Historical Dictionary of Children's Literature

Belas Infiéis , 2019

This article presents a systematic look at the different actors, factors, and contexts involved in the field of translating children's literature. Taking as its point of departure the somewhat provocative question "Why translate children's literature?", it goes on to parse the three component parts. "Why?" involves looking at the motivation and interests of the various human and non-human actors (publishing houses, organizations, translators etc), as well as the complex interplay of geopolitical, economic, and cultural factors on publishing and literary transfer. Of the verb "translate" is asked "for whom?", to examine questions of address and its role in translation, and then "how?", to discuss determinants, strategies, and tendencies in translating children's literature. "Children's literature", the object of the translation activity, will be looked closely in response to the question "what?", to illustrate the heterogeneity of its corpus and to show that it encompasses more genres and forms than are commonly featured in studies of translated children's literature. The overall goal of the article is to provide a basic map 1 of this complex field. Resumo: Este artigo lança um olhar sistemático sobre os diferentes atores, fatores e contextos envolvidos no campo da tradução de literatura infantil. Tomando como ponto de partida a questão algo provocativa "Por que traduzir literatura infantil", ele prossegue segmentando os três componentes da pergunta. "Por que" envolve observar a motivação e os interesses dos diversos atores, humanos ou não (editoras, organizações, tradutores, etc.), bem como a complexa interação de fatores geopolíticos, econômicos e culturais envolvidos na publicação e na transferência literária. Acerca do verbo "traduzir", pergunta-se "para quem?", a fim de examinar questões relativas ao destinatário e seu papel na tradução, e, em seguida, "como?", a fim de discutir os determinantes, estratégias e tendências na tradução de literatura infantil. A "literatura infantil", o objeto da atividade tradutória, será observada de perto em resposta à pergunta "o quê", a fim de ilustrar a heterogeneidade do seu corpus e de mostrar que ela engloba mais gêneros e formas do que são usualmente apontados nos estudos sobre a literatura infantil traduzida. O objetivo global do artigo é fornecer um mapa básico deste campo complexo. Palavras-chave: Estudos da tradução. Literatura infantil. Atores. Destinatários. Mapa.

This thesis uses a multidisciplinary approach drawing primarily on archival and bibliographical research as well as the fields of children's literature, book history and translation to explore British translation of Nordic children's fiction since 1950. Which works of Nordic children's literature have been published in the UK during the period in question? And how were Nordic children's authors and texts selected by British publishers, along with British translators and illustrators?

The new essential companion to prepare, guide and accompany students through their English Literature studies 'This is a Guide that I would recommend to beginning students, without any doubt.' -Jean-Michel Rabate, University of Pennsylvania, USA

Imagining Sameness and Difference in Children's Literature From the Enlightenment to the Present Day Editors: O'Sullivan, Emer, Immel, Andrea (Eds.) , 2017

2009

Target, 2013

Interlitteraria, 2014

Literature for children and youth in a comparative perspective is a wide and complex problem. The issues in this article are organized mainly in relation to such problems and categories as cultural topography, comparative history of children's literature, cultural domination, international exchange, research on translation, on canon formation and multicultural education. We should analyse these theses selectively, especially when we see literature for children as a product of modern times, which has two bases: the classics for adults on the one hand, and the folklore on the other-two fields of creation that children's literature simply had at some time been compared to. As far as Poland is concerned, it is worth noting that initially French and German influences were dominant and shaped the themes of novels, fairy tales and didactic poetry for children. The child reader had contact with a rich canon(s) of translated literature from many languages also within the framework of Polish language and culture education. Undoubtedly, we could see that foreign literature is a particular preparation for children to receive other cultures and to develop a dialogue between other cultures even though cultural differences exist. Since people all over the world may have similar problems, foreign literature should help children as readers to comprehend others' experience.

SVU Information and Reference Series. A Bibliographies No. 4 (1999). 43 pp.

The brothers Jacob Ludwig Carl (1785–1863) and Wilhelm Carl (1786–1859) Grimm wrote a considerable number of scientific books, collections of sagas (1816–18), lexicons (1838ff.), a grammar book (1819–37), legends (1829) and myths (1835), yet they are best known for their collection of fairy tales entitled Kinder- und Hausmärchen (Children’s and Household Tales) bearing the international acronym KHM. The third brother, Ludwig Emil Grimm (1790–1863), a graphic artist and illustrator, illustrated the cover page of the 1819 KHM and the 1825 collection. The following three types of cultural contacts are relevant for Slovenian literature: 1. the personal acquaintance of and correspondence between Jacob Grimm and Jernej Kopitar; 2. intertextuality (motif-thematic reminiscence) of the myth of the Argonauts (a ship that sails on land and water) and the establishment of Emona (Ljubljana)5; and 3. the translation, adaptation and transformation of Grimms’ fairy tales in Slovenian lands.

New Horizons in Translation Research and Education 1, edited by Nike Kocijančič Pokorn and Kaisa Koskinen. Joensuu: University of Eastern Finland. 75-99, 2013

Translation quality assessment (TQA) is frequently at the centre of studies in translator training, although often little attention is given to the way feedback on TQA is given to students, or to how students feel about TQA in the translation classroom. In this study, two separate surveys have been used to shed light on how translation trainers view their own work as far as giving feedback, i.e. formative assessment, is concerned and on how their assessment is received by their students: translation teachers and students of the University of Ljubljana were asked to complete separate questionnaires about assessment and feedback. The results show that parallels can be frequently drawn between the two groups’ perspectives, though sometimes the trainers’ intentions do not seem to reach the trainees, which results in rather different views of important issues such as the amount of positive feedback.