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"Goethe, Johann Wolfgang von, 1749-1832 Translations into English."
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\While We Thus Value What is Foreign\: Percy's Hau kiou choaan as a Precursor to \World Literature\
[...]in terms of its historical implication, the book's 1761 translation is notable for signposting a \"geographical turning point\" in British and Western cultural politics.2 Although he was deploying Jesuit sources, Percy's notes unsettled the Jesuit Confucian-Christian synthesis that had guided Western perceptions of China since Matteo Ricci's pioneering mission during the late sixteenth century.3 Briefly put, the proponents of this synthesis, then known as \"accommodation,\" interpreted the Confucian notion of \"Heaven\" (Tian) as being similar to or identical with the Christian God.4 In the words of the French Jesuit Louis Le Comte (1655-1728), for instance, the \"people of China have preserved for nearly two thousand years a knowledge of the true God, and have honored him in a manner that might serve as an instructive example even to Christians. \"6 Nonetheless, in spreading the image of a Confucian China that is close to the true Christian spirit, the Jesuit approach exemplifies a polycentric and hybrid universalism in early modern Western worldviews in contrast to the various West-centered global models in later configurations. [...]despite establishing the Chinese as the cultural Other, his preface portrays HKCs \"lively narrative of some domestic history\" (1:xvii) as comparable to Henry Fielding's works, from \"one page\" of which \"A foreigner will form a truer notion of the genius and spirit of the English, . . . than from whole volumes of Present States of England, or French Letters concerning the English Nation\" (1:xvii). [...]Goethe notes similarities between the \"Chinese novel\" and Richardson's sentimental novels, as well as his epic poem Hermann and Dorothea (164).11 Evidently, in Goethe's cross-cultural comparison the novel was not yet treated as a uniquely Western genre, or as possessing a special status as the crystallization of a singular aesthetics or a singular historical trajectory.
Journal Article
The sorrows of young Werther and selected writings
One of the world's first best-sellers, this tragic masterpiece attained an instant and lasting success upon its 1774 publication. A sensitive exploration of the mind of a young artist.
Book
\This libation is to the gods of the underworld\: From Miltonic Pandemonium to the Blissful Bower in Kierkegaard's \In vino veritas\ 1
According to Heiberg, in Dichtung und Wahrheit (1811-1833; The Autobiography [1969]), Goethe describes the \"hypochondre Stemning, nemlig det Bekjendtskab, som Tydskland just havde gjort med den tungsindige engelske Litteratur, og han næ vner i den Henseende fornemmelig Young (i Nattetankerne), Gray, Milton og Ossian, hvilken Sidste derfor ogsaa spiller en saa betydelig Rolle i 'Werther'\" (Heiberg 1861a, 79) [hypochondriacal atmosphere, namely the acquaintance which Germany had just made with melancholy English literature, and he names in that respect Young (in Night Thoughts), Gray, Milton, and Ossian, the last of whom also plays such an important role in Werther]. According to Haufniensis in Begrebet Angest, \"det Dæ moniske er det Indesluttede\" (Kierkegaard 2014b, 424) [the demonic is the self-enclosed], a term that describes the radical subjectivism of Milton's Satan (Tanner 1992, 133-5), the romantic ironist A, and the host of other aesthetes who follow in his wake. According to the Kierkegaardian pseudonym Johannes Climacus of the Afsluttende uvidenskabelig Efterskrift (1846; Concluding Unscientific Postscript [1992]), \"Socrates væ sentligen accentuerer det at existere, medens Plato, glemmende dette, fortaber sig i Speculation\" (Kierkegaard 2014a, 188) [Socrates essentially stresses existing, whereas Plato, forgetting this, is lost in speculation]. First to address the symposium, the young man will not even call himself a tyro in the ways of love.
Journal Article
Shakuntala's Storytellers: Translation and Performance in the Age of World Literature (1789–1912)
Since its first translation into English in 1789, the Sanskrit drama Abhijñānaśakuntala (The Recognition of Shakuntala) by Kalidasa has retained a place of prominence in the discipline/body of works currently identified as \"world literature.\" Figured as the illustrative example of premodern Indian literary prowess and the foundation of the country's cultural output, The Recognition of Shakuntala has remained a staple of world literary education and criticism since the early nineteenth century. As a dramatic text, however, the play has also enjoyed a rich and diverse performance history, one that is not nearly as well documented, well studied, or well critiqued as contributive to a corresponding concept of world theatre. This essay compares William Jones's landmark translation with two pioneering theatrical productions given of the play in London: that of the Parsi Victoria Dramatic Company in 1885, and of the Elizabethan Stage Society in 1899. Drawing from a range of theatrical ephemera as well as a close reading of Jones's translation alongside the Sanskrit manuscript on which it was based, this essay argues for a fundamental difference between translation and performance as methods of production through which the canons of world literature and world theatre, respectively, are curated, by emphasizing the significance of embodiment, or the absence thereof, in constructions of universal humanism during the long nineteenth century.
Journal Article
A Translation from German into English of Joseph von Eichendorff's Romantic Novel Ahnung und Gegenwart (1815)
The authors hope that this groundbreaking example of a late Romantic narrative with its ethereal and musical poetic inclusions will serve as a text for college classes in several disciplines while opening the way for specialists in comparative literature and other humanities or social sciences to integrate consideration of this novel into their scholarship. [...]the authors offer interpretations of salient aspects of the text to guide general readers as they approach an unfamiliar story. Here is one of many lovely examples: \"Oh valleys wide, oh heights / Oh forest green so fair, / In pains and my delights / I found sweet refuge there\" (145).
Journal Article