This book shines a light on the practices and professional identities of translators in nineteenth-century France, speaking to the translatorial turn in translation studies which spotlights translators as active agents in the international circulation of texts. The volume charts the sociocultural, legal, and economic developments which paved the way for the development of the professional translation industry in France in the period following the French Revolution through to the First World War. Drawing on archival material from French publishers, institutional archives, and translators’ own discourses, and applying historiographical methodologies, Pickford explores the working conditions of professional translators during this time and the subsequent professional identities which emerged from the collective practice of translation across publishing, business, and government. In its diachronic approach to translators’ practices and identities, the book aims to recover the collective contributions of these translators and, in turn, paves the way for a new approach to “translator history from below”. The volume will appeal to students and scholars in translation studies, particularly those with an interest in literary translation, translation history, and translator practices.

"This book shines a light on the practices and professional identities of translators in nineteenth-century France, speaking to the translatorial turn in translation studies which spotlights translators as active agents in the international circulation of texts. The volume charts the sociocultural, legal, and economic developments which paved the way for the development of the professional translation industry in France in the period following the French Revolution through to the First World War. Drawing on archival material from French publishers, institutional archives, and translators' own discourses, and applying historiographical methodologies, Pickford explores the working conditions of professional translators during this time and the subsequent professional identities which emerged from the collective practice of translation across publishing, business, and government. In its diachronic approach to translators' practices and identities, the book aims to recover the collective contributions of these translators and in turn, paves the way for a new approach to "translator history from below." The volume will appeal to students and scholars in translation studies, particularly those with an interest in literary translation, translation history, and translator practices"--

The city of Paris experienced rapid transformation in the middle of the nineteenth century: the population grew, industry and commerce increased, and barriers between social classes diminished. Innovations in printing and distribution gave rise to new mass-market genres: literary guidebooks known as tableaux de Paris and illustrated physiologies examined urban social types and fashions for a broad audience of Parisians hungry to explore and understand their changing society. The works in this volume offer a lively, humorous tour of the manners and characters of the flâneur (a leisurely wanderer), the grisette (a young working-class woman), the gamin (a street urchin), and more. While the names of authors such as Paul de Kock are no longer familiar, their works still open a window onto a vivid time and place.

Contributing to the current lively discussion of collaboration in French letters, this collection raises fundamental questions about the limits and definition of authorship in the context of the nineteenth century's explosion of collaborative ventures. While the model of the stable single author that prevailed during the Romantic period dominates the beginning of the century, the authority of the speaking subject is increasingly in crisis through the century's political and social upheavals. Chapters consider the breakdown of authorial presence across different constructions of authorship, including the numerous cenacles of the Romantic period; collaborative ventures in poetry through the practice of the "Tombeaux" and as seen in the Album zutique; the interplay of text and image through illustrations for literary works; the collective ventures of literary journals; and multi-author prose works by authors such as the Goncourt brothers and Erckmann-Chatrian. Interdisciplinary in scope, these essays form a cohesive investigation of collaboration that extends beyond literature to include journalism and the relationships and tensions between literature and the arts. The volume will interest scholars of nineteenth-century French literature, and more generally, any scholar interested in what's at stake in redefining the role of the French author

In this rich historical study, Maurice Friedberg recounts the impact of translation on the Russian literary process. In tracing the explosion of literary translation in nineteenth-century Russia, Friedberg determines that it introduced new issues of cultural, aesthetic, and political values. Beginning with Pushkin in the early nineteenth century, Friedberg traces the history of translation throughout the lives of Dostoevsky, Tolstoy, and, more recently, Pasternak. His analysis includes two translators who became Russia's leading literary figures: Zhukovsky, whose renditions of German poetry became famous, and Vvedensky, who introduced Charles Dickens to Russia. In the twentieth century, Friedberg points to Pasternak's Faust to show how apolitical authors welcomed free translation, which offered them an alternative to the original writing from which they had been banned by Soviet authorities. By introducing Western literary works, Russian translators provided new models for Russian literature. Friedberg discusses the usual battles fought between partisans of literalism and of free translation, the influence of Stalinist Soviet government on literary translation, and the political implications of aesthetic clashes. He also considers the impetus of translated Western fiction, poetry, and drama as remaining links to Western civilization during the decades of Russia's isolation from the West. Friedberg argues that literary translation had a profound effect on Russia by helping to erode the Soviet Union's isolation, which ultimately came to an end with the dissolution of the Soviet Union in 1991.

A consideration of Petrarch's influence on, and appearance in, French texts - and in particular, his appropriation by the Avignonese. Was Petrarch French? This book explores the various answers to that bold question offered by French readers and translators of Petrarch working in a period of less well-known but equally rich Petrarchism: the nineteenth century. It considers both translations and rewritings: the former comprise not only Petrarch's celebrated Italian poetry but also his often neglected Latin works; the latter explore Petrarch's influence on and presence in French novels aswell as poetry of the period, both in and out of the canon. Nineteenth-century French Petrarchism has its roots in the later part of the previous century, with formative contributions from Voltaire, Rousseau, and, in particular, the abbé de Sade. To these literary catalysts must be added the unification of Avignon with France at the Revolution, as well as anniversary commemorations of Petrarch's birth and death celebrated in Avignon and Fontaine-de-Vaucluse across the period (1804-1874-1904). Situated at the crossroads of reception history, medievalism, and translation studies, this investigation uncovers tensions between the competing construction of a national, French Petrarch and a local, Avignonese or Provençal poet. Taking Petrarch as its litmus test, this book also asks probing questions about the bases of nationality, identity, and belonging. Jennifer Rushworth is a Junior Research Fellowat St John's College, Oxford.

Translation is a rapidly developing subject of study, especially in China, Australia, Europe and the USA. This Handbook offers an accessible and authoritative account of the many facets of this buoyant discipline, intended for students, teachers and scholars of translation studies, modern languages, linguistics, social studies and literary studies.

In her book, Pamela Genova suggests that as critics move in general from a literal to a more metaphoric understanding and presentation of Japonisme, the mutability of the phenomenon is highlighted in a rich and illuminating manner. By exploring the conditions of the creation of these works, accenting the original aims of the artists, the manipulations carried out by art dealers, gallery owners, and boutique managers, as well as the gestures of explanation, interpretation, and judgment offered by the professional and amateur critics, Japonisme takes on an even more versatile nature. Further, a complex web of correspondence germinates among these artists—both French and Japanese—and their many critics. It is in this light that the truly rich character of Japonisme comes forth, since the undesirability, even the impossibility of the attempt to reduce it to a single genre, style, era, or cultural cadre attests to its elusiveness and its Protean nature. Japonisme does not correspond to a single dictionary definition, no matter how subtle or self-aware that definition might be. By situating the dynamics of Japonisme as a response on the part of French culture to the culture of Japan, we gain a keener sense of the multiplicity of modern French sensibility itself, of how the awareness of a nation’s language, history, and art forms can be creatively reflected in the images of a culture seemingly radically different from its own.

This one-volume Encyclopedia covers both the conceptual framework and history of translation. Organised alphabetically for ease of access, a team of experts from around the world has been gathered together to provide unique, new insights.