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Remchukova, Elena N., and Ekaterina M. Nedopekina. "Difficulties in translating Russian classics: Pushkin’s novel “Eugene Onegin” in English and French." Russian Journal of Linguistics 24, no. 4 (2020): 945–68. http://dx.doi.org/10.22363/2687-0088-2020-24-4-945-968.
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A translator of classical literature is faced with the task of identifying the goal and methods of conveying the national originality of a generally recognized literary masterpiece. The article considers this problem in the context of translations of the novel in verse Eugene Onegin by Alexander Pushkin into English and French. At the same time, it raises the questions of the translators attitude to their own work, the depth of interpretation of the original, the degree of adaptation of the original text for a foreign reader. In addition, a matter of great importance is the translators assessment of the result of their own work, which is reflected in their comments and preface to the translated text. The goal of this research is to substantiate the importance of the linguistic and cultural function of comments and prefaces, which also made it possible to identify the features of the translations themselves and emphasize their continuity. When translating works of classical literature, translators do not limit their task to the translation itself. In this regard, the preface-commentary complex is viewed in the article as an important part of the translators work. The research material includes about 40 English and over 10 French translations made in the 19th, 20th and 21st centuries and presented in chronological order. Mainly those that are accompanied by prefaces and comments were selected for the analysis. The research helps to present the translations of the novel not only in terms of continuity, but also in terms of their authors critical attitude to each other, thus bringing these components of translation into the focus of a professional discussion. As a result of comparing various translations, it is possible to identify the difficulties of literary translation of the novel Eugene Onegin , which include the preservation of its poetic form, the panoramic nature of its composition, including scenes of life of the 19th century Russian nobility, and the national spirit associated with the translation of national and cultural vocabulary. The research confirms that the very fact of numerous translations of this novel, which is paradigmatic for the Russian culture, can be viewed as a form of its worldwide recognition, regardless of the professional and reader's assessment of these translations. This enables us to speak of the existence of a strong tradition that has developed in European translation studies around this particular work.
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Grassi, Evelin. "Memorie Sadriddin Ajnī (Italian translation by Evelin Grassi)." Oriente Moderno 93, no. 1 (2013): 212–38. http://dx.doi.org/10.1163/22138617-12340010.
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Abstract This is the first Italian translation of some selections from the Ëddoštho* “Reminiscences” of Sadriddin Ajnī (Bukhara 1878—Dushanbe 1954), the author commonly regarded as the leading representative of modern Tajik literature. Ajnī’s Reminiscences, divided into four parts and published between 1948 and 1954, are a collection of lively short-stories where the author described his childhood spent in two villages near Bukhara, as well as his youth and schooldays at the madrasa in the last two decades of the 19th and the beginning of the 20th century. Parts I and II were more often translated into many languages, both in the Republics of the former Soviet Union and in other countries. Translations in Russian (parts I-IV), German and French (parts I-II) have appeared in the 1950s. In English, separate chapters from the work have been published in academic journals from the 1950s onward; the most recent English translation (part I) is The sands of Oxus. Boyhood reminiscences of Sadriddin Aini, tr. by J.R. Perry and R. Lehr (Costa Mesa, Mazda Publishers, 1998).
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Antonov, Nikolay K. "A review of research literature on the topic of the priesthood in the works of st. Gregory the Theologian." Issues of Theology 3, no. 2 (2021): 177–208. http://dx.doi.org/10.21638/spbu28.2021.204.
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The article examines the tradition of research on the topic of the priesthood in the legacy of St. Gregory the Theologian from the 19th century to 2020. The review includes general monographs on both the formation of the episcopate in Late Antiquity and specifically the legacy of Nazianzen, dissertations, publications in periodicals, dictionaries and encyclopedias on this topic, as well as on a wide range of related topics, key publications and translations of the Apology on his Flight — St. Gregory’s central text on the priesthood — in English, Russian, German, French and Italian. The following periodization of historiography is proposed: the early period (19th — middle of 20th centuries), theological studies of the Apology in the 50s–70s, studies and publications by J.Bernardi, the “new wave” of the 1990s and its development in the 21st century. In the last period, three main trends are identified: the Theologian’s texts on the priesthood are considered in the context of: the development of the image of a monk-bishop in Late Antiquity; platonic political philosophy; Gregory’s main theological concepts. The importance of research on other aspects of Gregory’s work is shown especially the categories θεωρία/πρᾶξις and his autobiographical texts. Two lines of further research are proposed as the most promising: intertextual analysis of the Apology and integral analysis of the entire legacy of St. Gregory through the prism of the priesthood theme.
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Ettobi, Mustapha. "Literary Translation and (or as?) Conflict between the Arab World and the West." TranscUlturAl: A Journal of Translation and Cultural Studies 1, no. 1 (2008): 14. http://dx.doi.org/10.21992/t99d06.
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Major developments in the translation of literary works from Arabic into French and English and vice versa tend to indicate that it has been influenced by the geopolitical relationship between the Arab world and Western countries. In my paper I try to show how the essence of this translation history has taken root in the power differentials and conflicts between these two entities by analyzing three different phases of translation, namely:
 
 - Napoleon Bonaparte’s Expedition to Egypt in the 18th century and the translation movement that followed in the 19th century.
 
 - Post-Second-World-War phase including the intense translation activity during the Nasser era.
 
 - From 1988 (when Mahfouz was awarded the Nobel Prize) to the post-9/11 era. 
 
 I will also explain how translators (like Canadian-born Johnson-Davies) played a key role in these times of war and/or peace. The work of some of them can also be considered as a form of resistance against prevailing (often negative) representations of the Other and its culture. The article ends with reflections on the current (and future) situation of the translation of Arabic literature into English and French.
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Toledano Buendia, Carmen. "Robinson Crusoe Naufraga en Tierras Españolas." Babel. Revue internationale de la traduction / International Journal of Translation 47, no. 1 (2001): 35–48. http://dx.doi.org/10.1075/babel.47.1.05tol.
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The incorporation of English novels into the Spanish literary system during the 18th century is characterized, in general terms, by their late appearance, especially if a comparison is drawn with other European countries, and by French mediation. One of the most illustrative examples is the assimilation process followed by Robinson Crusoe. This work, written by Daniel Defoe in 1719, appears for the first time in Spain in 1826 — more than 100 years after it was originally written — in an abridged version for children. This paper aims to explore some of the many factors that may play a part in the late appearance of this novel and its reception as a juvenile or children’s book. Apart from the sociopolitical circumstances that turned Spain into a country which was very suspicious of foreign influence, an important factor to take into account is the influence of the French mediation. The introductory role played by mediator systems involves a filtered way of access through which the mediating culture reveals its own points of view and aesthetic criteria. Most of the 19th-century Spanish translations of Robinson Crusoe are secondhand translations from French and inherit the didactic and moralizing interpretation that the French makes of Robinson Crusoe. But the reading of Defoe’s work as juvenile or children’s literature is not only the result of the mediator system; it is also a consequence of the literary tradition to which the text is attached. When this work was imported there was an established tradition of Robinsonades that influenced its reading and interpretation and had created a particular set of expectations in the reader. This study also tries to analyze the different strategies used by Spanish translators in order to adapt Defoe’s novel to the poetic and ideological expectations of its potential readers and to the new function assigned to the text in the new cultural context.
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Belavina, Ekaterina M. "Desbordes-Valmore, Smirdin and Pushkin in the Face of “Industrial Literature”." Literary Fact, no. 1 (31) (2024): 151–66. http://dx.doi.org/10.22455/2541-8297-2024-31-151-166.
