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Translating Japanese Texts

Translating Japanese Texts


Translating Japanese Texts is a practical textbook and a precise introduction to problems of, and strategies for, translating Japanese texts. The book is designed for both students and teachers of translation, as well as professional translators. The theoretical foundation is that texts are created by means of interplay between different levels of linguistic material and pragmatic, cognitive, and cultural mechanisms. The book points out that all translation should hence take such factors into consideration. It focuses on Japanese and English and highlights systematic differences between these two languages, but it will also be useful when translating Japanese into other languages, as well as for translation in general. The book will be of interest not only for students and professionals of translation and language studies, but also for people generally interested in Asian languages, cultures, and worlds of thought, all seen through the lens of translation from Japanese into English.
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Translating Japanese Texts

Translating Japanese Texts


Translating Japanese Texts is a practical textbook and a precise introduction to problems of, and strategies for, translating Japanese texts. The book is designed for both students and teachers of translation, as well as professional translators. The theoretical foundation is that texts are created by means of interplay between different levels of linguistic material and pragmatic, cognitive, and cultural mechanisms. The book points out that all translation should hence take such factors into consideration. It focuses on Japanese and English and highlights systematic differences between these two languages, but it will also be useful when translating Japanese into other languages, as well as for translation in general. The book will be of interest not only for students and professionals of translation and language studies, but also for people generally interested in Asian languages, cultures, and worlds of thought, all seen through the lens of translation from Japanese into English.
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Woman Critiqued: Translated Essays on Japanese Women's Writing

Woman Critiqued: Translated Essays on Japanese Women's Writing


Over the past thirty years translations of Japanese women’s writing and biographies of women writers have enriched and expanded our understanding of modern Japanese literature. But how have women writers been received and read in Japan? To appreciate the subterfuges, strategies, and choices that the modern Japanese woman writer has faced, readers must consider the criticisms leveled against her, the expectations and admonitions that have been whispered in her ear, and pay attention to the way she herself has responded. What did it mean to be a woman writer in twentieth-century Japan? How was she defined and how did this definition limit her artistic sphere?Woman Critiqued builds on existing scholarship by offering English-language readers access to some of the more salient critiques that have been directed at women writers, on the one hand, and reactions to these by women writers, on the other. The grouping of the essays into chapters organized by theme clarifies how the discussion in Japan has been framed by certain assumptions and how women have repeatedly tried to intervene by playing with, undercutting, or attempting to exceed these assumptions. Chapter introductions contextualize the translated essays historically and draw out aspects that warrant particular scrutiny or explication.Although the translators do not cover all aspects or genres identified with women’s literary endeavors in the twentieth-century, they provide a significant understanding of the evaluative systems under which Japanese women writers have worked. Woman Critiqued will be eagerly read by specialists in modern Japanese literature and those interested in comparative literature, women’s studies, gender studies, and history.
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The Art of Translating Poetry

The Art of Translating Poetry


This book by a well-known translator and critic is divided into two parts, the first dealing with the linguistic and other more technical aspects of translating poetry, the second involved with more practice-oriented matters. The chapters in Part One examine the specific constraints of language and the unavoidable linguistic bases of translation; the constraints of specific languages; forms and genres; and prosody and comparative prosody. Part Two looks at the subjective element in translation; collaborative translation; the translation of oral poetry; and the translator's responsibility.Languages discussed include Indonesian, Japanese, Chinese, Old and Middle English, French, German, Spanish, Italian, Persian, Russian, Latin, and Greek. The book argues, inter alia, that literal translation is impossible; that no translation can fully create the original but that good literary translation can create a usable approximation; that translation is secondary not only to the original work being translated but also to the linguistic (and literary) nature of the language being translated into; that the literary translator's primary responsibility is to the work he is translating; that there is nothing ever definitive about any translation; that the poetry translator must be a poet and poems should not be translated into prose; and that there must be a subjective identification between translator and translated work.This is the first attempt to systematize linguistic information about the translation of poetry. It is also the first book to range widely over the languages and literatures of the past and the present, and European and Asian languages and literatures as well Raffel is the first author to combine in one study linguistic and scholarly knowledge and extensive experience of translation.
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Basic Technical Japanese (Technical Japanese Series)

Basic Technical Japanese (Technical Japanese Series)


