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Bondarenko, I. P., and Yu S. Kuzmenko. "ISSUES OF TRANSLATIONAL MASTERSHIP OF TARAS SHEVCHENKO’S POEMS IN THE JAPANESE SLAVIC STUDIES." Shevchenko Studies, no. 1(23) (2020): 30–44. http://dx.doi.org/10.17721/2410-4094.2020.1(23).30-44.
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This article aims to outline main tasks when translating poetry of the Great Kobzar into Japanese. Analytical, biographical, contextual-descriptive and comparative methods were used in the study. In particular, the analytical method is applied when examining the Japanese works related to a poetic heritage of T. Shevchenko and its translations, biographical – when considering some facts from life of the Japanese slavists, which contributed to their interest in works of the Ukrainian poet. The contextual-descriptive and comparative methods are used in analyzing translated collections of the Great Kobzar’s poetry in Japanese and problems of the Ukrainian-Japanese literary translation. Poetry of Taras Shevchenko found its readers in Japan thanks to translation efforts of Taisuke Shibuya, Takayuki Murai, Gаchiro Tazawa, Takashi Juge, Shosuke Komatsu, Kazuo Nakai, Takao Hino, Takao Okamoto and Etsuko Fujii. Three main problems of translation mastership can be distinguished in the Japanese slavistics. First, expediency of translating the Kobzar's poems not from the Ukrainian original, but from the Russian and English translations. This issue was brought up by Kazuo Nakai, who noted that this practice of using the Russian or English texts continued until the end of 1990s. Secondly, significant problems in case of the Ukrainian-Japanese literary translation are associated with untranslatables for designation of certain cultural, socio-historical and other phenomena. Third, selection of the modern or obsolete language for translation: Takashi Juge used obsolete words, while Etsuko Fujii chooses the modern Japanese language, so that young people could also read the poems of Kobzar. Thus, the Japanese slavists still have a lot of problems in the field of the Ukrainian-Japanese literary translation, to overcome which each of them uses its own approach. Further study of the Japanese translation of the Ukrainian literary works seem to have potential for deepening cultural and literary relations between two countries.
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Zhou, Zijun. "Ezra Pound: Merits and Defects in Approaching Eastern Poetry." Communications in Humanities Research 20, no. 1 (December 7, 2023): 285–98. http://dx.doi.org/10.54254/2753-7064/20/20231389.
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Many literati consensually consider Ezra Pound a very significant figure in bringing Eastern poetry into the English world. His Cathay and In A Station of the Metro manifest his engagement in Chinese and Japanese poetry respectively. Rarely have scholars systematically discussed and evaluated the interconnection between the three languages poetry displayed in Pounds work. Therefore, this article aims to provide a comparative and comprehensive analysis of Pounds works, Chinese ancient poems and haikus. It begins with an overview of poetry and then moves to introducing how English and Eastern poetry differ. In the discussion, Chinese and Japanese poetry have been explored respectively and jointly. This article, from the perspective of one with mastery or intermediacy in all three languages, aims to provide some more accurate and aesthetic translations of Chinese poems by poets including Wang Wei, and haikus by haijins such as Bash. These translations (unless specified, original) better serve to compare and contrast Pounds poems and their Eastern counterparts. A series of close, dialectic analyses demonstrate that Pound both possessed merits and defects in approaching Eastern Poetry. This study provides a more thorough account of this significant literary crossover, from which it is hoped that future studies discover how Pound developed and/or popularised certain styles in this process.
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Pfister, Lauren. "James Legge's metrical Book of Poetry." Bulletin of the School of Oriental and African Studies 60, no. 1 (February 1997): 64–85. http://dx.doi.org/10.1017/s0041977x00029578.
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Few non-Asian sinological scholars would not recognize the name of James Legge (A.D. 1815–97), partly because his voluminous translations of the Confucian canon still continue to be reprinted and used by Western sinological circles 120 years after their first publication. In China itself, Legge has recently received new attention with the republication of bilingual editions of The Four Books and The Book of Changes. Japanese readers have had rather more access to Legge's English translations of The Four Books, beginning with the early Meiji period and continuing into the twentieth century. Unfortunately, none of these Chinese or Japanese editions has included the extensive commentarial notes drawn from Chinese Confucian and early Western sinological sources which earned Legge his reputation as a world-class Chinese scholar in the nineteenth century.
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TSUCHIDA, K., and D. ANDRIANOV. "Features of Ukrainian translation of the 469th waka poem from the Japanese anthology "Kokin Wakashū" (following the results of the academic conference "Waka poetry around the world")." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 28 (2022): 38–42. http://dx.doi.org/10.17721/1728-242x.2022.28.38-42.
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According to the results of the online academic conference "Waka poetry around the world: Viewing reception and transformation of Japanese culture through multilingual translation", an analysis of the Ukrainian translation of the 469th waka poem from the poetic anthology "Kokin Wakashū" (the Collection of Japanese Poetry Ancient and Modern) by I. P. Bondarenko was carried out. It is this translation that is the subject of the presented study. The goal, which was to reveal the peculiarities of the Ukrainian version of the mentioned poem, was achieved due to its comparison with Chinese, English, French, German, Hungarian, Italian, and Spanish translations. It was found that the Ukrainian translation of the waka poem No. 469 from the anthology "Kokin Wakashū" is characterized by common features that are typical for a number of translations into European languages. In particular, the syllabic structure of the original (a waka poem is composed of 5-7-5-7-7 syllables) has not been preserved in the Ukrainian translation, as well as in the other translations, and these translations themselves are written in five lines. Such common features also include lexical-semantic transformations caused by the difficulties of translating Japanese realia into European languages. For example, such nominations from the original work as "hototogisu" and "ayame" in many multilingual translation versions, including the studied Ukrainian one, are translated with the help of the words "cuckoo" and "iris", respectively, instead of their exact analogues – "lesser cuckoo" and "iris sanguinea". At the same time, there are foreign language versions with observance of the original syllabic verse and an accurate translation of the mentioned realia. Along with the common features, some features that make the translation of the 469th waka verse into Ukrainian unique were also revealed. Among those the translation of the original "satsuki" (the fifth month according to the old calendar and approximately June according to the modern one) as the season of the growth of herbs through the Ukrainian equivalent to "May" (the fifth month according to the modern calendar) literally meaning the "month of herbs", as well as the combination of the first and the second part of the poem through an emotional connection can be named.
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Norova, Nasiba, Shokhsanam Davronova, Shoira Axmedova, and Marhabo Xudoyqulova. "About some of Osman Kochqor’s translations In Uzar literature." E3S Web of Conferences 538 (2024): 05018. http://dx.doi.org/10.1051/e3sconf/202453805018.
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Translation works have a special place and influence in Usman Kochkar’s work. The combination of idea and art, meaning and image in the poet’s poetry is directly related to his translation. His translation skills are especially evident in the examples of Azerbaijani literature that he translated. The translator translated the works of Sayyid Imamuddin Nasimi, Husayn Javid, Yunus Samad, Sabir Rustamkhan, Yunus Oguz, Husayn Kurdogli, Hidayat, Anor, Elchin, etc. from Ozar into Uzbek. The artist later made translations from Russian, English, and Japanese. As a translator, choosing the best works, the Uzbek reader made a worthy contribution to the expansion of the reading space. The article examines the translation skills of Usman Kochkar and the influence of translated works on the poet’s work.
