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This essay deals with Korean romance novels translated into Chinese, especially the works of Kim Ha‐in and Guiyeoni which forms a pattern of cross‐cultural communication from the marginal culture to the center. Most studies treat them as an aspect of fast‐food culture that undermines serious literature, with little attention to this literary and cultural phenomenon. Why are Korean romance novels so popular in contemporary China? There are some answers from different perspectives. However, it is obvious that Korean romance novels offered Chinese women the opportunity to reconceptualize gender. This article contributes to criticism on the interface between Korean romance novels and Chinese feminism and further unveils the relationship between Korean popular romance novels and new interpretations of femininity in contemporary China. The success of Korean romance novels benefits from the conscious choice of Chinese readers in the cross‐cultural context, influenced by changes in Chinese women's concept of gender. The response to the aesthetic needs and expectations of readers has prompted the appearance of inverted cultural export, wherein such novels influence other cultures, reflecting upon and even challenging the gender concepts of other countries, which manifests the symbiotic relationship between popular literature and feminism. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Oriental Studies (Al-Farabi Kazakh National University) / Kazahskij Nacional'nyj Universitet Imeni Al'-Farabi Vestnik Seriâ Vostokovedeniâ is the property of Al-Farabi Kazakh National University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article looks into the friendship and their correspondences of Polish professor Przemyslaw Mroczkowski and "The Lord of the Rings" author J. R. R. Tolkien, focusing on the role of Mroczkowski in the author's making of his book a social phenomenon. Topics discussed are academic works of Mroczkowski, connection between the two as evident with their Catholic faith and passion for medieval culture and literature, and involvement of Mroczkowski in the translations of Tolkien's novels .

One of the more interesting science fiction movies of recent years, at least to Humanities academics, is Denis Villeneuve's 2016 alien-invasion movie, Arrival. It is a film which not only features a Professor of Linguistics as its heroine, but the plot of which is organised around the critical global importance of a multi-million dollar translation project. This essay compares the film with the original novella upon which it was based - Ted Chiang's "Story of Your Life" (1998) -- to examine the role translation plays in both, with the aim of placing this in the context of the crisis in the Humanities which has marked universities over the last few years, and can be linked to a more general crisis in liberal values. While founded upon a time-honoured science fiction scenario the movie also clearly articulates the sense of global peril which is typical of much of the cultural production of our current times, manifested in fears about ecological catastrophe, terrorist attacks, and the anthropocene, etc. Another of its crisis-points is also 'very 2016': its ability to use science fiction tropes to express an anxiety about how liberal values are in danger of being overtaken by a self-interested, forceful, intolerant kind of politics. Arrival is as much a work of 'hu-fi' as it is 'sci-fi', that is, 'Humanities fiction', a film which uses Chiang's original novella to convey a message about the restorative potential of 'Humanities values' in the face of a new global threat. [ABSTRACT FROM AUTHOR]

Joseph Conrad's fiction -- Lord Jim especially -- contains several instances of characters struggling with translation, or with foreign languages more generally, or transferring speech or syntactic patterns from one language to another. These features have much to suggest about Conrad's own multilingual early life and his eventual adoption of English for his writing. They also have wider implications concerning his vision and tactics as a novelist -- including his reliance on French fiction, and his regular emphases on cultural difference and on the cognitive and epistemological challenges of communicating experience. These challenges, in turn, initiate or anticipate concerns widely apparent in modernist fiction, indicating stresses in an advancing, globalised modernity which made its innovations so necessary. Appreciating Conrad's interest in translation elucidates and confirms Fredric Jameson's judgement of his writing as a key factor in the emergence of modernism in the early twentieth century. [ABSTRACT FROM AUTHOR]

There are few professions and professionals to be constantly perceived as ambivalent. But for interpreting and interpreters, this seems to be the norm, rather than the exception. On the one hand, there has always been a sense of fascination for these extraordinary people who speak so many languages and have such a wide knowledge of the world. On the other, they have inspired reluctance, distrust or even fear. While literary works sometimes reflect one or the other perception, James Justinian Morier's The Adventures of Hajji Baba, of Ispahan, in England (1828) reflects both and provides us with an insight into the nature and circumstances of the situation. By following the attitude towards the mehmandar throughout the novel, the present paper considers a set of memes that seem to be still valid today. The reasons this is so relate to features inherent in the profession, the privilege of understanding both sides 'of the coin', the power tamper with information, the risk of misunderstanding, etc. [ABSTRACT FROM AUTHOR]