Even if you have had no Japanese-language training, you can learn how to translate technical manuals, research publications, and reference works. Basic Technical Japanese takes you step by step from an introduction to the Japanese writing system through a mastery of grammar and scientific vocabulary to reading actual texts in Japanese. You can use the book to study independently or in formal classes.     This book places special emphasis on the kanji (characters) that occur most often in technical writing. There are special chapters on the language of mathematics and chemistry, and vocabulary building and reading exercises in physics, chemistry, biology, and biochemistry. With extensive character charts and vocabulary lists, Basic Technical Japanese is entirely self-contained; no dictionaries or other reference works are needed.
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The Art of Translating Poetry

The Art of Translating Poetry


This book by a well-known translator and critic is divided into two parts, the first dealing with the linguistic and other more technical aspects of translating poetry, the second involved with more practice-oriented matters. The chapters in Part One examine the specific constraints of language and the unavoidable linguistic bases of translation; the constraints of specific languages; forms and genres; and prosody and comparative prosody. Part Two looks at the subjective element in translation; collaborative translation; the translation of oral poetry; and the translator's responsibility.Languages discussed include Indonesian, Japanese, Chinese, Old and Middle English, French, German, Spanish, Italian, Persian, Russian, Latin, and Greek. The book argues, inter alia, that literal translation is impossible; that no translation can fully create the original but that good literary translation can create a usable approximation; that translation is secondary not only to the original work being translated but also to the linguistic (and literary) nature of the language being translated into; that the literary translator's primary responsibility is to the work he is translating; that there is nothing ever definitive about any translation; that the poetry translator must be a poet and poems should not be translated into prose; and that there must be a subjective identification between translator and translated work.This is the first attempt to systematize linguistic information about the translation of poetry. It is also the first book to range widely over the languages and literatures of the past and the present, and European and Asian languages and literatures as well Raffel is the first author to combine in one study linguistic and scholarly knowledge and extensive experience of translation.
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Architecture as Metaphor: Language, Number, Money (Writing Architecture)

Architecture as Metaphor: Language, Number, Money (Writing Architecture)


Kojin Karatani, Japan's leading literary critic, is perhaps best known for his imaginative readings of Shakespeare, Soseki, Marx, Wittgenstein, and most recently Kant. His works, of which Origins of Modern Japanese Literature is the only one previously translated into English, are the generic equivalent to what in America is called "theory." Karatani's writings are important not only for the insights they offer on the various topics under discussion, but also as an example of a distinctly non-Western critical intervention.In Architecture as Metaphor, Karatani detects a recurrent "will to architecture" that he argues is the foundation of all Western thinking, traversing architecture, philosophy, literature, linguistics, city planning, anthropology, political economics, psychoanalysis, and mathematics. In the three parts of the book, he analyzes the complex bonds between construction and deconstruction, thereby pointing to an alternative model of "secular criticism," but in the domain of philosophy rather than literary or cultural criticism.As Karatani claims in his introduction, because the will to architecture is practically nonoexistent in Japan, he must first assume a dual role: one that affirms the architectonic (by scrutinizing the suppressed function of form) and one that pushes formalism to its collapse (by invoking Kurt Godel's incompleteness theorem). His subsequent discussions trace a path through the work of Christopher Alexander, Jane Jacobs, Gilles Deleuze, and others. Finally, amidst the drive that motivates all formalization, he confronts an unbridgeable gap, an uncontrollable event encountered in the exchange with the other; thus his speculation turns toward global capital movement. While in the present volume he mainly analyzes familiar Western texts, it is precisely for this reason that his voice discloses a distance that will add a new dimension to our English-language discourse.
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Architecture as Metaphor: Language, Number, Money (Writing Architecture)

Architecture as Metaphor: Language, Number, Money (Writing Architecture)


Kojin Karatani, Japan's leading literary critic, is perhaps best known for his imaginative readings of Shakespeare, Soseki, Marx, Wittgenstein, and most recently Kant. His works, of which Origins of Modern Japanese Literature is the only one previously translated into English, are the generic equivalent to what in America is called "theory." Karatani's writings are important not only for the insights they offer on the various topics under discussion, but also as an example of a distinctly non-Western critical intervention.In Architecture as Metaphor, Karatani detects a recurrent "will to architecture" that he argues is the foundation of all Western thinking, traversing architecture, philosophy, literature, linguistics, city planning, anthropology, political economics, psychoanalysis, and mathematics. In the three parts of the book, he analyzes the complex bonds between construction and deconstruction, thereby pointing to an alternative model of "secular criticism," but in the domain of philosophy rather than literary or cultural criticism.As Karatani claims in his introduction, because the will to architecture is practically nonoexistent in Japan, he must first assume a dual role: one that affirms the architectonic (by scrutinizing the suppressed function of form) and one that pushes formalism to its collapse (by invoking Kurt Godel's incompleteness theorem). His subsequent discussions trace a path through the work of Christopher Alexander, Jane Jacobs, Gilles Deleuze, and others. Finally, amidst the drive that motivates all formalization, he confronts an unbridgeable gap, an uncontrollable event encountered in the exchange with the other; thus his speculation turns toward global capital movement. While in the present volume he mainly analyzes familiar Western texts, it is precisely for this reason that his voice discloses a distance that will add a new dimension to our English-language discourse.
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The Poem Behind the Poem: Translating Asian Poetry

