenmin Chubanshe) of Sichuan province, edited by Wang Jianzhao, professor of the Institute of Foreign Literature at Beijing University of Foreign Languages, aimed at studying and publishing the best works of Russian culture for Chinese readers.
14
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.
Full textAbstract:
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.
15
Poizat-Xie, Honghua. "Quelques réflexions sur la traduction littéraire du chinois vers les langues européennes." Asiatische Studien - Études Asiatiques 69, no. 1 (January 30, 2015): 1–17. http://dx.doi.org/10.1515/asia-2015-0007.
Full textAbstract:
AbstractThe present paper is the result of a workshop on the translation of Chinese literature that was held between March 2012 and May 2013 at the Confucius Institute at the University of Geneva. It aimed to identify major obstacles in rendering literary Chinese into English, French, Italian, German, and Russian, and to explore the differences and similarities of the problems encountered. Nine works of Chinese literature were selected for studying and examining a number of difficulties in translation: Terms with culturally specific connotations, transposition of certain grammatical structures, treatment of idioms and metaphors, translation of titles. We have found a great similarity of approaches chosen for the various target languages, Russian being an exception. Due to cultural and political influences, this language displays certain similarities to Chinese, especially in vocabulary; but there are additional aspects in which the Russian case differs from the other four languages.
16
Standaert, Nicolas. "The Chinese Gazette in European Sources from the Late Qianlong Period: The Case of the Siku Quanshu." T’oung Pao 107, no. 1-2 (April 12, 2021): 133–87. http://dx.doi.org/10.1163/15685322-10701004.
Full textAbstract:
Abstract The publicly available government gazette (often called dibao 邸報) that was published in a variety of formats in imperial China has recently caught new academic interest both in China and in the West. While most of these studies focus on the Peking Gazette (jingbao 京報) in the (late) nineteenth century, information about the gazette for earlier times remains very scarce. To address this gap, the present study focuses on the gazette from the Qianlong period (1736–1795). It uses and describes both Chinese sources, specifically the tizou shijian 題奏事件, and European sources, especially the French translations of gazettes by Jean-Joseph-Marie Amiot (1718–1793). A case study of translated reports on the Siku quanshu 四庫全書 sent to Europe shows how the Chinese gazette became part of a remarkable and lively global information network.
17
Cao, Bo. "The Chinese Translation of Samuel Beckett: A Critical History." Irish University Review 51, no. 2 (November 2021): 282–95. http://dx.doi.org/10.3366/iur.2021.0519.
Full textAbstract:
In light of the relevant merits and defects of translation practice over sixty years, this article presents a critical history of the Chinese translation of the work of Samuel Beckett. The article argues that the history may be divided into two periods: the pre-1980 period and the post-1980 period, with China's reopening to the outside world in the late 1970s as the watershed. The first period is dominated by the politically propelled translation of Waiting for Godot and harsh criticism of Beckett as a ‘decadent’ author. The second period, characterized by a more complex aesthetic response, may be further divided into three stages: the first stage is marked by the pioneering Proust as a booklet on irrationalism and the debatable Collection of Samuel Beckett translated from French; the second stage by the annotated Complete Works of Samuel Beckett; the third stage by the scholastically motivated Letters of Samuel Beckett. In retrospect, the transition between the two periods is a dramatic one from political misreading to aesthetic appreciation. Or, rather, the progress of the Chinese translation since the turn of the twentieth century mirrors both the re-evaluation of Beckett as an innovative artist and the ‘inward turn’ of Chinese intellectual circles.
18
Pascual-Leone, Nicolas, Danielle Chipman, Preston Gross, Daniel W. Green, and Peter D. Fabricant. "Trends in Pediatric Orthopaedic Publications by Language." Journal of the Pediatric Orthopaedic Society of North America 4, no. 3 (August 1, 2022): 1–5. http://dx.doi.org/10.55275/jposna-2022-0050.
