Liping Bai is an assistant professor at the Department of Translation of Lingnan University. His research papers appear in international journals including Across Languages and Cultures, Archiv Orientální/Oriental Archive, Babel, Perspectives, The Translator, Neohelicon, Humanitas, Tsing Hua Journal of Chinese Studies, and Translation Quarterly. He is also interested in practical translation and has published a number of translations between Chinese and English.

• ContentsList of FiguresAcknowledgementsChapter I Introduction1.1 Liang Shiqiu as a Translator1.2 "Translator Studies" as an "Emerging Subfield" of Translation Studies1.3 Chapter SummaryChapter II Patronage in Liang’s Shakespeare Translation2.1 Patronage and Translation2.2 Hu Shi’s Influence on Liang’s Translation of Shakespeare2.2.1 Hu as the Initiator of Liang’s Translation of Shakespeare2.2.2 The Consensus between Liang and Hu in Terms of Translation Strategies2.3 ConclusionChapter III The Influence of Irving Babbitt3.1 Professionals & Translation3.2 Babbitt’s Influence upon Liang’s Literary Poetics3.3 Babbitt’s Influence upon Liang’s Selection of Works for Translation3.4 ConclusionChapter IV Liang Shiqiu’s Translation Poetics4.1 A "Serious" Attitude4.2 The Function of Translation and the Responsibility of the Translator4.2.1 The Function of Translation4.2.2 An "Academic Translation" for the Purpose of "Introduction"4.2.3 The Invisibility of "Zijia" in Liang’s Translation4.3 The Criteria of Translation4.4 An Appropriate Degree of Literalism: The Debate with Lu Xun4.5 Rethinking Chinese Tradition: Babbitt, a Two-way Mirror4.6 ConclusionChapter V The Performability of Shakespeare5.1 Liang’s Views on Drama and Stage5.1.1 The Definition of Drama5.1.2 The Relationship between Drama and Stage5.2 Liang’s Translation Methods5.3 ConclusionChapter VI The Translation of Strindberg’s Married6.1 Introduction to Liang’s Translation of Strindberg’s Married6.2 The Reasons for Liang’s Choice6.3 An Analysis of the Themes of the Stories not Translated by Liang6.4 ConclusionChapter VII The Translation of George Orwell’s Animal Farm7.1 Ideology, Translation and the Use of Pseudonym7.2 The Similarities and Differences between Li Qichun’s Translation of Animal Farm and Liang’s Version of Shakespeare7.3 The Translator’s Ideology and the Dominant Ideology7.4 ConclusionChapter VIII The Use of Translations for the War of Words8.1 The Use of the Works of Rousseau, Sinclair and More for the Debates8.1.1 Rousseau’s Emile and Sinclair’s Mammonart8.1.2 Paul Elmer More’s "Property and Law"8.1.3 The Proletarian Works8.2 Vyacheslav Polonsky’s "Lenin’s Views of Art and Culture"8.3 ConclusionChapter IX The Differences between Liang Shiqiu and Wu Mi in Terms of Translation Poetics9.1. Wu Mi’s Translation Poetics9.1.1 The Definition and Purpose of Translation9.1.2 The Relationship between Translation and Imitation9.1.3 The Selection of Materials for Translation9.1.4 The Criteria of Translation9.1.5 The Method of Translation9.2 Irving Babbitt’s Influence on Wu Mi9.3 A Summary on Wu’s Translation Poetics9.4 The Reasons for the Differences between Liang and Wu in Terms of Literary and Translation PoeticsChapter X General ConclusionReferencesIndex

Liping Bai is an assistant professor at the Department of Translation of Lingnan University. His research papers appear in international journals including Across Languages and Cultures, Archiv Orientální/Oriental Archive, Babel, Perspectives, The Translator, Neohelicon, Humanitas, Tsing Hua Journal of Chinese Studies, and Translation Quarterly. He is also interested in practical translation and has published a number of translations between Chinese and English.

