Academic literature on the topic 'Co-published translations'

The poems ‘Ngoài Giấc Ngủ’ and ‘Hiện Ra’ were included in the book poetry collection—also titled Ngoài Giấc Ngủ—published in California, USA, in 1990 and featuring sixty-seven poems by Melbourne-based Nguyễn Tiên Hoàng, writing under the pen name, Thường Quán. In 1994 the Journal of Vietnamese Studies (Melbourne) published the poem ‘Ngoài Giấc Ngủ,’ together with a first English language version co-translation, titled ‘Beyond,’ by Ian Campbell and Tony Chu. An adaptation of the poem was sung in Vietnamese ngâm style by Thu Huong Huynh, as part of ‘A Spring Evening of Poetry, Translated Verse and Music’ held in 1995 in Sydney to mark 50 years of post-war migration to Australia. The English language version later appeared in 1996, with the original poem in Vietnamese, in a Sydney-based Vietnamese language newspaper, and in 2002 the English language translation appeared again in Sunlines: An Anthology of Poetry to Celebrate Australia’s Harmony in Diversity, edited by Anne Fairbairn (Canberra: Dept. of Immigration and Multicultural and Indigenous Affairs, 2002). Most recently the English language co-translation of the poem has appeared in Nguyễn Tiên Hoàng’s collection, Captive and Temporal, published by Vagabond Press (Sydney and Tokyo, 2017). The poem, ‘Ngoài Giấc Ngủ,’ now appears in its Vietnamese language original form (1990), and in an English language co-translation by Chu and Campbell which varies slightly from all previous translations. An English language version of the poem, ‘Hiện Ra,, has never been previously published and appears now in a co-translation as ‘Becoming Visible,’ together with the 1990 poem in its original Vietnamese language version.

This article discusses the English translations of twelve of Grimms’ fairy tales included in the hitherto forgotten edition published by Darton and Co. in 1851. The titles and tales are identified with their German originals, and the defects of the translation are examined. The German base text was one of the Grimm editions published between 1837 and 1850. Other items not by the Grimms in the edition are commented on. Identification of the tale entitled ‘Sycorine and Argilas’ is unknown. The anonymous translator was inexperienced, without access to a reliable dictionary, and was, probably, female.

The bibliography provides a list of all known English-language publications by Juri M. Lotman (including in co-authorship and reprints), in chronological order, described de visu. The first English translation of J. Lotman’s work appeared in 1973, altogether there is 109 entries in the list. The bibliography demonstrates that in the 1970s and 1980s, most of the translations were published in the context of slavistics, whereas after 2000 Lotman’s work starts to appear in the anthologies of general semiotics.

This article presents a comparative analysis of six translations of Anne Frank's Het Achterhuis into German, English, and French. This includes the history of its editions from the first Dutch edition published in 1947 to the 1986 critical edition of the Diaries and later Het Achterhuis editions. The translation analysis focuses on aspects related to the cultural and historical context, e.g. the use of annotations and the representation of anti-German comments made by Anne Frank. With regard to the latter, the first translation into German (1950) is partly re-assessed: not all these comments were eliminated or toned down by the translator Anneliese Schütz, who worked in close co-operation with Anne Frank's father Otto Frank.

The article discusses the versatile talent of Dmitry Smirnov (Sadovsky), a composer and translator, who lived in the UK and died there in 2020. The article addresses the following topics: analysis of Smirnov’s work as William Blake’s translator; examination of the guiding principles behind D. Smirnov’s biography of Blake the artist; and analysis of Smirnov’s part in the adaptation of Blake’s oeuvre to symphonic music. In his lifetime, Smirnov completed and partially published his unique collection of William Blake’s translations into Russian; he authored and published the first scholarly biography of Blake in Russian; and composed a great many musical pieces, In a variety of genres, on Blake’s verse. A notable accomplishment of Smirnov’s as a co-creator of a ‘Russian Blake’ is his translation of two monumental prophecies penned by the poet of English Romanticism: Jerusalem and Milton. Regrettably, Smirnov’s work as a translator and biographer is little known in Russia — undeservedly so — although it merits serious attention; therefore, the article seems more than timely.