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The article is devoted to the influence of “industrial literature” (Sainte-Beuve’s term) and Anglomania on Franco-Russian cultural relations of the Romantic era. In particular, the author considers the reader’s reception of the short story collection “Lady Betty’s Salon,” published in France under the name of Desbordes-Valmore (March 1836). The translation of the collection into Russian, signed with the cryptonym N.D., was published in the printing house of A.F. Smirdin in the same year. The article reveals the economic and cultural prerequisites of the publication, as well as the peculiarities of the French edition, which is a transposition of popular stories by English authors of keepsakes of 1810–1830. Numerous facts improve the popularity of Desbordes-Valmore’s works in aristocratic salons of Moscow and St. Petersburg (Rostopchina, Dargomyzhsky, Glinka, Annenkov). The author of the article suggests that Pushkin may have influenced Smirdin’s decision to publish the work. The analysis of an anonymous critical book review, signed with the initial R.M. and published in the newspaper “Northern Bee” (November 1836), reveals the similarity of the judgments expressed in the critical note with Pushkin’s views on the state of French literature contemporary to him, as well as his profound knowledge of the material. The book has become a bibliographic rarity in France, but has survived in Russian translation, although it is the only case of translation of Desbordes-Valmore’s prose into Russian in the 19th century.
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Ши, Юэ. "On the translation of the classic Chinese novel “Jin, Ping, Mei, or the Plum in the Golden Vase” in the West." Modern Humanities Success, no. 3 (March 29, 2024): 21–27. http://dx.doi.org/10.58224/2618-7175-2024-3-21-27.
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в истории китайской литературы роман «Цзинь, Пин, Мэй» (Jin Ping Mei, кит. 金瓶梅) династии Мин (1368-1644) является знаковым произведением, которое можно сравнить с «Четырьмя великими шедеврами китайской классической художественной литературы». В 2016 году четвертый том (кн.1 и 2) перевода «Цзинь, Пин, Мэй, или Цветы сливы в золотой вазе» был опубликован в Россия, что позволило русскоязычному миру наконец-то в полном объеме получить полный русский перевод этого классического китайского романа. Появление этого четырёхтомный перевод вновь вызвало повышенное внимание к этому роману и в России, и в Китае, а также во всём мире. Несмотря на то, что «Цзинь, Пин, Мэй» долгое время был запрещен в Китае из-за некоторых откровенных сексуальных описаний, эта участь мало помешала его распространению. Ведь этот роман уже появился в других восточных странах через несколько десятилетий после того, как он был официально напечатан в 1617 г., а его распространение на Запад датируется началом 19 века. Таким образом, «Цзинь, Пин, Мэй» можно назвать одним из первых китайских классических романов, вышедших за пределы страны и получивших международное влияние. В настоящее время этот роман уже переведен на многие иностранные языки, поэтому может его рассматривать как пример, успешного выхода китайской литературы на мировой уровень. В связи с вышесказанным, в данной статье будет описана история перевода «Цзинь, Пин, Мэй» на Западе, а также рассмотрена разные версии его перевода на такие западные языки, как немецкий, французский и английский и т.п. “Jin Ping Mei” is a landmark work in the history of Chinese literature, comparable to the “Four Great Masterpieces of Chinese Classical Fiction” from the Ming Dynasty (1368-1644). In 2016, the fourth volume (books 1 and 2) of the translation of “Jin, Ping, Mei, or the Plum in the Golden Vase” was published in Russia, providing the Russian-speaking world with a complete Russian translation of this classic Chinese novel. The appearance of this four-volume translation has renewed attention to this novel in both Russia and China, as well as globally. Although “Jin, Ping, Mei” was long banned in China due to sexually explicit descriptions, this did not impede its dissemination. The novel had already appeared in other Eastern countries several decades after its official printing in 1617, and its influence reached the West in the early 19th century. Therefore, “Jin, Ping, Mei” is considered one of the first Chinese classical novels to gain international influence. Currently, this novel has been translated into numerous foreign languages, making it a prime example of Chinese literature achieving global recognition. This paper explores the history of the translation of “Jin, Ping, Mei” in the West and analyses the various versions of its translation into Western languages, including German, French, and English, etc.
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Variano, Angelo. "Spigolature di anglicismi: a proposito di leggings e altri (recenti) forestierismi." Zeitschrift für romanische Philologie 134, no. 2 (2018): 568–79. http://dx.doi.org/10.1515/zrp-2018-0035.
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AbstractThe present article focuses on English-Italian language contact. In detail, we will show that supposedly recent borrowings such as leggings (GRADIT: 2004) or steward (1928) can already be observed in 19th-century Italian translations of English travel literature.
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Mörte Alling, Annika. "Fransk litteratur i Sverige 1830–1900." Tidskrift för litteraturvetenskap 40, no. 3-4 (2010): 179–92. http://dx.doi.org/10.54797/tfl.v40i3-4.11941.
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French Literature in Sweden 1830–1900. Translation, Reception and Circulation
 The article presents some results from an international project on the introduction of French literature in Scandinavia during the 19th century. A point of departure is the database BREFS (Bibliographie du Réalisme Français en Scandinavie), containing the translations of novels, short stories, poetic works and theatre plays that were published in Denmark, Finland, Iceland, Norway and Sweden in book form from 1830 to 1900.
 The Swedish part of the bibliography is in focus, consisting of as many as 1 500 translations, and a list of the seemingly most popular French writers in Sweden during the period is presented. With some exceptions, these writers are probably unknown to most Swedes, and not even mentioned in historical surveys of Swedish literature: Eugène Scribe, Eugène Sue, Charles Perrault, Anne H. J. Duveyrier, Henri Meilhac, Olivier Gloux, Michel Carré, Alice Durand and Jean F. A. Bayard. In fact, when it comes to the number or translations published, these authors by far exceed the wellknown representations of the French realist period, Stendhal, Balzac, Flaubert and Maupassant.
 I try, briefly, to relate these results to research that has been done by others on translation in the nineteenth century, the working conditions of the translators, the reception of French authors and the role of French theatre in Sweden, which was so successful at the time.
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Haugen, Marius Warholm. "Traduire le Voyage comme acte politique." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 55, no. 2 (2019): 191–213. http://dx.doi.org/10.1075/rro.17016.hau.
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Abstract This article studies the discourse in the late eighteenth- and early nineteenth-century French periodical press on the topic of translations of travel writing. It reveals that travel reviews were arenas for discussing the political and ideological value of translating travelogues into French, notably from English. In the context of the Franco-British conflicts at the turn of the century, the French press perceived translations of British travel writing as potential patriotic tools that allowed different ways of countering or subverting British global influence. Paratextual elements of translations, the translator’s prefaces and notes, appeared to be particularly important in this respect. By analysing the periodical discourse on travel book translations, the article shows how travel writing was constructed as a politically invested genre.
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Lardreau, E. "The Difference Between Epileptic Auras and Migrainous Auras in the 19th Century." Cephalalgia 27, no. 12 (2007): 1378–85. http://dx.doi.org/10.1111/j.1468-2982.2007.01447.x.
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In the International Headache Society classification of headaches, the concept of aura is given a key role. It serves as a boundary between ‘migraine without aura’ and ‘migraine with aura’. Historically, the concept of an aura was borrowed from the epilepsy vocabulary; a borrowing that took place in English medicine at the beginning of the 19th century and in French medicine in the mid-19th century. It would therefore be interesting to see which features of the epileptic aura are used to explain the migraine aura. Based on the French and English medical literature of the 19th century, two processes have been reviewed: (i) the emergence of the concept of aura, and (ii) the modifications of this concept throughout the 19th century. It appears that the original medical use of the term ‘aura’ as a set of rising tactile sensations was in use from the 2nd century until late in the 19th century, but then various other symptoms were recognized and the aura gradually became accepted as an early part of the seizure. By the end of the 19th century the aura that preceded a migraine was seen as a similar process, and thought of as part of the migraine sequence.
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Graeber, Wilhelm. "Das Ende deutscher Romanübersetzungen aus zweiter Hand." Target. International Journal of Translation Studies 5, no. 2 (1993): 215–28. http://dx.doi.org/10.1075/target.5.2.06gra.
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Zusammenfassung In eighteenth-century Germany, many English works were translated not from the original texts, but from French versions. As far as narrative literature is concerned, the period of "second-hand translation" extends from 1720 to 1765, while in other literary genres it continues to the end of the century. This partial rejection of French role as mediators may be attributed to the developing German target literature as well as to developments within French literature itself The reception of Henry Fielding's last novel Amelia reveals the fading prestige of French translations and novels in their mother country, which will induce German translators to dissociate themselves from their intermediaries.