T.H. White not only uses medieval hunting treatises for source material in The Once and Future King, he also engages in interpretive reading. He makes the implicit explicit through exclamatory amplification and thereby demonstrates a close affinity for medieval modes of reading and writing. [ABSTRACT FROM AUTHOR]

The article discusses the use of pseudotranslation as a frame narrative in Murat Gülsoy's novel "Gölgeler ve Hayaller Şehrinde" (In the City of Shadows and Dreams). An analysis of both peritextual and epitextual elements of the novel which explores the borders between history and fiction is presented. It also demonstrates how pseudotranslation becomes part of a larger transmetic dimension, a concept of comparative literature professor Thomas O. Beebee.

The article discusses the translations of novels of author Charles Dickens into Yiddish, the language of East European Jews. Several works of Dickens which were translated into Yiddish language are mentioned including "Oliver Twist: the History of a Lonely Child," "Great Expectations," and "The Pickwick Papers."

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The article discusses the relation of Arab translators to the spread of English literature and the novel form as intellectual globalization during the 18th and 19th centuries. Topics include the role of novels in the 19th century Arab Enlightenment, the translation of the novel "Robinson Crusoe," by Daniel Defoe, into Arabic, and the role of translation in Arabic novels.

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An essay concerning the Yiddish-language translations and adaptations of the 1852 novel "Uncle Tom's Cabin" by Harriet Beecher Stowe and the positioning of African Americans and American Jews during the turn of the 20th century is presented.

Fantasy has attracted attention because humans want to escape into the world of supernatural creatures, extraordinary events, and even miracles. It has become popular in literature and especially the novel genre has used it since it appeals to the author's worldview, tastes, and style. In order to write fantastic literature, the authors create a fantastic world and language to suit their characters and events. In this framework L. Frank Baum is one of these authors who writes fantastic books for children. He has become world famous and his books are translated into many languages. In order to help children to enjoy books and learn the magic of words, authors use fantasy as a field. The aim of this paper is to deal with L. Frank Baum's The Wonderful Wizard of Oz translated from English into Turkish. The material for analysis consists of three different translations of three different publishing houses. Fantastic books require special knowledge, terminology, and interest to contribute to the success of translation. Hence excerpts from the translated books will be taken into consideration and will be dealt within the framework of translation theory. [ABSTRACT FROM AUTHOR]

In January 2014, I published a Dutch poetry volume Mens Dier Ding (Man Animal Thing) in the Netherlands and Belgium. The book is partly based on research around the historical figure of Chaka, and especially Chaka’s fictional representation in three versions of Thomas Mofolo’s Chaka, namely the English translation by F. H. Dutton, the later translation by Daniel P. Kunene, and the Afrikaans translation by Chris Swanepoel. In other words, Man Animal Thing is a work of poetic fiction based on (or “inspired by”) a work of fiction. This brings with it representational and ethical problems: what is used from which text, what is the tipping point between writing and merely copying, for which type of reader in which context and culture is the new work of fiction meant, and what are the consequences of portraying and imaging a fictional and historical figure? This article tries to highlight several aspects of the creative process of misreading, researching, writing, portraying and transforming in Mens Dier Ding. It explores how “translating” a work of fiction into another work of fiction is at the heart of the continuing conversation that is literature, and may even be a metaphor for postmodern, or better, metamodern literature, which is characterised by an oscillation between both modernism and postmodernism. [ABSTRACT FROM AUTHOR]

Translating multilingual texts is still a new field of inquiry. Transplanting a text where the function of embraced multilingual practices is strongly related to local ethnic identities can provide challenges for translators and readers alike. This study discusses the translation strategies adopted by second-year translation students on an assignment to translate part of Patricia Grace's short story "The Dream" into Finnish. The strategies for dealing with the Maori passages in the story varied, both in terms of how many of the Maori passages were preserved and how much intratextual translation was included in the text. The strategies were investigated both in the translations themselves and in the accompanying translation comments the students produced. The degree to which the translators showed an in-depth understanding of the nuances relevant to the representation of an ethnic minority of another culture varied. There was more sensitivity to a Finnish reader's insufficient familiarity with the Maori language and culture than to the meaning of the representations of Maori language and culture in the original text. [ABSTRACT FROM AUTHOR]