Full textAbstract:
Introduction: English publications have been found to be more widely cited than publications in other languages leading to a higher impact in various fields. Many authors have thus focused on publishing in English so as to reach the largest audience possible, however, important non-English publications remain a vital part of the peer-reviewed literature. This study sought to understand the relative quantities of pediatric orthopaedic publications written in the top 10 languages published in PubMed. Methods: The 10 languages with the most publications in PubMed were analyzed. These included English, German, Chinese, French, Russian, Japanese, Spanish, Polish, Italian, and Portuguese. All publications in orthopaedics and pediatric orthopaedics were pulled for each language. Publication rates were analyzed by individual language and by English versus non-English. Results: A total of 522,099 publications were analyzed between 1960-2020. English publications accounted for 93.1% of all orthopaedic publications and 91.4% of pediatric orthopaedic publications. When analyzing by individual language, German, French, and Chinese accounted for the greatest number of non-English publications with 24.9%, 21.2%, and 20.0% of non-English pediatric orthopaedic publications, respectively. Conclusion: In the 10 languages analyzed in this study, 8.6% of pediatric orthopaedic publications were written in non-English languages. When performing systematic reviews, care should be taken to assess literature published in these languages, specifically German, French, and Chinese, as they account for the greatest number of non-English publications. This will ensure that no relevant constituent studies are missed in qualitative syntheses due to lack of translation or access.
19
Chang, Yufen. "Spatializing Enlightened Civilization in the Era of Translating Vernacular Modernity: Colonial Vietnamese Intellectuals’ Adventure Tales and Travelogues, 1910s–1920s." Journal of Asian Studies 76, no. 3 (August 2017): 627–54. http://dx.doi.org/10.1017/s0021911817000481.
Full textAbstract:
This article examines the strategy of literary spatialization employed by colonial subjects to imaginatively engage with colonial civilizing projects. It analyzes twelve adventure stories written between the 1910s and 1920s by colonial Vietnamese reformed scholars, whose lives were impacted by the pan-Asian reform movements that swept Japan, China, and Vietnam between the 1860s and 1900s. They reflected their experiences with Enlightened civilization as they were pushing for vernacularization and modernization through translating the Chinese transculturation of Japanese texts into Latin-basedquốc ngữscript while constructing a national literature. Adventure tales and travelogues were considered suitable for aspiring writers to translatively imitate Western literature as presented in Chinese translation of Japanese texts. The authors negotiated with the French version of Enlightened Civilization by employing two East Asian literary tropes: the dangerous but exciting Rivers-and-Lakes World, where the protagonist ventures to search forvăn minh, and the peaceful and other-worldly Peach Blossom Spring utopia, where the true qualities ofvăn minhare realized. These stories reveal colonial subjects’ admiration for and anxiety regarding the Frenchmission civilisatrice, and their literary efforts to imagine a Vietnamesevăn minhthat would both impress and surpass the original models.
20
Dai, Fan. "English-language creative writing by Chinese university students." English Today 28, no. 3 (September 2012): 21–26. http://dx.doi.org/10.1017/s0266078412000259.
Full textAbstract:
In China, most universities have a school of foreign languages, where students majoring in English, German, French, Japanese, and other languages study the language for the first two years, and take introductory courses in the linguistics and literature of the language concerned, and then progress to higher-level linguistic and literary courses, as well as translation studies. English is the most popular foreign language in China, and, with the improvement of English teaching in high schools, the average student entering university now has a higher level of English proficiency than previous generations of students. However, students with high scores in English often choose to study ‘practical’ subjects other than English, such as business studies, computer science, economics, medicine, etc. Increasingly, a number of programs at universities in China are even being taught through the medium of English. Consequently, English majors have less and less advantage over non-English majors, and departments of English have had to restructure their syllabi to cope with the situation. Courses in translation studies, intercultural communication and applied linguistics have thus gained greater recognition because of their functional importance in the real world (see Qu, this issue).
21
Wu, Ji, Madeleine Orr, Kurumi Aizawa, and Yuhei Inoue. "Language Relativity in Legacy Literature: A Systematic Review in Multiple Languages." Sustainability 13, no. 20 (October 14, 2021): 11333. http://dx.doi.org/10.3390/su132011333.
Full textAbstract:
Since the Olympic Agenda 2020, legacy has been widely used as a justification for hosting the Olympic Games, through which sustainable development can be achieved for both events and host cities. To date, no universal definition of legacy has been established, which presents challenges for legacy-related international knowledge transfer among host cities. To address this gap, a multilingual systematic review of the literature regarding the concept of legacy was conducted in French, Japanese, Chinese, and English. Using English literature as a baseline, points of convergence and divergence among the languages were identified. While all four languages value the concept of legacy as an important facet of mega-events, significant differences were found within each language. This finding highlights the importance of strategies that align different cultures when promoting sustainable development of some global movements such as the Olympic legacy. Sport management is replete with international topics, such as international events and sport for development, and each topic is studied simultaneously in several languages and with potentially differing frameworks and perspectives. Thus, literature reviews that examine the English literature, exclusively, are innately limited in scope. The development of partnerships and resources that facilitate cross-lingual and cross-cultural consultation and collaboration is an important research agenda. More research is needed on knowledge translation across languages.