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Chiba, Jessica. "‘Something rich and strange’: Translating Shakespeare's poetry into Japanese." Cahiers Élisabéthains: A Journal of English Renaissance Studies 111, no. 1 (July 2023): 105–20. http://dx.doi.org/10.1177/01847678231184076.
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Translating poetry is difficult, and in a language so far removed from English as Japanese, the complications are manifold: rhyme creates no impact, and there are no inherent stresses out of which to create Western-style rhythms. Shakespeare's poetic drama, then, presents serious obstacles to translation. Through an investigation of the different approaches to translating Shakespeare's plays into Japanese, and what it means to do so, this article reconsiders the presence of Shakespeare's works in Japan to suggest that foreignness may be a more crucial part of the popularity of the dramas than universality.
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Horton, H. Mack. "Making it Old: Premodern Japanese Poetry in English Translation." Asia Pacific Translation and Intercultural Studies 5, no. 2 (May 4, 2018): 110–204. http://dx.doi.org/10.1080/23306343.2018.1500980.
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PYROGOV, V. "Conceptual-philosophical and linguocultural substantiation of transformations in translating a poetical text from English into Japanese and Chinese: a comparative-typological aspect." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 26 (2020): 27–31. http://dx.doi.org/10.17721/1728-242x.2020.26.27-31.
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The paper focuses on the problem of translation and translatability of poetic texts with regard to genetically different languages that have dichotomically opposed writing systems, particularly alphabetic and character based ones. On the one hand these are the languages that belong to the Indo-European family, namely, English, Ukrainian and Russian and, on the other, the East Asian languages, particularly, Japanese and Chinese. The core of the study is Robert Burns' poem "A Red, Red Rose" translated into the above-mentioned languages. When translating this poem from English (phonetic) into Japanese (character-syllabic), or Chinese (ideographic) languages, an attempt to convey poet's feelings embodied in the original context with the help of characters, the structural and semantic properties of which are dichotomously opposite to the alphabetic graphemes of the English writing, it is necessary to make substantial lexical and grammatical transformations that do not allow to preserve the identity of the original. In a sense, such translation can be viewed as an attempt to use characters as phonetic signs that correspond to certain lexemes of the original. At the same time, replacing words written in the phonemic way (letters) by whole graph-semantic units (characters), leads, on the one hand, to the loss of specific connotations of the original, and on the other, to the emergence of semantic interference due to multiple meanings of the most characters, therefore preventing adequate perception of the original content by native speakers of the Japanese or Chinese languages. Characters are intended, first of all, to directly fix thoughts as ready-made word forms. Consequently, when translating, or more precisely, interpreting the mental code of the English written tradition, and accordingly poetry, using Japanese / Chinese language, you need to find a way to translate it into the mental code of the Japanese or Chinese poetic tradition. Only by getting more or less successful result one can consider the goal of the adequate translation accomplished. So, this paper suggests an approach to translating a poetic text from a phonetic into a character language on the basis of semantic and linguocultural analysis of the dichotomically opposed cultural concepts.
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Twitchell-Waas, Jeffrey. "Ghostly Effects: Orientalist Translation in Pound and the Yasusada Text." Asian Journal of Social Science 29, no. 2 (2001): 234–48. http://dx.doi.org/10.1163/156853101x00055.
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AbstractT.S. Eliot famously remarked that Ezra Pound was "the inventor of Chinese poetry for our time." The nature of this invention is examined within the context of Pound's larger modernist project: his transformation of classical Chinese poetry into Imagist free verse and his projection of a vision of China as a utopian counter-image to the failure of the contemporary West. Although Pound clearly enough was consciously appropriating Chinese poetry according to his own poetic concerns, his particular solutions have had a pervasive impact in determining the look and sound of classical Oriental poetry in English ever since. The fundamental problem raised by this very influential tradition of poetic translation is the illusory desire for easy access to the foreign. In the early 1990s there began to appear the hoax texts purportedly by the previously unknown avant-garde Japanese poet Akiri Yasusada. Although a simulation rather than a translation proper, the Yasusada text will here be considered as a forceful questioning of the usual assumptions of translation's faithfulness and obligations to the foreign original. The elaborate construction of the Yasusada texts, including their initial public presentation as a hoax and the subsequent controversy, puts the reader in a disquieting and self-reflective position with respect to the desire for the authentic foreign.
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Yan, Hanjin. "Reforming the Relations of the Sexes: Zhou Zuoren’s Translation and Imitation of William Blake’s Poems about Love and Sexuality." NAN NÜ 22, no. 2 (December 2, 2020): 313–41. http://dx.doi.org/10.1163/15685268-02220003.
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Abstract This article probes into the motivation behind Zhou Zuoren’s (1885-1967) translation and imitation of the English poet William Blake’s (1757-1827) poems about love and sexuality in the May Fourth era. It situates Zhou’s approach to Blake’s poems in the contemporary context of the New Culture Movement and traces the Japanese and English sources that informed Zhou’s reading of Blake. By analyzing Zhou’s selective use of his foreign sources and his calculated translation of Blake’s poems, it argues that Zhou’s appropriation of Blake was driven by his agenda for unfettered sexuality, free love, and women’s emancipation, i.e. the reform of the relations of the sexes in China. This study goes on to investigate Zhou’s reference to and imitation of Blake in the controversy over a young poet’s writing of love poems in 1922. It further contends that Zhou’s concern for sex relations was part and parcel of his vision of modern Chinese poetry, which resonates with his earlier and far-reaching proposal for a literature of humanity that profited from Blake’s theory of the unity of body and soul.
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GOLOB, Nina. "Foreword." Acta Linguistica Asiatica 7, no. 2 (December 29, 2017): 5–6. http://dx.doi.org/10.4312/ala.7.2.5-6.
