In the late Qing period, from the Opium War to the 1911 revolution, China absorbed the initial impact of Western arms, manufactures, science and culture, in that order. This volume of essays deals with the reception of Western literature, on the evidence of translations made. Having to overcome Chinese assumptions of cultural superiority, the perception that the West had a literature worth notice grew only gradually. It was not until the very end of the 19th century that a translation of a Western novel ("La dame aux camelias") achieved popular acclaim. But this opened the floodgates: in the first decade of the 20th century, more translated fiction was published than original fiction.The core essays in this collection deal with aspects of this influx according to division of territory. Some take key works (e.g. Stowe s "Uncle Tom s Cabin, " Byron s The Isles of Greece ), some sample genres (science fiction, detective fiction, fables, political novels), the common attention being to the adjustments made by translators to suit the prevailing aesthetic, cultural and social norms, and/or the current needs and preoccupations of the receiving public. A broad overview of translation activities is given in the introduction.To present the subject in its true guise, that of a major cultural shift, supporting papers are included to fill in the background and to describe some of the effects of this foreign invasion on native literature. A rounded picture emerges that will be intelligible to readers who have no specialized knowledge of China.

Kirsten Malmkjær argues that translating can and should be considered a valuable art form. Examining notions of creativity and their relationship with translation and focusing on how the originality of translation is manifest in texts, the author explores a range of texts and their translations, in order to illustrate original as opposed to derivative translation. With reference to thirty translators’ discourses on their source texts and the author’s own experience of translating a short text, Malmkjær explores the theory of creativity, philosophical aesthetics, the philosophy of language, experimental and theoretical translation studies, and translators’ discourses on their work. Showing the relevance of these varied topics to the study of translating and translations underlines their complexity and the immensity of understanding that is regularly invested in translations. This work proposes a complete rethinking of the concepts of creativity and originality, as applied to translation, and is vital reading for advanced students and researchers in translation studies and comparative literature.

In their introduction to this collection of essays, the editors argue that constraints can be seen as a source of literary creativity, and given that translation is even more constrained than 'original' literary production, it thus has the potential to be even more creative too. The ten essays that follow outline ways in which translators and translations are constrained by poetic form, personal histories, state control, public morality, and the non-availability of comparable target language subcodes, and how translator creativity may-or may not-overcome these constraints. Topics covered are: Baudelaire's translation practices; bowdlerism in translations of Voltaire, Boccaccio and Shakespeare, among others; Leyris's translations of Gerard Manley Hopkins; ideology in English-Arabic translation; the translation of censored Greek poet Rhea Galanaki; theatre translation; Nabokov and translation; gay translation; Moratín's translation of Hamlet; and state control of translation production in Nazi Germany. The essays are mostly highly readable, and often entertaining.

Space ads in America, Commonweal, Living Church, Living City; Feature in ASpirit of Books@ catalog (120,000); Feature in Theological Best Books catalog (90,000); Extensive review campaign; Direct mailings to house list (monthly); E-mail marketing to selected consumer and academic lists

This translation of Genesis 1-11 follows the Hebrew text closely and leaves in what many translations leave out: physicality, ambiguity, repetition, even puns. Bray and Hobbins also draw deeply from the long history of Jewish and Christian interpretation. Their translation and notes offer the reader wisdom and delight. - Back cover.

"The author recalls how, after becoming very familiar with the Biblical Old Testament in its original Hebrew growing up, an encounter with an English language version led her on a ten-year project of examining various translations of the Old Testament and their histories, "--Novelist.

The six articles that comprise Book 2, Distinction 1, Question 1 of Aquinas' Writings on the "Sentences" of Peter Lombard represent his earliest and most succinct account of creation. These texts contain the essential Thomistic doctrines on the subject, and are here translated into English for the first time, along with an introduction and analysis. In Article One Aquinas argues, against Manichean dualism, that there is one ultimate cause of all created being; in so doing he gives three proofs for the existence of the Creator and the essential features of his answer to the problem of evil. Thomas establishes his definition of creation in Article Two, providing the needed distinctions between philosophical and theological senses of creation. Emanationism and the problem of whether there can be any intermediary causes in God's act of creation are the subject of Article Three. The next article demonstrates that although God is the cause of all created being, nevertheless creatures are true causes in nature. Article Five argues that it is from revelation alone that we know that the world had a temporal beginning, and that the philosophical arguments that purport to show either the necessity or impossibility of the temporal beginning are not persuasive. A detailed exposition of the meaning of the first sentence of the Bible, "In the beginning God created the heavens and the earth," follows in Article Six.