22
Daigle, Amelie. "The translation of an imagined community in Raja Rao’s Kanthapura." Journal of Commonwealth Literature 53, no. 3 (February 13, 2017): 497–512. http://dx.doi.org/10.1177/0021989416683542.
Full textAbstract:
In Imagined Communities, Benedict Anderson describes how sacred script languages (Arabic, Chinese, Latin) were usurped in political primacy by languages based on the spoken vernacular (French, English, German). In this article I examine one instance of these complications through Raja Rao’s classic novel of Indian independence, Kanthapura, a novel written in Indian English that works both with and against Anderson’s concept of nationalism’s linguistic underpinnings. Kanthapura not only proposes a model for Indian English speakers and writers, but performs a rhetorical argument about the necessity for Indian English if India is to cohere as a nation. I argue that the residents of Kanthapura are “translated” into citizens of the nation of India. This movement of translation is echoed by the language of the novel: the largely spoken language of Kannada is translated into the largely written (in India) language of English. English in Kanthapura performs a double function, unifying the nation as a script language while also reflecting the idiosyncrasies of local regional vernaculars. Kanthapura demonstrates that a nativized form of Indian English can serve as an invaluable tool for the development of a national consciousness, and that novels written in Indian English will play a role in determining the shape and identity of the nation.
23
Karpov, Alexander Anatolyevich. "«ANECDOTE ABOUT TWO RUSSIAN WRITERS»." Russkaya literatura 4 (2022): 136–43. http://dx.doi.org/10.31860/0131-6095-2022-4-136-143.
Full textAbstract:
The article examines an obscure comedy by O. I. Senkovsky Fansu, or the Cheating Maid, which is a reworking of a play by а Chinese author Zheng Guang-tzu, Tchao-Mei’-Hiang (The Clever Confidante), published in the French translation in 1835. The analysis is focused on the literary and polemical plot of the work, introduced by Senkovsky into the source text. The article offers additional arguments in favor of the assumption made by V. A. Kaverin, that the prototypes of the two characters of the comedy, Phu-Lalin and Mi-Lashun, are F. V. Bulgarin and N. A. Polevoy, and suggests that this additional plot was based on an episode of plagiarism, with Bulgarin using fragments of A. S. Pushkin’s tragedy Boris Godunov in his novel Dimitri The Impostor (1829); the tragedy was written in 1825, but published only in 1830, while Bulgarin got access to the manuscript thanks to his connections at the Third Department.
24
Kostova-Panayotova, Magdalena. "“T H E L A N G U A G E S” O F T H E L I T E R A R Y W O R K." Ezikov Svyat volume 18 issue 2, ezs.swu.v18i2 (June 30, 2020): 79–84. http://dx.doi.org/10.37708/ezs.swu.bg.v18i2.10.
Full textAbstract:
The work of François Cheng – a writer, poet, calligrapher, essayist, academician of Chinese origin and laureate of the French Francophone Academy is undoubtedly part of the cross-cultural literature of the end of the 20th and the beginning of the 21st century, when writers and poets from different, in this case Eastern background, like Yoko Tawada, Anna Moi, Amy Tan, Salman Rushdie, Haruki Murakami and others, have adopted the cross-cultural perspective of the migrant, the person who finds oneself in a context in which one begins to make sense of the living world by reading the foreign signs, comparing cultures and traditions, and translating the foreign culture in a particular way. The term “cross-cultural” literature will be used here in its sense that the writer and researcher G. Chkhartishvili associates with the new cultural phenomenon he calls “androgynous”, “East-Western literature” (Chkhartishvili, 1996). What, I would argue, is common to these artists is the rejection of the dual East - West model of culture, or, in Sánchez’ words, “the challenging of the bipolar models” (Sánchez, 2014, p. 55), the rejection of barriers and boundaries, because the cultures placed on both sides of such barriers are perceived either in terms of their own essential characteristics, or in ways that go beyond the proposed divisions.
25
Lionnet, Françoise. "National Language Departments in the Era of Transnational Studies." PMLA/Publications of the Modern Language Association of America 117, no. 5 (October 2002): 1252–54. http://dx.doi.org/10.1632/003081202x61133.
