Translation History

L'article présente les premières traductions tchèques de Jules Verne publiées au XIX e siècle, entre 1870 et 1900. L'étude cherche à répondre à certaines questions concernant l'histoire externe de la traduction ou « l'archéologie de la traduction » dans les termes d'Anthony Pym : qui étaient les éditeurs des premiers romans de Jules Verne présentés au public tchèque, quels titres introduisirent-ils, quelle fut la structure des traductions de cette littérature pour la jeu-nesse à l'époque ? La recherche fondée sur la méthode statistique laisse de côté l'analyse détaillée des traducteurs de notre corpus, auxquels sera consacrée une autre recherche plus approfondie. Mots clés. Jules Verne. Traductions et éditeurs tchèques. Archéologie et sociologie de la tra-duction. Abstract. The First Czech Translations of Jules Verne (1870-1900). Archaeology of Translation. The article presents the first Czech translations of Jules Verne published in the nineteenth century, between 1870 and 1900. The study seeks to answer several questions concerning the external history of translation or archaeology of translation in terms of Anthony Pym: who were the publishers of the first novels of Jules Verne presented to the Czech public , which titles did they introduce, what was the structure of translations of this literature for youth at the time ? The study is based on the statistical method and leaves aside the translators of this corpus, a subject that will require another detailed research.

Dieser Artikel beschäftigt sich mit der Translationsgeschichte der Arabischen Erzäh-lungen der ‚Tausend und eine Nacht' aus einer performativen, ausgangskulturorientier-ten Perspektive. Die Zweistufigkeit des Translationsprozesses als interlingua-ler/zweisprachiger Kommunikation impliziert eine eindimensionale Linearität, die die Beziehung zwischen Ausgangs-und Zieltext bestimmt. Die Effekte der Translation auf Produktion/Rezeption des Ausgangstextes fallen jenseits der konzeptuellen Reichweite des Translationsbegriffes und können prinzipiell nicht in einem translationstheoreti-schen Rahmen behandelt werden, was in einer statisch-genetischen Konzeption vom Ausgangstext als "Quelle" resultiert. Ich werde anhand der ‚Tausend und eine Nacht' argumentieren, dass eine neue Auffassung der Translation als performative Be-wegung in Richtung Ausgangstext die Komplexität translatorischen Handelns besser zeigen und die interpretativen Möglichkeiten der Translation als Interaktion zwischen einem Ausgangstext und einem Zieltext erweitern kann. Dabei wird die Rolle Antoine Gallands und seiner Übersetzung der ‚Tausend und eine Nacht' (Les mille et une nuits) hervorgehoben. This article deals with the translation history of the Arabic narratives of the 'Thousand and One Nights' from a performative, source culture-oriented perspective. The two-stage nature of the translation process as interlingual/bilingual communication implies a one-dimensional linearity that determines the relationship between source and target text. The effects of translation on the production/reception of the source text fall beyond the conceptual scope of the concept of translation and cannot, in principle, be dealt with in a translation-theoretical framework, resulting in a static-genetic conception of the source text as a "source". I will use the 'Thousand and One Nights' to argue that a new concept of translation as a performative movement towards the source text can better demonstrate the complexity of translational action and expand the interpre-tative possibilities of translation as an interaction between a source text and a target text. The role of Antoine Galland and his translation of the 'Thousand and One Nights' (Les mille et une nuits) is highlighted. Akkad Alhussein: Von den Möglichkeiten translatorischen Handelns

Presenting 11 essays on the liminal materials in printed translations published in early modern Britain, the Introduction lays the ground for discussions of the textual, material, and cultural transfer that takes place in early modern translated books and is illustrated by the paratexts accompanying them: marginalia, portraits of translators,  titles, peritexts and various types of prefatorial materials.

Translation is in its very essence collaborative, concerning author and translator, source and target texts, language and culture, sender and receiver. This is perfectly illustrated by the paratextual materials accompanying both Susan Du Verger's translations of Jean-Pierre Camus's 'Les Euenements singulers', 'Les Relations morales' and 'Diotrephe. Histoire Valentine' and Judith Man's translation of Nicolas Coëffeteau's 'Histoire de Poliarque et d'Argenis'. This metadiscourse provides space in which to demonstrate how collaboration is achieved between the various agents involved, how it can create a context that prepares the reader for the text that follows, and how it can facilitate the discussion of various issues such as the interplay between author and translator, the subsequent meshing of their roles, the self-positioning and resulting visibility of the female translator in the male world of print, and the ways in which social and ideological factors influence or determine the choice of translating strategies. Both Du Verger and Man successfully exploit their paratextual
opportunities and in order to do so employ various rhetorical conventions.
Among these are authorizing strategies enabling them to participate in an otherwise male-dominated discursive field and authorial strategies that challenge the traditional dichotomy between author and translator. Thus they transform separation into collaboration.

