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Gabrielle Kristjanson - One of the best experts on this subject based on the ideXlab platform.

  • Meaning in (Translated) Popular Fiction: An Analysis of Hyper-Literal Translation in Clive Barker’s Le Royaume des Devins
    TranscUlturAl: A Journal of Translation and Cultural Studies, 2014
    Co-Authors: Gabrielle Kristjanson
    Abstract:

    Most translation theorists agree that source text fidelity results in a translation that aptly transmits the foreign cultural values and meaning embedded within the source language to a target culture. While the preservation of foreignness might be beneficial for the propagation of international artistic diversity, when translating works of Popular Fiction, domestication is key to a novel’s successful incorporation into the target literary system. In Popular Fiction translation, the goal is accessibility rather than artistic influence or cultural exchange, yet the necessary domestication can be problematic. This article examines the reception of the English-to-French translation of an epic fantasy novel by Clive Barker. Online reviews written by the French-speaking readership describe the translated text as aberrant of Barker’s oeuvre and incomprehensible. While it may be easy to dismiss this translation as yet another example of poor translation practices, knowing that the translator, Jean-Daniel Breque, is an award-winning translator and that he has translated many works by other Popular artists such as Stephen King and Dan Simmons points the blame elsewhere. An analysis of Jean-Daniel Breque’s translation of Weaveworld reveals the detrimental effect that strict adherence to the source text can have on the reception of Popular literature in translation and affirms that domestication is necessary to transform the source text into a version digestible and understandable by the target audience.

  • meaning in translated Popular Fiction an analysis of hyper literal translation in clive barker s le royaume des devins
    TranscUlturAl: A Journal of Translation and Cultural Studies, 2014
    Co-Authors: Gabrielle Kristjanson
    Abstract:

    Most translation theorists agree that source text fidelity results in a translation that aptly transmits the foreign cultural values and meaning embedded within the source language to a target culture. While the preservation of foreignness might be beneficial for the propagation of international artistic diversity, when translating works of Popular Fiction, domestication is key to a novel’s successful incorporation into the target literary system. In Popular Fiction translation, the goal is accessibility rather than artistic influence or cultural exchange, yet the necessary domestication can be problematic. This article examines the reception of the English-to-French translation of an epic fantasy novel by Clive Barker. Online reviews written by the French-speaking readership describe the translated text as aberrant of Barker’s oeuvre and incomprehensible. While it may be easy to dismiss this translation as yet another example of poor translation practices, knowing that the translator, Jean-Daniel Breque, is an award-winning translator and that he has translated many works by other Popular artists such as Stephen King and Dan Simmons points the blame elsewhere. An analysis of Jean-Daniel Breque’s translation of Weaveworld reveals the detrimental effect that strict adherence to the source text can have on the reception of Popular literature in translation and affirms that domestication is necessary to transform the source text into a version digestible and understandable by the target audience.

Nicholas Daly - One of the best experts on this subject based on the ideXlab platform.

  • Modernism, Romance and the Fin de Siècle: Popular Fiction and British Culture
    1999
    Co-Authors: Nicholas Daly
    Abstract:

    Acknowledgements Introduction 1. Incorporated bodies: Dracula and professionalism 2. The imperial treasure hunt: The Snake's Pass and the limits of romance 3. 'Mummie is become merchandise': the mummy story as commodity theory 4. Across the great divide: modernism, Popular Fiction and the primitive Afterword: the long goodbye Notes Index.

  • modernism romance and the fin de siecle Popular Fiction and british culture 1880 1914
    1999
    Co-Authors: Nicholas Daly
    Abstract:

    Acknowledgements Introduction 1. Incorporated bodies: Dracula and professionalism 2. The imperial treasure hunt: The Snake's Pass and the limits of romance 3. 'Mummie is become merchandise': the mummy story as commodity theory 4. Across the great divide: modernism, Popular Fiction and the primitive Afterword: the long goodbye Notes Index.