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Yet another year has come to its end. It brought us some new ideas and we have spent several months in preparations to realize them.The greatest change is that we may be expecting the new ALA issue within a month, in January 2018 already. From the year to come, we will still be publishing two issues per year, with the winter issue published in January coming first. The second issue will be the summer issue, published in July. At this opportunity we would like to express our gratitude to all the authors in the ALA journal, and alongside send out our call for new articles. All the rest of the changes might only be noticed by our regular readers, while newcomers will hopefully find our e-journal competent, functional, and user friendly. This number of the ALA journal is mostly dedicated to the area of translation studies, however, also contains three interesting works on language. Wing Bo Anna TSO in her work “Repressed Sexual Modernity: A Case Study of Herbert Giles’ (1845 - 1935) Rendition of Pu Songling’s Strange Stories from a Chinese Studio (1880) in the Late Qing” attempts the literary-cultural approach and investigates the lost in translation. She focused on examining gender ideologies in the original and translated work to find out that transgressive gender views get strongly repressed in Giles’ English rendition.A similar thought, namely the importance of the cultural background of the text in translation is stressed in the article “Metaphor in Translation: Cognitive Perspectives on Omar Khayyam’s Poetry as Rendered into English and Kurdish”, written by Rahman VEISI HASAR and Ehsan PANAHBAR. As metaphors as cognitive phenomena can not be relegated to linguistic expression only, the research findings reveal that translators have mostly been successful in translating metaphors dependent on shared cultural models, however, have failed to recreate metaphors dependent on non-shared cultural models.Difficulties in translating metaphors were also experienced by Eva VUČKOVIČ and Byoung Yoong KANG, who in their article “Prevajanje Ko Unove poezije iz korejščine v slovenščino” address several major problems they have encountered when translating poetry from Korean into Slovene. The aricle is written in Slovene and is a pionieering work on translation studies from Korean into Slovene.Lija GANTAR wrote an article “Ancient Greek Legend in Modern Japanese Literature: ‘Run, Melos!’ by Dazai Osamu” in which she discusses how the Japanese author managed to retell a Western literature story in a way to succesfully make it a part of the Japanese literature. The following three articles refer to language. Sweta SINHA in her article “Fuzzy Logic Based Teaching/Learning of a Foreign Language in Multilingual Situations” managed to incorporate the concept of Fuzzy Logic (FL), which primarily gained momentum in the areas of artificial intelligence and allied researches, into a foreign language classroom. She describes language pedagogy as more real-like when observed through the lens of fuzzy logic and fuzzy thinking, and claims that in that way language interference is more of a resource than a challenge.Now already a sequential work on adjective distribution was contributed by LI Wenchao, who wrote the article “Revisit Adjective Distribution in Chinese”. In it the author re-classifies Chinese monosyllabic adjectives and verbs in light of ‘scale structure’ and examines how various adjectives are associated with different scalar layers of verbs. Finally, an interesting project report on the development of early Persian vocabulary in the process of first language acquisition was written by Hajar SHAHHOSEINI. The report is entitled “Investigation of Early Vocabulary Development of a Persian Speaking Child at Age 2 Years Old in Iran”.Editors and Editorial Board thank all the contributors to this volume, and wish the regular and new readers of the ALA journal a pleasant read full of inspiration.
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Maciel, Maria Esther. "Julio Bressane, Peter Greenaway e Haroldo de Campos." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 53–59. http://dx.doi.org/10.17851/2317-2096.8..53-59.
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Resumo: São Jerônimo teve que reinventar o latim para traduzir a Bíblia diretamente da língua hebraica, causando efeitos de estranhamento em seus contemporâneos e inaugurando uma nova concepção da arte de traduzir. No cinema contemporâneo, pelo menos dois cineastas trouxeram à tela a figura do santo tradutor: Julio Bressane, em São Jerônimo, e Peter Greenaway, em O livro de cabeceira. No caso deste, a evocação de Jerônimo entrelaça-se obliquamente, através do protagonista Jerome, à de um tradutor importante para a poesia de língua inglesa do século XX: Arthur Waley, o primeiro a traduzir para o inglês o clássico japonês O livro de cabeceira, de Sei Shonagon. No Brasil, Haroldo de Campos marca a confluência dessas duas vertentes: a da tradução criativa da poesia oriental e a da reescrita – na trilha aberta por São Jerônimo – de fragmentos da Bíblia a partir do original hebraico.Palavras-chave: São Jerônimo; tradução criativa; cinema contemporâneo.Abstract: St. Jerome had to re-invent Latin in order to translate the Bible directly from Hebrew. In doing so, he created a new conception of the art of translation. In the contemporary cinema, at least two filmmakers brought to the screen the figure of the saint-translator: Julio Bressane, in São Jerônimo, and Peter Greenaway, in The pillow book. In the case of the latter, the evocation of St. Jerome is obliquely interwoven, through the protagonist Jerome, with a prominent British translator, Arthur Waley, who was the first to translate into English the Japanese classic The pillow book by Sei Shonagon. In Brazil, Haroldo de Campos represents the convergence of these two approaches to translation: the “transcreation” of Oriental poetry and the re-writing of the Bible from the Hebrew, as St. Jerome did.Keywords: St. Jerome; creative translation; poetry; contemporary cinema.
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Pusztai-Varga, Ildikó. "Cultural Dimensions of Poetry Translation." Acta Universitatis Sapientiae, Philologica 8, no. 3 (December 1, 2016): 17–29. http://dx.doi.org/10.1515/ausp-2016-0028.
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Abstract The present research analyses Hungarian and English target-language translations of contemporary Finnish poems. The translation solutions of culturally-bound lexical elements are compared in both Finnish-Hungarian and Finnish-English translation directions. The analysis is carried out using a text corpus comprising Hungarian and English translations of Finnish poems published after 1950. The text corpus consists of 160 Finnish source poems and their 160 Hungarian and 160 English target-language translations. The objective of the research is to reveal the cultural aspects of the translation of poetry and to answer the question as to what types of translation solutions literary translators use when translating culturally-bound lexical elements in Finnish poems into Hungarian and English. Results show that English-language translators of contemporary Finnish poems more frequently use translation solutions which are less creative and do not stray far from the original source language text. Hungarian translators, on the other hand, are more courageous in deviating from the source text and adapting their translations to the target language. This can be explained by reference to the two translation contexts or as a result of genre-specific reasons.
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Krasnova, Vasilina Yur'evna, and Ol'ga Vasil'evna Nikolaeva. "English translations of the Japanese folkloremes in the English-language translations: cultural-cognitive asymmetry." Litera, no. 2 (February 2020): 73–85. http://dx.doi.org/10.25136/2409-8698.2020.2.32343.
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The subject of this research is the linguocultural and cognitive aspects of the original Japanese folkloremes (names of fairy characters, mythical objects, and mythical animals) and their English correlates. The authors refer to folklore as a source of profound understanding of cultural connotation, cultural beliefs, cultural distinctness, traditions and customs. The methodological equivalence of linguistic and cultural-cognitive aspects of folkloremes is underlined. The goal of this work consists in determination of the formal and conceptual transformations of Japanese folkloremes in English translation of a Japanese tale. Folkloremes of a Japanese tale have not previously been an object of special research. Comparison of the text of Japanese folk tale and its English analogue demonstrates the cultural-cognitive asymmetry between Japanese folkloremes and their English correlates. Three types of Japanese folkloremes (unique; possessing distinct characteristics; and having cultural-specific associations) determine different techniques of their translation into the English language and various types of transformations of their conceptual content. Cognitive asymmetry of Japanese and Anglo-Saxon cultures substantiate the insufficient understanding and accentuation in English texts of the Japanese important cultural dominant – social and age hierarchism, as well as the enduring significance of image of the emperor and imperial power associated with this dominant.
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JABAK, Omar. "Contrastive Analysis of Two English Translations of an Old Arabic Poem." Journal of Translation and Language Studies 4, no. 1 (March 19, 2023): 36–48. http://dx.doi.org/10.48185/jtls.v4i1.565.
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The present study aimed to provide a contrastive analysis of two English translations of the famous Arabic poem known in English as “Let days do what they will” by Mohammad ibn Idris al-Shafi’i. The two English translations were produced by two different translation scholars in the language pair Arabic and English. The analysis focused on how the translators dealt with the most important features of poetry when translating the Arabic poem into English. Such features included form, meaning, sound and imagery. The findings revealed some similarities and differences in both translations with reference to the above-mentioned features. It is recommended that more research be conducted on either Arabic-English translation of poetry or English-Arabic translation of poetry as this kind of research seems to be relatively scarce.
