Ensemble de contributions qui porte sur les vicissitudes de la traduction du chinois dans les langues européennes depuis trois siècles, sur la diversité des idiomes et des personnages impliqués. Variation aussi, de la proximité du traducteur au texte d’origine, de son empreinte propre, de son époque, du genre choisi et, bien sûr, de la langue cible – ou des langues intermédiaires. Ce parcours à travers un choix de textes littéraires, philosophiques et scientifiques illustre les enjeux réels et fantasmatiques de la relation de la Chine et de l’Europe. Il ne s’agit pas de confrontation, mais bien plutôt, à travers le processus de traduction, d’approfondissement mutuel – ce qui s’observe par exemple quand plusieurs interprétations traditionnelles du texte de départ sont prises en compte.

This book features articles contributed by leading scholars and scholar-translators in Translation Studies and Chinese Studies from around the world. Written in English, the articles examine the translation of classical Chinese literature, from classics to poetry, from drama to fiction, into a range of Asian and European languages including Japanese, English, French, Czech, and Danish. The collection therefore provides a platform for readers to make comparative and critical readings of scholarship across languages, cultures, disciplines, and genres. With its integration of textual and paratextual materials, this collection of essays is of potential interest to not only academics in the area of Translation Studies, Chinese Studies, Literary Studies and Intercultural Communications, but it may also appeal to communities outside the academia who simply enjoy reading about literature.

Translation for the theatre is often considered to hold a marginal status between literary translation and adaptation for the stage. As a result, this book argues that studies of this complex activity tend to take either a textual or performative approach. After exploring the history of translation theory through these lenses, Massimiliano Morini proposes a more totalizing view of 'theatre translation' as the sum of operations required to transform one theatre act into another, and analyses three complex Western case histories in light of this all-encompassing definition. Combining theory with practice, Morini investigates how traditional ideas on translation – from Plautus and Cicero to the early 20th century – have been applied in the theatrical domain. He then compares and contrasts the inherently textual viewpoint of post-humanistic translators with the more performative approaches of contemporary theatrical practitioners, and chronicles the rise of performative views in the third millennium. Positioning itself at the intersection of past and present, as well as translation studies and theatre semiotics, Theatre Translation provides a full diachronic survey of an age-old activity and a burgeoning academic field.

This collection of papers from the first and second international conferences with the above title explores why early sinologists chose certain works for translation in their particular historical contexts, how such works were interpreted, translated, or manipulated, and the impact they made, especially in establishing the discipline of sinology in various countries.

This book surveys influential readings and rewritings of the Chinese literary tradition by Western writers over the past century, from Ezra Pound and Haroldo de Campos to Pearl Buck, Robert van Gullick, Pascal Quignard, and Maxine Hong Kingston.

"This book is a concise introduction to the Scripture of Change, or Yijing (formerly spelled I Ching), for general readers, practitioners of divination, students, and non-specialist scholars. Sometimes called the Book of Changes or Classic of Changes, this ancient Chinese text, with roots going back about three thousand years, has traditionally been considered the most profound of the Chinese "classics." Originally a manual of divination, in the late 1st millennium BCE it accumulated appendices, traditionally attributed to Confucius, that transformed it into a uniquely Chinese expression of wisdom. Through the centuries it has inspired countless commentaries, mostly in China but also throughout East Asia. Since the 20th century it has gained global popularity for both its use in divination and its contribution to the world's wisdom literature"--

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