By J. Miller
This booklet examines 3 examples of overdue nineteenth-century eastern diversifications of Western literature: a biography of U.S. supply recasting him as a eastern warrior, a Victorian novel reset as oral functionality, and an American melodrama redone as a serialized novel selling the reform of jap theater. Written from a comparative viewpoint, it argues that version (hon'an) was once a legitimate type of modern eastern translation that fostered artistic appropriation throughout many genres and between a various staff of writers and artists. additionally, it invitations readers to think again version within the context of translation thought.
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Additional info for Adaptations of Western Literature in Meiji Japan
Resolved to win the war, he goes out in full force against Confederate supreme commander Lee. Robun describes some of the battles and strategies, then the ﬁnal negotiations between Lee and Grant as Union forces invade North Carolina. Lee surrenders at Appomattox, and the war is over. Robun describes Abraham Lincoln’s assassination, incorrectly stating that villains stabbed him to death while he was attending the theater. Again, a paraphrase of Robun’s text: Johnson, the Vice President, took over, and Grant, appointed the ﬁrst supreme commander of the United States military forces since Washington, fought diligently to reunite a divided nation.
The More Romance than Reality: Ulysses S. ”32 That detail is also mirrored in the illustration, where the Emperor’s face is distinct as opposed to the stereotypical faces of his entourage. In connecting the Emperor with the Habsburg line of hereditary European rulers Young is also, in a sense, “adapting” the Emperor for his American readers. On the earlier trip up the coast from Nagasaki, Young makes another interesting comment: “The bay of Sumida is not open to the outside world, and we are only here because we are the guests of the Emperor .
Grant’s proﬁle partly obscures that of his wife, and his slight bow suggests respectful deference. The Emperor retains a formal, reserved posture just behind the Empress, whose open arms and slight bow suggest warmth and openness. There is a striking contrast between the entourages as well: Grant is ﬂanked by Western male dignitaries, standing, in formal and military dress, while the Emperor is surrounded by women, kneeling, in traditional kimono. Again, the male-female contrasts prevail, reafﬁrming in Young’s readers’ minds the masculinity of the United States in contradistinction to Japan’s femininity.