Contra Instrumentalism questions the long-accepted notion that translation reproduces or transfers an invariant contained in or caused by the source text. This “instrumental” model of translation has dominated translation theory and commentary for more than two millennia, and its influence can be seen today in elite and popular cultures, in academic institutions and in publishing, in scholarly monographs and in literary journalism, in the most rarefied theoretical discourses and in the most commonly used clichés. Contra Instrumentalism aims to end the dominance of instrumentalism by showing how it grossly oversimplifies translation practice and fosters an illusion of immediate access to source texts. Lawrence Venuti asserts that all translation is an interpretive act that necessarily entails ethical responsibilities and political commitments. Venuti argues that a hermeneutic model offers a more comprehensive and incisive understanding of translation that enables an appreciation of not only the creative and scholarly aspects of what a translator does but also the crucial role translation plays in the cultural and social institutions that shape human life.

Contra Instrumentalism questions the long-accepted notion that translation reproduces or transfers an invariant contained in or caused by the source text. This "instrumental" model of translation has dominated translation theory and commentary for more than two millennia, and its influence can be seen today in elite and popular cultures, in academic institutions and in publishing, in scholarly monographs and in literary journalism, in the most rarefied theoretical discourses and in the most commonly used clichés. Contra Instrumentalism aims to end the dominance of instrumentalism by showing how it grossly oversimplifies translation practice and fosters an illusion of immediate access to source texts. Lawrence Venuti asserts that all translation is an interpretive act that necessarily entails ethical responsibilities and political commitments. Venuti argues that a hermeneutic model offers a more comprehensive and incisive understanding of translation that enables an appreciation of not only the creative and scholarly aspects of what a translator does but also the crucial role translation plays in the cultural and social institutions that shape human life.

Contra Instrumentalism questions the long-accepted notion that translation reproduces or transfers an invariant contained in or caused by the source text. This “instrumental” model of translation has dominated translation theory and commentary for more than two millennia, and its influence can be seen today in elite and popular cultures, in academic institutions and in publishing, in scholarly monographs and in literary journalism, in the most rarefied theoretical discourses and in the most commonly used clichés. Contra Instrumentalism aims to end the dominance of instrumentalism by showing how it grossly oversimplifies translation practice and fosters an illusion of immediate access to source texts. Lawrence Venuti asserts that all translation is an interpretive act that necessarily entails ethical responsibilities and political commitments. Venuti argues that a hermeneutic model offers a more comprehensive and incisive understanding of translation that enables an appreciation of not only the creative and scholarly aspects of what a translator does but also the crucial role translation plays in the cultural and social institutions that shape human life.

What Is Cultural Translation? In this book, Sarah Maitland uncovers processes of negotiation and adaptation closely associated with the translation of languages behind the cultural phenomena of everyday life. For globalized societies confronted increasingly with the presence of difference in all its forms, translation has become both a metaphor for thoughtful encounter and a touchstone act for what we see, do and say, and who we are. Drawing on examples from across cultural domains (theatre, film, TV and literature) this work illuminates the elusive concept of 'cultural translation'. Focusing on the built environment, current affairs, international relations and online media, this book arrives at a view of translation in its broadest sense. It is a means for decoding how we shape the cultural realm and serves as a vehicle for new ways of seeing and being that question the received ideas that structure the communities in which we live. Written in a clear and engaging style, this is the first book-length study of cultural translation. It builds a powerful case for expanding the remit of translation to cover the experience of living and working in a globalized, multicultural world, and is of interest to all involved in the academic study of representation and contestation in contemporary cultural practice.

Lawrence Venuti is one of the most important theorists in translation studies and his work has helped shape the development of this vibrant field. Translation Changes Everything brings together thirteen of his most significant articles.

Despite landmark works in translation studies such as George Steiner's After Babel and Eugene Nida's The Theory and Practice of Translation, most of what passes as con-temporary "theory" on the subject has been content to remain largely within the realm of the anecdotal. Not so Douglas Robinson's ambitious book, which, despite its author's protests to the contrary, makes a bid to displace (the deconstructive term is apposite here) a gamut of earlier cogitations on the subject, reaching all the way back to Cicero, Augustine, and Jerome. Robinson himself sums up the aim of his project in this way: "I want to displace the entire rhetoric and ideology of mainstream translation theory, which ... is medieval and ecclesiastical in origin, authoritarian in intent, and denaturing and mystificatory in effect." -- from http://www.jstor.org (Sep. 12, 2014).

New World Maker reappraises Langston Hughes's political poetry, reading the writer's leftist works in the context of his practice of translation to reveal an important meditation on diaspora.

First published after the author’s death in 2008, this provocative novel charts the late-in-life sexual awakening of a retired air force pilot who begins a dangerous affair with a male servant. Captain Ni’mat, a reservist from the Egyptian army defeated by the Israelis in 1967, finds himself aging and idle, spending his days at a luxurious private club in Cairo with former comrades. One night, Captain Ni’mat has an exquisite, chilling dream: he sees pure beauty in the form of his Nubian valet. Awakened by these searing images, he slips into the hut where the young man sleeps. The vision of his naked body so deeply disturbs Captain Ni’mat that his monotonous existence is suddenly turned upside down. Unbeknownst to his wife, he comes to know physical love with his valet. In a country where religious fundamentalism grows increasingly prevalent every day, this forbidden passion will lead him to the height of happiness, at least for a time.

Pushing back against the contemporary myth that freedom from oppression is freedom of choice, Frank Ruda resuscitates a fundamental lesson from the history of philosophical rationalism: a proper concept of freedom can arise only from a defense of absolute necessity, utter determinism, and predestination. Abolishing Freedom demonstrates how the greatest philosophers of the rationalist tradition and even their theological predecessors--Luther, Descartes, Kant, Hegel, Freud--defended not only freedom but also predestination and divine providence. By systematically investigating this mostly overlooked and seemingly paradoxical fact, Ruda demonstrates how real freedom conceptually presupposes the assumption that the worst has always already happened; in short, fatalism. In this brisk and witty interrogation of freedom, Ruda argues that only rationalist fatalism can cure the contemporary sickness whose paradoxical name today is freedom.

Dirty Knowledge explores the failure of traditional conceptions of academic freedom in the age of neoliberalism. While examining and rejecting the increasing tendency to view academic freedom as a form of free speech, Julia Schleck highlights the problem of basing academic freedom on employment protections like tenure at a time when such protections are being actively eliminated through neoliberalism's preference for gig labor. The argument traditionally made for such protections is that they help produce knowledge "for the public good" through the protected isolation of the Ivory Tower, where "pure" knowledge is sought and disseminated. In contrast, Dirty Knowledge insists that academic knowledge production is and has always been "dirty," deeply involved in the debates of its time and increasingly permeated by outside interests whose financial and material support provides some research programs with significant advantages over others. Schleck argues for a new vision of the university's role in society as one of the most important forums for contending views of what exactly constitutes a societal "good," warning that the intellectual monoculture encouraged by neoliberalism poses a serious danger to our collective futures and insisting on deliberate, material support for faculty research and teaching that runs counter to neoliberal values.