Greasy Scummy Sumps: Translating Specialized Terminology in Detective Fiction Fictional texts containing specialized terms pose a challenge for literary translators. Rooted in raw factual accuracy, terms can nonetheless be used in extremely expressive ways. Raymond Chandler used oil industry terminology (bull wheel, derrick, oil field, scum, walking-beam, and especially the term sump) in his first novel The Big Sleep (1939) within intentionally artistic phrasings involving alliteration, parallel structuring and repetition. The novel was (re)translated into Spanish many times (El sueño eterno 1947, 1948, 1958, 1972 and 2001), offering a view into how different translators met this challenge. Though the published translations reveal lower frequency of repetition in all cases, inconsistent co-textual use of the terminology and usage of non-terms, omissions and errors, these instances were qualitatively compensated with creatively reproduced alliterative elements and added literary devices. This study of a seldomly explored aspect of literary translation shows how professionals are aware of the importance of language for specific purposes in literature and how effective balances between technical accuracy and literary expressiveness can be attained. For theorists who might believe that literary and technical translation are separate worlds of translatorial action, the results of this study show that literary translators tend to bridge this gap proficiently with both accuracy and literary flair.

The bibliography provides a list of Boris Uspenskij’s publications in English, including works written in co-authorship and various reprints/reissues. For the most part, Uspenskij’s publications in English are translations of his books and articles originally written in Russian and previously published in the Soviet Union/Russia. The first English-language publication of his work, the monograph Principles of Structural Typology appeared in 1968; the current bibliography consists of 65 entries from a period spanning from 1968 till today.

The aim of this study is to determine the importance of Velimir Zivojinovic Massuka?s role in presenting German literature in the ?Misao? magazine (published in Belgrade, 1919 through 1937). As a translator, editor and critic Zivojinovic strongly influenced overall presentation of the German literature in the magazine. Research shows that all the translations of the works by German authors (Goethe, Heine, Rener, Evers) were published at the time when Zivojinovic was the editor of the magazine or a co-editor with Sima Pandurovic or Zivko Milicevic. In that period a large number of studies and other works on German literature was published as well, which significantly and fruitfully influenced the profile and the quality of the magazine, thus contributing to the strengthening of German-Serbian cultural ties after the First World War.

This selection of texts by the Argentinean artist Roberto Jacoby includes seven that are here published in English for the first time, and two others rendered in new translations. The majority of the texts (all but three) were written in the 1960s. Some, such as “Scale Model of an Artwork” (1966), “Automatic Circuit (work no. 1 for Telephone Circuit)” (1967), and “Message at the Di Tella Institute” (1968), are short descriptions of artworks. Another, “An Art of Communications Media (Manifesto)” (1967), takes the form of a manifesto, co-written by Jacoby and two other artists. “Demonstration: A Mass Media Artwork” (1967) touches on various issues topical in the mid-1960s art world in Argentina and beyond, including the relationship between art and life, society, and politics, and “Against the Happening” (1967) considers an art that harnesses the mass media for its production. The section also includes translations of song lyrics written by Jacoby that link intimate themes of love with international politics. The songs were put to music and recorded by the Argentinian rock group Virus for its fifth record, “Surfaces of Pleasure” (1987). The section concludes with “Strategy of Joy” (2000), an article that theorizes a biopolitical form of resistance to the civil-military dictatorship that brutalized the Argentinian population in the 1970s and early 1980s, and “Report on the Venus Project” (2002), which focuses on an experimental community formed in the midst of the social, economic and political crisis that befell Argentina in the summer of 2001, and, according to some, is ongoing.