  • Modernism, Romance and the Fin De Siècle : Across the great divide: modernism, Popular Fiction and the primitive
    Modernism Romance and theFin De Siècle, 1
    Co-Authors: Nicholas Daly
    Abstract:

    I have been arguing that the Popular Fiction of the fin de siecle , with its mummies, vampires and treasure hunts, challenged the realist novel for the part of principal literary vehicle of middle-class culture, offering its readers a species of Popular theory of social change in narrative form. Until recently, however, criticism perceived this as a marginal and even juvenile literature, rather than as something culturally central. Moreover – and this is a disposition that hasn't entirely disappeared, despite the new prestige of cultural studies – we tend to view our own activities as critics of this literature as not altogether serious. There lingers what might be termed a fear of going native, of drifting across the border between academic work and the pursuits of the Sherlock Holmes Society. Whence this critical guilt? It may in part be attributable to that more general suspicion of the novel as a lightweight genre that persisted throughout the nineteenth century, and that lives on in the twentieth at the level of curricular hierarchy in many university English departments. A more likely explanation, though, is that literary criticism inherits many of its assumptions from the ‘great divide’ discussed in the Introduction, taking for granted the existence of a profound gulf between modernism and Popular Fiction, between ‘real literature’ and Fiction for the masses. Of course, historically speaking, a divide did open up between high modernism and mass culture, between ‘serious’ books and mass-marketed genre Fiction.

Marija Zlatnar Moe - One of the best experts on this subject based on the ideXlab platform.

  • Comparing national images in translations of Popular Fiction
    2016
    Co-Authors: Marija Zlatnar Moe, Tanja Žigon
    Abstract:

    This paper concentrates on the way national – and sometimes racial – images are translated in works of Popular Fiction. Popular Fiction is a distinctive literary field, with distinctive norms and conventions, also as regards translation. We explore how these specific translation conventions influence the images of cultures, nations, subcultures and races in the Slovene translations of various Popular Fiction genres, with a focus on romance, which is usually set in a domestic environment; crime novels, with a more international setting; and fantasy, which often takes place in another universe.

  • Register shifts in translations of Popular Fiction from English into Slovene
    2010
    Co-Authors: Marija Zlatnar Moe
    Abstract:

    Major shifts in the register occur when works of Popular Fiction are translated into Slovene. This paper analyzes parts of seven novels of various subgenres, and finds a general shift towards an unmarked formal register and a neutral standard variety of the language. Formal or archaic texts (e.g.  The Lord of the Rings ) become less formal, colloquial-style texts (e.g.  Bridget Jones’s Diary ) become more so. Concomitantly, distinctions as to class and status, or past and present are blurred. Neutrality of style makes the texts appear less interesting or, at worst, “badly written” to the reader.

Tang Zhesheng - One of the best experts on this subject based on the ideXlab platform.

  • Shanghai Style,Tianjin Style and Hong Kong Style Novels of Chinese Popular Fiction in the 20~(th) Century
    Journal of Shanghai Normal University, 2007
    Co-Authors: Tang Zhesheng
    Abstract:

    There were mainly three distinctive regions which led the metropolitan cultural trend in China in the 20~(th)century. One of them comprises Shanghai and its neighboring areas,which are referred to as Shanghai Style Culture.The second one con- sists of Beijing and Tianjin,which are known as Tianjin and Beijing Style Culture.The third one encompasses Hong Kong and its neighboring Guangdong area,which are called Hong Kong Style Culture.Nurtured by these three style cultures,in Chinese popu- lar Fiction of the 20~(th)century,there appeared Shanghai Style,Tianjin Style and Hong Kong Style novels,rising one after another. The three style novels are correlated in a hundred and one ways,whereas they all have their own distinctive characteristics.This paper argues that although they possess distinguishing features in many respects,novels of these three styles display the following general characteristics:the Shanghai Style Novels have accomplished the orientation of Popular novels towards the market;the Tianjin Style Novels have constructed the regionalism of Popular Fiction;the Hong Kong Style Novels have shown a more modern international field of vision.Influenced by these three styles,Chinese Popular novels,which have experienced a transformation of modernity,constitute Popular Fiction of the modern type with Chinese characteristics.

Tanja Žigon - One of the best experts on this subject based on the ideXlab platform.

  • Comparing national images in translations of Popular Fiction
    2016
    Co-Authors: Marija Zlatnar Moe, Tanja Žigon
    Abstract:

    This paper concentrates on the way national – and sometimes racial – images are translated in works of Popular Fiction. Popular Fiction is a distinctive literary field, with distinctive norms and conventions, also as regards translation. We explore how these specific translation conventions influence the images of cultures, nations, subcultures and races in the Slovene translations of various Popular Fiction genres, with a focus on romance, which is usually set in a domestic environment; crime novels, with a more international setting; and fantasy, which often takes place in another universe.