This article closely examines Wu Mi’s discussions of the relationships between imitation，translation，and creation. Wu’s views on this issue can be recapitulated as follows: literary creation begins with imitation as the first stage，translation is a beneficial way of practicing imitation，and a superb translation can be considered creation. Though it is not difficult to notice that Wu’s views on the relationship between translation，imitation，and creation echo ideas in both Chinese and Western traditions，this article argues that Wu’s notion of“translation as imitation”is not a mere borrowing or rehashing of existing ideas. Rather，Wu formed his own conception of translation，in the context of the 1920s cultural scene in China，through a selective integration of ideas from both traditions. In the conclusion，the author further reflects on the importance of examining the temporalities of translation，as is highlighted by Wu’s notion of“translation as imitation”，for translation studies.

The first complete Chinese translation of Ovid’s poem was Dai Wangshu’s (1905–50) 1929 Ai jing (Ars amatoria). Dai, as translator-cum-publisher, produced a serious translation with thorough footnotes and a scholarly preface (later added). Yet in a newspaper advertisement, he also marketed the book in sensational language as a pragmatic love manual that could help Chinese ‘men and women of sentiment’ master the art of courting. Focusing on Dai’s seemingly conflicting marketing approaches, this article locates the production and reception of Dai’s translation of the Ars amatoria in its socio-cultural and ideological contexts. Dai adapted his Chinese Ars amatoria to an emerging Chinese discourse of love in the 1920s, when love remained at the centre of many literary, social, and political debates. It also further demonstrates how Ovid’s Ars amatoria, in Dai’s translation, animated sustained discussions of love, marriage, and gender in China in the early 1930s. Re-interpreted and re-appropriated, a classic Latin text extended Republican China’s quest for modernization and Westernization to the most intimate realms of ordinary experience.

Part of a larger study on the viability and relevance of symptomatic reading practice to the much broader scope of reception theory and translation criticism, this article investigates a range of discontinuities in two Arabic translations of Gibran's The Earth Gods, one by the Archimandrite Anthony Bashir and the other by Egypt's Minister of Culture Tharwat Okasha. Putting to work the methodological assumptions of Venuti's symptomatic reading, instances of religious correctness and (in)determinacy are examined within the framework of reception theory, specifically Fish's theory of interpretive communities, to explore how texts work upon individuals to create a community and how a community works upon a text to generate meaning. The analysis ends with a discussion of the temporality of the translators' interventions and the historicity of reception, with a particular focus on the paratextual reviews of the critical establishment as a situational interpretive community. The symptomatic reading offers pointers as to how the translators experimented with the metaphysical system of Gibran.

With the reform of Istanbul University in 1933, the faculties of Medicine, Science, Literature, Law and Economics were established. Discussing with foreign professors fleeing Hitler’s Germany, a contract was signed to fill a gap in the teaching staff. After the Language- and Alphabet Revolution, scientific works written in the new language were needed in libraries. The need was tried to be fulfilled by adding an article to the respective contract, and oral and written translation into Turkish started, the field where the new alphabet was used in the scientific sense was the university. Turkish scholars translated foreign scholars’ scientific works, exam questions and lessons. Although this translation support seemed like a pertinent step at the beginning, it resulted in some obstacles over time in terms of foreign scholars and Turkish students needing translation and Turkish scholars providing it. There were some positive aspects, such as being competent in the scientific field through the translations, increasing the forms capital in the context of Bourdieu, and having the opportunity to work with foreign professors, but the involvement of Turkish scholars even in the examination processes caused them not to have sufficient and effective time to develop themselves and do scientific research. German professors’ subjective evaluations about interpreting were included in the findings of this research. Thus, the perspectives towards the ones described as lay interpreters were discussed. This study carried out in the fields of Translation Studies and translation history will enrich the related literature, hoping to contribute to similar studies.

This study is based on a descriptive research conducted on translations in Turkish of The Adventures of Pinocchio between the dates 1930-2010. The starting point for my research was the increase of translations and different versions of The Adventures of Pinocchio in Turkey from the 1930s to the first decade of the new millennium. The goal is to explain the reasons for the increase and to consider the possibility of translation plagiarism in the increasing number of Pinocchio editions. Beside I analyse the translation strategies used in the selected translations to
show how the source texts can be manipulated according to the ideologies and expectations of target culture’s actors actively involved in the publishing process. The research has given me the chance to do a general analysis on both diachronic and synchronic levels of the status of translated children’s literature in Turkey from the point of view of translation plagiarism and ideological translation decisions.