Paddy Bushe was born in Dublin in 1948 and now lives in Waterville, Co. Kerry. He writes in Irish and in English. His collections include "Poems With Amergin" (1989), "Digging Towards The Light" (1994), "In Ainneoin na gCloch" (2001), "Hopkins on Skellig Michael" (2001) and "The Nitpicking of Cranes" (2004). "To Ring in Silence: New and Selected Poems" was published in 2008. He edited the anthology "Voices at the World’s Edge: Irish Poets on Skellig Michael" (Dedalus, 2010). His latest collections are "My Lord Buddha of Carraig Eanna" (2012), "On A Turning Wing" (2016) and "Móinéar an Chroí" (2017). He received the 2006 Oireachtas prize for poetry, the 2006 Michael Hartnett Poetry Award and the 2017 Irish Times Poetry Now Award. He is a member of Aosdána. In 2020, Dedalus Press publishes "Double Vision", a two-volume publication comprising Second Sight, the author’s own selection of his Irish language poems, accompanied by the author’s own translations, as well as "Peripheral Vision", his latest collection in English.
 Bernard O’Donoghue’s was born in Cullen, County Cork in 1945, he has lived in Oxford since 1965. His first full-length collection, "The Weakness", emerged in 1991 with Chatto & Windus, following on from a trilogy of pamphlets. His second collection, "Gunpowder" (1995) won the Whitbread Poetry Award. More recently, he published the collection "Outliving" and a selection of his poetry by Faber in 2008, followed by "Farmers Cross" (2011), which was shortlisted for the T.S. Eliot Prize. In 2009 he was honoured by the Society of Authors with a Cholmondeley Award. Until recently, O’Donoghue taught and worked for Oxford University, specialising in medieval verse and contemporary Irish literature. His reputation as a scholar consolidated in 1995 with his critical work, "Seamus Heaney and the Language of Poetry", described as “excellent” by Ian Sansom in "The Guardian". More recently O’Donoghue edited the "Cambridge Companion to Seamus Heaney" and has produced a number of translations of medieval works, including "Gawain and the Green Knight" (2006) and, forthcoming from Faber, "Piers Plowman".
 Xesús Miguel "Suso" de Toro Santos (1956-) is a Spanish writer. A modern and contemporary arts graduate, he has published more than twenty novels and plays in Galician. He is a television scriptwriter and regular contributor to the press and radio. Suso de Toro writes in Galician and sometimes translates his own work into Spanish. His works have been translated into several languages, and have been taught in European universities. There are plans to make three of his works into films: "A Sombra Cazadora" (1994), "Non Volvas" (1997), and "Calzados Lola" (2000).