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Sukmajati, Bintang, and Patricia Angelina. "POETRY TRANSLATION ACCEPTABILITY ON THE TRIALS OF APOLLO: THE HIDDEN ORACLE NOVEL." International Journal of Humanity Studies (IJHS) 3, no. 1 (August 29, 2019): 76–83. http://dx.doi.org/10.24071/ijhs.v3i1.2016.
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This study aims to find out the extent of the acceptability of the poetry translation in the novel. One research question is formulated: To what extent is the poetry translations in The Trials of Apollo: The Hidden Oracle acceptable based on Larsons criteria of an acceptable translation. Qualitative research by using the text analysis was conducted. The data of this research were taken from both the English and Indonesian version of The Trials of Apollo: The Hidden Oracle novel. In order to answer the research question, the researchers compared the translation between the English and Indonesian poetry using the theory of acceptability by Larson. The results show that there are 36 poetry translations which are categorized as acceptable and three poetry translation which are unacceptable. The 36 poetry translations incorporate at least two out of the three poetry translations acceptability criteria, while the three poetry only fulfil one poetry translation acceptability criterion.DOI: 10.24071/ijhs.2019.030107
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Piątkowska, Józefina. "The lyric present in English translations of Russian poetry." Translation and Interpreting Studies 15, no. 2 (July 12, 2019): 183–202. http://dx.doi.org/10.1075/tis.19032.pia.
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Abstract Taking English translations of Anna Akhmatova’s poems as a case study, this article investigates whether the lyric present (a specific use of simple present forms in poetry) is the preferred present tense in poetic translations from Russian into English. Akhmatova’s verbal craft is remarkably relevant for the issue at hand because of her extensive exploration of temporal levels. The article examines what stylistic effects stem from a translator’s choice between the lyric present and the present progressive. In order to provide a more general view of English translations, the study includes data concerning the frequency of progressives contained in two different English editions of Akhmatova’s poetry. These data are presented in the comparative perspective, together with data collected from English and American poetry and from English renditions of several Russian poets.
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Sycheva, Anastasia V. "Peculiarities of Reconstructing Russian Rhyme in English Translations." Polylinguality and Transcultural Practices 17, no. 1 (December 15, 2020): 59–64. http://dx.doi.org/10.22363/2618-897x-2020-17-1-59-64.
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The article deals with the problem of preserving the rhyme traditional for Russian poetry in translations into English. A brief analysis of Russian and foreign linguists’ works on the theory and practice of poetic translation shows that rhyme in English poetry does not play such a significant role as it does in Russian poetry. Opinions of English-speaking readers coincide with the opinion of translators. However, adequate versions of Russian poems in English with preservation of rhymes of original verses are the preferred type of poetic translation. The article deals with the problem of preserving the rhyme, characteristic of Russian poetry, in translations into English. The purpose of this scientific research is to conduct a brief analysis of the works of Russian and foreign linguists on the theory and practice of poetic translation to reveal the role and significance of the category of rhyme in English and Russian poetry. The author pays special attention to the opinion of translators of Russian poetry into English and English-speaking readers of translated Russian lyrics in the context of preserving rhyme or deviation from it. As a result of the conducted research, the author comes to the conclusion that rhyme does not play such a significant role for foreign linguists and translators as it does for their Russian-speaking counterparts. A more attractive form of poetry for them is vers libre. Consequently, the issues of rhyme reproduction for English translators are not of paramount importance. The main emphasis is on the meaning of the translated text, not its form. Opinions of English-speaking readers coincide with the opinion of translators. In addition, the article presents summary information of the conducted comparative linguistic analysis of 275 poems by B. Okudzhava and their originals. The analysis shows that in percentage terms the number of rhymed translations from the total number of translated texts is about 40%. However, the overwhelming number of English translations of poems Okudzhava - about 60% - belongs to unrhymed translations. Nevertheless, the author of the article emphasizes the need to preserve rhyme in translations as an integral part of the Russian classical verse and believes that adequate versions of Russian poems in English with preservation of original rhyme are the preferred type of poetic translation.
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Hao, Fu. "On English Translations of Classical Chinese Poetry." Babel. Revue internationale de la traduction / International Journal of Translation 45, no. 3 (November 15, 1999): 227–43. http://dx.doi.org/10.1075/babel.45.3.05hao.
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Abstract There have been numerous classical Chinese poems translated into English since the 18th century, and many of them enjoy more than one version. This article discusses some prominent aspects of English translation of classical Chinese poetry, such as choice of words, syntax, metre and form, and allusion, based on comparative analysis of different versions. In the language of classical Chinese poetry, the prevailing monosyllabic word often tends to be polysemous and the grammatical function of a word more flexible. There are also many grammatical ellipses in its syntax. How does a translator choose the right word and decipher the sentence? In addition, classical Chinese poetry enjoys strict verse forms and rhyme schemes, and has a tradition to employ literary allusions. How can an English version achieve an equivalent effect? To solve such problems, translators in different times and places have made various experiments. But the swing of the pendulum seems not to go beyond the two extremes, rigidly imitating the original form or freely rewriting in another language. Under proper modulation, both methods may score some points. Résumé Il y a eu de nombreux poèmes classiques en langue chinoise traduits vers la langue anglaise depuis le 18ème siècle, et plusieurs d'entre eux ont plus d'une version. Cet article discute de certains aspects particuliers de la traduction anglaise de la poésie classique chinoise tels que le choix des mots, la syntaxe, la versification et la forme ainsi que les allusions, basées sur l'analyse comparative des différentes versions. Dans le langage de la poésie classique chinoise, le mot monosyllabique qui prévaut tend à avoir plusieurs significations et la fonction grammaticale du mot à être plus souple. Il existe aussi beaucoup d'ellipses grammaticales dans sa syntaxe. Comment un traducteur choisit-il le mot exact et décompose-t-il la phrase? En outre. la poésie classique chinoise nous offre une structure en vers et un agencement de rimes très strictes et possède une tradition de l'emploi d'allusions littéraires. Comment une version anglaise peut-elle atteindre un effet équivalent? Pour résoudre ce type de problèmes, les traducteurs à différentes époques et lieux ont effectué des expériences différentes. Mais le pendule ne balance pas en dehors des deux extrêmes, l'imitation rigide de la forme originale ou sa réécriture libre dans une autre langue. Selon la modulation appropriée, chacune des deux méthodes pourrait présenter certains avantages.
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ZHU, Sizhe. "An Alternative Approach to the Translation of Poems in Political Texts: Take Xi Jinping: The Governance of China as an example." Asia-Pacific Journal of Humanities and Social Sciences 3, no. 1 (March 15, 2023): 150–58. http://dx.doi.org/10.53789/j.1653-0465.2023.0301.016.p.