This paper analyses the first novel of the Jalna series by the English Canadian writer Mazo de la Roche whose romantic fiction for women was very popular in pre-communist Romania. We will compare the two translations of the novel Jalna, namely Jul. Giurgea's (1935; reedited in 1990) and Liana Dobrescu's (1973) using Christiane Nord's functionalist model in Translation Studies with both its intratextual and extratextual factors and account for the differences and similarities in the two versions. [ABSTRACT FROM AUTHOR]

The article discusses the works of novelist Anthony Trollope and provides information on the novels' critical reception on the German market throughout the 19th century. Topics include the German publishing of Trollope's works in English language, the translation of his works by August Kretzschmar and Lina Kayser, and the popularity and holdings of Trollope's novels in lending libraries. Novels include "The Three Clerks," "The Macdermots of Ballycloran," and "Framley Parsonage."

This paper aims at analyzing two Arabic translations of the novella The Old Man and the Sea by Ernest Hemingway 1952. One of the translations is by Dar Al-Bihar, Beirut, and the other is by Ziad Zakaria. The purpose of this study is to investigate problems and strategies of literary translation into Arabic and to suggest guidelines for better practices in the field of Arabic literary translation. This study is important because Arabic literary translation problems and strategies have been rarely tackled by researchers. Analysis of the translations is based on Baker's theory of equivalence. Two levels of equivalence are taken into consideration in this paper: equivalence at word level and equivalence at collocation level. The last part of the paper is devoted to investigate the cultural implications of Qur'anic expressions used in Zakaria's translation. The qualitative method has been used in compiling, analyzing and discussing data. Data has been collected, classified, and scrutinized in light of the theoretical background of the research. The findings show that the best translation should consider both contextual factors and cultural factors in SL and TL. Besides, naturalness and readability of the target text is crucial in literary translation. Untranslatable cultural specific items can be tackled in various ways such as paraphrasing, rewording, lexicalizing new concepts, and adapting them culturally as Zakaria has demonstrated in adding Quranic expressions in his translation of Hemingway. The researcher encourages creativity in literary translation provided that translators have literary competence and refined taste for style. [ABSTRACT FROM AUTHOR]

Translating novels is a very complicated and hard job because it has many crucial aspects in the forms of language and contents of message. It is full of specific cultural items that have deep meanings which are difficult for translators to render. This research tried to search the novel translation problems in translation documents, translator' experiences during translation process, and novel translation readers' responses, especially on the problems of translating idioms, metaphors, similes, and personifications. This research used a qualitative study with Holistic Criticism Approach (Sutopo, 2006) that focused on novel translation documents (Objective factor), novel translators (Genetic factor), and novel translation readers (Affective factors). The research instruments used were translation documents and interview guides. The data were analyzed by using contrastive analysis (James, 1998) and Interactive Model (Miles and Huberman, 1984). The data of idioms, metaphors, and personifications were analyzed based on the translation strategies that covered translation techniques, methods, and idiology. The research results showed that the translation products were not accurate, natural, and readable yet. Finally as the solution, Tripartite Cycle Model (TCM) was formulated and designed for novel translators in order they can produce good quality of translation products. [ABSTRACT FROM AUTHOR]

An interview with Argentine fiction writer Ana María Shua is presented. Topics include the publication of flash fiction or short story in Latin America, the capacities of flash fiction as a good literature and its genre. Other topics include the aspects of narrative text and the translation of her works into different languages.

Copyright of Babel A.F.I.A.L. is the property of Babel A.F.I.A.L. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

There has been a popular resurgence of the Gothic sensibility in Australian drama in recent years, yet the term Australian Gothic is difficult to define in contemporary Australian performance and playwriting. From the perspective of three playwrights writing in the field, this paper analyses the gothic, suggesting that playwrights utilise the form as a way of opening up discourse about historical truths and about our contemporary relationship to the past, to each other and the land we supposedly share. [ABSTRACT FROM AUTHOR]

Copyright of Anales de Filología Francesa is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the problems in lexis translation in contemporary literary texts as of 2013.Topics covered include how lexis reflects the polyphony in the current narrative, and the analysis of the novels being published in Italy and of the problems in translating non-standard lexis. Also mentioned is the study of the Spanish translation of Melania G. Mazzucco's novel "Un giorno perfetto."

