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  • Translation Studies x

Shaden M. Tageldin

, feared (in the voice of an English translation of a history of German literature!) for the dilution of aesthetic particularity that such a métissage might portend, insofar as it erodes “literariness” and thus, paradoxically, homogenizes “literature.” By 1926, world literature assumes, for Abū Shādī, a

Multilingual Novel

Anticlimax and the Real of World Literature

Matylda Figlerowicz

, atsegina izan nahi zuena. – Fuck you . Atseginez erantzun zion, erdi barrez, begietara so. Gizona nahasturik geratu zen. ‘ Perdona ’, murmuriatuz, ‘ pero no hablo euskera ’. Metalezko ikurrina baten distira zuen paparrean. 399–400 – Qué andamos . [How is it going.] The neutral voice, without an accent

Vedran Ćatović

that, good intentions notwithstanding, may not always prove capable of accommodating all the different cultural and creative positionalities, and providing an all-inclusive platform for wildly different literary voices and phenomena. Take for example the rich and important literary production of the

Whirls of Faith and Fancy

House Symbolism and Sufism in Elif Shafak’s The Flea Palace

Verena Laschinger

contemporary Istanbul against the backdrop of modern Turkish political history. The narrative voice clearly takes a critical stance in employing the apartment plot in conjunction with the garbage theme, which bespeaks the novel’s grotesque mode. Especially in the main part, the disintegrated and foulsmelling

Intersecting Imperialisms

The Rise and Fall of Empires in Richard Flanagan’s The Narrow Road to the Deep North

Ben Holgate

written from the perspective of the ancient Greek king Odysseus, a leader in the Trojan War, who decides late in life to reject idleness and travel again. Dorrigo specifically reads Tennyson’s lines: The long day wanes: the slow moon climbs: the deep Moans round with many voices. Come, my friends, ’Tis

Shakespeare as German Author

Reception, Translation Theory, and Cultural Transfer


Edited by John A. McCarthy

Shakespeare as German Author, edited by John McCarthy, revisits in particular the formative phase of German Shakespeare reception 1760-1830. Following a detailed introduction to the historical and theoretical parameters of an era in search of its own literary voice, six case studies examine Shakespeare’s catalytic role in reshaping German aesthetics and stage production. They illuminate what German speakers found so appealing (or off-putting) about Shakespeare’s spirit, consider how translating it nurtured new linguistic and aesthetic sensibilities, and reflect on its relationship to German Geist through translation and cultural transfer theory. In the process, they shed new light, e.g., on the rise of Hamlet to canonical status, the role of women translators, and why Titus Andronicus proved so influential in twentieth-century theater performance.

Contributors are: Lisa Beesley, Astrid Dröse, Johanna Hörnig, Till Kinzel, John A. McCarthy, Curtis L. Maughan, Monika Nenon, Christine Nilsson.


Adam Parr

you able to tell your chest from your back, and your right hand from your left? Reply.” Some laughter was at first the only response he received, but as he remained silent and serious, the ladies answered in a single voice: “Yes, of course.” “That being the case,” Sunzi resumed, remember well


Adam Parr

. than anything that the missionaries could send us of their own composition.” 146 The emphasis on utility as well as aesthetic value will reappear in Amiot’s work. Bertin’s audience wants to hear the voices of “their painters, their critics, their orators, authors, and artists.” He instructs the

Ellipses of Cultural Diplomacy

The 1957 Chinese Literary Sphere in Hindi

Adhira Mangalagiri

considered to have voiced dissent under the Hundred Flowers banner were now labelled “Rightists,” leading to a large-scale persecution of intellectuals. It was this restrictive literary atmosphere – one of heightened censorship, insecurity, and paranoia – that Dinkar entered in China. Dinkar’s case

The Uneven Travels of World Literature

On Creole and Untranslatability in Sam Selvon’s The Lonely Londoners and Miriam Mandelkow’s Die Taugenichtse

Birgit Neumann

of English literature “into [Anglophone] world literatures” (Rupp 148), The Lonely Londoners is one of the first novels that consistently uses the vernacular both on the level of story and discourse to give voice to previously silenced black migrants. To this end, Selvon has crafted a poetically