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.

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.

Translation has played a vital part in the history of literature throughout the English-speaking world. Offering for the first time a comprehensive view of this phenomenon, this pioneering five-volume work casts a vivid new light on the history of English literature. Incorporating critical discussion of translations, it explores the changing nature and function of translation and the social and intellectual milieu of the translators.

This book, the first of its kind for an English-language audience, introduces a fresh perspective on the Polish literary translation landscape, providing unique insights into the social, political, and ideological underpinnings of Polish translation history. Employing a problem-based approach, the book creates a map of different research directions in the history of literary translation in Poland, highlighting a holistic perspective on the discipline’s development in the region. The four sections explore topics of particular interest in current translation research, including translation and cultural borderlands, the agency of women translators, translators as intercultural mediators, and the intersection of translation research and digital methods. The 15 contributions demonstrate the ways in which Polish culture has represented translated work in its own way, informed and shaped by socio-political changes in Polish history. At the same time, the volume situates Polish research in translation within the growing body of work on Central and Eastern European translation studies, as well as looking at them against the backdrop of the international development of the discipline. This collection offers a valuable addition to existing research on Western literary canons, making it key reading for scholars in translation studies, comparative literature, cultural studies, and Slavonic studies.

A brilliant work of the imagination as well as a meditation on writing itself, the story follows a biographer’s investigation into the life and works of a famous, yet highly mysterious, deceased Greek author named Glafkos Thrassakis. At the crossroads where magical realism and political fiction meet, Vassilis Vassilikos’s buoyant literary imagination flourishes beyond the confines of conventional narrative structures.

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.

Part-essay and part-memoir, 'This Little Art' is a manifesto for the practice of literary translation.

This volume examines translation from many different angles: it explores how translations change the languages in which they occur, how works introduced from other languages become part of the consciousness of native speakers, and what strategies translators must use to secure acceptance for foreign works. Haun Saussy argues that translation doesn't amount to the composition, in one language, of statements equivalent to statements previously made in another language. Rather, translation works with elements of the language and culture in which it arrives, often reconfiguring them irreversibly: it creates, with a fine disregard for precedent, loan-words, calques, forced metaphors, forged pasts, imaginary relationships, and dialogues of the dead. Creativity, in this form of writing, usually considered merely reproductive, is the subject of this book. The volume takes the history of translation in China, from around 150 CE to the modern period, as its source of case studies. When the first proponents of Buddhism arrived in China, creativity was forced upon them: a vocabulary adequate to their purpose had yet to be invented. A Chinese Buddhist textual corpus took shape over centuries despite the near-absence of bilingual speakers. One basis of this translating activity was the rewriting of existing Chinese philosophical texts, and especially the most exorbitant of all these, the collection of dialogues, fables, and paradoxes known as the Zhuangzi. The Zhuangzi also furnished a linguistic basis for Chinese Christianity when the Jesuit missionary Matteo Ricci arrived in the later part of the Ming dynasty and allowed his friends and associates to frame his teachings in the language of early Daoism. It would function as well when Xu Zhimo translated from The Flowers of Evil in the 1920s. The chance but overdetermined encounter of Zhuangzi and Baudelaire yielded a 'strange music' that retroactively echoes through two millennia of Chinese translation, outlining a new understanding of the translator's craft that cuts across the dividing lines of current theories and critiques of translation.

In this book, both beginning and experienced translators will find pragmatic techniques for dealing with problems of literary translation, whatever the original language. Certain challenges and certain themes recur in translation, whatever the language pair. This guide proposes to help the translator navigate through them. Written in a witty and easy to read style, the book’s hands-on approach will make it accessible to translators of any background. A significant portion of this Practical Guide is devoted to the question of how to go about finding an outlet for one’s translations.

D. S. Carne-Ross (1921-2010) was one of the finest critics of classical literature in English translation after Arnold. More than four decades of Carne-Ross's writings are represented in this volume, which includes criticism of both ancient and modern writers, in addition to historical-critical studies of translation, discriminating analyses of translators widely read today, and investigations in the relationship between translation, criticism, and literary creation. This book will appeal to a wide audience including classicists, specialists in reception and translation studies, students of comparative literature, and literary readers. --