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Krakow, Annett. "The Polish interest in the Eddas — Joachim Lelewel’s Edda of 1828." European Journal of Scandinavian Studies 50, no. 1 (2020): 111–33. http://dx.doi.org/10.1515/ejss-2020-0006.
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AbstractIn the second half of the 18th century and early 19th century, a rising interest in Old Norse literature outside the Nordic countries could be noted that, to a great deal, focused on the Poetic Edda and the Prose Edda as sources for Norse mythology. This interest is also reflected in the works of the Polish historian Joachim Lelewel (1786–1861) who, in 1807 and 1828, published translations and retellings of the Poetic and the Prose Edda. These were based on French, German and Latin translations. The second edition of 1828 is characterised by a more comprehensive section with eddic poetry, the selection of which is also explained by Lelewel, as well as an essay on pre-Christian religion that also includes a research overview and a list of editions/translations of the Eddas.
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Hu, Xin. "Paratexts in English Translations of Chinese Classical Novels in China Review." Journal of Theory and Practice of Social Science 4, no. 05 (2024): 26–33. http://dx.doi.org/10.53469/jtpss.2024.04(05).03.
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This paper takes the Chinese classical novels published in the English periodical China Review as the research object and examines the paratexts in the English translations, particularly paying attention to prefaces, annotations, and other peritexts, to explore the functions and roles of these paratexts in the translation process. By studying the paratexts of Chinese classical novels in China Review, we can understand the translation of Chinese classical novels in the 19th century and their dissemination in the Western world, providing references for the translation and dissemination of Chinese literature.
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Baloyan, Varduhi. "Translations of English Children’s Literature in the Armenian Periodicals in India." Translation Studies: Theory and Practice 2, no. 2 (4) (2022): 49–56. http://dx.doi.org/10.46991/tstp/2022.2.2.048.
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Translations had a significant role both in the popularization of Eastern Armenian and the establishment of literary and cultural ties between the Armenian community and the British. The purpose was to further the international outlook, understanding and emotional experience of foreign environments and cultures, on the one hand, next was to make more literature available to children and to contribute to the development of the readers’ set of values. 
 It should be noted that literary relations first of all contributed to the emergence of bilingual dictionaries. Shmavonian published an English-Armenian dictionary which was intended “for the entertainment of studious children” (Mkhitaryan 2016:81).
 19th century was marked by social political changes and created conditions for the development of new Armenian literature which was so important for shaping the mind set and behavior of the Armenian children. Thus, Armenian translators translated literature in connection with social and economic forces.
 The Armenian printing business in India operated for a century and published almost 200 books, booklets and more than ten periodicals. In this article some translations published in Azdarar (The Intelligencer, 1794, Madras), Azgaser (the Patriot, 1845, Calcutta), Azgaser Araratian (Patriot Araratian, 1848. Calcutta), and Hayeli Kalkatian (Mirror of Calcutta, 1820, Calcutta) are examined.
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Lootens, Tricia. "BENGAL, BRITAIN, FRANCE: THE LOCATIONS AND TRANSLATIONS OF TORU DUTT." Victorian Literature and Culture 34, no. 2 (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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Ranieri, Filippo. "Les traductions françaises des Commentaires de William Blackstone à la fin du XVIIIe siècle." Tijdschrift voor Rechtsgeschiedenis 88, no. 1-2 (2020): 1–23. http://dx.doi.org/10.1163/15718190-00880a05.
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Summary The numerous translations through which the Commentaries on the Laws of England by William Blackstone – a milestone in the history of the common law – became known in France, and thus contributed for the first time to acquaint French jurists with English law, have been largely neglected by legal historians. The first section of the present contribution introduces the French anglophile visitors to England who, during the second half of the eighteenth century, disseminated the work of William Blackstone and its first translations in France. The biography and work of these first translators require a detailed examination. A second section assesses the influence of these translations, particularly in the legal and political debates on the English trial by jury in the context of revolutionary legislation. A third section considers the later translations of Blackstone’s work during the Napoleonic period and the following years. Finally, a call for further research outlines the impact of that translation literature.
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GÖKGÖZ, Turgay. "LITERATURE AND CULTURAL ENVIRONMENT IN BEYRUT IN THE 19TH CENTURY." RIMAK International Journal of Humanities and Social Sciences 3, no. 1 (2021): 297–310. http://dx.doi.org/10.47832/2717-8293.1-3.23.
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Throughout history, Beirut has been the habitat of different religions and nations. The people of various nations are made up of Christians and Muslims. Today, it is seen that languages such as Arabic, French and English are among the most spoken languages in Lebanon, where Beirut is located. Looking at Beirut in the 19th century, it was seen that colonial powers such as Britain and France were a conflict area, and at the same time it was one of the centers of Arab nationalism thought against the Ottoman Empire. During the occupation of Mehmet Ali Pasha, missionary schools were allowed to open, as well as cities such as Zahle, Damascus and Aleppo, Jesuit schools were opened in Beirut. With the opening of American Protestant schools, the influence of the relevant schools in the emergence and development of the idea of Arab nationalism is inevitable. Especially in Beirut, it would be appropriate to state that the aim of using languages such as French and English instead of Arabic education in missionary schools is to instill Western culture and to attract students to Christianity. The students of the Syrian Protestant College, who constituted the original of the American University of Beirut, worked against the Ottoman Empire within the society they established and aimed to establish an independent secular Arab state. Beirut comes to the fore especially in areas such as poetry and theater before the “Nahda” movement that started in Egypt during the reign of Kavalalı Mehmet Ali Pasha with Napoleon's invasion of Egypt. The advances that paved the way for the development of modern literature in Beirut before Egypt will find a place in the field of literature later. In this study, it is aimed to present information on literary and cultural activities that took place in Beirut and emphasize the importance of Beirut in modern Arabic literature in the 19th century.
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GÖKGÖZ, Turgay. "LITERATURE AND CULTURAL ENVIRONMENT IN BEYRUT IN THE 19TH CENTURY." RIMAK International Journal of Humanities and Social Sciences 3, no. 1 (2021): 297–310. http://dx.doi.org/10.47832/2717-8293.1-3.23.
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Throughout history, Beirut has been the habitat of different religions and nations. The people of various nations are made up of Christians and Muslims. Today, it is seen that languages such as Arabic, French and English are among the most spoken languages in Lebanon, where Beirut is located. Looking at Beirut in the 19th century, it was seen that colonial powers such as Britain and France were a conflict area, and at the same time it was one of the centers of Arab nationalism thought against the Ottoman Empire. During the occupation of Mehmet Ali Pasha, missionary schools were allowed to open, as well as cities such as Zahle, Damascus and Aleppo, Jesuit schools were opened in Beirut. With the opening of American Protestant schools, the influence of the relevant schools in the emergence and development of the idea of Arab nationalism is inevitable. Especially in Beirut, it would be appropriate to state that the aim of using languages such as French and English instead of Arabic education in missionary schools is to instill Western culture and to attract students to Christianity. The students of the Syrian Protestant College, who constituted the original of the American University of Beirut, worked against the Ottoman Empire within the society they established and aimed to establish an independent secular Arab state. Beirut comes to the fore especially in areas such as poetry and theater before the “Nahda” movement that started in Egypt during the reign of Kavalalı Mehmet Ali Pasha with Napoleon's invasion of Egypt. The advances that paved the way for the development of modern literature in Beirut before Egypt will find a place in the field of literature later. In this study, it is aimed to present information on literary and cultural activities that took place in Beirut and emphasize the importance of Beirut in modern Arabic literature in the 19th century.
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Onandia Ruiz, Beatriz. "Madama Cottin : esquisse d’une réception espagnole (1810-1850)." Çédille, no. 22 (2022): 405–22. http://dx.doi.org/10.25145/j.cedille.2022.22.19.
