This study examines the practice and functions of literary translation in Anglo-American Modernism. Rather than approaching translation as a trans-historical procedure for reproducing semantic meaning between different languages, Yao discusses how Modernist writers both conceived and employed translation as a complex strategy for accomplishing such feats as exploring the relationship between gender and poetry, creating an authentic national culture and determining the nature of a just government, all of which in turn led to developments in both poetic and novelistic form. Thus, translation emerges in this study as a literary practice crucial to the very development of Anglo-American Modernism.

This study examines the practice and functions of literary translation in Anglo-American Modernism. Rather than approaching translation as a trans-historical procedure for reproducing semantic meaning between different languages, Yao discusses how Modernist writers both conceived and employed translation as a complex strategy for accomplishing such feats as exploring the relationship between gender and poetry, creating an authentic national culture and determining the nature of a just government, all of which in turn led to developments in both poetic and novelistic form. Thus, translation emerges in this study as a literary practice crucial to the very development of Anglo-American Modernism.

This book explores the incorporation of untranslated fragments from various languages within modernist writing. It studies non-translation in modernist fiction, poetry, and other forms of writing, with a principally European focus and addresses the following questions: what are the aesthetic and cultural implications of non-translation for modernist literature? How did non-translation shape the poetics, and cultural politics, of some of the most important writers of this key period? This edited volume, written by leading scholars of modernism, explores American, British, and Irish texts, alongside major French and German writers and the wider modernist recovery of Classical languages. The chapters analyse non-translation from the dual perspectives of both 'insider' and 'outsider', unsettling that false opposition and articulating in the process their individuality of expression and experience. The range of voices explored indicates something of the reach and vitality of the matter of translation--and specifically non-translation--across a selection of poetry, fiction, and non-fictional prose, while focusing on mainly canonical voices. Together, these essays seek to provoke and extend debate on the aesthetic, cultural, political, and conceptual dimensions of non-translation as an important yet hitherto neglected facet of modernism, thus helping to re-define our understanding of that movement. It demonstrates the rich possibilities of reading modernism through instances of non-translation.

This volume sheds new light on a wealth of early 20th-century engagement with literature of Graeco-Roman antiquity that significantly shaped the work of anglophone literary modernism. The essays spotlight 'translation,' a concept the modernists themselves used to reckon with the Classics and to denote a range of different kinds of reception – from more literal to more liberal translation work, as well as forms of what contemporary reception studies would term 'adaptation', 'refiguration' and 'intervention.' As the volume's essays reveal, modernist 'translations' of Classical texts crucially informed the innovations of many modernists and often themselves constituted modernist literary projects. Thus the volume responds to gaps in both Classical reception and Modernist studies: essays treat a comparatively understudied area in Classical reception by reviving work in a subfield of Modernist studies relatively inactive in recent decades but enjoying renewed attention through the recent work of contributors to this volume. The volume's essays address work significantly informed by Classical materials, including Homer, Sophocles, Euripides, Sappho, Ovid, and Propertius, and approach a range of modernist writers: Pound and H.D., among the modernists best known for work engaging the Classics, as well as Cummings, Eliot, Joyce, Laura Riding, and Yeats.

Esra Akcan describes the introduction of modern architecture into Turkey after the Kemalist political elite took power in 1923 and invited German architects to redesign the new capital of Ankara.

The poet Langston Hughes was a tireless world traveler and a prolific translator, editor, and marketer. Translations of his own writings traveled even more widely than he did, earning him adulation throughout Europe, Asia, and especially the Americas. In The Worlds of Langston Hughes, Vera Kutzinski contends that, for writers who are part of the African diaspora, translation is more than just a literary practice: it is a fact of life and a way of thinking. Focusing on Hughes's autobiographies, translations of his poetry, his own translations, and the political lyrics that brought him to the attention of the infamous McCarthy Committee, she shows that translating and being translated—and often mistranslated—are as vital to Hughes's own poetics as they are to understanding the historical network of cultural relations known as literary modernism.As Kutzinski maps the trajectory of Hughes's writings across Europe and the Americas, we see the remarkable extent to which the translations of his poetry were in conversation with the work of other modernist writers. Kutzinski spotlights cities whose role as meeting places for modernists from all over the world has yet to be fully explored: Madrid, Havana, Buenos Aires, Mexico City, and of course Harlem. The result is a fresh look at Hughes, not as a solitary author who wrote in a single language, but as an international figure at the heart of a global intellectual and artistic formation.

The book revisits the notion of modernist translation in the context of Eastern European (Polish and Russian) literatures. The framework of this study is the cultural turn in Translation Studies and the dynamic concept of Modernism as a configuration of mutually antagonistic tendencies, currents, programs, attitudes, and artistic realizations.