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Chinese poetry translation is currently dominated by the rhymed translations of poetry represented by Xu Yuanchong and the unrhymed translations of poetry represented by Weng Xianliang. Both of these poetry translation methods have provided us with valuable practical experience. However, volumes 1 to 3 of Xi Jinping: The Governance of China, as authoritative interpretations of Chinese wisdom, Chinese plans, and Chinese theories, contain a large number of ancient Chinese poems. However, in the English version of the three volumes, the English translations of the relevant verses do not copy the existing translations, of famous translators, but instead, use the paraphrasing method to render these verses. By collecting representative verses on different topics and comparing the similarities and differences between translators’ translations of the same poems in the three volumes, the author summarizes the different paths of poetry translation, explores the feasibility and merits of the paraphrasing method as the main path of translating poetry in political texts, and provides a practical basis for promoting the paraphrasing method of poetry translation.
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Wilson, G. "Two Translations from the Japanese." English 37, no. 159 (September 1, 1988): 223. http://dx.doi.org/10.1093/english/37.159.223.
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Low, Graham D. "Evaluating translations of surrealist poetry." Target. International Journal of Translation Studies 14, no. 1 (December 31, 2002): 1–41. http://dx.doi.org/10.1075/target.14.1.02low.
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Evaluating translations of poetry will always be difficult. The paper focuses on the problems posed by French surrealist poetry, where the reader was held to be as important as the writer in creating interpretations, and argues that evaluations involving these poems inevitably require reader-response data. The paper explores empirically, in the context of André Breton’s “L’Union libre”, whether a modification of Think-Aloud procedure, called Note-Down, applied both to the original text and to three English translations, can contribute useful information to a traditional close reading approach. The results suggest that comparative Note-Down protocols permit simple cost-benefit analyses and allow one to track phenomena, like the persistence of an effect through the text, which might be hard to obtain by other methods.
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Cao, Rangju. "The Comparative Study on the English Translations of Du Fu's Poems from the Perspective of Steiner's Hermeneutic Motion." Journal of Education and Educational Research 8, no. 2 (May 8, 2024): 371–75. http://dx.doi.org/10.54097/ryh1ae38.
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Du Fu's influence in Chinese classical poetry is very far-reaching, and he is honored as the "Sage of Poetry" by later generations, and his poems are also known as the "History of Poetry". As a typical representative of traditional Chinese culture, Du fu's poems are loved by the public, and different translations have made the world better understand the culture of ancient Chinese poems. Based on the hermeneutic motion of George Steiner, this paper selects two English translations of Du Fu's poems by Mr. Xu Yuanchong, a domestic translator, and Mr. Watson, a foreign sinologist as the objects. Through the comparative study of the two translations, this paper explores how the four hermeneutic steps of “trust”, “aggression”, “incorporation” and “compensation” in Steiner’s hermeneutic motion are represented in their translations. It provides a new perspective for the study of Du Fu’s poetry translation into English and promotes the dissemination of ancient Chinese poems.
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Maryniak, Julia. "Miłosz as a Translator of Literary Roughness in Herbert’s Poetry." Crossroads. A Journal of English Studies, no. 44(1) (2024): 119–36. http://dx.doi.org/10.15290/cr.2024.44.1.08.
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The aim of the work is the analysis of translations of Herbert’s poems into English by Miłosz with a focus on preserving the so-called roughness of his style. This term encompasses non-obvious and awkward structures, which, according to Miłosz, were one of the most important elements of Herbert’s style and, therefore, needed to be present in the English versions. The text contains a comparative analysis of two poems by Herbert: “Elegy of Fortinbras” and “Apollo and Marsyas,” with their translations into English. The translations were compared with the originals, taking into account their general form, the vocabulary, and the syntax. The analysis of vocabulary and syntax showed that to maintain the style of the original, the translator changed places where literary roughness was present. The translations into English were also more conventional and rooted more in European culture (while Polish contexts were moved to the background). One can thus conclude that the idea of spreading Polish literature across other cultures was more important for Miłosz than the translation of literary roughness.
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Pidopryhora, Svitlana, and Victoria Kysil. "POETRY AND FICTION BY MYKOLA VINGRANOVSKYJ IN ENGLISH TRANSLATIONS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 32 (2022): 58–62. http://dx.doi.org/10.17721/1728-2659.2022.32.11.
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The article examines the poetry and fiction by Mykola Vingranovskyj in English translations. Attention is paid to the chronological sequence of translations, the figures of translators and the works selected for translation, their equivalence to the original. The first translation of M. Vingranovskyj's fiction (the short story "White Flowers") appeared with the assistance of Yu. Lutsky in Canada and aimed at popularizing Ukrainian literature among students. The short story opens the extremely lyrical world of Mykola Vingranovskyj, where the story revolves not around the event, but around the feelings, which brings the short story closer to poetry. The novella was included to the anthology (Modern Ukrainian Short Stories, 1973) as the example of the prose of the sixties (shistdesyatnyky), which departed from socialist-realist ideological canons and turned to the emotional and expressive potential of artistic language. The translation of Yuri and Moira Lutsky is marked by the desire to convey as fully as possible the author's individual style, including figurative metaphor, to create a text equivalent to the original in communicative orientation. The collection Summer Evening (1987), translated by Anatoliy Bilenko, was published after M. Vingranovskyj was awarded the Taras Shevchenko National Prize of Ukraine (1984). The collection includes stories for children's audiences, conveying children's perception of the world: Chest, Shaggi, The Gosling, Good Night, What Makes the World Spin, Summer Evening. A. Bilenko's translations are notable for the adequacy of the reproduction of artistic and stylistic features of the original, semantic equivalence. Some translated poems, which emphasize the civic component (Sistine Madonna, To My Sea, On the Golden Table, The First Lullaby, Star Prelude) were included to the anthology of Ukrainian poetry (Anthology of Soviet Ukrainian Poetry, 1982), and Russian translators were involved in translating the poems (Dorian Rottenberg, Michael McGreg), which significantly reduced the artistic value of poetry. During the times of independent Ukraine, competitions for translations to the writer's anniversaries were initiated. However, translated works have not been published in collections and anthologies. Active work on translations of M. Vingranovskyj's works is still ahead.
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Ivashkiv, Roman. "Translating Ukrainian War Poetry into English: Why It Is Relevant." East/West: Journal of Ukrainian Studies 9, no. 1 (March 30, 2022): 37–65. http://dx.doi.org/10.21226/ewjus707.
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This article explores the English translations of contemporary Ukrainian war poetry featured in the two anthologies Lysty z Ukrainy (Letters from Ukraine, 2016) and Words for War: New Poems from Ukraine (2017), through the prism of Jacques Derrida’s concept of “relevant.” It argues that although the economy of the original poems could not always be sustained, these translations nonetheless remain relevant primarily thanks to what they do rather than what they say. After contextualizing the recent (re)emergence of war poems as a genre of Ukrainian literature and providing an overview of the two translation anthologies, the article compares the Ukrainian originals with their English translations and discusses the various translation challenges. It then returns to Derrida’s own case study to extend the modifier “relevant” beyond its “economic” parameters to apply it more broadly to translation’s socio-political significance. It concludes with a discussion of how the two anthologies in question reflect the state of the reception of contemporary Ukrainian literature in the English-speaking world and how the translations they feature inform our understanding of the (un)translatability of poetry.