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Despite a brief career, the writer Sophie Cottin (1770-1807) enjoyed a dazzling but prodigious literary fame during the First Empire. Nevertheless, works on the reception of this French scholar in the Iberian Peninsula remain almost non-existent. It would seem that she went unnoticed by contemporary Spanish critics, except for an incomplete list of translations published in the mid-19th century. Thus, this first research by way of an outline will attempt to investigate how Cottin’s work was received, the translations, the various reissues, and ad-aptations of her works in Spanish, during the period of 1810-1850.
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Bangulzai, Abdul lateef. "Translation Studies in Brahui literature." Al-Burz 14, no. 1 (2022): 14–25. http://dx.doi.org/10.54781/abz.v14i1.285.
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Translators should have a broad understanding of the languages being used in translation i.e. the language of the original text and the target language wherein the translation will be made. Thus, it is necessary that the translator should have sound knowledge and understanding of the language of the text and the translator's complete knowledge of his target language including educational, technical, practical, and linguistic skills at a mastery level. Similarly, the translator should be capable of making translation interesting and charming without losing the original essence. This article presents Maulvi Allah Bakhsh Zehri's the Handbook of Brahui Language in the 19th century with a Brahui translation of several Persian anecdotes followed by a translation from English into Brahui, titled "Brahui Reader". However, the art of translation in Brahui literature was first introduced by religious scholars and esteemed people with Arabic and Persian translations. For example. scholars of the Durkhani school of thought have been the source of many religious books, essays, commentaries, and valuable translations of the Holy Qur'an and Hadith in Brahui literature. This study discusses how the people benefited from the translations and commentaries of the Quran Majeed Furqan Hameed.
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Orel, Irena. "Prepositional phrases with verba dicendi from Dalmatin's translation of the Bible (1584) in relation to foreign language translations." Linguistica 46, no. 1 (2006): 173–79. http://dx.doi.org/10.4312/linguistica.46.1.173-179.
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In a diachronic perspective from the 16th century to the present, this article inves tigates translated interlinguistic agreement and difference in the use of the temporally marked Slovenian prepositional phrases that appeared in the semantic group of verba dicendi in the first two books of the Old Testament and the New Testament of the old est Slovenian translation of the Bible, from 1584, and that were replaced in the mod em literary language in the 19th century by the introduction of prepositionless or other prepositional patterns. A comparison is made on the basis of Internet publications of parallel sections of six foreign language translations (Latin, German, two English [17th century and modem], French and Russian), and the extent to which these preposition al phrases are covered by older or modem literary Slovenian syntactic patterns is deter mined .
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BLONDEL, MADELEINE. "FRENCH AND ENGLISH EIGHTEENTH-CENTURY GUIDE-BOOKS TO LONDON: PLAGIARISM AND TRANSLATIONS." Notes and Queries 32, no. 2 (1985): 240–41. http://dx.doi.org/10.1093/nq/32-2-240.
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Llopis Cardona, Ana. "Tradicionalidad discursiva e influencia del francés en la gramaticalización de en definitiva como marcador del discurso." Zeitschrift für romanische Philologie 138, no. 3 (2022): 808–50. http://dx.doi.org/10.1515/zrp-2022-0038.
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Abstract This paper addresses the grammaticalization of Spanish en definitiva as a discourse marker. The objectives are threefold: to enquire about previous changes and discourse traditions that took place, to outline the path to the new values that were acquired, and to ascertain whether the French construction en définitive had an influence on the Spanish one during the grammaticalization process. To do so, we examined the cases found in Frantext for French, while for the Spanish data, we used Corpus del Diccionario histórico de la lengua española and Corpus diacrónico del español. Additionally, Gallica and Hemeroteca Digital were used to fill the gaps in the documentation for the 18th and 19th centuries. The results show that en definitiva might have undergone a vernacular evolution fixing as a ritual formula that gave rise to a modal construction and later assimilated new discourse uses as loan translations from the French construction en définitive. This finding leads to deeper consideration of the evolution of Modern French discourse markers and 19th century Spanish press.
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Kolykhalova, Olga A., and Anna Yu Kuldoshina. "Perceptions of Russian Literature in Britain in the end of the XIX — beginning of the XX century." NSU Vestnik. Series: Linguistics and Intercultural Communication 17, no. 4 (2019): 119–29. http://dx.doi.org/10.25205/1818-7935-2019-17-4-119-129.
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The purpose of the article is to analyze the existing ideas about Russian literature in Britain at the end of the 19th and the first half of the 20th centuries. A brief overview of the advancement of works by Russian classics among British readers is given. The spread of Russian literature in Britain had been progressing slowly for a long time due to the difficulty in translation and the lack of interest in Russia and Russian culture. However, at the end of the 19th and the first half of the 20th centuries, the situation changed in the British literary community. This period saw a plethora of publications of translations of Russian fiction that were accomplished by professional translators, Slavonic scholars, and writers. These translations appeared in periodicals and other print formats. The article provides an overview of the translation of works of F. M. Dostoevsky, L. N. Tolstoy, A. P. Chekhov, who have become the most understandable and accessible to the English mentality. It happened thanks to such outstanding translators as C. Garnett, Aylmer and Louise Maude, S. S. Koteliansky (who worked in collaboration with V. Woolf, J. M. Murry), R. E. C. Long and others. Having gained access to high-quality translations of Russian classics, British writers began to study their works in greater detail. The British saw the influence of English and European writers (W. Shakespeare, Ch. Dickens, J.-J. Rousseau, J. W. Goethe, V. Hugo, etc.), e.g., in F. M. Dostoevsky’s works. However, later the Russian influence could also be felt in the Western novel, modifying it. There is an opinion that the works of A. P. Chekhov, translated by Garnett, changed the English short story, making it exactly as we know it. V. Woolf, J. Joyce, B. Shaw, J. Galsworthy, A. Bennett and others admired the depth, style, and language of Russian writers. Translation of works of great Russian authors facilitated the flow of information about Russia and expanded the Brit’s view on the country and its people. It once again confirms the existence of mutual cultural exchange between the two countries from a historical perspective. It can be argued that, despite all the complexities of the relationship, the mutual influence of the literatures of the two countries is quite significant.
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Nenarokova, Maria R. "The Epigraph to ʽForest and Steppe’ by Ivan Turgenev: Conveying the ʽEmblematic’ Worldview in the Tradition of Translation". Two centuries of the Russian classics 3, № 1 (2021): 112–33. http://dx.doi.org/10.22455/2686-7494-2021-3-1-112-133.
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The article focuses on the reception of Russian classical literature translations in the English-speaking culture. The research was carried out on the material of three existing translations of ‘Forest and Steppe’ by both Russian and English translators published in 1895, 1955 and 1967. The main objective of the research is to determine the difficulties translators of Russian literature of the 19th century could face in the case of Turgenev's epigraph to ‘Forest and Steppe’. The tasks of the study were to define and describe the peculiarities of conveying the epigraph’s vocabulary, to outline the group of the most important keywords of the text, to recognize and describe discrepancies in their translation, to indicate why the chosen option is possible or impossible in the translation of Turgenev’s text. The study showed that Turgenev's worldview was formed under the influence of the culture of ‘rhetorical word’, and the epigraph to ‘Forest and Steppe’ proves it. The epigraph consists of a chain of symbolic images that add up to a single picture. The writer's worldview determined the style of the epigraph, the choice of vocabulary, and the composition of the text. For translators, the main difficulty at the lexical level lies in the fact that they often choose words that carry a greater emotional load than Turgenev’s vocabulary, and also introduce tropes, absent in the original, into translations. On the one hand, the translations create a realistic picture, in contrast to Turgenev’s symbolic landscape, on the other hand, the atmosphere of the text, reflecting the personality of the writer, is destroyed. The translations mirror profound changes that took place in the 19th–20th centuries in the European worldview.
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Shaytanov, I. O. "History of Russian translations of fiction in 1800–1825." Voprosy literatury, no. 6 (December 8, 2023): 174–79. http://dx.doi.org/10.31425/0042-8795-2023-6-174-179.