Full textAbstract:
Common though it may be in most of the United States today, monolingualism is an aberration in most of the world. In western Europe, for example, primary schools teach foreign languages to young children; in urban areas of Africa, Asia, and the Caribbean, switching between local, vernacular languages and national tongues is a common daily occurrence among all citizens, even those who may not be literate in the traditional Western sense. In a speech for the formal inauguration of the University of California, Irvine's new International Center for Writing and Translation on 5 April 2002, the 1986 Nigerian Nobel Prize laureate for literature, Wole Soyinka, asserted that the United States is “one of the most insular, mono-linguistic communities [he has] ever encountered in [his] life.” Along with the French philosopher Jacques Derrida, author of The Monolingualism of the Other, and Bei Ling, a dissident Chinese poet, translator, and editor, Soyinka is on the executive board of Irvine's new center, an initiative funded by a large endowment from Glenn Schaeffer, a successful Las Vegas casino executive (Johnson E1, E3).
26
Chan, Hiu Fung, Manwa L. Ng, Clark A. Rosen, and Sarah L. Schneider. "Cultural Adaptation and Validation of Speech Handicap Index: A Scoping Review." American Journal of Speech-Language Pathology 30, no. 2 (March 26, 2021): 748–60. http://dx.doi.org/10.1044/2020_ajslp-20-00236.
Full textAbstract:
Objectives The Speech Handicap Index (SHI) is a self-reported speech-related quality of life assessment originally developed for measuring the psychosocial speech impact in patients with oral or pharyngeal cancer. This review article provides a scoping review of the literature on the validated SHI, with the purpose of identifying and documenting available studies and procedures for the cultural adaption and validation of SHI. Method Prime databases including PubMed, EMBASE, and Google Scholar were searched for journal publications reporting validation of the SHI. Reviews and reference cross-checking were performed using a priori selection criteria. A body of literature related to SHI was scoped and publication quality was categorized independently by two investigators. After applying all the screening criteria, articles that met the eligibility criteria were included in the review. Results The scoping review yielded 10 articles that met the inclusion criteria presenting the SHI in eight different languages, including Dutch, U.K. English, French, Korean, Simplified Chinese (Mandarin), Lithuanian, Italian, and European Portuguese. All of them reported validity, reliability, and translation method. Discussion and Conclusions High reliability and validity between various language versions of the SHI were identified. The current scoping review provides a useful summary and could be a helpful precursor to a systematic review on SHI in the future. Supplemental Material https://doi.org/10.23641/asha.14082704
27
Ibodulla Kamolovich, Mirzaev. "Translations from French literature in 60-70s." International Journal on Integrated Education 2, no. 5 (November 4, 2019): 150–53. http://dx.doi.org/10.31149/ijie.v2i5.159.
Full textAbstract:
This article deals with translation practice the French literature in the Uzbek language. The ways of translation some stories in 60-70s are given in it. Several examples of translations in Uzbek, Russian and French are presented in this article.
28
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.
Full textAbstract:
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.
29
Lanselle, Rainier. "Classical Chinese theatre for different times: French translations and retranslations." Asia Pacific Translation and Intercultural Studies 7, no. 3 (September 1, 2020): 310–28. http://dx.doi.org/10.1080/23306343.2020.1824755.
Full text
30
Russell, Adam. "French Translations of Jane Austen." Journal of the Australasian Universities Language and Literature Association 2012, no. 117 (May 2012): 13–33. http://dx.doi.org/10.1179/000127912804641474.
Full text
31
Liu, Zhiqiang, and Hui Xiong. "Jiang Guangci as a Translator of Russian Literature into Chinese." Nauchnyi dialog 11, no. 10 (January 6, 2023): 220–36. http://dx.doi.org/10.24224/2227-1295-2022-11-10-220-236.
Full textAbstract:
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.
32
Tang, Beibei. "Gender and Chinese Translations of Chinese American Women’s Literature: Marital Sexual Violence in Amy Tan’s The Kitchen God’s Wife." Translation and Literature 30, no. 3 (November 2021): 356–71. http://dx.doi.org/10.3366/tal.2021.0481.
Full textAbstract:
Comparing three Chinese translations of Amy Tan’s novel The Kitchen God’s Wife (1991), this article explores gender issues in Chinese translations of Chinese American women’s literature from a feminist perspective. Using the feminist concept of female alienation, it explores how feminist consciousness and sexual alienation caused by marital sexual violence in the source text are expressed in the Chinese translations, and how far the translations achieve (feminist) translation equivalence. Special attention is paid to the translators’ gender consciousness and ideologies, as reflected in their translations, in order to explore the role played by gender in the translation of women’s writing.