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Orsini, Francesca. "From Eastern Love to Eastern Song: Re-translating Asian Poetry." Comparative Critical Studies 17, no. 2 (June 2020): 183–203. http://dx.doi.org/10.3366/ccs.2020.0358.
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This essay explores the loop of translations and re-translations of ‘Eastern poetry’ from Asia into Europe and back into (South) Asia at the hands of ‘Oriental translators’, translators of poetry who typically used existing translations as their original texts for their ambitious and voluminous enterprises. If ‘Eastern’ stood in all cases for a kind of exotic (in the etymological sense of ‘from the outside’) poetic exploration, for Adolphe Thalasso in French and E. Powys Mathers in English, Eastern love poetry could shade into prurient ethno-eroticism. For the Urdu poet and translator Miraji, instead, what counted in Eastern poetry was oral, rhythmic and visual richness – song.
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Edwards, A. S. G. "Gavin Bone and his Old English Translations." Translation and Literature 30, no. 2 (July 2021): 147–69. http://dx.doi.org/10.3366/tal.2021.0461.
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This article examines the verse translations of various shorter Old English poems and of Beowulf by the Oxford scholar Gavin Bone (1907–1942), mainly published posthumously. It provides a biographical account of him, before going on assess his introductions to Anglo-Saxon Poetry (1943) and Beowulf (1945). It further describes the various techniques Bone used in his translations, the lexical and metrical forms he employed, and their relative degrees of success. The article also considers the illustrations Bone created to accompany his Beowulf translation. It concludes with an examination of the afterlife and subsequent neglect of Bone's translations.
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Conde Silvestre, Juan Camilo. "New Verse Translations of Old English Poetry into Spanish." Atlantis. Journal of the Spanish Association for Anglo-American Studies 42, no. 1 (June 28, 2020): 235–47. http://dx.doi.org/10.28914/atlantis-2020-42.1.12.
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Lootens, Tricia. "BENGAL, BRITAIN, FRANCE: THE LOCATIONS AND TRANSLATIONS OF TORU DUTT." Victorian Literature and Culture 34, no. 2 (August 25, 2006): 573–90. http://dx.doi.org/10.1017/s1060150306051321.
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To a far greater degree than many of us have yet realized, late-nineteenth-century women's poetry may be a poetry of alien homelands: of cultural spaces, that is, in which the domestic proves alien, even as technically alien territory comes to represent some form of home. And partly for this reasosn, to explore poetry in English may require moving not only beyond Britain, but also beyond English itself. Think, for example, of Christina Rossetti, who composed poems in Italian; of Mathilde Blind, with her German accent and translation of the French edition of theJournal of Marie Bashkirtseff; of Agnes Mary Frances Robinson Darmesteter Duclaux, whose poetry preceded a long, successful career of writing in great part in and for the French; of Louisa S. Bevington Guggenberger, with her German home and husband; or, for that matter, of nineteenth-century India's first influential English-speaking woman poet, Toru Dutt. As generations of Indian critics have stressed, as early anthologizer E. C. Stedman made clear, and as certain editors of recent nineteenth-century poetry collections have also acknowledged, Dutt's writing played a suggestive role within late-century understandings of “British literature.” Indeed, even now, growing attention to her work is helping extend our conception of the geographical origins of “Victorian” poetry from Britain to Bengal. Still, if we are to develop a full exploration of Dutt's cultural presence, we may need to move further as well, connecting Indo-Anglian literature to that of France.
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Pose-Fernández, Coralia. "The universalization of the poetry of George Seferis: the significance of English translations." Byzantine and Modern Greek Studies 41, no. 1 (March 16, 2017): 138–54. http://dx.doi.org/10.1017/byz.2016.33.
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The English socio-cultural context was crucial to the dissemination of the work of George Seferis in Europe. Early translations appeared in both French and English, but it was the English versions that propelled Seferis toward international recognition and the Nobel Prize, and gave rise to translations into more peripheral literatures such as Spanish. The wide social circle Seferis enjoyed in the English-speaking world was a key factor in his early success in the United Kingdom. Other determinants were British intellectuals’ empathy for the Greeks during the Colonels’ dictatorship and their liking for modern poetry similar to that of T. S. Eliot.
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Mozetič, Uroš. "Selected Poems." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 2 (December 16, 2016): 19–26. http://dx.doi.org/10.4312/elope.13.2.19-26.
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The selection of English translations of Mozetič' poetry includes poems from the cycles Gallery of Discarded Things, Lošinj, The Cloud of Knowing, De-dications: Pax de deux, and The Way of the Cross for the Blind. Translations by Nada Grošelj and Uroš Mozetič.
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Bruno, Cosima. "The public life of contemporary Chinese poetry in English translation." Target. International Journal of Translation Studies 24, no. 2 (December 31, 2012): 253–85. http://dx.doi.org/10.1075/target.24.2.03bru.
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This essay is an exploration of some of the social and cultural factors that have played a role in the production, publication and reception of English translations of contemporary Chinese poetry, from the beginning of the 1980s to today. The aim is to link translations to the broader context, highlighting modalities and expectations of reception that have evolved within the social structures through which the translation of contemporary Chinese poetry has been circulating: the publishing industry, universities, the periodical press, public intellectual debates, and the market. The article does not try to establish if this or that expectation are either real or perceived features of the source texts. Nor does it deal with translators’ individual interpretations, their private readings. Instead, adopting a wider sociocultural approach, the analysis proposes to shed light on the industrial and commercial dimension—the public life—of contemporary Chinese poetry in English translation.
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Görtschacher, Wolfgang, and David Malcolm. "On Translating Ilse Aichinger’s Poetry into English." Tekstualia 1, no. 36 (April 1, 2014): 97–104. http://dx.doi.org/10.5604/01.3001.0013.4574.
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The article juxtaposes three different English translations of two Ilse Aichinger’s poems – prepared by Michael Hamburger, James C. Alldridge and by the authors of the article, Wolfgang Görtschacher and David Malcolm. Görtschacher and Malcolm draw our attention to a special feature of Aichinger’s poems – their conciseness, and to the problems this quality may pose to the process of translation. The article examines predominantly semantic, syntactic, and cultural differences between German and English equivalents proposed by the three (four) translators, but also emphasizes the fact that translation is never fi nished, only published.
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LI, CHONGYUE. "A Corpus-based Study of Gaoxin Huang’s Poetry Translation Style." Translation Today 16, no. 2 (September 1, 2022): 1–21. http://dx.doi.org/10.46623/tt/2022.16.2.ar1.
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Though he himself is not a poet, Gaoxin Huang (1936-) has published a dozen of translated poetry collections. Huang has further developed the poetry translation strategy of “yidun daibu” (substituting pause for foot) on the basis of his predecessors and proposed quantitative standards of poetic meter and the “Emulation Method”. This study attempts to examine Huang’s poetry translation style with a corpus-based quantitative and qualitative study. For the study two corpora are constructed: a bilingual parallel corpus of 100 English poems with their Chinese translations and a monolingual comparable corpus of Chinese translations of 100 English poems and 280 original Chinese poems. Data on lexicon, syntax and phonology are collected from the two corpora to address the stylistic characteristics of Huang’s poetry translation at the lexical, syntactic and phonological levels. Huang’s translation employs a richer vocabulary than the original English poems, and the choice of words is more akin to the original Chinese poems. Huang does not replicate the original poem, but preserves the original poem’s harmony of structure, rhythm, and word count by substituting the Chinese pause for the English foot and making full use of the Chinese conjunctions.
