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Edited by
Jean Boase-Beier
University of East Anglia, UK
Antoinette Fawcett
University of East Anglia, UK
and
Philip Wilson
nn University, Turkey
Selection, introduction and editorial content Jean Boase-Beier,
Antoinette Fawcett and Philip Wilson 2014
Remaining chapters Contributors 2014
Foreword Clive Scott 2014
Softcover reprint of the hardcover 1st edition 2014 978-1-137-31004-0
Introduction 1
Jean Boase-Beier, Antoinette Fawcett and Philip Wilson
1 Why Literary Translation is a Good Model for Translation
Theory and Practice 11
Maria Tymoczko
2 Dialogic Spaces and Literary Resonances in the French
Translation of A. S. Byatts Autobiographical Story Sugar 32
Eliana Maestri
3 Cloud Talk: Reading the Shapes in Poetry and What
Becomes of Them 50
George Szirtes
4 The Conservative Era: a Case Study of Historical Comparisons
of Translations of Childrens Literature from English to
Swedish 64
B. J. Epstein
5 Translation in Sixteenth-Century English Manuals for the
Teaching of Foreign Languages 79
Roco G. Sumillera
6 Iconic Motivation in Translation: Where Non-Fiction Meets
Poetry? 99
Christine Calfoglou
7 A Narrative Theory Perspective on the Turkish Translation of
The Bastard of Istanbul 114
Hilal Erkazanci-Durmus
8 Fabre dOlivets Le Troubadour and the Textuality of
Pseudotranslation 134
James Thomas
v
vi Contents
Index 253
List of Figures
vii
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Foreword
ix
x Foreword
For too long traditional and experimental forms of writing have been
seen as separate currents, mistrustful of one another; literary translation
as here envisaged suggests a more intimate and constructive fusion of
the rearguard and the avant-garde, a fusion which has implications for
the very making of translational texts: translation calls for new ways of
imagining text and textual presentation, calls for the harnessing of new
kinds of paratext, or hypertext, new communicational channels; trans-
lation, after all, naturally has urgent business with global technologies.
Clive Scott
Professor Emeritus, University of East Anglia
Fellow of the British Academy
Acknowledgements
Every effort has been made to trace the holders of the copyright for
the literary extracts reproduced in this text. The editors and publishers
would like to thank the following for permission to reproduce copyright
material: A. C. Clarke for granting permissions for a Room wi twa
nebs, a translation of Baudelaires Le chambre double; Paul Batchelor
for granting permissions for The Damned, a poem after Dantes
Inferno (Canto V, 12138); the Museu Histrico Nacional, Rio de
Janeiro, for permission to reproduce an image of the painting Martrio
de Tiradentes, by Francisco Aurlio de Figueiredo e Melo; the Fundao
Museu Mariano Procpio for permission to reproduce an image of the
painting Tiradentes Supliciado, otherwise known as Tiradentes esquarte-
jado by Pedro Amrico; the Cmera Municipla de Ouro Preto for per-
mission to reproduce an image of the painting Leitura da Sentena dos
Inconfidentes by Leopoldino Faria; and to Bloodaxe Books for granting
permissions for quotation from the poem Remembering from Collected
Later Poems 19882000 by R. S. Thomas.
xii
Notes on the Contributors
xiii
xiv Notes on the Contributors
from the same university. She carried out part of her doctoral research as
a one-year Visiting Scholar at the University of Cambridge (2010), and
has conducted postdoctoral research at the Residencia de Estudiantes,
Madrid. Her research interests revolve around translation in the Early
Modern period, Early Modern rhetoric and poetics, and ideas on poetic
invention and imagination in Early Modern times.