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A lot of translations of many novels are resulting in books different from the original. We see a plot begins to go in a different direction, and the main character is developing into a whole different person. When we say translating, some people thought it is a word for word, others say it is a creative work done without following the original text; and this work gives the target text a life of its own. But to describe the same thought in a different language seems to give it a whole different life that is richer and more creative. How can we translate novels correctly ? Word for word or meaning to meaning? How far can the translator go before we can call this translation an original? And can we? In this paper, we are going to investigate the translating of an Algerian Novel from Arabic language into English language. The focus of the study is twofold: What are the cultural problems the translator can face in his/her translation? How can he/she domesticate the target text? And is the foreignisation a solution in translation? [ABSTRACT FROM AUTHOR]

The last quarter of the century has implanted into the Romanian culture an impressive number of translated works, both literary and scientific. Several Romanian publishing houses have initiated a wide range of collections or series of volumes intended for either professional or leisure purposes. This initiative entails both positive and negative consequences. As a positive result, Romanian readers could easily access both fictional and non-fictional literature or could benefit from new terminologies as they would be introduced in a standard form in the 'authorized' versions of dictionaries, glossaries, lexicons or language encyclopedias. As a negative result, the Romanian specialist readers had to cope with unexpected linguistic patterns revealed by the endeavors, imagination and work of more or less trained professional translators. The current approach will highlight such cases of "unexpected linguistic patterns" (actually a euphemism for "translation errors"), noticeable in a rather restricted collection of works on the Romanian lexicographic market, namely the English monolingual dictionaries translated into Romanian. Although these errors describe few typologies of mistakes in translation activity, this contribution focuses on one aspect only, i.e., register awareness. Translators need to possess register knowledge or at least the ability to look for the proper information in adequate bibliographies in order to avoid creating what a professional would call "unexpected linguistic patterns". [ABSTRACT FROM AUTHOR]

The article examines the translated works of Québécois author Michel Tremblay through the perspectives of Americanness and musicality notions. It argues that Tremblay translates by ear and compares his translated version of the play "Orpheus Descending" by Tennessee Williams to the one adapted by Belgian theatrical director Raymond Rouleau. It also looks at the evolution of his translated works including "Oncle Vania," "La descente d'Orphée," and "Thérèse et Pierrette à l'école des Saints-Anges."

The article discusses and compares several Hungarian translations of the Russian novel "Anna Karénine" written by Léon Tolstoï in 1877. The reception and translation of the first Hungarian version, which was based on a German translated version, by Madame R. Hugo Trux in 1887 are discussed. It presents excerpts from a 1919 Russian-to-Hungarian translation by Dezső Ambrozovics. It is suggested that the misunderstandings and translation errors of those first translations could be attributed to Hungarian translators not being knowledgeable enough about the Russian culture. Hungarian writer László Németh and several of his translated versions, including his retranslated version published in 1958, are discussed.

Due to their intrinsic imperfections, traditional criteria of the assessment of translated texts are of static features and cannot arrive at an objective and sound assessment. Corpus-based translation studies have provided an ideal, dynamic and scientific paradigm for translation assessment. Based on such a paradigm, this paper focuses on the STTR, wordlist, keywords, logical connectors and readability of the translated novel, My Name is Red, and compares the retrieved data with the sub-corpora of FLOB and Frown, so as to assess the English version of this novel both quantitatively and dynamically [ABSTRACT FROM AUTHOR]

The essay offers a literary criticism of Elena Poniatowska's book "La casa en Mango Street," a Spanish translation of the bildungsroman English-language novel "The House on Mango Street" by Sandra Cisneros. The author examines Poniatowska's role in promoting the Spanish-language novel and Chicana fiction in Mexico and the ways in which her translation of the work represents a bilingual interaction. The article also includes a discourse analysis of the translation.

