Literary Translation and the Making of Originals engages such issues as the politics and ethics of translation; how aesthetic categories and market forces contribute to the establishment and promotion of particular “originals”; and the role translation plays in the formation, re-formation, and deformation of national and international literary canons. By challenging the assumption that stable originals even exist, Karen Emmerich also calls into question the tropes of ideal equivalence and unavoidable loss that contribute to the low status of translation, translations, and translators in the current literary and academic marketplaces.

In The Making of Chinese-Sinophone Literatures as World Literature, Kuei-fen Chiu and Yingjin Zhang aim to bridge the distance between the scholarship of world literature and that of Chinese and Sinophone literary studies. This edited volume advances research on world literature by bringing in new developments in Chinese/Sinophone literatures and adds a much-needed new global perspective on Chinese literary studies beyond the traditional national literature paradigm and its recent critique by Sinophone studies. In addition to a critical mapping of the domains of world literature, Sinophone literature, and world literature in Chinese to delineate the nuanced differences of these three disciplines, the book addresses the issues of translation, genre, and the impact of media and technology on our understanding of “literature” and “literary prestige.” It also provides critical studies of the complicated ways in which Chinese and Sinophone literatures are translated, received, and reinvested across various genres and media, and thus circulate as world literature. The issues taken up by the contributors to this volume promise fruitful polemical interventions in the studies of world literature from the vantage point of Chinese and Sinophone literatures. “An outstanding volume full of insights, with chapters by leading scholars from an admirable range of perspectives, Chiu and Zhang’s The Making of Chinese-Sinophone Literatures as World Literature expertly integrates Chinese and Sinophone studies with world literature scholarship, opening numerous possibilities for future analyses of literature, media, and cultural history.” —Karen L. Thornber, Harvard University “This book is, at once, the best possible introduction to recent debates on world literature from the perspective of Chinese-Sinophone literatures, and a summa critica that thinks through their transcultural drives, global travels, varied worldings, and translational forces. The comparative perspectives gathered here accomplish the necessary and urgent task of reconfiguring both the idea of the world in world literature and the ways we study the inscriptions of Chinese-Sinophone literatures in the world.” —Mariano Siskind, Harvard University

This is an open access book. The 2nd International Conference on Education, Language and Art (ICELA 2022) was held in Sanya, China on Nov. 25–27, 2022.The aim of ICELA 2022 is to bring together innovative academics and industrial experts in the field of "Education", "Language" and other research areas. The primary goal of the conference is to promote scientific information interchange between researchers, developers, students, and practitioners working all around the world. The conference will be held every year to make it an ideal platform for people to share views and experiences. We warmly invite you to participate in ICELA 2022 and look forward to seeing you in Sanya, China.

The Routledge Handbook of Translation and Culture collects into a single volume thirty-two state-of-the-art chapters written by international specialists, overviewing the ways in which translation studies has both informed, and been informed by, interdisciplinary approaches to culture. The book's five sections provide a wealth of resources, covering both core issues and topics in the first part. The second part considers the relationship between translation and cultural narratives, drawing on both historical and religious case studies. The third part covers translation and social contexts, including the issues of cultural resistance, indigenous cultures and cultural representation. The fourth part addresses translation and cultural creativity, citing both popular fiction and graphic novels as examples. The final part covers translation and culture in professional settings, including cultures of science, legal settings and intercultural businesses. This handbook offers a wealth of information for advanced undergraduates, postgraduates and researchers working in translation and interpreting studies.

This book offers a comprehensive introduction to medio-translatology, including its historical and literary setting, its core concept, and its practice and theory. Medio-translatology, inspired by scholarship in comparative literature and the “cultural turn” in Western translation studies, has tackled many issues which previously went unnoticed or were ignored in traditional translation studies in China; it falls within the scope of literary studies and cultural studies, extending beyond the confines of language and treating literary translations and translating as historical facts. Emerging from comparative literature, medio-translatology looks at literary translation from a new and broader perspective, and explains, with illustrative and compelling examples, that literary translation is “an act of creative treason.” The originality of this approach is also evident in its distinguishing between the history of translated literature and the history of literary translation, as well as in its addressing the nature and status of translated literature. The Chinese edition of this book, being the first of its kind and well received in China, has been hailed as a milestone in exploring translation studies in the context of comparative literature in Chinese academia, and it introduces to students and researchers alike a wide range of new thoughts and ideas.

This collection explores the relationships between acts of translation and the movement of peoples across linguistic, cultural, and physical borders, centering the voices of migrant writers and translators in literatures and language cultures of the Global South. To offer a counterpoint to existing scholarship, this book examines translation practices as forms of both home-building and un-homing for communities in migration. Drawing on scholarship from translation studies as well as eco-criticism, decolonial thought, and gender studies, the book’s three parts critically reflect on different dimensions of the intersection of translation and migration in a diverse range of literary genres and media. Part I looks at self-translation, collaboration, and cocreation as modes of expression born out of displacement and exile. Part II considers radical strategies of literary translation and the threats and opportunities they bring in situations of detention and border policing. Part III looks ahead to the ways in which translation can act as a powerful means of fostering responsibility, solidarity, and community in building an inclusive, multilingual public sphere even in the face of climate crisis. This dynamic volume will be of particular interest to students and scholars in translation studies, migration and mobility studies, postcolonial studies, and comparative literature.

This book explores the challenges of translating Chinese works, particularly premodern ones, for a contemporary Western readership. Reacting against the "cultural turn" in translation studies, contributors return to the origin of translation studies: translation practice. By returning to the time-honored basics of linguistics and hermeneutics, the book inquires into translation practice from the perspective of reading and reading theory. Essays in the first section of the work discuss the nature, function, rationale, criteria, and historical and conceptual values of translation. The second section focuses on the art and craft of translation, offering practical techniques and tips. Finally, the third section conducts critical assessments of translation policy and practice as well as formal and aesthetic issues. Throughout, contributors explore how a translation from the Chinese can read like a text in the Western reader's own language.

In their introduction to this collection of essays, the editors argue that constraints can be seen as a source of literary creativity, and given that translation is even more constrained than 'original' literary production, it thus has the potential to be even more creative too. The ten essays that follow outline ways in which translators and translations are constrained by poetic form, personal histories, state control, public morality, and the non-availability of comparable target language subcodes, and how translator creativity may-or may not-overcome these constraints. Topics covered are: Baudelaire's translation practices; bowdlerism in translations of Voltaire, Boccaccio and Shakespeare, among others; Leyris's translations of Gerard Manley Hopkins; ideology in English-Arabic translation; the translation of censored Greek poet Rhea Galanaki; theatre translation; Nabokov and translation; gay translation; Moratín's translation of Hamlet; and state control of translation production in Nazi Germany. The essays are mostly highly readable, and often entertaining.