The Poem Behind the Poem: Translating Asian Poetry


"The translator must keep faith with the deeper need that poetry fulfills in our lives, [to] discover not what the poem says but what it does."—Tony Barnstone, in his essay "Poem Behind the Poem"The translation of Asian poetry into Western languages has been one of the most important literary events over the past one hundred years. Readers have fallen in love with Asian poetry and writers have been greatly influenced by it. What neither reader nor writer ever witness is the intense engagement behind the poem, how the translator must serve as both artist and alchemist, urging a poem to work and sing in a foreign language. Success is rare, and the practice of translation, as W.S. Merwin has written, is "plainly impossible and nevertheless indispensable." This endlessly fascinating anthology—the first of its kind—gathers essays, poems-in-translation, and worksheets from twenty-one noted translators who discuss their aspirations, methods, and the forces of imagination necessary to bring a poem from one language into another. Languages discussed include Chinese (both ancient and modern), Japanese, Korean, Vietnamese, Khmer, and Sanskrit."A truly apt translation of a poem may require an effort of imagination almost as great as the making of the original. The translator who wishes to enter the creative territory must make an intellectual and imaginative jump into the mind and world of the poet, and no dictionary will make this easier."—Gary Snyder on translating the Chinese poet Han-shanContributors include: Gary Snyder, Willis Barnstone, Jane Hirshfield, J.P. Seaton, John Balaban, Michelle Yeh, Arthur Sze, W.S. Merwin, and Sam Hamill.
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Hana's Suitcase on Stage (Holocaust Remembrance Series)

Hana's Suitcase on Stage (Holocaust Remembrance Series)


Hana's Suitcase, which has been translated into more than thirty-five languages and is currently being developed into two feature-length films, tells the incredible true story of a Japanese Holocaust educator who traveled the globe to track down information about the owner of a suitcase found at Auschwitz. Her search led her to the owner's long-lost brother and a history of both love and tragedy. Since its publication in 2002, the story of Hana Brady, a little girl who wanted to become a teacher, has captured the hearts and minds of schoolchildren and adults around the globe. Now, with a stage play touring North America, Hana's story becomes even more alive. Hana's Suitcase on Stage is a unique volume that combines the story and images of the original book with the complete script of award-winning writer Emil Sher's theatrical adaptation. It's a must-read-and a must-see-for teachers and schoolchildren from coast to coast. Karen Levine has won several awards for her radio work, including two Peabody awards. Levine originally produced Hana's Suitcase as a radio documentary and later made it into a book. She lives in Toronto, Ontario. Emil Sher is a multitalented, award-winning writer whose works include stage plays, radio dramas, short fiction and essays. Sher lives with his wife and two children in Toronto, Ontario, and Morin Heights, Quebec. Hana's Suitcase on Stage opened to very positive reviews and lots of press in St. Louis in January 2007. Here are a few of the review comments: --- Riverfront Times "This is a big deal for St. Louis, and the exquisite production merits the widespread support it is receiving... The set design by Dunsi Dai enhances the story's emotional power... Late in the evening, when Hana lit a birthday candle, I was reminded of a speech from William Hanley's little-remembered 1964 drama, Slow Dance on the Killing Ground. A former railroad engineer on the Auschwitz line who delivered countless Jews to their death says, "Every year a bunch of Jewish people get together and light a fat candle for the 6 million Jews the Nazis killed. A candle. For 6 million people you light the sun, maybe. But a candle?" Hana's Suitcase is only a candle, but it burns brightly. --- Jewish In St. Louis Article - "Real Characters from Hana's Suitcase Get 'Rock Star Ovation' at Holocaust Museum" --- Jewsweek Article - "'Hana's Suitcase' has premiere in America" --- St. Louis Post Dispatch "Metro Theater Company and The Edison Theatre recently celebrated their sold-out opening night performance of the U.S. premiere of "Hana's Suitcase," a true story of the Holocaust. A champagne and dessert reception was held to honor featured guests including the real-life Hana's surviving brother, George Brady and his family, who flew in from Toronto; the playwright Emil Sher, also from Canada; Fumiko Ishioka, a principal character in the play who flew in from Japan; and the consuls general from Israel and Japan." --- KSDK NewsChannel 5 "Hana's Suitcase is a thought provoking new play that is making its U.S. premiere right here in St. Louis... It's a powerful production, about two children caught in the holocaust and a young Japanese teacher's determination to tell their story. It's a production you'll want to make sure to see with your kids." --- This Week In St. Louis "This compelling new play for families and young people delivers a sensitive message about why we must teach tolerance and acceptance." --- Washington University in St. Louis Record Article - U.S. Premiere of Hana's Suitcase Comes to Edison Carol North, artistic director for Metro Theatre, directs the cast of nine, which is led by Haruna Tsuchiya as Fumiko and Leah Schumacher as Hana... "We are thrilled to be partnering with Edison Theatre to bring this powerful play to St. Louis audiences," North said. "Emil Sher's script weaves past and present in a seamless theatrical journey that takes us through the darkness of the Holo
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The Poem Behind the Poem: Translating Asian Poetry