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The research is presented in the form close to a fundamentally annotated bibliography demonstrating how European literary experience was advanced in the first quarter of the 19th c. in Russia at the time when contemporary Russian literature was being shaped. Six parts are devoted successively to French, German, English, Italian, Spanish, and classical literatures. The major aspects of research are outlined in an extensive foreword (E. Dmitrieva, M. Koreneva). Highlights include: Comparative analysis of the international contacts of Russian literature; a new interest in the novel, the genre that manifested a new literary taste; publishing and the audience in Russia compared to other European cultures; the birth of literary criticism on the margins of rhetoric; the evolution of a literary taste where gallomania was being substituted by anglo- and germanophilia; the change in the forms of contacts from imitation to stylization in accordance with the formula suggested by Konstantin Batyushkov ‘The stranger’s treasure is mine.’
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Veisbergs, Andrejs. "The Nation Born in Translation (Latvian Translation Scene)." Baltic Journal of English Language, Literature and Culture 4 (April 25, 2014): 102–21. http://dx.doi.org/10.22364/bjellc.04.2014.09.
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Latvian national identity (language-centred), the literary polysystem and even the written language itself are the result of translation. Translations have always constituted the majority of literary and other texts. Translation played an exceptionally important, even pivotal, role in the beginnings of written Latvian in the 16th-18th centuries. Translators (native German speakers) formed, codified and modified written Latvian. Religious translations applied a rigorous fidelity approach. Secular translations were localizations of easy reading, sentimental German stories. Parallel to the rise of native literature in the 19th century, there occurred a gradual transition from adaptation /domestication to foreignization and fidelity as the main approach. More ambitious translations of Western classics started, usually done by distinguished Latvian writers. Next to the traditional faithfulness, some translations were freely shortened and otherwise modified. After acquiring independence at the beginning of the 20th century the volume of translation grew and included also literature from more exotic sources. The Soviet period brought a re-orientation: most translations were done from Russian, fiction was translated from the original languages or via Russian as well. Regaining of independence brought about an enormous growth in the translated information amount; within 5 years English became the dominant source language. Translation again (like in the early stage of Latvian) became the main vehicle of language development. In a somewhat paradoxical way translators have formed, altered and inspired a strong language-bound national identity. Their voice, though not always heard and recognized, has been central in the Latvian narrative polyphony.
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Petrova, Maya. "Macrobius in english-language research." Hypothekai 8 (May 2024): 110–34. http://dx.doi.org/10.32880/2587-7127-2024-8-8-110-134.
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The article examines the principal English-language studies of the last century focused on exploring the personality of Macrobius (5th century) and his works — Saturnalia (Saturnalia [ed. Willis, 1963]), Commentary on the 'Dream of Scipio' (Commentarii in Somnium Scipionis [ed. Willis, 1963]), and On the differences and similarities of Greek and Latin verbs (De verborum graeci et latini differentiis vel societatibus excerpta [ed. De Paolis, 1990]), written for educational purposes and representing a compendium of Greek knowledge. Interest in Macrobius's creative legacy notably intensified towards the end of the 19th century, a trend linked to the release of critical editions of Macrobian texts and their subsequent translations into French. In particular, the study analyzes the research of Thomas Whittaker (Macrobius; or philosophy, science and letters in the year 400; published in 1923), William Harris Stahl (Macrobius, Commentary on the ‘Dream of Scipio’, published in 1952), Alan Cameron (The date and identity of Macrobius [published in 1966] and Macrobius, Avienus, and Avianus [published in 1967]), Herman De Ley (Macrobius and Numenius. A study of Macrobius, ‘In Somn.’ I, c. 12; published in 1972), Stephen Gersh (Middle platonism and neoplatonism, the Latin tradition; published in 1986), Roger A. Pack (A medieval critic of Macrobius’ cosmometrics; published in 1981), Alison Peden (Science and philosophy in Wales at the time of the Norman conquest: a Macrobius manuscript from Llabadarn; published in 1981), among others. It highlights the primary issues that researchers have focused on when studying Macrobius's literary legacy, identifies the challenges in analyzing his works, and acknowledges the contribution of English-speaking scholars to the global historiography.
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Reichl, К. "TRANSLATING TURKIC ORAL EPICS INTO ENGLISH AND GERMAN: PROBLEMS AND INSIGHTS." Эпосоведение, no. 1(1) (November 29, 2017): 76–82. http://dx.doi.org/10.25587/svfu.2017.1.8093.
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It is a well-known fact that the Turkic-speaking peoples of Eurasia and Siberia possess a rich heritage of oral epic poetry. Much has been written down, and in some areas the oral tradition of epic poetry is still flourishing today. While a few of the early texts, written down in the 19th century, are available in older German translations (A. Schiefner, W. Radloff), the majority of these epics can only be accessed either in their original language or (in some cases) in Russian translation. Translations of Turkic oral epics into European languages such as English, German or French are urgently needed in order to familiarize epic scholars outside the Turkic- or Russianspeaking world with this important corpus. Translating Turkic epics into European languages poses, however, a number of problems. In the following some of these problems are identified and discussed with reference to my translations of the Uzbek oral epics Ravshan and Alpamysh into German, the Karakalpak epic Edige and the Kirghiz epic Manas both into English. ´The latter translation is still ongoing; two volumes have so far been completed. The translation problems concern basic methodological questions such as the choice between a literary and a literal translation and the strategies available to overcome differences in linguistic structure between the source languages and the target languages. An important element in translation is not only the linguistic, but also the stylistic level of the text. In addition, a translation has to pay attention to paralinguistic aspects (e.g., music and performance modes) and to the cultural world of the original. The translator is not only a mediator between languages, but also between cultures.
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O'Donnell, Kathleen Ann. "Translations of Ossian, Thomas Moore and the Gothic by 19th Century European Radical Intellectuals: The Democratic Eastern Federation." Lublin Studies in Modern Languages and Literature 43, no. 4 (2019): 89. http://dx.doi.org/10.17951/lsmll.2019.43.4.89-104.
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<p>This article will show how translated works by European radical writers of <em>The Poems of Ossian</em> by the Scot James Macpherson and <em>Irish Melodies</em> and other works by the Irishman Thomas Moore, were disseminated. Moore prefaced <em>Irish Melodies</em> with “In Imitation of Ossian”. It will also demonstrate how Celtic literature, written in English, influenced the Gothic genre. The propagation of these works was also disseminated in order to implement democratic federalism, without monarchy; one example is the Democratic Eastern Federation, founded in Athens and Bucharest. To what extent did translations and imitations by Russian and Polish revolutionary intellectuals of Celtic literature and the Gothic influence Balkan revolutionary men of letters?</p>
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Lis, Kinga. "On the Earliest English Translation of the Laws of Oléron and Its Editions." Studia Anglica Posnaniensia 55, no. 1 (2020): 79–118. http://dx.doi.org/10.2478/stap-2020-0004.
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Abstract The Laws of Oléron are a compilation of regulations binding in north-western Europe. They concern relationships on board a ship and in ports, as well as between members of one crew and those of another when it comes to safe journey. Even though the “code” was known in England at the beginning of the 14th century, it was only in the 16th century that it was translated from French into (Early Modern) English. The literature on the topic mentions two independent 16th-century renditions of the originally French text (Lois d’Oléron) but disagrees as to the authorship of the earliest translation, its date and place of creation, the mutual relationship between the two, their content and respective source texts. Strikingly, three names appear in this context: Thomas Petyt, Robert Copland, and W. Copland. The picture emerging from various accounts concerning the translations is very confusing. It is the purpose of this paper to trace the history of the misconceptions surrounding the Early Modern English versions of the Laws of Oléron, and to illustrate how, by approaching them from a broader perspective, two hundred years of confusion can be resolved. The wider context adopted in this study is that of a book as a whole, and not of an individual text within the book, set against the backdrop of the printing milieu. The investigation begins with a brief inquiry into the lives and careers of the three people named with respect to the two renditions, in an attempt to determine whether these provide any grounds for disagreement. The analysis also juxtaposes the relevant renditions as far as their contents, layout, and the actual texts are concerned in order to establish what the relationship between them is and whether it could account for the confusion surrounding the translations.
