Subject collection: Literary Studies (221 titles, 1971–2015)

Among the numerous discursive carriers through which translations come into being, are channeled and gain readership, translation anthologies and collections have so far received little attention among translation scholars: either they are let aside as almost ungraspable categories, astride editing and translating, mixing in most variable ways authors, genres, languages or cultures, or are taken as convenient but rather meaningless groupings of single translations. This volume takes a new stand, makes a plea to consider translation anthologies and collections at face value and offers an extensive discussion about the more salient aspects of translation anthologies and collections: their complex discursive properties, their manifold roles in canonization processes and in strategies of cultural censorship. It brings together translation scholars with different backgrounds, both theoretical and historical, and covering a wide array of European cultural areas and linguistic traditions. Of special interest for translation theoreticians and historians as well as for scholars in literary and cultural studies, comparative literature and transfer studies.

In Translation and the Problem of Sway Douglas Robinson offers the concept of "sway" to bring together discussion of two translational phenomena that have traditionally been considered in isolation, i.e. norms and errors: norms as ideological pressures to conform to the source text, and deviations from the source text as driven by ideological pressures to conform to some extratextual authority. The two theoretical constructs around which the discussion of translational sway is organized are Peirce's "interpretant" as rethought by Lawrence Venuti and "narrativity" as rethought by Mona Baker. Robinson offers a series of “friendly amendments” to both, looking closely at specific translation histories (Alex. Matson to and from Finnish, two English translations of Dostoevsky) as well as theoretical models from Aristotle to Peirce to expand the range and power of these concepts. In addition to translation and interpreting scholars this book will be of interest to scholars of communication and social interaction.

In the late Qing period, from the Opium War to the 1911 revolution, China absorbed the initial impact of Western arms, manufactures, science and culture, in that order. This volume of essays deals with the reception of Western literature, on the evidence of translations made. Having to overcome Chinese assumptions of cultural superiority, the perception that the West had a literature worth notice grew only gradually. It was not until the very end of the 19th century that a translation of a Western novel (La dame aux camélias) achieved popular acclaim. But this opened the floodgates: in the first decade of the 20th century, more translated fiction was published than original fiction.

The core essays in this collection deal with aspects of this influx according to division of territory. Some take key works (e.g. Stowe’s Uncle Tom’s Cabin, Byron’s “The Isles of Greece”), some sample genres (science fiction, detective fiction, fables, political novels), the common attention being to the adjustments made by translators to suit the prevailing aesthetic, cultural and social norms, and/or the current needs and preoccupations of the receiving public. A broad overview of translation activities is given in the introduction.

To present the subject in its true guise, that of a major cultural shift, supporting papers are included to fill in the background and to describe some of the effects of this foreign invasion on native literature. A rounded picture emerges that will be intelligible to readers who have no specialized knowledge of China.

n recent years, the post structuralist theories seem to have created a split in theatrological research. But, as André Helbo analyses in this book , a dialectic theory of the semiotic and the symbolic exchange bring to light a specific paradigm. From his wide experience as a semiotician and a theatrologist, the author has developed an analysis for the theory of spectacle. Focusing his study on a critical theory of the performing arts, and examining the fundamental controversies, he then offers new perspectives and new instruments of analysis: the social aspects, readability/visibility, coherence, the spectacle contract.

This study describes in detail the development of Coleridge’s attitude to nature as it is reflected in his poetry. It analyses the different stages of Coleridge’s search for a meaningful relation to nature from an uncritical adoption of the eighteenth century conventions in his early poetry to a projectionist view in his poems of 1802. It offers challenging new readings of some of Coleridge’s major poems like ‘The Ancient Mariner’ and ‘Dejection: an Ode’, and tries to rehabilitate some minor ones, like ‘The Picture’. Attention is also paid to his relation with Wordsworth. It discusses in detail the philosophical background of Coleridge’s views and considers the contribution of German thought to his development. As a whole this study affords a new insight into the genesis of romanticism in England.

Ce volume fait partie d'une série de quatre volumes consacrés aux phénomènes littéraires de la période s'étendant des Lumières à l'avènement des mouvements romantiques. Les volumes suivants traiteront de la prose et du théâtre. Sont présentés ici les genres en vers, compte tenu en particulier des changements majeurs qui ont préparé la renaissance et l'épanouissement de la poésie lyrique dans le romantisme européen. En quelques grands chapitres synthétiques, la première partie brosse un tableau des phénomènes marquant l'ensemble de la littérature européenne, tandis que la seconde passe en revue les genres en vers dans différentes zones géographiques ou aires linguistiques. L'évolution littéraire qui s'opéra à l'époque tant dans les Amériques qu'en Europe est analysée dans ce volume sous l'aspect du développement des formes versifiées, avec un luxe de détails inédits et sous des angles particulièrement originaux.