One of the first books to shine a light on the broad scope of translation studies,
this Routledge Translation Classic is widely regarded as a pillar of the discipline.
Authored by one of the most infl uential translation theorists of the twentieth
century, Translation, Rewriting, and the Manipulation of Literary Fame shows
how rewriting – translation, anthologization, historiography, criticism, editing –
infl uences the reception and canonization of works of literature.
Firmly placing the production and reception of literature within the wider
framework of a culture and its history, Andre Lefevere explores how rewriting
manipulates works of literature to ideological and artistic ends, and demonstrates
how rewriting a text can give it a new, sometimes subversive, historical or
literary status.
Ranging across various literatures, including Classical Latin, French, and
German, and here reissued with a new foreword by Scott G. Williams, this is a
seminal text for all students and specialists in translation studies, literary theory,
and comparative and world literature.

Translation, Rewriting, and the Manipulation of Literary Fame

Notes on Contributors Introduction 1. Culture and Translation - Susan Bassnett (University of Warwick 2. Philosophy and Translation - Anthony Pym (Universitat Rovira i Virgili) 3. Linguistics and Translation - Gunilla Anderman (University of Surrey) 4. History and Translation - Lynne Long (University of Warwick) 5. Literary Translation - Theo Hermans (University College London) 6. Gender and Translation - Luise von Flotow (University of Ottawa) 7. Screen Translation - Eithne O'Connell (Dublin City University) 8. Theatre and Opera Translation - Mary Snell-Hornby (Universitat Wien) 9. Politics and Translation - Christina Schaffner (Aston University, Birmingham)BibliographyIndex

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A Companion to Translation Studies

Re-sculpting a sacred text : towards an acceptable poetic translation of the Psalms – exemplified by Psalms 131 and 150

The field of literature is the field of mimesis. So that it occurs, an object suitable for depiction, a subject that performs it and a language that makes it viable as well as a reader to receive it are imperative. The object to be re-created can be real or virtual and the means for its re-creation is the word. Words aimed at reaching beyond the threshold of real. Throughout the times several forms of representation were created varying, in different ways, the diverse narrative instances. This variation has been attached to the concept of subject and the language usage possibilities that gained momentum at certain periods of art and literature. Clarice Lispector fits in this stream of history and tradition. The conspicuous rational individual subject, the "author" that begins to be outlined in the transition to modernity had, generally speaking, a transparent language as a tool in order to reveal the landscape that unfolded before his eyes. These poles have become more complex through the centuries notwithstanding. The subject showed himself decentralized and fragmented, unknown to his own self. Who narrates? Words had become suspicious. Putting it in words is to annihilate the object? Would it be better to gag what cannot be said? The object showed its opacity and oddness. What would be fitting for depiction? These are the questions – highlighted in this work – that animate Clarice’s oeuvre, notably in her last novels: The stream of life [Água viva], The hour of the star [A hora da estrela] and A breath of life [Um sopro de vida]. The very format of contemporary novel goes parallel and feeds itself on these queries. The structurally classical novel – that envisaged rendering the subjective universe of the individual hero that is born with modernity – was shaken in its rock-steady foundations. A composing manner, which not only continuously intertwines character and narrator and author but also makes use of silence as a vanishing point for the narrative framework as a vortex that seems to drag the writing’s own movement, becomes more acute. The fictional pact alters itself, the silence and word play brings itself to light – central points in the novels analyzed that will be focused through the literature/psychoanalysis interface.

Universidade de são paulo faculdade de filosofia, letras e ciências humanas departamento de teoria literária e literatura comparada

Speakers in many religious traditions have often told parables to arouse listeners to confront their own thoughts, feelings, attitudes, and actions. Because these stories serve both therapeutic and epistemic functions, their study has important implications for the development of rhetorical theory. This essay analyzes parables to explore the rhetorical significance of narration as a form of discourse and as an act of relational communication.

Storytelling and self‐confrontation: Parables as communication strategies

Dark Conceit: The Making Of Allegory

The Poet's Other Voice: Conversations on Literary Translation

Fernando Pessoa is Portugal's most important contemporary poet. He wrote under several identities, which he called heteronyms: Albet Caeiro, Alvaro de Campos, Ricardo Reis, and Bernardo Soares. He wrote fine poetry under his own name as well, and each of his "voices" is completely different in subject, temperament, and style. This volume brings back into print the comprehensive collection of his work published by Ecco Press in 1986.

Edwin Honig

Papers

Dark Conceit: The Making Of Allegory

The Poet's Other Voice: Conversations on Literary Translation

Poems of Fernando Pessoa

Dark Conceit: The Making of Allegory

The Poet's Other Voice: Conversations on Literary Translation