1,722,648 research outputs found
Correspondencia entre Lin Shu y Cai Yuanpei relativa al movimiento de la nueva cultura (marzo-abril, 1919)
No full textLin Shu 林紓 (8 de noviembre de 1852-9 de octubre de 1924),² nombre de cortesía Qinnan 琴南, literato y traductor nacido en Nantai 南台, en la antigua prefectura Min 閩 (actual Fuzhou 福州, Fujian), en el seno de una familia de comerciantes con escasos recursos económicos. Ya desde los cuatro años comenzó su formación en los clásicos confucianos, que fue fundamentalmente autodidacta y dependió en gran medida de los pocos textos que conservaba su tío, así como de libros usados que el joven Lin Shu compraba con el dinero que su madre le daba para comer. Comenzó con veinte años su carrera docente en una escuela local, preparándose mientras tanto para los exámenes imperiales. No fue sino hasta los 40 años de edad que Lin Shu entró en contacto con la literatura de las dinastías Tang y Song, influencia decisiva en su posterior tarea de traductor. Con el fallecimiento de su primera esposa, en 1897, Lin Shu, aconsejado por varios amigos, inició la traducción de La Dama de las Camelias de Alejandro Dumas. La novela apareció publicada en la primavera de 1899 y constituyó una revolución literaria en todo el país. A partir de entonces, Lin Shu se convirtió en el traductor por excelencia, y llegó a publicar, se estima, 213 traducciones de obras occidentales.³ Esta cuantiosa producción literaria era fruto del esfuerzo mutuo de un grupo de amigos versados en lenguas extranjeras que traducían oralmente a la lengua vernácula o baihua 白話 estas novelas, para ser inmediatamente reescritas en lengua culta o wenyan 文言 por Lin Shu
Recasting Lin Shu: A Cultural Approach to Literary Translation
No full textThis thesis is a re-evaluation of Lin Shu (1852-1924) and his literary translations. Lin Shu is one of China’s most influential translators. He initiated modern literary translation in China, and his translations imported new ideas, literary concepts, styles and techniques from the West. These, in turn, influenced the emergence and development of modern Chinese literature. Nevertheless, Lin Shu and his translations have been belittled and even dismissed for various reasons over the years. The emergence and development of target/culture-oriented translation theories offer the possibility of re-assessing Lin Shu and his translations. The re-assessment of Lin Shu and his translations in this study is based on target/culture-oriented translation theories, which emerged in the 1970s. Target/culture-oriented translation theories focus on the mutual influence between a translation and its target culture, especially on the influence of a translation on the target culture and readers as a criterion for successful translation rather than examining whether the target text is faithful to the source text, as in the traditional linguistic approach. These target/culture-oriented theories can effectively explain the translational phenomenon of Lin Shu, as Lin Shu translated with the needs of the target culture and readers in mind. He attached great importance to the cultural function and influence of his translations during a period of historical transition in China. The criticisms of Lin Shu and his translations in China and elsewhere have largely been negative, often highlighting political issues - his endorsement of the constitutional Qing monarchy and his conservative attitude to the New Culture Movement - as well as his free translation method. Target/culture-oriented translation theories offer a framework for the re-assessment of Lin Shu and his translations that bypasses these narrow approaches. Adopting target/culture-oriented translation theories, this thesis examines Lin Shu’s translations in a trans-cultural context. Lin Shu based his translations on the needs for the Chinese culture and readers of that time, which was clearly embodied in his choice of, and response to, the originals works. The prefaces and postscripts that he wrote for his translations illustrate the new cultural and literary factors that Lin Shu introduced into China. In this respect, Lin Shu’s translation of La Dame aux Camelia is perhaps the most famous case study of his translation method. Through a comparative analysis of the Target Text (TT) and Source Text (ST), the thesis discusses the ‘truthfulness’ of Lin Shu’s translation, and stresses that ‘truthfulness’ lies in seeking poetic equivalence rather than formal equivalence between the target and source texts. We argue that poetic equivalence is similar to Nida’s principle of correspondence, but is beyond his dynamic equivalence. It lays special stress on literary or aesthetic equivalence. Poetic equivalence in Lin Shu’s translations relates to the stylistic expression in China’s literary language and is therefore intrinsic to sinicization. Lin Shu’s skill in classical Chinese is central to our notion of poetic equivalence. However, I argue that Lin Shu’s translation strategy is actually also beyond equivalence. It is primarily embodied in his constant adaptation of the original to the perceived needs of Chinese culture and the acceptability of his translations to Chinese readers. Adaptation includes omission, addition, alteration and abridgment. In terms of target/culture/reader-oriented translation theories, Lin Shu’s adaptations were acceptable in the cultural context of his time. In brief, this study clarifies Lin Shu’s contribution in introducing Western culture and literature into China. The study also stresses the cultural influence of Lin’s translations on modern Chinese culture and on later generation of Chinese writers and translators. This thesis concludes that Lin Shu played a role of utmost importance in the establishment and evolution of early-modern and modern Chinese translation, particularly of modern literary translation in China. Therefore, Lin Shu is the father of modern Chinese literary translation.Thesis (PhD Doctorate)Doctor of Philosophy (PhD)School of Languages and LinguisticsFull Tex
Lin Shu: Traducir para el Emperador
No full text Este artículo describe la labor de un traductor con objeto de explorar las cuestiones teóricas que plantean las funciones sociales y políticas de la traducción. Los traductores chinos de finales del siglo diecinueve, como Lin Shu, fueron importantes introductores de formas e ideas occidentales. No obstante, las intenciones de Lin eran combatir el imperialismo occidental y fortalecer el debilitado imperio, por lo que sus estrategias discursivas pretendían adecuar los textos occidentales a la cultura imperial. Con su obra se demuestra, sin embargo, que la domesticación no pudo borrar lo extranjero de los materiales que decidieron traducir. Lin Shu y otros traductores introdujeron tendencias culturales que cambiaron decisivamente la cultura china y que finalmente contribuyeron a la caída del emperador.
