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The first sustained exegesis of a neglected masterpiece of twentieth-century literature, Samuel Beckett’s How It Is. This book maps out the novel’s complex network of intertexts, sources and echoes, interprets its highly experimental writing and explains the work’s great significance for twentieth-century literature. It offers a clear pathway into this remarkable bilingual novel, identifying Beckett’s use of previously unknown sources in the history of Western philosophy, from the ancient and modern periods, and challenging critical orthodoxies. Through careful archival scholarship and attention to the dynamics of self-translation, the book traces Beckett’s transformation of his narrator’s ‘ancient voice’, his intellectual heritage, into a mode of aesthetic representation that offers the means to think beyond intractable paradoxes of philosophy. This shift in the work’s relation to tradition marks a hiatus in literary modernism, a watershed moment whose deep and enduring significance may now be appreciated.

With over 6000 languages in the world today, media speak is far from universal, yet the complexities of translation are rarely acknowledged by the industry, or by audiences and scholars. Redressing this neglect, Speaking in Subtitles aregues that the oddities and idiosyncrasies of translation are vital to screen media’s global address. Examining a range of examples from crowdsourced subtitling to avant-garde dubbing to the growing field of ‘fansubbing’, Tessa Dwyer proposes that film, television and video are fundamentally ‘translational’ media. The case studies in this book explore areas of practice that lie beyond the parameters of professional, ‘quality’ practice and are consequently identified as ‘improper’, such as anime fandom, crowdsourced translation, censorship and media piracy. They demonstrate that in many contexts, issues of speed, access, commerce and control take precedence over considerations of quality. These errant modes of screen translation are becoming increasingly paradigmatic of the current translation and media environments, as they become less controlled and more communal in response to new digital technologies and the decentralising impulses of globalisation. By focusing on lines of ‘errancy’ rather than fidelity, this monograph highlights elements of screen translation that are regularly passed over by other studies in order to re-conceptualise questions of cultural value.

Yehuda Amichai (1924-2000) was the foremost Israeli poet of the 20th century and an internationally influential literary figure. The Full Severity of Compassion is a modular retrospective of Amichai's poetic project. It depicts the poet's life-long struggle against all hierarchical systems of privilege and exclusion, and his search for an alternative “language of love,” as he calls it. The book explores Amichai's fierce avant-garde egalitarianism at it is expressed in a commitment to both accessibility and daring experimentation. Through a series of close readings, the book discusses issues in contemporary literary studies, always theorizing from, rather than into, Amichai's poetry.

This volume examines how, why and with what success smaller European literatures – written in less well-known languages from less familiar traditions – endeavour through translation to reach international readers. It argues that prevailing nation- and world-centred theoretical approaches have failed to provide an adequate understanding of the international circulation of these literatures, and instead advocates and models a comparative, interdisciplinary approach that consistently tests theory against concrete experience and practice, and combines literary, historiographical and translation methodologies to produce a far more precise analysis of the strategies, motivations, obstacles and patterns that emerge as these literatures strive to be heard. Through case studies drawn from over thirteen national contexts from Scandinavia and the Low Countries to the Mediterranean and Central and Eastern Europe, the volume analyses how the international perceptions of these literatures are disadvantaged and distorted in theory, reception and industry practice, evaluates successes and failures as these literatures, through state and third-sector intervention and individual innovation, attempt to overcome their marginalization, and charts how the mould of our perception of these literatures might be broken.

This is a study of the translation and reception of the Roman historian Livy in early-modern England. The work examines the four Tudor translations of Livy’s history of Rome, the Ab Urbe Condita, into the English vernacular during the sixteenth century and their engagements with the most pressing political and cultural debates of the day, from Henrician appropriations of Hannibal to arguments over the status of women. The first chapter examines Livy’s initial reception into print in Europe, outlining the attempts of his earliest editors to impose a critical order onto his enormous work. The subsequent chapters consider the respective translations undertaken by Anthony Cope, William Thomas, William Painter, and Philemon Holland, situating them among the wider trends in Classical Reception during the early-modern era. Each translation is compared in detail with the Latin original, highlighting the changes Livy’s history experienced in the process of translation. The study considers how these translations responded to and were shaped by the most recent developments in European scholarship on Livy’s history and classical historiography more generally. So too the study examines Livy’s impact on more popular forms of English literature during the Renaissance, especially the works of Shakespeare. Ultimately this research demonstrates that Livy played a fundamental though underexplored role in the development of vernacular literature, historiography, and political thought in early-modern England.