[cat] Aquesta tesi compara dos casos anàlegs en català i en francès. L’objectiu és, d’una banda, estudiar, en relació amb la normativa, com es reflecteix la variació diatòpica en traduccions que presentin diverses versions territorials paral·leles i, de l’altra, analitzar-ne les implicacions polítiques, econòmiques i simbòliques, així com les representacions que les han motivades. Això ens permet de dilucidar el model de llengua cap al qual s’encaminen aquestes pràctiques editorials. La traducció juga un paper central en aquests processos com a eina de planificació, en tant que ajuda a conferir la qualitat de neutre —estàndard— a texts reconeguts pel públic d’arribada com a externs a la comunitat lingüística, car la variació geogràfica no s’hi relaciona pas amb l’origen de l’autor. Com a corpus d’estudi, hem seleccionat els dos primers volums de la saga Harry Potter, per al cas del català, i tres novel·les de Jonathan Franzen, per al del francès. En els dos casos es tracta de traduccions literàries publicades al principal centre codificador de la llengua —Barcelona i París, respectivament—, el text de les quals experimentà canvis a l’hora de distribuir-lo a la perifèria —al País Valencià i al Quebec, respectivament—. Aquestes modificacions lingüístiques es produïren en el marc d’un acord de coedició entre Empúries i Tàndem, en el primer cas, i entre l’Olivier i Boréal, en el segon. Acotem el corpus en català als dos primers volums d’aqueixa saga, Harry Potter i la pedra filosofal i Harry Potter i la cambra secreta, perquè les adaptacions valencianes s’aturaren aquí i desfermaren una gran polèmica. Per al corpus en francès, ens cenyim a un dels pocs casos documentats: les novel·les Les corrections, Freedom i Purity. El català i el francès podrien considerar-se dos contraexemples: malgrat que les dues llengües manifestin variació diatòpica, el francès començà el procés d’estandardització de manera monocèntrica i ha tendit a percebre’s com a llengua d’una sola norma; en canvi, la variació geogràfica del català s’ha presentat adesiara com un entrebanc perquè pugui consolidar una varietat estàndard de tipus unitari. Mentre que el francès al Canadà compta amb un marc legal més afavoridor, l’estandardització del català encara malda per a superar els límits administratius que en compartimenten l’espai comunicacional. En aquest marc trobem que, des d’algunes instàncies polítiques, es promouen sentiments d’individuació, particularment al País Valencià. Aquest discurs desemboca en el rebuig de formes lingüístiques associades a altres territoris i ha arribat fins al punt de negar la unitat de la llengua. Resulta crucial analitzar també aquestes implicacions perquè el discurs que acumula més capital és el que determina en quin sentit s’orienta la planificació lingüística. Aquest treball, doncs, pretén ésser una contribució al procés d’estandardització del català.<br>[fre] Cette thèse compare deux cas analogues en catalan et en français. Notre objectif est d‘étudier, par rapport à la norme linguistique, d‘une part, la façon dont la variation diatopique apparaît dans des traductions qui présentent plusieurs versions territoriales parallèles et, d‘autre part, d‘analyser leurs implications politiques, économiques et symboliques, ainsi que les représentations qui les ont motivées. Cela permet d‘élucider le modèle de langue vers lequel tendent ces pratiques éditoriales. La traduction joue un rôle central dans ces processus comme outil de planification, dans la mesure où elle confère la qualité de neutre — standard — à des textes reconnus par le public cible comme étant externes à la communauté linguistique, car leur variation géographique n‘est pas attribuée à l‘origine de l‘auteur. Nous avons choisi comme corpus d‘étude les deux premiers tomes de la saga Harry Potter dans le cas du catalan, et de trois romans de Jonathan Franzen pour ce qui est du français. Dans les deux cas, il s‘agit de traductions littéraires, publiées dans le centre codificateur principal de la langue — Barcelone et Paris, respectivement —, dont le texte subit des modifications lors de sa distribution dans la périphérie — au Pays valencien et au Québec, respectivement —. Ces modifications linguistiques se produisent dans le cadre d‘une entente de coédition entre Empúries et Tàndem, dans le primer cas, et entre l‘Olivier et Boréal, dans le second. Le corpus en catalan se limite aux deux premiers tomes de la saga, Harry Potter i la pedra filosofal et Harry Potter i la cambra secreta, car les adaptations valenciennes se sont arrêtées là, déclenchant une forte polémique. Quant au corpus en français, nous nous sommes limités à l‘un des rares cas documentés: les romans de Franzen Les corrections, Freedom et Purity. Le catalan et le français pourraient être considérés comme deux contre-exemples : bien que les deux langues présentent une variation diatopique, le français commença son processus de standardisation de façon monocentrique et a souvent été perçu comme une langue avec une seule norme; par contre, la variation géographique du catalan a parfois été présentée comme un obstacle à la consolidation d‘une variété standard de type unitaire. Tandis que le français au Canada compte sur un cadre légal plus favorable, la standardisation du catalan vise encore à surmonter les limites administratives qui compartimentent son espace communicationnel. Dans ce contexte, nous constatons que certaines instances politiques s‘attachent à promouvoir des sentiments d‘individuation, notamment au Pays valencien. Ce discours nous mène alors au refus de formes linguistiques associées à d‘autres territoires et en est arrivé jusqu‘au point de nier l‘unité de la langue. Il s‘avère aussi crucial d‘analyser ces implications, étant donné que le discours qui accumule le plus de capital est celui qui détermine le sens où s‘oriente la planification linguistique. Ce travail aspire donc à contribuer au processus de standardisation du catalan.<br>[eng] This thesis compares two similar cases in Catalan and French. On the one hand, with regard to language norms, we seek to study how geographical variation appears in translations with several parallel territorial versions. On the other, we aim to analyse their political, economic and symbolic implications, as well as their underlying representations. This enables us to illuminate the type of language standard that these printing practices are moving towards. Translation plays a central role in these processes as a language planning tool, as it helps to confer the quality of neutral—standard—language to texts that are recognisable to their intended audience as external to the language community, since geographical variation is not related to author origins. The corpora we have selected are the first two books from the Harry Potter saga published in Catalan, and three of Jonathan Franzen‘s novels published in French. Both are literary translations published in the main centres for language codification—Barcelona and Paris, respectively—whose texts underwent changes when they were distributed in the periphery: Valencia and Quebec, respectively. These linguistic modifications occurred as part of a co-printing agreement between Empúries and Tàndem, in Catalan, and l‘Olivier and Boréal, in French. The Catalan corpus is narrowed to the two first books of the saga, Harry Potter i la pedra filosofal and Harry Potter i la cambra secreta, since there were no further Valencian adaptations, an issue that triggered huge controversy at the time. The French corpus is confined to one of the few documented cases of this kind: the novels Les corrections, Freedom and Purity. Catalan and French could be deemed two counterexamples: although both languages show geographical variation, French undertook its standardisation process in a monocentric pattern and tended to be perceived as a language with one only norm; the geographical variation of Catalan has, however, at times been presented as an obstacle to attaining a unitary standard variety. Whereas French in Canada count on a more favouring legal framework, Catalan standardization still struggles to overcome the administrative limits that compartmentalise its communicational space. Within this framework, some feelings of individuation appear to be promoted from some political authorities, especially in the Valencian Country. This speech leads to the rejection of language forms linked to other territories and went so far as to deny the language unity. It is essential that the implications of this are analysed, as the speech with the greater capital determines which direction language planning takes. This study aims therefore to contribute to the Catalan standardization process.