The Poem Behind the Poem: Translating Asian Poetry


"The translator must keep faith with the deeper need that poetry fulfills in our lives, [to] discover not what the poem says but what it does."—Tony Barnstone, in his essay "Poem Behind the Poem"The translation of Asian poetry into Western languages has been one of the most important literary events over the past one hundred years. Readers have fallen in love with Asian poetry and writers have been greatly influenced by it. What neither reader nor writer ever witness is the intense engagement behind the poem, how the translator must serve as both artist and alchemist, urging a poem to work and sing in a foreign language. Success is rare, and the practice of translation, as W.S. Merwin has written, is "plainly impossible and nevertheless indispensable." This endlessly fascinating anthology—the first of its kind—gathers essays, poems-in-translation, and worksheets from twenty-one noted translators who discuss their aspirations, methods, and the forces of imagination necessary to bring a poem from one language into another. Languages discussed include Chinese (both ancient and modern), Japanese, Korean, Vietnamese, Khmer, and Sanskrit."A truly apt translation of a poem may require an effort of imagination almost as great as the making of the original. The translator who wishes to enter the creative territory must make an intellectual and imaginative jump into the mind and world of the poet, and no dictionary will make this easier."—Gary Snyder on translating the Chinese poet Han-shanContributors include: Gary Snyder, Willis Barnstone, Jane Hirshfield, J.P. Seaton, John Balaban, Michelle Yeh, Arthur Sze, W.S. Merwin, and Sam Hamill.
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How to Say Fabulous! in 8 Different Languages: A Travel Phrase Book for Gay Men

How to Say "Fabulous!" in 8 Different Languages: A Travel Phrase Book for Gay Men


Honey, Let’s Go!   This hilarious handbook translates hundreds of outrageous phrases from English into Spanish, French, German, Italian, Japanese, Portuguese, and Russian. There are sections on:        •  Night Life: “Are there any gay bars around here?”      •  Shopping: “Those shoes! I must have those shoes!”      •  Opening Lines: “I am a flight attendant/choreographer/actor/owner of a greeting card store.”      •  Dining Out: “You’ve had worse things in your mouth!”      •  Parting Glances: “I never meant to hurt you.”   With How to Say “Fabulous!” in 8 Different Languages, you’ll always know how to speak the native tongue!  
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Personal, Portable, Pedestrian: Mobile Phones in Japanese Life

Personal, Portable, Pedestrian: Mobile Phones in Japanese Life


The Japanese term for mobile phone, keitai (roughly translated as "something you carry with you"), evokes not technical capability or freedom of movement but intimacy and portability, defining a personal accessory that allows constant social connection. Japan's enthusiastic engagement with mobile technology has become -- along with anime, manga, and sushi -- part of its trendsetting popular culture. Personal, Portable, Pedestrian, the first book-length English-language treatment of mobile communication use in Japan, covers the transformation of keitai from business tool to personal device for communication and play.The essays in this groundbreaking collection document the emergence, incorporation, and domestication of mobile communications in a wide range of social practices and institutions. The book first considers the social, cultural, and historical context of keitai development, including its beginnings in youth pager use in the early 1990s. It then discusses the virtually seamless integration of keitai use into everyday life, contrasting it to the more escapist character of Internet use on the PC. Other essays suggest that the use of mobile communication reinforces ties between close friends and family, producing "tele-cocooning" by tight-knit social groups. The book also discusses mobile phone manners and examines keitai use by copier technicians, multitasking housewives, and school children. Personal, Portable, Pedestrian describes a mobile universe in which networked relations are a pervasive and persistent fixture of everyday life.
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