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Translating China as CrossIdentity Performance,Used
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James St. Andr applies the perspective of crossidentity performance to the translation of a wide variety of Chinese texts into English and French from the eighteenth to the twentieth centuries. Drawing on scholarship in cultural studies, queer studies, and anthropology, the author argues that many crossidentity performance techniques, including blackface, passing, drag, mimicry, and masquerade, provide insights into the history of translation practice. He makes a strong case for situating translation in its historical, social, and cultural milieu, reading translated texts alongside a wide variety of other materials that helped shape the image of John Chinaman.A reading of the life and works of George Psalmanazar, whose crossidentity performance as a native of Formosa enlivened early eighteenthcentury salons, opens the volume and provides a bridge between the books theoretical framework and its examination of ChineseEuropean interactions. The core of the book consists of a chronological series of cases, each of which illustrates the use of a different type of crossidentity performance to better understand translation practice. St. Andr provides close readings of early pseudotranslations, including Maranas Turkish Spy (1691) and Goldsmiths Citizen of the World (1762), as well as adaptations of Hatchetts The Chinese Orphan (1741) and Voltaires Orphelin de la Chine (1756). Later chapters explore Daviss translation of Sorrows of Han (1829) and genuine translations of nonfictional material mainly by employees of the East India Company. The focus then shifts to oral/aural aspects of early translation practice in the nineteenth century using the concept of mimicry to examine interactions between Pidgin English and translation in the popular press. Finally, the work of two early modern Chinese translators, Gu Hongming and Lin Yutang, is examined as masquerade.Offering an original and innovative study of genres of writing that are traditionally examined in isolation, St. Andrs work provides a fascinating examination of the way three cultures interacted through the shifting encounters of fiction, translation, and nonfiction and in the process helped establish and shape the way Chinese were represented. The book represents a major contribution to translation studies, Chinese cultural studies, postcolonial studies, and gender criticism.
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