Abstract
This article examines transformations in the literary translation environment in the People’s Republic of China (PRC) specifically in relation to French-language theatre. After an initial survey of literary translation in the PRC from its foundation to the present, the article studies how French-language plays have been translated and adapted for publication. In particular, it considers how French theatre has occupied a favoured position in the Chinese translation literary system over the past four decades. It then focuses on three emblematic cases, those of Molière, Jean-Paul Sartre, and Samuel Beckett. Regarding the latter, two Chinese translations of En attendant Godot/Waiting for Godot will be examined to determine how contextual factors affected translation choices. In this way, the article seeks both to contribute to current discussions on ‘translatability’ and to consider the reception of canonical French-language writers in the Chinese literary system.
Highlights
The extent to which a particular context is ‘hospitable’ to translation determines how much it is inclined to modify its own ideological, economic, or poetological norms
After the foundation of the People’s Republic of China (PRC) in 1949, literary translation was valued by the ruling Chinese Communist Party (CCP)
Literary translation was so severely restricted as to almost disappear. It was only when China entered a period of cultural transition in the 1980s, when ‘literature is the study of man’ became the new critical mantra, that there was a change of attitude.[6]
Summary
To cite this version: Liang Xiaoyan, Wang Kailun, Dominic Glynn. Translating and publishing French theatre in China. After an initial survey of literary translation in the PRC from its foundation to the present, the article studies how French-language plays have been translated and adapted for publication It considers how French theatre has occupied a favoured position in the Chinese translation literary system over the past four decades. It focuses on three emblematic cases, those of Molière, Jean-Paul Sartre, and Samuel Beckett. Regarding the latter, two Chinese translations of En attendant Godot/Waiting for Godot will be examined to determine how contextual factors affected translation choices. This document was generated by CloudPublish for 83.202.6.47 on 2022-01-04, 14:28:57 1641306537GMTC
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