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Translating Totality in Parts offers an annotated translation of two of preeminent Chinese Tang dynasty monk Chengguan’s most revered masterpieces. With this book, Chengguan’s Commentaries to the Avatamsaka Sutra and The Meanings Proclaimed in the Subcommentaries Accompanying the Commentaries to the Avatamsaka Sutra are finally brought to contemporary Western audiences. Translating Totality in Parts allows Western readers to experience Chengguan’s important contributions to the religious and philosophical theory of the Huayan and Buddhism in China.
This book is based on the discussions carried out in two seminars on the translation of children’s literature, coordinated by Maria González Davies and led by Riitta Oittinen. The main focus finally revolved around four questions: a) Tackling the challenges posed by translating children’s literature, both picturebooks and books with illustrations, and the range of strategies available to solve specific issues; b) the special characteristics involved in reading aloud, its emotional dimension, and the sphere it occupies between private and public reading; c) the interpretation and manipulation of child images; and, d) the role of the translator, publishers and mediators as active or passive agents whose decisions may finally mirror the images projected by the authors of the source books. This volume is also professionally-oriented and presents examples that underline the interaction between theory and practice. The topics range from Bible translation, to translating the classics, such as Beatrix Potter’s tales and fairytales, fantasy worlds for young adults as depicted in Tolkien’s The Lord of the Rings, or novels such as those by Christine Nöstlinger, as well as stories with a psychological and social function such as the African war tales. Finally, it includes didactic applications that help enhance an awareness of the issues involved.
In this volume, eminent poet, scholar and translator Willis Barnstone explores the history and theory of literary translations as an art form. Arguing that literary translation goes beyond the transfer of linguistic information, Barnstone emphasizes that the translation contains as much imaginative originality as the source text.
The late poet and memoirist Czeslaw Milosz wrote, "I am enchanted. This book is graceful and profound." Since its publication in 1989, many other readers across the world have been enchanted by Lost in Translation: A Life in a New Language, a classic of exile and immigrant literature, as well as a girl’s coming-of-age memoir. Lost in Translationmoves from Hoffman's childhood in Cracow, Poland to her adolescence in Vancouver, British Columbia to her university years in Texas and Massachusetts to New York City, where she becomes a writer and an editor at the New York Times Book Review. Its multi-layered narrative encompasses many themes: the defining power of language; the costs and benefits of changing cultures, the construction of personal identity, and the profound consequences, for a generation of post-war Jews like Hoffman, of Nazism and Communism. Lost in Translation is, as Publisher's Weekly wrote, "a penetrating, lyrical memoir that casts a wide net," challenges its reader to reconsider their own language, autobiography, cultures, and childhoods. Lost in Translation was first published in the United States in 1989. Hoffman’s subsequent books of literary non-fiction include Exit into History, Shtetl, After Such Knowledge, Time and two novels, The Secret and Appassionata. "Nothing, after all, has been lost; poetry this time has been made in and by translation." — Peter Conrad, The New York Times "Handsomely written and judiciously reflective, it is testimony to the human capacity not merely to adapt but to reinvent: to find new lives for ourselves without forfeiting the dignity and meaning of our old ones." — Jonathan Yardley, Washington Post "As a childhood memoir, Lost in Translation has the colors and nuance of Nabokov'sSpeak, Memory. As an account of a young mind wandering into great books, it recalls Sartre's Words. … As an anthropology of Eastern European émigré life, American academe and the Upper West Side of Manhattan, it's every bit as deep and wicked as anything by Cynthia Ozick. … A brilliant, polyphonic book that is itself an act of faith, a Bach Fugue." — John Leonard, Harper’s Magazine
In the years 1884-1897 Rudolf Steiner edited Goethe's scientific writings for the series "German National Literature" of the publisher Kürschner. In Goethe's works, each individual experience is not an end in itself, but serves to substantiate a single, great idea: the unceasing harmonious becoming of the universe, revealed in this volume. "The dominant influence in Steiner's life was that of Goethe. In 1833 he was invited to edit Goethe's scientific writings for the planned canonical edition, and his first publications, dating from 1866, are on Goethe. In 1890 he left Vienna and for six years went to work at the Goethe Archives in Weimar, strong not only in an orthodox culture that the following year would earn him a degree in philosophy at Rostock, but also in a very large body of general knowledge about all known disciplines." James Webb