Novel translation as a process of transferring messages involves not only two different linguistic codes but also two different socio-cultural contexts. The process of translating the novel needs to be analysed holistically. One concept that has been used in translation studies is the holistic criticism approach, which proposes that a translation can be examined from the perspective of "genetic", "objective", and "affective" factors. The focus of this approach is the idea that there is an interplay between translators as mediating agents, processes of translation, products of translation, and the opinion of readers about these products. This article presents the findings of an analytical study of equivalence of meaning and style found in an Indonesian translation of an English novel, using the holistic criticism approach. The research investigated the background and competence of the translator, equivalence of meaning and style between source and target texts, and the opinion of readers toward the translation product. The research data were collected using document analysis, questionnaire distribution, and in-depth interview. The article aims to demonstrate that in novel translation, genetic, objective, and affective factors are crucially interrelated. [ABSTRACT FROM AUTHOR]

One of the major problems a translator has to face when working on a book text is translating the title of that book. In this case he has to deal with linguistic aspects as well as cultural ones. From the multitude of problems raised by literary translations this study will focus on title translation. A title represents the image of a book; therefore it has to be very appealing and expressive and to maintain this aspect when translated. In order to underline its cultural value just a linguistic translation is not enough, sometimes the translator has to adapt it to the cultural context of the language in which the text is translated. In the case of Balkan writers' works the problem is even more complicated. Due to the restricted circulation of Balkan languages, the book is translated in French or English and this version is then used as a basis for other translations. This means that we face a translation and a re-translation phenomenon which may lead to diminish of its correctness and at the same time gives a lot of freedom to the translator to interpret the text of the book. [ABSTRACT FROM AUTHOR]

A chapter of the book "Joyce Studies Annual 2011," edited by Moshe Gold and Philip Sicker is presented. It explores the German translation of Dieter H. Stündel on the novel "Finnegans Wake," by James Joyce. It analyzes Stündel's propensity for muting German allusions in favor of stressing the narrative of the text. It also discusses Stündel's take up of Joyce's Irish-accented English or Dutch-inflected German.

A case study is presented that discusses the translation of the British Harry Potter children's fiction series by J. K. Rowling into American English. Topics include the Americanization of spelling in the book "Harry Potter and the Sorcerer's Stone" ("Harry Potter and the Philosopher's Stone"), the impact of the changes on American children, and the roles of editors in U.S. publishing.

The article presents the 2010 Presidential Address to the Middle East Studies Association by literature scholar Roger M. A. Allen. He discusses the translation of Arabic literature, as well as the relevance for translation theory for understanding literature. Allen also addresses purported isolation of American literary culture due to a lack of translation. He notes the receipt of the Nobel Prize in Literature by authors Naguib Mahfouz and Orhan Pamuk.

In early 1954 Erich Fried (1921-1988), an Austrian exile, who emigrated to England in 1938, was given the task by the London BBC to translate Dylan Thomas' radio play Under Milk Wood, a reading of which had taken place in New York shortly before the Welsh poet (1914-1953) died in November 1953, and which was subsequently published simultaneously in both England and the USA in 1954. Fried, who was already an accomplished poet in his own right (Deutschland [1944] and Österreich [1945]), succeeded in translating Under Milk Wood in a week's time, after which the 'Hörspiel' was broadcast in German first by the BBC in spring 1954 in the British Occupation Zone, and later that year by the NWDR in Hamburg. About the same time it was also published in German by the Drei Brücken Verlag (Wiesbaden). For Fried, who later became famous for his translation of most of Shakespeare's plays, the 'Nachdichtung', as he called it, of Thomas'radio play was a first and established him as a major translator. In Unter dem Milchwald he quite adequately managed to convey the intricate lyrical quality of Thomas' work, including the Welsh poet's numerous sexual insinuations, closely maintaining his rhyme patterns and consonant / vowel sequences. Thus, on the whole, Fried was quite successful in conveying the meaning of Thomas' work to his German listeners and readers. However, due to the immense pressure of time and insufficient knowledge of certain aspects of Thomas' language - above all his use of 'Wenglish' and other Welsh cultural and geographical expressions - Fried's translation of Under Milk Wood is far from flawless, as can be gleaned from a detailed analysis of his linguistic approach and a lengthy list of faulty renderings. Regardless of all pros and cons: Erich Fried's translation of Dylan Thomas' Under Milk Wood offers refreshing new insights into the great Welsh poet's achievement in his 'Play for Voices'. [ABSTRACT FROM AUTHOR]