33
Ashirbekovna, Rakhimova Gulsanam. "CHILDREN IN FRENCH LITERATURE DURING THE LAST CENTURIES AND THEIR UZBEK TRANSLATIONS." International Journal of Engineering Technologies and Management Research 6, no. 3 (March 25, 2020): 21–26. http://dx.doi.org/10.29121/ijetmr.v6.i3.2019.362.
Full textAbstract:
In this article are analyzed the world view of children in French literature during the last centuries and his transmission into Uzbek translations in a comparisons with other works of centuries with allow to establish the differences in the lives of children as well as the imagination of today's children. In particular, for the nineteenth century is chosen “Without family”, written in 1878, one of the most famous novels of Hector Malot and “Mondo and other stories” of JMG Le Clézio, published in 1978, exactly a century after “Without family”. Also, is analyzed the reproduction of French reality words in Uzbek translations as well as to study other translation problems that translators may encounter during their work. For this purpose is chosen the originals of Ch. Perrault's tales as well as their Russian and Uzbek translations in a comparisons of the Uzbek translations of tales by Ch. Minovarov, M. Kholbekov, T. Alimov, I. nZorov and A. Akbar. During the analyzes are revealed several functions of translation such as communicative, cultural common, knowledge-luminous, educational etc. The translation literature serves not only to spread knowledge about the world and man, but actively promotes the formation of the worldview, morale, taste, orientation of values in person, the creation of accurate reports between people, i.e. promotes the establishment of our political, aesthetic, moral and value to life.
34
Pendharkar, Ashwinee. "The Twice Borne Fiction: French Translations of Indian English Literature." South Asian Review 35, no. 2 (October 2014): 213–27. http://dx.doi.org/10.1080/02759527.2014.11932979.
Full text
35
Denisova, E. A. "The Originality of the Comic in the Prose of Venedict Marth." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 407–16. http://dx.doi.org/10.25205/2410-7883-2020-2-407-416.
Full textAbstract:
Venedikt Mart is the pseudonym of the poet and writer Venedikt Nikolaevich Matveev (1895–1937). He was born and lived in Vladivostok until 1920, where he published his poems in local newspapers and magazines, published his first collections in the printing house of his father, who was a writer and local historian Nikolai Amursky (Nikolai Petrovich Matveev), (1865–1941). Venedict Mart became famous for his futuristic poems and translations of Japa- nese and Chinese poetry. The collection “At the Love Crossroads of Fads” (1922) is a clear mockery of precision culture. The reference to the long-gone culture of past centuries is comical in that V. Marth’s pretentiousness of vocabulary and immoderate hyperbolism of short stories is stronger than in any French novel created by a writer-precision. The heroes’ love explanations take an unexpected turn, in which romantic stories are resolved in a comic manner. In June 1917, in St. Petersburg on Krestovsky Island, V. Mart wrote the book “Emerald Worms”. In one of the main refrains of the text: “You smile and Your smile will remain here on Earth – in March to enchant the autumn people...”, the author’s self-irony is noticeable, since in the book “You” means “Genius of the Cosmos” who reaches Immortality – this means that his works live forever. In the phrase “You stay in March,” the author cleverly uses the fact that his pseudonym coincides with the name of the month. This game with the reader is a characteristic feature of the entire work of the writer. In V. Mart’s prose of the late 1920s – early 1930s, an educational orientation and adherence to the “state order” are visible. The 1932 story “Dere – a Water Wedding” combines several artistic directions. Some fragments of the text are stylized like a fairy tale story. V. Mart confronts this artistic direction with the literature of fact, thereby creating a comic effect through which the author expresses the catastrophic nature of the process of loss of self-identification of a small people under the influence of the “new way of life”. In the collection “At the Love Crossroads of Fads” creates a comic effect through sheer mockery of precision culture. Here V. Mart uses fabulous motives, which he will extensively use in his prose. In the book “Emerald Worms” absurdity and the author’s self-irony are the main methods of the comic. Since the end of the 1920s, being under the supervision of the police and squeezed by the censorship framework from the explicit forms of the comic, V. Mart turns to hidden irony, which is read more at the stylistic level, for example, a deliberate combination of literary genres far from each other in one work.
36
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.
Full textAbstract:
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.
