26 Facts About Literary translation

The English language draws a terminological distinction between translating and interpreting ; under this distinction, Literary translation can begin only after the appearance of writing within a language community.

Discussions of the theory and practice of Literary translation reach back into antiquity and show remarkable continuities.

Also, though heavily influenced by Western traditions and practiced by translators taught in Western-style educational systems, Chinese and related Literary translation traditions retain some theories and philosophies unique to the Chinese tradition.

Any Literary translation must pass through the mind of a translator, and that mind inevitably contains its own store of perceptions, memories, and values.

Arab Literary translation initially focused primarily on politics, rendering Persian, Greek, even Chinese and Indic diplomatic materials into Arabic.

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In terms of theory, Arabic Literary translation drew heavily on earlier Near Eastern traditions as well as more contemporary Greek and Persian traditions.

Fidelity is the extent to which a Literary translation accurately renders the meaning of the source text, without distortion.

Transparency is the extent to which a Literary translation appears to a native speaker of the target language to have originally been written in that language, and conforms to its grammar, syntax and idiom.

Translation that meets the criterion of fidelity is said to be "faithful"; a Literary translation that meets the criterion of transparency, "idiomatic".

The criteria for judging the fidelity of a translation vary according to the subject, type and use of the text, its literary qualities, its social or historical context, etc.

Many non-transparent-Literary translation theories draw on concepts from German Romanticism, the most obvious influence being the German theologian and philosopher Friedrich Schleiermacher.

Competent Literary translation entails the judicious blending of formal and functional equivalents.

In Literary translation, a source text is a text written in a given source language which is to be, or has been, translated into another language, while a target text is a translated text written in the intended target language, which is the result of a Literary translation from a given source text.

Translation scholars including Eugene Nida and Peter Newmark have represented the different approaches to Literary translation as falling broadly into source-text-oriented or target-text-oriented categories.

Literary translation published his back-translation in a 1903 volume together with his English-language original, the French translation, and a "Private History of the 'Jumping Frog' Story".

Portions of the original French-language manuscript were subsequently lost; however, the missing fragments survived in a Polish Literary translation, made by Edmund Chojecki in 1847 from a complete French copy that has since been lost.

Machine Literary translation is a process whereby a computer program analyzes a source text and, in principle, produces a target text without human intervention.

Unedited machine Literary translation is publicly available through tools on the Internet such as Google Translate, Babel Fish, Babylon, DeepL Translator, and StarDict.

Whole-page-Literary translation tools are of limited utility since they offer only a limited potential understanding of the original author's intent and context; translated pages tend to be more erroneously humorous and confusing than enlightening.

Only at the end of the 15th century did the great age of English prose Literary translation begin with Thomas Malory's Le Morte Darthur—an adaptation of Arthurian romances so free that it can, in fact, hardly be called a true Literary translation.

Meanwhile, in Renaissance Italy, a new period in the history of Literary translation had opened in Florence with the arrival, at the court of Cosimo de' Medici, of the Byzantine scholar Georgius Gemistus Pletho shortly before the fall of Constantinople to the Turks.

Elizabethan period of Literary translation saw considerable progress beyond mere paraphrase toward an ideal of stylistic equivalence, but even to the end of this period, which actually reached to the middle of the 17th century, there was no concern for verbal accuracy.

Literary translation considered rhymed, metrical, versed poetry to be in principle untranslatable and therefore rendered his 1964 English translation of Alexander Pushkin's Eugene Onegin in prose.

Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing Literary translation"—is closely linked to Literary translation of poetry because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme.

The Literary translation is known as the "Septuagint", a name that refers to the supposedly seventy translators who were commissioned to translate the Bible at Alexandria, Egypt.

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Such fallibility of the Literary translation process has contributed to the Islamic world's ambivalence about translating the Quran from the original Arabic, as received by the prophet Muhammad from Allah through the angel Gabriel incrementally between 609 and 632 CE, the year of Muhammad's death.