In the Face of Adversity Literature and Translation Literature and Translation is a series for books that address literary trans- lation and for books of literary translation. Its emphasis is on diversity of genre, culture, period and approach. The series uses an open access publishing model to disseminate widely developments in the theory and practice of translation, as well as translations into English of literature from around the world. Series editor: Timothy Mathews is Emeritus Professor of French and Comparative Criticism, UCL. In the Face of Adversity Translating difference and dissent Thomas Nolden (ed.) In honour of Lawrence A. Rosenwald First published in 2023 by UCL Press University College London Gower Street London WC1E 6BT Available to download free: www.uclpress.co.uk Collection © Editors, 2023 Text © Contributors, 2023 Images © Contributors and copyright holders named in captions, 2023 The authors have asserted their rights under the Copyright, Designs and Patents Act 1988 to be identified as the authors of this work. A CIP catalogue record for this book is available from The British Library. NC Any third-party material in this book is not covered by the book’s Creative Commons licence. Details of the copyright ownership and permitted use of third-party material is given in the image (or extract) credit lines. If you would like to reuse any third-party material not covered by the book’s Creative Commons licence, you will need to obtain permission directly from the copyright owner. This book is published under a Creative Commons Attribution-Non-Commercial 4.0 International licence (CC BY-NC 4.0), https://creativecommons.org/licenses/ by-nc/4.0/. This licence allows you to share and adapt the work for non-commercial use providing attribution is made to the author and publisher (but not in any way that suggests that they endorse you or your use of the work) and any changes are indicated. Attribution should include the following information: Nolden, T. (ed), 2023. In the Face of Adversity: Translating difference and dissent. London: UCL Press. https://doi.org/10.14324/111.9781800083691 Further details about Creative Commons licences are available at https://creativecommons.org/licenses/ ISBN: 978-1-80008-371-4 (Hbk.) ISBN: 978-1-80008-370-7 (Pbk.) ISBN: 978-1-80008-369-1 (PDF) ISBN: 978-1-80008-372-1 (epub) DOI: https://doi.org/10.14324/111.9781800083691 Financial support for the publication of this volume was provided by Wellesley College, Mass. Contents Notes on Contributors vii List of Figures xi List of Tables xii Acknowledgements xiii Introduction 1 Thomas Nolden Part I: Modes of Perseverance: Translating the Jewish Tradition 17 1. Lamentations 3: A Four- Voiced Rendering 19 Edward L. Greenstein 2. Isaiah 1 in Translation and Contexts 33 Everett Fox 3. Emma Lazarus, Heinrich Heine and the Splendid Galaxy of Jewish Poetry 41 Abigail Gillman 4. City of the Dead or The Dead City? Yitskhok- Leybush Peretz as Self- Translator 65 Efrat Gal- Ed Part II: Modes of Intervention: Translating Dissent and Diversity 93 5. How George Eliot Came to Write 95 Gail Twersky Reimer v 6. Venture, Courage, Ruin: Karin Michaëlis in Translation Across Genre and Time 112 Katherine Hollander 7. Lu Xun’s Unfaithful Translation of Science Fiction: Rewriting Chinese Literary History 129 Mingwei Song 8. Translating Chinese Science Fiction into English: Decolonization and Reconciliation on a Cultural Battlefield 145 Emily Xueni Jin 9. Whose Voice(s)?: Authorship, Translation, and Diversity in Contemporary Children’s Literature 160 Isabelle Chen Part III: Modes of Remedialization: Translating Beyond the Text 177 10. Seeing Images, Thinking of Words: Visual Art as Translation 179 Werner Sollors 11. Theatre without Theatres: Performance Transmission as Translation 193 Sarah Bay- Cheng 12. From Miami to Hong Kong: Sounding Transnational Queerness and Translation in Moonlight 207 K. E. Goldschmitt 13. Crowd Noise: Collective Turbulence in Modern Opera 221 Martin Brody 14. Creative Translation in Emerson’s Idealism 237 Kenneth P. Winkler Index 254 vi CoNTeNTs Notes on Contributors Sarah Bay- Cheng currently serves as the Dean of the School of the Arts, Media, Performance and Design at York University. She previously served as Chair and Professor of Theatre and Dance at Bowdoin College and as the founding Director of Graduate Studies in Theatre & Performance at the University at Buffalo (UB), SUNY. In 2012, she founded the Technē Institute for Arts and Emerging Technology at UB, a collaboration that connected faculty researchers and stu- dents working at the intersection of art, computer