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Presents a study in 18th century English literature to give a clear and accurate description of a distinct component featuring Asian influences.
Publisher to the Decadents chronicles the experiences of Leonard Smithers (1861-1907), a key figure in the literary culture of late Victorian England. In his day he was known primarily for publishing books of upscale pornography. He became the publisher of choice for the Decadents, including most notably Oscar Wilde and Audrey Beardsley. While a young solicitor in his native Sheffield, Smithers established a correspondence with the famed explorer and translator of exotic texts, Captain Sir Richard Burton. Burton translated The Thousand Nights and a Night (popularly known as The Arabian Nights), which was published by Smithers in 1885. Smithers collaborated with Burton in the publication of two Latin texts, the Priapeia and the Carmina of Catullus, both of erotic cast. After the death of Burton in 1890, Smithers continued a significant involvement with his work, serving as an adviser to Lady Isabel Burton. During this time Smithers formed a partnership with Harry Sidney Nichols, and together they produced a series of pornographic books under the imprint of the Erotika Biblion Society. The years between 1895 and 1900 were Smithers's glory years when he managed to publish a number of books illustrated by Beardsley, a magazine known as the Savoy, and books of verse by Ernest Dowson and Arthur Symons that have proved to be the finest expression of the Decadent Movement. Throughout his career Smithers sought to produce attractive, well-made books that were tastefully designed and printed. This book provides expansive insight into the prizes and pitfalls of an early English publisher of the decadent Nineties.
A record of literary properties sold at auction in the United States.
James St. André applies the perspective of cross-identity performance to the translation of a wide variety of Chinese texts into English and French from the eighteenth to the twentieth centuries. Drawing on scholarship in cultural studies, queer studies, and anthropology, the author argues that many cross-identity performance techniques, including blackface, passing, drag, mimicry, and masquerade, provide insights into the history of translation practice. He makes a strong case for situating translation in its historical, social, and cultural milieu, reading translated texts alongside a wide variety of other materials that helped shape the image of “John Chinaman.” A reading of the life and works of George Psalmanazar, whose cross-identity performance as a native of Formosa enlivened early eighteenth-century salons, opens the volume and provides a bridge between the book’s theoretical framework and its examination of Chinese-European interactions. The core of the book consists of a chronological series of cases, each of which illustrates the use of a different type of cross-identity performance to better understand translation practice. St. André provides close readings of early pseudotranslations, including Marana’s Turkish Spy (1691) and Goldsmith’s Citizen of the World (1762), as well as adaptations of Hatchett’s The Chinese Orphan (1741) and Voltaire’s Orphelin de la Chine (1756). Later chapters explore Davis’s translation of Sorrows of Han (1829) and genuine translations of nonfictional material mainly by employees of the East India Company. The focus then shifts to oral/aural aspects of early translation practice in the nineteenth century using the concept of mimicry to examine interactions between Pidgin English and translation in the popular press. Finally, the work of two early modern Chinese translators, Gu Hongming and Lin Yutang, is examined as masquerade. Offering an original and innovative study of genres of writing that are traditionally examined in isolation, St. André’s work provides a fascinating examination of the way three cultures interacted through the shifting encounters of fiction, translation, and nonfiction and in the process helped establish and shape the way Chinese were represented. The book represents a major contribution to translation studies, Chinese cultural studies, postcolonial studies, and gender criticism.