37
Cottegnies, Line. "Katherine Philips’s French Translations: Between Mediation and Appropriation." Women's Writing 23, no. 4 (August 5, 2016): 445–64. http://dx.doi.org/10.1080/09699082.2016.1173345.
Full text
38
Haugen, Marius Warholm. "Traduire le Voyage comme acte politique." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 55, no. 2 (August 7, 2019): 191–213. http://dx.doi.org/10.1075/rro.17016.hau.
Full textAbstract:
Abstract This article studies the discourse in the late eighteenth- and early nineteenth-century French periodical press on the topic of translations of travel writing. It reveals that travel reviews were arenas for discussing the political and ideological value of translating travelogues into French, notably from English. In the context of the Franco-British conflicts at the turn of the century, the French press perceived translations of British travel writing as potential patriotic tools that allowed different ways of countering or subverting British global influence. Paratextual elements of translations, the translator’s prefaces and notes, appeared to be particularly important in this respect. By analysing the periodical discourse on travel book translations, the article shows how travel writing was constructed as a politically invested genre.
39
CHEN, Ying. "CHINESE LITERATURE IN BULGARIA AND BULGARIAN LITERATURE IN CHINA – TRANSLATIONS AND PUBLISHING." Ezikov Svyat volume 18 issue 3, ezs.swu.v18i3 (2020): 110–13. http://dx.doi.org/10.37708/ezs.swu.bg.v18i3.11.
Full textAbstract:
In the history of mankind, translation has played an important role in popularizing the individual achievements of different civilizations among other nations. This rings true about the Chinese translated literature in Bulgaria and the Bulgarian translated literature in China. The article focuses on individual books as it is extremely challenging to include in this collection the translations published in magazines and newspapers. The translation of Chinese and Bulgarian literature had prolific periods marked by significant accomplishments. It is worth looking back at those works on the occasion of the 70th anniversary of the establishment of the diplomatic relations between China and Bulgaria. Both the translation of Chinese literature in Bulgaria and the translation of Bulgarian literature in China are taken into consideration, paying specific attention to the main titles, authors and their publication. The publishing houses specializing in culture and art in the two countries occupy the larger part of the book market. It may be concluded that all these translations tend to give spiritual food to the Chinese and Bulgarian readers. Although they introduce the people to a different tradition, culture and civilization, the choice of the main themes can be interpreted as a sign of a common taste for values and beauty.
40
Stefurak, Olena. "French Translations in the Ukrainian Literary Polysystem (The Executed Renaissance)." Accueillir l’Autre dans sa langue. La traduction comme dispositif de médiation, no. 103 (September 17, 2021): 206–18. http://dx.doi.org/10.31861/pytlit2021.103.206.
Full textAbstract:
This contribution is within the framework of the polysystem theory of I. Even-Zohar, who, starting in translation studies, raised lively reflections on the role of translated literature within the literature of national culture. Literature, according to the researcher, is an open and dynamic polysystem composed of the centre and the periphery, the evolution of which is due to the continuous rivalry between the innovative and conservative tendencies of the polysystem. The contribution of the translations to the literary polysystem of a culture depends on their position in the polysystem of the target culture. Translations, being central in the literary polysystem, serve as sources of innovation as translators are freer to introduce foreign elements and techniques to the target literature. On the contrary, if the subsystem of the translated literature lies in the periphery of the polysystem, translators have to limit themselves to the models existing in the target culture, thus helping to maintain conservative tendencies. Our contribution is therefore an attempt to apply the theory of I. Even-Zohar to the study of French translations in the Ukrainian literary polysystem of the 1920ies-30ies. We have tried to shed light on the position of translated French literature in the Ukrainian literary polysystem as well as its contribution to the development of the reception system by analyzing the translation activity of the neo-classics representatives. Thus, we have identified three types of relationships between systems and subsystems characterizing the polysystemic approach: the centre versus the periphery (transitions from French); innovative systems versus conservative systems (the emergence of new literary genres in the centre of the field such as sonnets and heroic comedies; in addition the Symbolist and the Impressionist movements replaced the Soviet realism); canonical systems versus non-canonical systems (the introduction to the system of versification of forms and motifs which were different from those of Soviet literature).
41
SAUNDERS, A. "Sixteenth-Century French Translations of Alciati's Emblemata." French Studies 44, no. 3 (July 1, 1990): 271–88. http://dx.doi.org/10.1093/fs/44.3.271.
