In their dialogue, Peter Hajdu and Meng Xiangchun focus on the integration of national literature into world literature and the roles of translation and ideology in the process. Peter Hajdu＇s major ideas include： 1...In their dialogue, Peter Hajdu and Meng Xiangchun focus on the integration of national literature into world literature and the roles of translation and ideology in the process. Peter Hajdu＇s major ideas include： 1） the selection of a foreign piece of literature mostly depends on the target culture＇s demands, of which the reception of Petbfi Soindor＇s ＂Liberty and Love＂ is a good example; 2） it is usual that smaller literary communities translate from another smaller community＇s literature what already had a success in a major market. Peripheries do not communicate directly, but via a center, and this practice also reinforces the privileged position of the center; 3） the hermeneutic circle may help us understand domestication and foreignization in translation. We understand something strange though the familiar and complete strangeness cannot be understood. Therefore it is theoretically possible that making something more familiar helps one understand its otherness; 4） Readers of translatedcontemporary Chinese literature tend to be particularly interested in the representation of social reality and political/ideological issues; and 5） Mo Yan＇s works travel well because they also make use of various Western literary traditions. Meng Xiangchun puts forward a theory that he tentatively terms ＂the theory of translation dynamics＂ or ＂translation interactology＂ and it will focus on how the numerous factors and considerations in translation act on one another within the target/source language and across languages. Within the framework of translation dynamics, he offers a descriptive parallel comparative 7W approach to integrated translation studies by juxtaposing the 7Ws of the original and target texts and identifying/decoding the nexus among these Ws vertically （of both the original text and the target text） and horizontally （within the same text）, the 7Ws referring to ＂in what context for what who says what to whom in what way with what effect and feedback＂.展开更多
For writers,cultural differences are a constant source of inspiration.As the world becomes more like a global village,Chinese writers are eager to communicate with foreign readers through their works.This communicatio...For writers,cultural differences are a constant source of inspiration.As the world becomes more like a global village,Chinese writers are eager to communicate with foreign readers through their works.This communication,however,is展开更多
The Australian avant-garck raises all the contradictions of avant-garde studies in the present time.Antipodal vanguards in the 20th and 21 st centuries would grapple with various aspects of Australian national history...The Australian avant-garck raises all the contradictions of avant-garde studies in the present time.Antipodal vanguards in the 20th and 21 st centuries would grapple with various aspects of Australian national history,being in various ways and times between East and West,the aligned and non-aligned,the political and geopolitical in poetics.The word"Australia,"from the Latin auster,contains meanings for"East."Most importantly,the Antipodal vanguard exposes the contradictions of Australia’s imperial-colonial past and the struggle to overcome it.In this essay,1 begin with the example of a"Dada"poem that comes from an Aboriginal rain dance,as well as the emergence of Dada poetics from the 1950s to the 1970s.Throughout I keep complexities of history and time at the forefront:what is the worth of a"marginal"national literary history of the avant-garde?What does the avant-garde mean outside Europe or the Euro-US?What can Australian Dadaism tell us about the future of avant-garde studies?Docs the avant-garde always lead to nostalgia,or"Austalgia,"a hearkening after the past,as much as a striving toward the future?展开更多
文摘In their dialogue, Peter Hajdu and Meng Xiangchun focus on the integration of national literature into world literature and the roles of translation and ideology in the process. Peter Hajdu＇s major ideas include： 1） the selection of a foreign piece of literature mostly depends on the target culture＇s demands, of which the reception of Petbfi Soindor＇s ＂Liberty and Love＂ is a good example; 2） it is usual that smaller literary communities translate from another smaller community＇s literature what already had a success in a major market. Peripheries do not communicate directly, but via a center, and this practice also reinforces the privileged position of the center; 3） the hermeneutic circle may help us understand domestication and foreignization in translation. We understand something strange though the familiar and complete strangeness cannot be understood. Therefore it is theoretically possible that making something more familiar helps one understand its otherness; 4） Readers of translatedcontemporary Chinese literature tend to be particularly interested in the representation of social reality and political/ideological issues; and 5） Mo Yan＇s works travel well because they also make use of various Western literary traditions. Meng Xiangchun puts forward a theory that he tentatively terms ＂the theory of translation dynamics＂ or ＂translation interactology＂ and it will focus on how the numerous factors and considerations in translation act on one another within the target/source language and across languages. Within the framework of translation dynamics, he offers a descriptive parallel comparative 7W approach to integrated translation studies by juxtaposing the 7Ws of the original and target texts and identifying/decoding the nexus among these Ws vertically （of both the original text and the target text） and horizontally （within the same text）, the 7Ws referring to ＂in what context for what who says what to whom in what way with what effect and feedback＂.
文摘For writers,cultural differences are a constant source of inspiration.As the world becomes more like a global village,Chinese writers are eager to communicate with foreign readers through their works.This communication,however,is
文摘The Australian avant-garck raises all the contradictions of avant-garde studies in the present time.Antipodal vanguards in the 20th and 21 st centuries would grapple with various aspects of Australian national history,being in various ways and times between East and West,the aligned and non-aligned,the political and geopolitical in poetics.The word"Australia,"from the Latin auster,contains meanings for"East."Most importantly,the Antipodal vanguard exposes the contradictions of Australia’s imperial-colonial past and the struggle to overcome it.In this essay,1 begin with the example of a"Dada"poem that comes from an Aboriginal rain dance,as well as the emergence of Dada poetics from the 1950s to the 1970s.Throughout I keep complexities of history and time at the forefront:what is the worth of a"marginal"national literary history of the avant-garde?What does the avant-garde mean outside Europe or the Euro-US?What can Australian Dadaism tell us about the future of avant-garde studies?Docs the avant-garde always lead to nostalgia,or"Austalgia,"a hearkening after the past,as much as a striving toward the future?