science, design, engineering, media and performance. Her research focuses on the intersections among per- formance and media including histories of cinema, experimental theatre, social media and computer technology in contemporary performance. Martin Brody is the Catherine Mills Davis Professor Emeritus of Music at Wellesley College, a composer of concert music and historian of modern music – especially music of the Cold War in relation to other arts. He teaches composition, theory and history of music, with a special emphasis on twentieth- century and recent music. He is especially interested in pedagogy that connects music to the study of other arts, philosophy and cultural history. He also enjoys teaching all aspects of music theory, especially in relation to questions of musical cognition and aesthetics. Isabelle Chen is a PhD candidate in the Department of French and Italian at Princeton University, where she primarily studies twentieth-c entury narratives of migration and exile. She has a great interest in multilingual literature and language politics, inspired both by her professional experience in the publish- ing industry and by her undergraduate work with Larry Rosenwald, including a particularly rich and formative experience in his seminar ‘Translation and the multilingual world’. Everett Fox is the Allen M. Glick Professor of Judaic and Biblical Studies at Clark University. His main scholarly focus is the rhetoric and internal coherence of the Hebrew Bible, and how they may be emphasized in translation. Among his many publications are Scripture and Translation (a translation of Buber and Rosenzweig, Die Schrift und ihre Verdeutschung), which he edited and translated together with Lawrence Rosenwald. His The Five Books of Moses: (The Schocken Bible, Volume 1) vii A New English Translation with Commentary and Notes was published in 1995, Give Us a King!: A New English Translation of the Book of Samuel in 1999 and The Early Prophets: Joshua, Judges, Samuel, Kings in 2014. Efrat Gal- Ed is Professor of Yiddish Literature and Culture at the Institute for History at Heinrich Heine University in Düsseldorf, where she heads the section of Yiddish Research and Editions. Her recent publications include Niemandssprache: Itzik Manger – ein europäischer Dichter (2016); Das Buch der Jüdischen Jahresfeste (revised edition, 2019); and Crossing the Border: an anthol- ogy of modern Yiddish short stories (in Yiddish), edited with Simon Neuberg and Daria Vakhrushova (2021). Abigail Gillman is Professor of Hebrew, German and Comparative Literature in the Department of World Languages and Literatures at Boston University, where she is also affiliated faculty in the Elie Wiesel Center for Jewish Studies and the Graduate Program on Religion. She is the author of Viennese Jewish Modernism: Freud, Hofmannsthal, Beer-H ofmann and Schnitzler (2009) and A History of German Jewish Bible Translation (2018). Her essay ‘Martin Buber’s Message to Postwar Germany’ (2014) won the 2015 Egon Schwarz Prize for an Outstanding Essay in the Area of German Jewish Studies. K. E. Goldschmitt is Associate Professor of Music at Wellesley College. They publish on the transnational mediation of music, musicians and music tech- nology, especially involving the Lusophone world. Their first book is Bossa Mundo: Brazilian music in transnational media industries (2020) and they co- edited a special issue of American Music ‘Platforms, Labor, and Community in Online Listening’. Prior to Wellesley, Goldschmitt held research and teaching positions at University of Cambridge, New College of Florida and Colby College. Edward L. Greenstein is Professor Emeritus of Bible at Bar-I lan University. Greenstein began teaching there in 2006, where he also headed the Institute for Jewish Biblical Interpretation and held the Meiser Chair in Biblical Studies. He also served as Chair of the Interdisciplinary Graduate Program in Hermeneutics and Cultural Studies. Prior to that, he served as Professor at Tel Aviv University from 1996 to 2006. From 1976 through 1996, he taught at the Jewish Theological Seminary in New York, where he became Professor of Bible in 1989. He has also taught at the Columbia University Graduate School, Yale University, Princeton University, Union Theological Seminary, the Hebrew University of Jerusalem and other institutions of higher learning. Katherine Hollander is a poet, historian, and Brecht scholar. She holds an MA in creative writing and a PhD in modern European history, both from Boston University. She is the editor of a student edition of Mother Courage and her viii NoTes oN CoNTRIbuToRs