Full text
42
SAUNDERS, ALISON. "SIXTEENTH-CENTURY FRENCH TRANSLATIONS OF ALCIATI'S EMBLEMATA." French Studies XLIV, no. 3 (1990): 271–88. http://dx.doi.org/10.1093/fs/xliv.3.271.
Full text
43
Ulozienė, Paulina, and Aurelija Leonavičienė. "Comparative Analysis of the Use of Lexical Analytical Constructions and their Translation into Lithuanian in Italian and French Literary Texts." Sustainable Multilingualism 16, no. 1 (May 1, 2020): 175–204. http://dx.doi.org/10.2478/sm-2020-0009.
Full textAbstract:
SummaryThe intensification of research on Lithuanian translations of Italian literature and Italian translations of Lithuanian literature over the past twenty years is paralleled by the growth of interest in Italian literature in Lithuania. However, the existing research on diverse linguistic and cultural characteristics of texts translated from Italian into Lithuanian and vice versa has been sporadic, thus leaving much to be done to uncover links between the two languages and identify translation-related issues. The present article looks into one of the issues, namely, the lexical analytical construction of the Italian language and its translation into Lithuanian. Fictional texts by two representative Italian contemporary writers, Alesandro Baricco and Umberto Eco are chosen as a source of data including over three thousand pages of the source language (SL) and the target language (TL) texts. The results are compared with similar studies on translation of French literary texts into Lithuanian. The study on the translation of lexical analytical constructions in Italian literary texts translated into Lithuanian uses the theoretical framework and methodology provided by the Italian School of Semiotic Translation represented by Umberto Eco and Bruno Osimo among others. The study adopts a holistic approach to the analysis of lexical analytical constructions in Lithuanian translations of Italian literature. Comparative quantitative study has revealed three translation strategies: reformulation, translation without changes and remodelling. Reformulation has been identified to be the most frequent translation strategy. Its frequency was five times higher than that of translation without changes. The latter strategy was twice more frequent than the strategy of remodelling, which, accounts for less than ten per cent of all translation cases. Uses of calque or omission as translation strategies were not found. Comparison of quantitative results regarding the distribution of translation strategies adopted in the Lithuanian translations of Italian and French literary texts and a qualitative analysis of examples revealed similar tendencies in translation choices. It is important to note that changes of lexical analytical constructions into noun constructions were one and a half times less frequent in the translations of Italian literature than in the translations of French literature. Italian and French lexical analytical constructions were replaced by noun constructions in cases when in the SL text these constructions designated object and result but not action. Thus, it can be assumed that lexical analytical constructions in French literary texts were relatively more frequent than those in Italian literary texts.
44
Borokh, O. N. "China in Quesnay’s doctrine: Interpretations, translations, cultural aspects." Journal of the New Economic Association 50, no. 2 (2021): 137–62. http://dx.doi.org/10.31737/2221-2264-2021-50-2-7.
Full textAbstract:
The paper analyzes the Chinese influences on the doctrine of the French physiocrat François Quesnay from the perspective of the cultural specifics of the perception of economic and political ideas. The approaches of Chinese researchers were impacted by Marxist methodology, sinocentric views and fragmentary use of primary sources. The application of the Marxist concept of socio-economic formations supported the arguments that feudal Confucianism could not influence the views of physiocrats, which reflected the emergence of capitalist relations. In the 18th century opponents of the physiocrats used the comparison of the Tableau Économique with the scheme of the Chinese Book of Changes to disqualify Quesnay’s doctrine. For Chinese researchers this comparison became a confirmation of the value of the Tableau Économique and an incentive to search for the ideas of circular flows and equilibrium in both tables. The study of Despotism in China content confirms its connection with the actual historical China. It is concluded that Chinese scholars seek to interpret the historical precedent of the influence of Confucian thought on Quesnay’s doctrine in the context of plans to increase the global clout of China’s social sciences.
45
Ying, Yan. "Migrating Literature: Reading Geling Yan’s The Banquet Bug and its Chinese Translations." Meta 58, no. 2 (March 31, 2014): 303–23. http://dx.doi.org/10.7202/1024176ar.
Full textAbstract:
Using Geling Yan’s The Banquet Bug and its Chinese translations as a case study, this article attempts to explore what I term “migrating literature” in a transnational and translational framework. Translation is reconceptualised at three levels: contextual, paratextual and textual. This article will first of all examine the very translational nature of immigrant writing from a contextualized reading. It will then look at how paratextual matters re-frame immigrant writing and sometimes impose meaning by analyzing two key paratextual elements, title and front cover. At the end, the gain and loss of meanings will be discussed at the textual level, with an emphasis on the ideological and cultural implications. It also points out the possibility of incorporating readings from translations in other languages and cultures, or translations in other media forms, into the framework of migrating literature.