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REYNOLDS, MATTHEW. "Translation – Theory and Practice: A Historical Reader. Edited by Daniel Weissbort and Astradur Eysteinsson. Pp. 672. Oxford: Oxford University Press, 2006. Hb. £65. An Anthology of Chinese Discourse on Translation. Edited by Martha P. Y. Cheung. Vol. 1: From the Earliest Times to the Buddhist Project. Pp. 300. Manchester: St Jerome Publishing, 2006. Hb. £45." Translation and Literature 17, no. 1 (2008): 85–93. http://dx.doi.org/10.3366/e0968136108000083.
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Both these anthologies fence in new territory for thoughts about translation to roam. Volume 1 of Martha Cheung's Anthology of Chinese Discourse on Translation – compiled with the help of a large advisory board of Chinese scholars – ranges from Laozi in the sixth century BC to the mid Song dynasty in the twelfth century. Almost all this material is brought into English for the first time. Daniel Weissbort and Astradur Eysteinsson's Historical Reader, again edited with the help of other experts, reaches out to include snippets of ethnography and life-writing alongside the familiar core of St Jerome, Dryden, Pound, Benjamin, et al. Though focused on translation into English, it gives space to German romantic arguments and to French views from the Renaissance and eighteenth century. And, though most concerned with the translation of literature, especially poetry, it also samples the counterpoint tradition of Bible translation, into German as well as English. Best of all, it is truly – as its title announces – an anthology of both Theory and Practice. Many translations (and some of their source texts) are included, in recognition of the obvious but neglected fact that translations themselves often resist or elude the statements criticism and theory make about them; that they are themselves instances of thinking through translation, not just raw material to be thought about. It is a magnificently compendious volume.
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Strungytė-Liugienė, Inga. "Educational Activities of Wilhelm Andreas Rhenius (1753–1833) in Klaipėda and the First Lithuanian Translations of English Religious Literature." Knygotyra 76 (July 5, 2021): 93–113. http://dx.doi.org/10.15388/knygotyra.2021.76.77.
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In the first half of the 19th century, the international interdenominational organization the Religious Tract Society in London provided financial support for the publication of religious books in the native languages of the people of the Kingdom of Prussia: German, Polish, Sorbian and Lithuanian. The branch of the Prussian Religious Tract Society established in Klaipėda, an important trading city of the time, took care of the translations of short books into Lithuanian along with their publishing and distribution. Wilhelm Andreas Rhenius (1753–1833), the inspector of the Bachman’s estate, the follower of the Moravian movement, who managed compilations, worked for the Klaipėda branch. This article aims to reveal the ties of Rhenius, the member of the Society, with the international organization in London, and his participation in educational activities in Klaipėda. Lithuanian translations of religious English texts patronized by the Religious Tract Society in London are also discussed, including an anonymous small volume book, The Warning Voice (Graudénimo Balsas, 1818), published in Tilsit, the Prussian Lithuania, in 4,000 copies, and the collected sermons Sixteen Short Sermons (Sźeßolika trumpi Kalbesei, 1820, Tilsit) by the British author Thomas Tregenna Biddulph (1763–1838), the minister of St. James’s Church in Bristol.
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LUAN, Shaomeng. "A study on the translation strategies of ancient Chinese cultural classics from the perspective of hypotaxis and parataxis--taking the A Dream of Red Mansions as an example." Region - Educational Research and Reviews 6, no. 1 (2024): 1. http://dx.doi.org/10.32629/rerr.v6i1.1578.
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Translation serves as a bridge for telling Chinese stories and promotes the exchange of Chinese and foreign civilizations. By translating Chinese classics into foreign languages, it facilitates the international dissemination of Chinese culture and deepens the exchange and mutual learning of civilizations. As the first of China's four great classical novels, A Dream of Red Mansions is widely recognized for its literary value and achievements by scholars worldwide. From the early 19th century to the present, there have been over 100 translations into more than 30 languages. A Dream of Red Mansions represents the pinnacle of classical Chinese literature, involving complex terminology from various fields. In addition to translating ancient titles and food in the text, there are also extensive translations of ancient poems, all of which pose focal points and challenges in translation. By comparing various translations, this paper takes Hawkes' translation as an example to analyze the differences between English and Chinese in the translation of A Dream of Red Mansions from the perspectives of hypotaxis and parataxis, and expound the translation strategies in this type of translation.
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Franek, Ladislav. "L’essence éthique du dialogue culturel." Interlitteraria 25, no. 2 (2020): 298–309. http://dx.doi.org/10.12697/il.2020.25.2.3.
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The ethical essence of cultural dialogue. The definition of comparative literary studies in Slovakia. Historical poetics in the works of D. Ďurišin, focused on the typological essence of literary phenomena on the basis of interrelating theoretical and developmental aspects of national literature. The differences of Slovak methodology from Western positivist models of the study of interliterariness. Parallel existence of the principles of literary history and criticism in the reception analyses of Russian, German and French literatures by older Slovak scholars. The onset of realism in Slovak literature at the end of the 19th century (S. Hurban Vajanský). The important contribution of J. Felix’s critical reflection of universalist tendencies in European and esp. modern French writing. The complexity of organically incorporating these impulses into the context of Slovak literature as a result of the provincial character of a “small” nation. The wealth of translations from contemporary world literatures and its positive impact on the work of many Slovak writers in spite of the discontinuity of research in this area after 1989. Urgent need to return to similar forms of literary-cultural reflection and self-reflection through reviving an intensive philological, linguistic, theoretical-critical and historical study at our universities.
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Franek, Ladislav. "L’essence éthique du dialogue culturel." Interlitteraria 25, no. 2 (2020): 298–309. http://dx.doi.org/10.12697/il.2020.25.2.3.
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The ethical essence of cultural dialogue. The definition of comparative literary studies in Slovakia. Historical poetics in the works of D. Ďurišin, focused on the typological essence of literary phenomena on the basis of interrelating theoretical and developmental aspects of national literature. The differences of Slovak methodology from Western positivist models of the study of interliterariness. Parallel existence of the principles of literary history and criticism in the reception analyses of Russian, German and French literatures by older Slovak scholars. The onset of realism in Slovak literature at the end of the 19th century (S. Hurban Vajanský). The important contribution of J. Felix’s critical reflection of universalist tendencies in European and esp. modern French writing. The complexity of organically incorporating these impulses into the context of Slovak literature as a result of the provincial character of a “small” nation. The wealth of translations from contemporary world literatures and its positive impact on the work of many Slovak writers in spite of the discontinuity of research in this area after 1989. Urgent need to return to similar forms of literary-cultural reflection and self-reflection through reviving an intensive philological, linguistic, theoretical-critical and historical study at our universities.
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Lappo-Danilevskii, Konstantin Yu. "N. M. Karamzin’s Literary Transfer." Slovene 10, no. 2 (2021): 353–66. http://dx.doi.org/10.31168/2305-6754.2021.10.2.15.
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[Rev. of: Kafanova O. B., Perevody N. M. Karamzina kak kul’turnyi universum. St. Petersburg: Aleteiia, 2020. 356 p. (in Russian)] O. B. Kafanova’s monograph «N. M. Karamzin’s translations as a cultural universe» (2020) is the result of many years of comparative studies. Numerous articles on the topic preceded this book, which covers the period from 1783 to 1800. In the beginning Karamzin had good knowledge of French and German only so that he used numerous intermediaries in these languages to acquaint the Russian audience with world literature (ancient and eastern poetry, dramas of Shakespeare, Ossian etc.). Only in the final decade of the eighteenth century did Karamzin begin to draw on texts in English and Italian for these purposes. Among other things, the review establishes some previously unknown sources of Karamzin’s translations. V. I. Simankov’s supplemental list pursues the same objective.
