In translating Charles Perrault's seventeenth-century Histoires ou contes du temps passé, avec des Moralités into English, Angela Carter worked to modernize the language and message of the tales before rewriting many of them for her own famous collection of fairy tales for adults, The Bloody Chamber, published two years later. In Reading, Translating, Rewriting: Angela Carter's Translational Poetics, author Martine Hennard Dutheil de la Rochère delves into Carter's The Fairy Tales of Charles Perrault (1977) to illustrate that this translation project had a significant impact on Carter's own writing practice. Hennard combines close analyses of both texts with an attention to Carter's active role in the translation and composition process to explore this previously unstudied aspect of Carter's work. She further uncovers the role of female fairy-tale writers and folktales associated with the Grimms' Kinder- und Hausmärchen in the rewriting process, unlocking new doors to The Bloody Chamber. Hennard begins by considering the editorial evolution of The Fairy Tales of Charles Perrault from 1977 to the present day, as Perrault's tales have been rediscovered and repurposed. In the chapters that follow, she examines specific linkages between Carter's Perrault translation and The Bloody Chamber, including targeted analysis of the stories of Red Riding Hood, Bluebeard, Puss-in-Boots, Beauty and the Beast, Sleeping Beauty, and Cinderella. Hennard demonstrates how, even before The Bloody Chamber, Carter intervened in the fairy-tale debate of the late 1970s by reclaiming Perrault for feminist readers when she discovered that the morals of his worldly tales lent themselves to her own materialist and feminist goals. Hennard argues that The Bloody Chamber can therefore be seen as the continuation of and counterpoint to The Fairy Tales of Charles Perrault, as it explores the potential of the familiar stories for alternative retellings. While the critical consensus reads into Carter an imperative to subvert classic fairy tales, the book shows that Carter valued in Perrault a practical educator as well as a proto-folklorist and went on to respond to more hidden aspects of his texts in her rewritings.

Lefevere explores how the process of rewriting works of literature manipulates them to ideological and artistic ends, so that the rewritten text can be given a new, sometimes subversive, historical or literary status.

In Translation and Rewriting in the Age of Post-Translation Studies, Edwin Gentzler argues that rewritings of literary works have taken translation to a new level: literary texts no longer simply originate, but rather circulate, moving internationally and intersemiotically into new media and forms. Drawing on traditional translations, post-translation rewritings and other forms of creative adaptation, he examines the different translational cultures from which literary works emerge, and the translational elements within them. In this revealing study, four concise chapters give detailed analyses of the following classic works and their rewritings: A Midsummer Night’s Dream in Germany Postcolonial Faust Proust for Everyday Readers Hamlet in China. With examples from a variety of genres including music, film, ballet, comics, and video games, this book will be of special interest for all students and scholars of translation studies and contemporary literature.

In Translation and Rewriting in the Age of Post-Translation Studies, Edwin Gentzler argues that rewritings of literary works have taken translation to a new level: literary texts no longer simply originate, but rather circulate, moving internationally and intersemiotically into new media and forms. Drawing on traditional translations, post-translation rewritings and other forms of creative adaptation, he examines the different translational cultures from which literary works emerge, and the translational elements within them. In this revealing study, four concise chapters give detailed analyses of the following classic works and their rewritings: A Midsummer Night’s Dream in Germany Postcolonial Faust Proust for Everyday Readers Hamlet in China. With examples from a variety of genres including music, film, ballet, comics, and video games, this book will be of special interest for all students and scholars of translation studies and contemporary literature.

WITH AN INTRODUCTION BY HELEN SIMPSON From familiar fairy tales and legends âe" Red Riding Hood, Bluebeard, Puss in Boots, Beauty and the Beast, vampires and werewolves âe" Angela Carter has created an absorbing collection of dark, sensual, fantastic stories.

KAT LOMB (1909-2003) was one of the great polyglots of the 20th century. A translator and one of the first simultaneous interpreters in the world, Lomb worked in 16 languages for state and business concerns in her native Hungary. She achieved further fame by writing books on languages, interpreting, and polyglots. Polyglot: How I Learn Languages, first published in 1970, is a collection of anecdotes and reflections on language learning. Because Dr. Lomb learned her languages as an adult, after getting a PhD in chemistry, the methods she used will be of particular interest to adult learners who want to master a foreign language.

This book explores the ways in which translation deals with sexual and textual undecidability, adopting an interdisciplinary approach bridging translation, transgender studies, and queer studies in analyzing the translations of six texts in English, French, and Spanish labelled as ‘trans.’ Rose draws on experimental translation methods, such as the use of the palimpsest, and builds on theory from areas such as philosophy, linguistics, queer studies, and transgender studies and the work of such thinkers as Derrida and Deleuze to encourage critical thinking around how all texts and trans texts specifically work to be queer and how queerness in translation might be celebrated. These texts illustrate the ways in which their authors play language games and how these can be translated between languages that use gender in different ways and the subsequent implications for our understanding of the act of translation and how we present our gender identity or identities. In showing what translation and transgender identity can learn from one another, Rose lays the foundation for future directions for research into the translation of trans identity, making this book key reading for scholars in translation studies, transgender studies, and queer studies.