46
Xiaoyan, Liang, Wang Kailun, and Dominic Glynn. "Translating and publishing French theatre in China." Francosphères: Volume 10, Issue 2 10, no. 2 (December 1, 2021): 225–43. http://dx.doi.org/10.3828/franc.2021.16.
Full textAbstract:
This article examines transformations in the literary translation environment in the People’s Republic of China (PRC) specifically in relation to French-language theatre. After an initial survey of literary translation in the PRC from its foundation to the present, the article studies how French-language plays have been translated and adapted for publication. In particular, it considers how French theatre has occupied a favoured position in the Chinese translation literary system over the past four decades. It then focuses on three emblematic cases, those of Molière, Jean-Paul Sartre, and Samuel Beckett. Regarding the latter, two Chinese translations of En attendant Godot/Waiting for Godot will be examined to determine how contextual factors affected translation choices. In this way, the article seeks both to contribute to current discussions on ‘translatability’ and to consider the reception of canonical French-language writers in the Chinese literary system.
47
Kalewska, Anna. "António Feijó i Leopold Staff – poetyckie wizje Orientu na tle polsko-portugalskich relacji literackich i kulturalnych (od parnasizmu do palimpsestu)." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 21 (December 23, 2021): 167–200. http://dx.doi.org/10.24917/20811853.21.10.
Full textAbstract:
The article aims to discuss the Chinese culture inspirations in Polish and Portuguese modernist poetry. In the context of Polish-Portuguese literary relationships, late Romantic, Symbolic, Parnassianism-related and Oriental tendencies are presented in the works of a Portuguese poet Antón Feijó (1859–1917), with references to a selected aspect of Leopold Staff’s works (1878–1957). A historical-literary analysis is accompanied by literary and cultural comparative studies. Within the comparative method of presenting the Parnassian palimpsests, as 'The Chinese Lyric Book' ('Cancioneiro Chinês', 1890) by António Feijó and 'Chinese Flute' ('Fletnia chińska', 1922) by Leopold Staff are categorised, the thesis about the independent status of the works in question was built. Modernist visions of the Orient, understood to date a paraphrase or an adaptation of Chinese poetry read in translations from French, gain the status of original works. In view of blurring the differences between the European adaptations – Portuguese poem and Polish poetic prose, based on Oriental motifs drawn from two different French sources (translations): Judith Gautier’s and Franz Touissant’s works – and the Chinese original, the methodological approach to the text as to a palimpsest is justified. Feijó’s “Chinese Poetry” and Oriental poetic landscapes in Staff’s prose are therefore independent literary works, analysed in parallel, as mirror reflections of the fascination with the Orient’s culture. The literary works in question fully deserve the title of cultural texts, the recipient of which will be a Polish reader, a lover of poetry inspired by French Parnassianism.
48
Pospiszil, Karolina. "Bibliografia przekładów na język śląski w latach 2002—2018 / Bibliography of translations into the Silesian language in the years 2002—2018." Przekłady Literatur Słowiańskich 9, no. 2 (May 30, 2019): 103–18. http://dx.doi.org/10.31261/pls.2019.09.02.06.
Full textAbstract:
The bibliography includes translations into the Silesian language made both in the standard script as well as in the non-standard one. The starting point for translations into the contemporary Silesian may be dated back to 2002. Since then, there have been irregularly published, usually in the form of collections, translations of various literary genres (with a preponderance of poetic forms) from dozen or so world languages, such as: Greek, Latin, French, German, Polish, Mandarin Chinese, English, Welsh, Russian, or the Upper Sorbian. No single translation from Silesian into other language is included, since heretofore no such a translation has been made.
49
Ewell, Barbara C. "THE KATE CHOPIN COMPANION: WITH CHOPIN'S TRANSLATIONS FROM FRENCH FICTION." Resources for American Literary Study 18, no. 2 (January 1, 1992): 241–43. http://dx.doi.org/10.2307/26366822.
Full text
50
Ewell, Barbara C. "THE KATE CHOPIN COMPANION: WITH CHOPIN'S TRANSLATIONS FROM FRENCH FICTION." Resources for American Literary Study 18, no. 2 (January 1, 1992): 241–43. http://dx.doi.org/10.2307/resoamerlitestud.18.2.0241.
Full text