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Jiang, Jing, and Chengjian Li. "Oscar Wilde’s Reading of Zhuangzi in ‘A Chinese Sage’." Literature and Theology 34, no. 4 (2020): 477–85. http://dx.doi.org/10.1093/litthe/fraa024.
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Abstract In 1889 the sinologist Herbert A. Giles published his English translation Chuang Tzŭ: Mystic, Moralist, and Social Reformer. The following year, Oscar Wilde wrote his long book review ‘A Chinese Sage’. This article analyses Wilde’s review and explores how Giles’ translation influences Wilde’s understanding of Zhuangzi. The article also considers the influence of Aubrey Moore, who provided some of the notes for Giles’ translations, on Wilde’s reception of Zhuangzi. Because Wilde is neither a sinologist nor a researcher of Taoism, his interpretation of Zhuangzi in ‘A Chinese Sage’ is mediated by Giles and Moore, and might be seen as a ‘misunderstanding of a misunderstanding’. Yet the influence of Zhuangzi can still be seen in Wilde’s review, and the episode raises interesting questions about the reception of Taoism in late 19th-century Britain.
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Galtsova, E. D. "RUSSIAN CONTEXTS OF THE WORKS OF CHARLES MORICE." Lomonosov Journal of Philology, no. 5, 2023 (October 23, 2023): 103–14. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-05-8.
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The article is devoted to the influence of ‘Russian fashion’ on the work of the French symbolist Charles Morice (1860–1919), who in the 1880s participated in translations of F.M. Dostoevsky’s and N.A. Nekrasov’s writings into French. The methodological basis of the article is the combination of a historical and literary approach with the study of the essence of cultural clichés in the field of literary relationships (Russian literature — French literature). The article is built on the littlestudied facts of the life and work of Morice, undeservedly forgotten in modern literary criticism both in Russia and in France. The analysis of the actual connections of Morice with cultural mediators (translator Ilya Danilovich Halperin-Kaminsky, diplomat and novelist Eugène Melchior de Vogüé), and the general context of the perception of Russian culture in France in the last quarter of the 19th century, when Russian literature for the first time in history began to be perceived as a source of inspiration for French. Being greatly influenced by the ideas of Vogüé, developed in the book Russian Novel (1886), Morice sees in Russian literature a reflection of his mystical and social concepts. Religious searches of Tolstoy and especially religious and philosophical ideas of Dostoevsky were influential in the conversion of Morice to Catholicism. The article deals with cases of direct reception of both ideas about Russian literature and the work of individual writers (mainly Dostoevsky) in the literary books of Morice, as well as in his works, the unfinished novel The Lonely Spirit (1886) and the play He is Risen! (1911).
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Mannucci, Erica Joy. "The Democratization of Anti-Religious Thought in Revolutionary Times: a Transnational Perspective." Comparative Critical Studies 15, no. 2 (2018): 227–45. http://dx.doi.org/10.3366/ccs.2018.0290.
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This article focuses on an important cultural aspect of secularization in the French revolutionary period: the circulation of sceptical free-thinking outside the circles of the cultivated few; that is, the democratization of critical knowledge through translations and migrations of texts toward historically new audiences. Examples are given to show what an important political stake this was, even after Bonaparte's Concordat, for many French revolutionary intellectuals, including women writers like Marie-Armande Gacon-Dufour. The article's perspective is transnational: I argue that cultural tradition had always been typically cosmopolitan. And, though the most visible political outcomes of the Revolution were nationalisms, what is more interesting to us today is its cosmopolitan legacy, in its broadest, inter-cultural sense: the way revolutionary culture and authors crossed not only national boundaries, but social and gender barriers as well. The main example here is a case study on the multiple versions of a radical text which appeared in English, French and Italian over at least three generations, from the 1740s to the 1820s. In Italy, a local anti-religious, materialist current emerged publicly for the first time at the end of the eighteenth century, thanks to the partial freedom of expression of the Cisalpine Republic, which gave rise to a series of publishing projects, including both original works and translations. Tracing the story of the translations of Peter Annet's History and Character of Saint Paul Examined, before and after the 1790s, allows us to contextualize the Italian version, based on d'Holbach's French adaptation of the text. The annotated work of a translator calling himself ‘citizen of the world’, it was published in 1798 in Milan, the capital of the Cisalpine Republic, with the eloquent heading ‘Democracy or Death’.
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Miszalska, Jadwiga. "Przekład w służbie studiów literackich: Waleria Marrené-Morżkowska." Experimental Translation, no. 47 (2024): 48–65. http://dx.doi.org/10.4467/16891864pc.23.015.18846.
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The paper presents the activity of Waleria Marrené-Morżkowska as that typical of women who aspired to be present in literary circles at the turn of the 19th and 20th centuries. She was a novelist, publicist, literary critic and women’s activist who also devoted herself to translation. She translated from English, French, Italian and German, bringing to the Polish reader’s market some authors who were important but not yet widely known. She published several hundred papers on literary subjects in the most important Polish periodicals. She herself attempted to create a women’s magazine and to build a network of female authors around it. By presenting some facts from her biography and analysing her critical and literary works, we try to show the connection between her translations and her literary studies and the poetics she adhered to. This allows us to define Morżkowska as a a cultural transmitter who promoted foreign literatures through translations and journalism, who was characterised by her knowledge of recent European literature, her progressive mindset, her tolerance and independence of judgement, and who paid a great deal of attention to the social and cultural situation of women.
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Avrutina, Appolinaria S., and Sabri Gürses. "Fyodor Mikhailovich Dostoevsky in Turkey: History of Translations." Vestnik of Saint Petersburg University. Asian and African Studies 14, no. 3 (2022): 415–32. http://dx.doi.org/10.21638/spbu13.2022.303.
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The article is devoted to the review of the history of translations of Fyodor Dostoevsky into Turkish. Currently, Dostoevsky is one of the most popular foreign writers in Turkey, and according to the Turkish book market, one of the most purchased authors. By decision of the Ministry of Public Education, since 2004, the works of the Russian classic have been included in the recommendatory part of the school curriculum, so it is difficult to find a person inTurkey who would not read Dostoevsky. The history of Dostoevsky’s translations into Turkish evolved in a special way: back in the late 19th - early 20th century there were none, since the Department of Russian Language and Literature in Turkey first opened in 1935, but the first translations appeared only in the 1920s and performed from French. However, subsequently the popularity of the writer grew so much that absolutely all of his works were translated into Turkish, and some even several times. Classical Russian literature had a special influence on Turkish literature of the 20th century, and Dostoevsky’s works are the most important literary basis for their own work for many Turkish writers. For example, the recently translated into Russian novel “The Idiot” by the American writer of Turkish origin Elif Batuman, who was born and raised in the United States, as well as the novel by the young prose writer Burhan Sonmez “Istanbul. Istanbul”. Despite the late appearance of Dostoevsky’s works on the Turkish book market and late acquaintance with the Turkish reader, Dostoevsky became one of the most popular and beloved Russian writers among Turks of almost all ages (which is confirmed by the publication of Dostoevsky’s works in an adapted form for children). The authors of the article analyzed the history of translations of Dostoevsky’s novels into Turkish and came to the conclusion that the appearance of a large number of translations is explained not only by the great popularity of the Russian language and culture in modern Turkey, and not only by the cinematic popularity of Dostoevsky all over the world, but also by a high reader demand for his texts, since Dostoevsky’s works meet the cultural and moral needs of modern Turkish society.
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Pakhsarian, N. T. "THE PLEASURE OF FEAR: PARADOXES OF GOTHIC POETICS IN THE FRENCH “BLACK NOVELS” OF THE 1790 S." Lomonosov Journal of Philology, no. 3, 2024 (June 17, 2024): 182–94. http://dx.doi.org/10.55959/msu0130-0075-9-2024-47-03-14.
