This volume extends and deepens our understanding of Translator Studies by charting new territory in terms of theory, methods and concepts. The focus is on literary translators, their roles, identities, and personalities. The book introduces pertinent translator-centered approaches in four sections: historical-biographical studies, social-scientific and process-oriented methods, and approaches that use paratexts or translations to study literary translators. Drawing on a variety of concepts, such as identity, role, self, posture, habitus, and voice, the various chapters showcase forgotten literary translators and shed new light on some well-known figures; they examine literary translators not as functioning units but as human beings in their uniqueness. Literary Translator Studies as a subdiscipline of Translation Studies demonstrates how exploring the cultural, social, psychological, and cognitive facets of translatorial subjects contributes to a holistic understanding of translation.

This volume presents selected papers from the first symposium on Hermeneutics and Translation Studies held at Cologne in 2011. Translational Hermeneutics works at the intersection of theory and practice. It foregrounds both hermeneutical philosophy and the various traditions -- especially phenomenology -- to which it is indebted, in order to explore the ways in which the individual person figures at the center of the mediating process of translation. Translational Hermeneutics offers alternative ways to understand the process of translating: it is a holistic and strategic process that enhances understanding by assisting the transmission of meaning in and across multiple social and cultural contexts. The papers in this collection accordingly provide a preliminary outline of Translational Hermeneutics. Gathered together, these papers broach a new discipline within Translation Studies. While some essays explain the theoretical foundations of this approach, others concentrate on practical applications in diverse fields, for example literary studies, and postcolonial studies.

First published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

Music! It is the great pleasure of this city, the great occupation of the drawing-rooms, which have banished politics, and which have renounced literature, from ennui. Jules Janin, An American in Paris, 1843 Afternoon and evening entertainments in the drawing rooms of the aristocracy and upper middle classes were a staple of cultural life in nineteenth-century Paris. Music was often a feature of these occasions and private salons provided important opportunities for musicians, especially singers, to develop their careers. Such recitals included excerpts from favourite operas, but also the more traditional forms of French song, the romance and its successor the m die. Drawing on extensive research into the musical press of the period, David Tunley paints a vivid portrait of the nineteenth-century Parisien salons and the performers who sang in them. Against this colourful backdrop, he discusses the development of French romantic song, with its hallmarks of simplicity and clarity of diction. Combined with Italian influences and the impression made by Schubert's songs, the French romance developed into a form with greater complexity - the m die. Salons, Singers and Songs describes this transformation and the seeds it sowed for music by later composers such as Faur Duparc and Debussy.

Eighteenth-century England saw the rise of a "peculiarly English" art form—landscape gardening—and a corresponding change in attitudes toward the antural world. While the French, who lived under tyranny, had a tightly organized, restrictive gardens, the "free" English enjoyed gardens where they were at liberty to wander. John Dixon Hunt examines eighteenth-century letters, literary and critical works, biographies, paintings, prints, and drawings to trace the gradual movement from formal regularity toward a carefully calculated naturalness.