Rejuvenating China : the translation of Sir Henry Rider Haggard's juvenile literature by Lin Shu in late imperial China
No full textLin Shu (1852-1924) translated Sir Henry Rider Haggard's works in late Qing China (1644-1912) with a political purpose in mind. By contextualizing the translation background, analyzing the discourse created by Lin Shu at the para-translation level in his translations of Haggard's works and highlighting Lin's treatment of gender, this study argues that Lin Shu appropriated Haggard's work to refresh the national imagination of China by means of a new allegory-the juvenile boy. Lin Shu adopted a gender-inclusive Chinese term, shaonian, to denote the notion juvenile, following Liang Qichao (1873-1929), who was influenced by the impact of translated juvenile literature on the successful transformation of Meiji Japan (1868-1912) into a powerful modern state. Through his use of an ostensibly gender-neutral term in reference only to the young male protagonist, Lin Shu exploits and extends Haggard's colonialist politics into a discourse whose intention is to mobilize male Chinese readers to rejuvenate China
Book review on Lin Shu, Inc.: translation and the making of modern chinese culture
No full textBook review on Lin Shu, Inc.: translation and the making of modern chinese cultur
Hong jiao hua jiang lu.
No full text哈葛德[哈格特]原著 ; 林紓, 魏易譯.原書名: BeatriceHagede [Hagete] yuan zhu ; Lin Shu, Wei Yi yi.Yuan shu ming: Beatric
Tian nü li hun ji.
No full text哈葛得[哈格特]著 ; 林紓, 陳家麟譯.原書名: Finished.Hagede [Hagete] zhu ; Lin Shu, Chen Jialin yi.Yuan shu ming: Finished
The Oral Translator’s “Visibility”: The Chinese Translation of David Copperfield by Lin Shu and Wei Yi
Full text linkAn important feature in the translation history of China in the early 20th century was the collaboration between a Chinese monolingual and a Chinese bilingual in a large-scale translation of Western fiction. Such a collaboration pattern lasted for almost two decades before more Chinese bilinguals were trained in the 1920s. The partnership of Lin Shu (1852-1924) (a prominent written translator) and Wei Yi (1880-1933) (one of Lin Shu’s oral translators) lasted for 10 years, during which they translated over 40 English novels into Chinese. Through textual analyses of their co-translation of Charles Dickens’s David Copperfield in 1908, this article unravels the long-neglected contribution of Wei Yi in the work, and points to the importance of “orality” in their translation process in shaping Lin Shu’s translations. The article is structured into two parts: first, the background of Lin Shu and Wei Yi, and their collaboration; second, evidence of Wei Yi’s visibility in the translation in terms of textual changes from indirect speech to direct speech, the use of annotations, and the characteristics of the translation.Les collaborations en tandem monolingue-bilingue dans la traduction d’un large corpus d’oeuvres occidentales ont marqué l’histoire de la traduction en Chine au début du XXe siècle. On trouve des exemples de ce type de collaboration sur une période de presque vingt ans, jusqu’à ce qu’un plus grand nombre de traducteurs bilingues soient formés dans les années 1920. Le travail commun de Lin Shu (1852-1924), célèbre traducteur monolingue, et de Wei Yi (1880-1933), l’un des traducteurs oraux de Lin Shu, s’étendit sur dix années au cours desquelles les deux hommes traduisirent plus de quarante romans anglais. L’analyse de leur traduction de David Copperfield en 1908 met en lumière le rôle trop souvent négligé de Wei Yi, ainsi que l’importance de l’oralité dans leur processus de traduction et son influence sur le travail de Lin Shu. Cet article comporte deux parties : la première s’attache à présenter les traducteurs et les détails de leur collaboration ; la seconde expose les traces de l’influence de Wei Yi – visibles dans le passage du discours indirect au discours direct, le recours aux notes et d’autres marques textuelles
La Dame aux camélias, Lin Shu et l’arsenal de Fuzhou
No full textIn the history of modern Chinese literature, Lin Shu was well-known to be a translator without knowledge of any foreign languages. His collaborators therefore played a crucial role in his translation. The present article, which essentially lays the emphasis on the collaborators of Lin Shu’s translation, attempts to reconstruct the cultural context that has made it possible for him to become the most representative translator of his era. Special attention is also paid to the importance of the Fuzhou Naval Shipyard in the Sino-French cultural exchanges
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