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Zhang, Shirui, and Jindi Jiang. "A Study of Conversion in the Translation of Chinese Classical Poetry by Xu Yuanchong." Yixin Publisher 1, no. 1 (July 31, 2023): 37–48. http://dx.doi.org/10.59825/jhss.2023.1.1.37.
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Classical Chinese poetry has become a brilliant jewel in the history of Chinese literature due to its unique beauty of rhythm and rich ideological connotations, and has become an indispensable part of Chinese civilization. High-quality English translations of poetry can help the world to better understand Chinese literature and gain a more comprehensive understanding of Chinese civilization, thereby promoting cultural exchanges between countries. Translation transformation theory was proposed by John Catford in the 1960s, who divided it into hierarchical transformation and categorical transformation, and systematically expounded the rationale for transformation phenomena in The Linguistic Theory of Translation. Practice has proved that translation transformation theory has important guiding significance for the translation process. This article takes Mr. Xu Yuanchong’s translation of classical Chinese poetry into English as an example to explore the transformation phenomenon in the process of text translation and the guiding significance of translation transformation theory for the translation of classical Chinese poetry, attempting to provide some reference for excellent English translations of traditional Chinese culture.
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Bollig, Ben. "Recent English Translations of Poetry from Argentina: Contexts and Strategies." Translation and Literature 25, no. 1 (March 2016): 107–30. http://dx.doi.org/10.3366/tal.2016.0239.
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Poetry features prominently amongst the works published with the support of the Argentine Foreign Ministry's ‘Programa Sur de apoyo a las traducciones’, including collections by internationally feted writers such as Jorge Luis Borges, as well as what might be called ‘semi-canonical’ authors such as Alejandra Pizarnik and Juan Gelman, and contemporary poets, including Tamara Kamenszain and Mori Ponsowy. The article explores the roles that these publications suggest for the translator of poetry, from within the ‘Sur’ programme and beyond. The article asks, further, whether the differing circumstances of translation and publication are reflected in the translation strategies on display.
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Bhattacharya, Dr Abhisek. "Reading Creative Translations of Jibanananda Das’s Bengali Poetry into English: A Journey across the Frontiers of Experiences." ENSEMBLE 3, no. 1 (August 20, 2021): 129–35. http://dx.doi.org/10.37948/ensemble-2021-0301-a016.
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Indian English literature generally refers to that body of writing, which is produced in the English language by the litterateurs of an Indian origin. It is however, understandable that creative translations should also be located into the corpus of Indian English literature. Historically speaking, what gave the first solid footing to Indian English poetry was Rabindranath Tagore’s Gitanjali, and this came in the form of creative translation. After Rabindranath we find another accomplished poet of twentieth century Bengal to practice creative translation of his Bengali poetry into English. This poet is Jibanananda Das, whose English- language poetry in the form of creative translation is yet to receive a broader audience. The present paper seeks to study three of these creative translations titled Meditations (Manosarani in Bengali), Darkness (Andhakar in Bengali) and Sailor (Nabik in Bengali), which seem to form a complex sequel in respect of Jibanananda’s deep concern for the socio-cultural unrest that characterized the general fabrics of life in Bengal after the Partition of 1947. Moreover, these poems appear equally contemporary in the twenty first century, when the disruptive forces of corruption, falsehood, debauchery, political coercion and cultural denigration are more severely at work to corrode and annihilate the cultural roots of Bengal. So, the purpose of the present study is two-fold: first, to show how the creative translations of Jibanananda continue to strike the note of a universal humanity in the present times, and second, to voice for their inclusion in forthcoming anthologies of Indian English poetry. For, these poems composed by one of the greatest poets of modern Bengal would make room for readers from all over India to savour the taste of a fine artistry that transcends the limits of every ideological bias.
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Liu, Wenqian. "Comparative Study of English Translations of Tang Poetry "Shu Xiang" from the Perspective of Eco-Translatology: Illustrated with the Versions by Xu Yuanchong and Stephen Owen." Journal of Education and Educational Research 7, no. 2 (February 29, 2024): 248–50. http://dx.doi.org/10.54097/w3fsk483.
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As one of the valuable literary legacies of China, Tang poetry contains rich linguistic and cultural knowledge. Translating it into English not only helps spread the excellent traditional culture of China to the outside world, but also promotes people to delve into and re-experience its profound meaning, thus making it last forever. This study explores the two English translations of "Shu Xiang" from the perspective of Eco-Translatology, evaluating the advantages and disadvantages of each translation in terms of "three-dimensional" transformation. Feeling the uniqueness of language through comparison and understanding the profoundness of culture through analysis, thereby enhancing cultural confidence. It provides reference for the translation of Chinese literary classics into English, and promotes the research on relevant models for the internationalization of Chinese literature and culture. The research results indicate that Xu Yuanchong's translation has the highest degree of integrated adaptive selection. The study also demonstrates that the theory of Eco-Translatology can be used to analyze English translations of poetry and provide a new perspective for the translation of poetry.
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Lobejón Santos, Sergio. "Translations of English-language poetry in post-war Spain (1939-1983)." Translation Matters 2, no. 2 (2020): 113–30. http://dx.doi.org/10.21747/21844585/tm2_2a7.
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In the years immediately following the Spanish Civil War, the domestic poetry market underwent a lengthy and traumatic transformation stemming directly from the conflict and the Francoist regime’s implementation of systematic censorship. The death and exile of many of the preeminent poets from previous generations, along with the closure and relocation to Latin America of many publishing houses, left a considerable cultural void which would be partly filled with translated texts, most of them from authors writing in English. This article outlines some of the main results of a comprehensive study into the impact of censorship on the Spanish translations of English-language poetry between 1939 and 1983. Although the quantitative data point to a high authorisation rate for translated poetry, the regime used several mechanisms to curb the public’s exposure to ideas deemed harmful which profoundly impacted the translation and reception of those texts.
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Wenxuan, Li, and Wang Feng. "A Comparative Study on the Tang Poetry Translation in the Perspective of ‘Harmony-Guided Three-Level Poetry Translation Criteria’—A Case Study of Li Bai's Invitation to Wine." IRA International Journal of Education and Multidisciplinary Studies 16, no. 3 (August 14, 2020): 128. http://dx.doi.org/10.21013/jems.v16.n3.p1.
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There are many English versions of poems on the market with different styles, but the quality of the translated poems is quite different. This paper mainly makes a comparative analysis of English translations of Li Bai's "Invitation to Wine" by using Dr Wang Feng's "Harmony-Guided Three-Level Poetry Translation Criteria" and concludes that when translating poems into English, we should not only achieve harmony at the macro level, and the similar style and artistic conception at the meso-level, but pay attention to the representation of various beauties at the micro-level. Through the analysis, the authors hope to verify the guiding role of "Harmony-Guided Three-Level Poetry Translation Criteria" in poetry translation and promote the English translation of Chinese poetry.