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In the process of the formation of the “black novel” poetics in French literature at the turn of the 18th–19th centuries, along with its Baroque and sentimentalist origins, both translations of English Gothic novels and various stylizations for them play a significant role. The appeal of describing novelistic “horrors” determines their growing popularity among readers. Paradoxically, it turns out that parodies of such works arise almost immediately — both in England and in France, testifying more to the viability of this genre than to its decline. Unlike the English Gothic plots, which involve mandatory departure to the Middle Ages and other countries, in France, the plot of such novels can also become post-revolutionary modernity. One of the first parodies of the “horror novel”, English Night by Bellen de la Liborliere, is a kind of medley of borrowings from various Gothic works, the reading of which brings pleasure to the main character, who became rich on the confiscation of the property of aristocratic emigrants, bourgeois Dabo, and becomes a means of obtaining from him consent to the marriage of his son Roger with his beloved noblewoman Ursula. The play of imagination, the concentration of romantic cliches, the psychologization of Gothic fears becomes a way of combining the ridiculous and the frightening in the poetics of the “black novel”.
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Pakhsarian, Natalia. "C H E K A L O V K. A. OCHERKI ISTORII I TIPOLOGII FRANTSUZSKOY MASSOVOY PROZY XIX — NACHALA XX VEKA (ESSAYS ON THE HISTORY AND TYPOLOGY OF FRENCH MASS PROSE OF THE 19th– EARLY 20th CENTURY). — St.Petersburg: Nestor-History, 2022. — 286 pp." Lomonosov Journal of Philology, no. 6 (March 19, 2023): 217–23. http://dx.doi.org/10.55959/msu0130-0075-9-2022-6-217-223.
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The review analyses a book by K. A. Chekalov — a well-known scholar, Doctor of Philology, Head of the Department of Classical Literatures of the West and Comparative Literature Studies. His work continues the series of studies of mass French literature from its origins to the beginning of the last century. Th e author does not aim to cover all the phenomena of mass literature over a century and a half, trying at the same time to fi ll the gaps in their research, to turn to the least studied works of those novelists which his predecessors had already addressed (Eugène Sue, Alexandre Dumas, Maurice Leblanc), to the less explored writers (Paul Feval, Ponson du Terailles, Xavier de Montepin, etc.), as well as those famous writers whose relationship to mass literature is still ambiguous (Jules Verne). Comprising 11 essays, Chekalov’s monograph not only provides an insight into the poetics and function of the mass novel in nineteenth- and early twentieth-century France, but also shows the nature of its reception in Russia, from the fi rst published translations to the publications of the 2000s.
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Font Paz, Carme. "‘Owing the Comforts of Life to Art’: Elizabeth Helme’s Critical Reception and the Practice of Writing." ENTHYMEMA, no. 31 (February 1, 2023): 101–13. http://dx.doi.org/10.54103/2037-2426/19003.
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In the context of the rise of the novel in eighteenth-century Britain, this article examines the understudied production of Elizabeth Helme (c. 1743-1814), who enjoyed a long and successful career as a writer of novels, as a translator and essayist. Special attention will be paid to Helme’s reception in the English press and the translations of her novels into Spanish and French. It will further argue that Helme’s own practice as author, translator, and translated author configured a synergy of knowledge-building that allowed her to articulate her own style as a writer and posed a critical reflection about the art of writing, particularly in her non-fiction work that remains largely unexplored. More generally, Helme’s eclectic approach is indicative of the ways in which eighteenth-century translation and writing practice can foster reflection on literary theory and criticism by confronting the author with the function of their own work.
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Zhatkin, D. N., and A. A. Ryabova. "Russian Reception by James Hogg (Mid-19<sup>th</sup> — Early 20<sup>th</sup> Centuries)." Nauchnyi dialog, no. 10 (October 29, 2021): 213–25. http://dx.doi.org/10.24224/2227-1295-2021-10-213-225.
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The article continues a series of works devoted to the Russian reception of the Scottish writer James Hogg (1770—1835), a famous interpreter of folk ballads and author of “The Private Memoirs and Confessions of a Justified Sinner” (1824). The facts and materials related to the perception of J. Hogg in Russia in the middle of the XIX — early XX century are collected and summarized. It is noted that during the period under review, no new translations of J. Hogg's poetry and prose into Russian were created, however, in the articles of leading literary critics (N. G. Chernyshevsky, M. L. Mikhailov, A. V. Druzhinin) when analyzing the works of N. V. Gogol, T. Goode, the translation activity of I. S. Turgenev expressed opinions on certain aspects of the biography and work of the Scottish author. It has been established that the main source of information about J. Hogge and his work was for the Russian reader of the second half of the 19th — early 20th centuries translated publications on the history of English literature and culture, other books by Western European researchers published in Russia. The manifestations of interest of Russian researchers and popularizers of English literature in the work of J. Hogg are comprehended, with special attention paid to the article by N. A. Solovyov-Nesmelov “James Hogg”, which was a literary sketch about the childhood of the writer, and the essay by K. F. Tiander the novel of the first quarter of the 19th century, which offers a different assessment from the predecessors of the Scottish author’s activities as a continuer of the traditions of M. Edgeworth.
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Grennan, Simon. "Drawing Dispossession." European Comic Art 7, no. 2 (2014): 4–30. http://dx.doi.org/10.3167/eca.2014.070202.
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Dispossession (2015) is a 96-page colour graphic adaptation of Anthony Trollope’s 1879 novel John Caldigate. It is the primary outcome of a 2012 commission from the University of Leuven to develop, draw and rationalise a new graphic novel relative to Trollope’s (Fig. 1). Dispossession will be published in an English edition and as Courir deux lièvres [To Run Two Hares] in a French edition in conjunction with a 2015 academic conference on the occasion of the bicentenary of Trollope’s birth.1 The commission encompassed theorisations of adaptation, the habits and limitations of research and practice, narrative drawing and Victorianism. An academic partner volume, Transforming Anthony Trollope: ‘Dispossession’, Victorianism and 19th-Century Word and Image (2015), published at the same time, will include new writing on the graphic adaptation of nineteenth-century literature, Victorian illustration and Victorianism.
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Komorowski, Jaroslaw. "Shakespeare and the Birth of Polish Romanticism: Vilna 1786–1846." Theatre Research International 21, no. 2 (1996): 141–46. http://dx.doi.org/10.1017/s0307883300014723.
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The first phase of a long and complex process of the Polish reception of William Shakespeare's oeuvre ended in the middle of the nineteenth century with the popularization of new translations and the gradual elimination of French and German classicist adaptations. Vilna, vital centre of Polish culture, science and art, was the birthplace of Polish Romanticism and a hotbed of theatrical innovation. Vilna was also, at the turn of the eighteenth century, the capital of the Grand Duchy of Lithuania, and one of the major cities of the Polish-Lithuanian Commonwealth. The school stage of Vilna Academy, established by Stefan Batory in 1578, had been active since 1582. In 1639, English actors belonging to Robert Archer's company may have visited the town; though the performances planned by King Wladyslaw IV did not take place. A permanent professional theatre was opened in 1785, when Wojciech Boguslawski, the greatest personality of the theatre of the Polish Enlightenment, came up from Warsaw with his troupe.
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Manai, Adel. "North Africa in the Tourist Guidebooks of the 19th and Early 20th Centuries." Mediterranean Journal of Social Sciences 11, no. 3 (2020): 63. http://dx.doi.org/10.36941/mjss-2020-0030.
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By the dawn of the twentieth century, a guidebook was a vital element of a tourist’s packing list and an item, which a tourist could not do without. The guidebook not only provided practical and useful information, but also advised the tourist about what ‘ought to be seen’. It accompanied the development and maturation of modern tourism and witnessed an explosion in the second half of the 19th century and after. The guidebook was gradually improved, highly commercialized, popularized, and extended to many parts of the world and somehow managed to impose ‘beaten tracks’ on tourists. Similarly, the guidebook accompanied European colonial schemes, served as a tool for them and reflected their agendas and the mindset of the age. This paper is based on a large number of French and English guidebooks spanning approximately the period between the mid-nineteenth and early twentieth centuries and addresses the following questions: when and how was North Africa included in the tourist guidebook literature? What visions did the guidebook provide of the region? How far did the guidebooks contribute to placing North Africa in the global tourist networks and with what effect?