One into Many: Translation and the Dissemination of Classical Chinese Literature is the first anthology of its kind in English that deals in depth with the translation of Chinese texts, literary and philosophical, into a host of Western and Asian languages: English, French, German, Dutch, Italian, Spanish, Swedish, Hebrew, Slovak and Korean. After an introduction by the editor, in which multiple translations are compared to the many lives lived by the original in its new incarnations, thirteen articles are presented in three different sections. The first, Beginnings, comprises three articles that give accounts of how the earliest European translations of Chinese texts were undertaken. In Texts, four articles examine, separately, translated classical Chinese texts in the three genres of poetry, the short story and the novel. Constituting the third section are six articles addressing the different traditions into which Chinese literature has been translated over the centuries. Rounding off the whole anthology is a discussion of the culturalist perspective in which translations of the Chinese classics have been viewed in the past decade or so. A glossary and an index at the back provide easy reference to the reader interested in the source materials and allow him to undertake research in a rich area that is still not adequately explored.
The present volume of Critical Studies is a collection of selected essays on the topic of feminism and femininity in Chinese literature. Although feminism has been a hot topic in Chinese literary circles in recent years, this remarkable collection represents one of the first of its kind to be published in English. The essays have been written by well-known scholars and feminists including Kang-I Sun Chang of Yale University, and Li Ziyun, a writer and feminist in Shanghai, China. The essays are inter- and multi-disciplinary, covering several historical periods in poetry and fiction (from the Ming-Qing periods to the twentieth century). In particular, the development of women’s writing in the New Period (post-1976) is examined in depth. The articles thus offer the reader a composite and broad perspective of feminism and the treatment of the female in Chinese literature. As this remarkable new collection attests, the voices of women in China have begun calling out loudly, in ways that challenge prevalent views about the Chinese female persona.