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Xu, Zan, and Juan Wang. "A Comparative Analysis of Liu Bei's Image in the English Versions of Sanguo Yanyi: A Perspective on Poetry Translation." IRA International Journal of Education and Multidisciplinary Studies 19, no. 4 (October 11, 2023): 209. http://dx.doi.org/10.21013/jems.v19.n4.p1.
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<em>Sanguo Yanyi</em>, a Chinese classical historical novel, contains a total of 207 poems. This paper presents a comparative analysis of the portrayal of Liu Bei in the English translations of the novel from the perspective of poetry translation. By examining the translations by Brewitt-Taylor and Moss Roberts, we aim to explore the nuances and variations in Liu Bei's image as portrayed in the poems. Selected examples are analyzed to highlight Liu Bei's image characteristics, including his adeptness, benevolent nature, and ambitious demeanor. The translations are compared in terms of their focus on readability versus fidelity to the original text. The findings contribute to a deeper understanding of the interpretation and representation of Liu Bei's character in English-language adaptations of Sanguo Yanyi, shedding light on the challenges and possibilities of poetry translation in a historical and cultural context.
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ВАСИЛЕНКО, ГАЛИНА. "THE SEA IMAGE IN UKRAINIAN POETRY AND ITS ENGLISH TRANSLATIONS." Scientific papers of Berdiansk State Pedagogical University. Series: Philological sciences 19 (October 10, 2019): 28–36. http://dx.doi.org/10.31494/2412-933x-2019-1-9-28-36.
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Milton, John. "Translated Poetry in Brazil 1965-2004." Revista Brasileira de Linguística Aplicada 4, no. 1 (2004): 173–93. http://dx.doi.org/10.1590/s1984-63982004000100010.
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Through a quantitative survey, this paper will examine the translation of poetry in Brazil in the last forty years, comparing poetry translated from English with poetry translated from other languages, showing the considerable growth in this area, and demonstrating that translated poetry can be considered a new genre in Brazilian literature. In order to do this, I attempted to discover translations of poetry published between 1965 and 2004, including reeditions of previously published works.
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Gillespie, Stuart. "Manuscript Translations of Italian Poetry, c.1650–1825: A Miscellany." Translation and Literature 28, no. 1 (March 2019): 44–67. http://dx.doi.org/10.3366/tal.2019.0369.
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This is a presentation of fourteen English verse translations which have never previously been printed, transcribed from a range of extant manuscripts. The translators are mainly little-known figures. Italian authors translated include Dante, Petrarch, Tasso, Guarini, Metastasio, and Manfredi. The selection is intended to suggest how further archival research might make more visible the extensive history of amateur translation of classic and contemporary Italian poetry in English, and how far from routine its products can be.
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WALSH, ANDREW SAMUEL. "Who Translated Lorca into English First? An Analysis of the 1929 New York Translations and their Possible Authorship." Bulletin of Hispanic Studies: Volume 98, Issue 7 98, no. 7 (July 1, 2021): 661–77. http://dx.doi.org/10.3828/bhs.2021.39.
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This article analyses the disputed and currently unresolved issue of who was responsible for the first translations into English of the work of Federico García Lorca. These were versions of two of the Gypsy Ballads, which were published anonymously in August 1929 in the New York based Hispanic journal Alhambra, shortly after Lorca’s arrival in the city. The article first presents the background to these translations and the publication in which they appeared, and examines the respective biographical merits and circumstantial claims of the two candidates to be Lorca’s first translators into English, Philip Cummings and Ángel Flores. The article then analyses the textual characteristics of the translations, compares and contrasts them with the translational styles of both candidates in their other Spanish-English poetry translations, and offers some conclusions as to who was most likely to have been Lorca’s first translator into English.
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Chow, Yean Fun, Haslina Haroon, and Hasuria Che Omar. "Reaching out to the readers: The translation of Japanese manga in Malaysia." Indonesian Journal of Applied Linguistics 10, no. 2 (October 18, 2020): 538–50. http://dx.doi.org/10.17509/ijal.v10i2.28605.
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One of the most recognisable aspects of Japanese pop culture which has invaded Malaysia is the Japanese comic or manga. It appears in translation in both Malay and English in Malaysia. Taking into account its foreign origin and the fact that translated manga is targeted at a local readership, translators often resort to the use of notes in the translations in order to assist the readers. This study, thus, intends to examine the type of notes used in the Malay and English translations of Japanese manga, and to determine items in the Japanese manga which required clarification and for which notes are provided. To analyse the use of notes by the translator in the translated manga, this study adopts a qualitative content analysis approach. The analysis involves six Japanese manga and their corresponding translations in Malay and English. The findings show that the translators employ the use of three different types of notes in the translation: notes on the image, notes in the gutter and notes at the end of the text. The analysis also shows that the elements in the Japanese manga which require clarification in translation are giongo/gitaigo, inscriptions, culture-specific elements, wordplay, technical terms and honorifics. There is also a minor difference between the Malay and English translations where the use of notes is concerned. Based on the findings, it is concluded that notes are important in translated versions of the manga in Malaysia in that they provide assistance to readers in understanding certain aspects of the manga.
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Gillespie, Stuart. "John Polwhele's Horatian Translations." Translation and Literature 30, no. 1 (March 2021): 52–71. http://dx.doi.org/10.3366/tal.2021.0445.
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The poems and translations of John Polwhele ( c.1606–1672) are preserved in a single autograph manuscript, Bodleian MS English poetry f. 16. Some have received intermittent scholarly attention in recent times, often on account of Polwhele's admiration for and emulation of Ben Jonson. As well as other classical translations, Polwhele's manuscript includes eleven poems and passages from Horace, nearly all of them versions of odes and epodes. A handful have been printed or partially printed before. The purpose of this contribution is to provide transcribed texts of the complete set in a uniform way in a single document. As well as the Jonsonian connections of Polwhele's Horatian writings, they are of scholarly interest because they use Horace as a vehicle for comment on the translator's own times, including events of the English civil war period such as the regicide of 1649.
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Wen, Shirui. "The Operation of Language in Poetry Translation." Communications in Humanities Research 14, no. 1 (November 20, 2023): 299–304. http://dx.doi.org/10.54254/2753-7064/14/20230504.
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The translation of one literary work from its mother language to a target language is certainly a key area of research in literary studies and comparative literature. The translation of literary works, specifically poetry, is extremely flexible and requires intricate operations of language. Not only do translators have to take into account of the structural elements of a poem, but also more obscure elements such as imagery and theme. This paper will explore the key elements of poetry translation, and the indispensable constituents of a successful translation of poetry, and focus primarily on the comparison of English and Chinese poetry along with their translations. The poetry that will be examined are Sonnet 130 written by Shakespeare and its Chinese translations, The Raven by Edgar Allan Poe, and the famous Chinese poem Yellow Crane Tower. Through the examination and analysis of these poems, a clearer definition of poetry translation can be achieved.
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Shimada, Masaharu, and Akiko Nagano. "Japanese translations of spatio-temporal prefixes in Medical English." Białostockie Archiwum Językowe 15 (2015): 365–82. http://dx.doi.org/10.15290/baj.2015.15.24.
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