Wilhelm von Humboldt defendia que "a tradução, sobretudo a dos poetas, é uma das tarefas mais necessárias dentro de uma literatura", pois dá acesso a "formas de arte e de humanidade que de outro modo permaneceriam desconhecidas" a quem não conhece a língua; e também por propiciar um "aumento da capacidade expressiva da própria língua" (HUMBOLDT, 2001, p. 93). Ao longo da história da literatura ocidental, poetas e prosadores estiveram envolvidos, em maior ou menor grau, com a tarefa da tradução. Este artigo tenta responder, entre outras questões, em que medida a atividade dos
poetas como tradutores (ou vice-versa) foi/é de fato relevância para o sistema literário brasileiro.

This book employs actor-network theory (ANT) to explore the making of the English translation of a work of Chinese canonical fiction, Journey to the West, demonstrating how ANT, as applied to Translation Studies, can contribute to a richer understanding of the translation process.

The volume builds on previous research to apply ANT theory to translation studies by looking in-depth at a single work, highlighting the unique factors underpinning the making of Monkey, Arthur Waley’s English translation of the Chinese classic Journey to the West, which make the work an ideal candidate for showing ANT theory in practice in translation. Luo uses an in-depth exploration of the work to examine the ways in which both human and nonhuman translation actors and agents interact in different ways in the publication of this translation, showcasing them as dynamic, changing, and active participants whose roles shifted over the course of the translation process, rather than as fixed entities as traditionally categorized in existing research. The book moves beyond a descriptive account of an ANT-based case study toward offering a systematic theoretical and methodological framework of ANT-based translation studies, using the conclusions drawn from its application to a single work to suggest a way forward for applying ANT in translation production on a wider scale.

This book will be of interest to scholars in translation studies, sociology, and comparative literature, particularly those interested in actor-network theory or network studies and their application to related disciplinary fields.

Reception Studies and Audiovisual Translation fornece um panorama das interseções entre os estudos da recepção e a tradução audiovisual. O livro é dividido em quatro partes que tratam, nesta sequência, de pesquisas em estudos da recepção, metodologias de pesquisa voltada para o público, modalidades de tradução audiovisual, e mídias híbridas e novos tipos de público. Os quinze capítulos que compõem a obra traçam um histórico dos desenvolvimentos destes estudos e estimulam novas pesquisas na área, sugerindo uma abordagem multi e interdisciplinar que utilize metodologias quantitativas e qualitativas de forma integrada.

The points of departure of both Literary History and the field of Translation History as a discipline of Translation Studies may overlap, their aims, however, tend to differ. Translation Studies represent an interdisciplinary field of study, which, for the part of Translation History, significantly draws from the findings of Literary History and Comparative Literature. In order to allow research in this field in its own right and to arrive at relevant conclusions, appropriate methodology needs to be applied. In his study, Tomáš Svoboda presents an overview of some major tendencies in Translation History and lists several specific areas that can be covered by relevant research. The paper's second part focuses on research that has been carried out in Translation History as regards the Baroque period and draws conclusions for further research efforts in this field.

The roles of titles in early modern books are varied, being both designative and commercial. Translated titles, however, have two further dimensions, linguistic and cultural, that have to be taken into account when a work leaves one socio-cultural context for a new one, is aimed at a new readership, and is created through the agency of a new writer and printer. This essay examines the ways in which a number of translators and three important English printers, Richard Pynson, John Wolfe and Thomas Harper, presented a corpus of translated texts to their readerships, sometimes with similar titles but for the most part with very different ones.

This is a collection of twelve interdisciplinary essays concerning research in the fields of translation and print and, for the first time in the case of  early modern Britain,  establishing the link between the two. There are four sections: translation and early print; translation, fiction and print; translation and pedagogy; shaping intellectual and national developments through translation.

Translations in the first century of printing in England played an extremely important role in a variety of fields, although the full extent of their contribution to the intellectual, social and cultural advancement of the country has not yet been fully explored. They constituted an integral part of a whole web of diverse activities, including the gradual development of a native literary tradition, the dissemination of knowledge in a wide variety of fields, the spread of social and political movements, and the exchanges involved in religious controversy. The specific relationship of translation to the early print trade is a crucial one that also remains to be studied, as does indeed the work of seven women translators published between 1504 and 1557. The backdrop of cultural and socio-historical events and the context of print become particularly significant in their case, for they give the lie to the old claim that translating was a safe and silent task particularly suited to women, performed in a proscribed and private space and of little impact.