• ContentsList of FiguresAcknowledgementsChapter I Introduction1.1 Liang Shiqiu as a Translator1.2 "Translator Studies" as an "Emerging Subfield" of Translation Studies1.3 Chapter SummaryChapter II Patronage in Liang’s Shakespeare Translation2.1 Patronage and Translation2.2 Hu Shi’s Influence on Liang’s Translation of Shakespeare2.2.1 Hu as the Initiator of Liang’s Translation of Shakespeare2.2.2 The Consensus between Liang and Hu in Terms of Translation Strategies2.3 ConclusionChapter III The Influence of Irving Babbitt3.1 Professionals & Translation3.2 Babbitt’s Influence upon Liang’s Literary Poetics3.3 Babbitt’s Influence upon Liang’s Selection of Works for Translation3.4 ConclusionChapter IV Liang Shiqiu’s Translation Poetics4.1 A "Serious" Attitude4.2 The Function of Translation and the Responsibility of the Translator4.2.1 The Function of Translation4.2.2 An "Academic Translation" for the Purpose of "Introduction"4.2.3 The Invisibility of "Zijia" in Liang’s Translation4.3 The Criteria of Translation4.4 An Appropriate Degree of Literalism: The Debate with Lu Xun4.5 Rethinking Chinese Tradition: Babbitt, a Two-way Mirror4.6 ConclusionChapter V The Performability of Shakespeare5.1 Liang’s Views on Drama and Stage5.1.1 The Definition of Drama5.1.2 The Relationship between Drama and Stage5.2 Liang’s Translation Methods5.3 ConclusionChapter VI The Translation of Strindberg’s Married6.1 Introduction to Liang’s Translation of Strindberg’s Married6.2 The Reasons for Liang’s Choice6.3 An Analysis of the Themes of the Stories not Translated by Liang6.4 ConclusionChapter VII The Translation of George Orwell’s Animal Farm7.1 Ideology, Translation and the Use of Pseudonym7.2 The Similarities and Differences between Li Qichun’s Translation of Animal Farm and Liang’s Version of Shakespeare7.3 The Translator’s Ideology and the Dominant Ideology7.4 ConclusionChapter VIII The Use of Translations for the War of Words8.1 The Use of the Works of Rousseau, Sinclair and More for the Debates8.1.1 Rousseau’s Emile and Sinclair’s Mammonart8.1.2 Paul Elmer More’s "Property and Law"8.1.3 The Proletarian Works8.2 Vyacheslav Polonsky’s "Lenin’s Views of Art and Culture"8.3 ConclusionChapter IX The Differences between Liang Shiqiu and Wu Mi in Terms of Translation Poetics9.1. Wu Mi’s Translation Poetics9.1.1 The Definition and Purpose of Translation9.1.2 The Relationship between Translation and Imitation9.1.3 The Selection of Materials for Translation9.1.4 The Criteria of Translation9.1.5 The Method of Translation9.2 Irving Babbitt’s Influence on Wu Mi9.3 A Summary on Wu’s Translation Poetics9.4 The Reasons for the Differences between Liang and Wu in Terms of Literary and Translation PoeticsChapter X General ConclusionReferencesIndex

Liping Bai is an assistant professor at the Department of Translation of Lingnan University. His research papers appear in international journals including Across Languages and Cultures, Archiv Orientální/Oriental Archive, Babel, Perspectives, The Translator, Neohelicon, Humanitas, Tsing Hua Journal of Chinese Studies, and Translation Quarterly. He is also interested in practical translation and has published a number of translations between Chinese and English.

• ContentsList of FiguresAcknowledgementsChapter I Introduction1.1 Liang Shiqiu as a Translator1.2 "Translator Studies" as an "Emerging Subfield" of Translation Studies1.3 Chapter SummaryChapter II Patronage in Liang’s Shakespeare Translation2.1 Patronage and Translation2.2 Hu Shi’s Influence on Liang’s Translation of Shakespeare2.2.1 Hu as the Initiator of Liang’s Translation of Shakespeare2.2.2 The Consensus between Liang and Hu in Terms of Translation Strategies2.3 ConclusionChapter III The Influence of Irving Babbitt3.1 Professionals & Translation3.2 Babbitt’s Influence upon Liang’s Literary Poetics3.3 Babbitt’s Influence upon Liang’s Selection of Works for Translation3.4 ConclusionChapter IV Liang Shiqiu’s Translation Poetics4.1 A "Serious" Attitude4.2 The Function of Translation and the Responsibility of the Translator4.2.1 The Function of Translation4.2.2 An "Academic Translation" for the Purpose of "Introduction"4.2.3 The Invisibility of "Zijia" in Liang’s Translation4.3 The Criteria of Translation4.4 An Appropriate Degree of Literalism: The Debate with Lu Xun4.5 Rethinking Chinese Tradition: Babbitt, a Two-way Mirror4.6 ConclusionChapter V The Performability of Shakespeare5.1 Liang’s Views on Drama and Stage5.1.1 The Definition of Drama5.1.2 The Relationship between Drama and Stage5.2 Liang’s Translation Methods5.3 ConclusionChapter VI The Translation of Strindberg’s Married6.1 Introduction to Liang’s Translation of Strindberg’s Married6.2 The Reasons for Liang’s Choice6.3 An Analysis of the Themes of the Stories not Translated by Liang6.4 ConclusionChapter VII The Translation of George Orwell’s Animal Farm7.1 Ideology, Translation and the Use of Pseudonym7.2 The Similarities and Differences between Li Qichun’s Translation of Animal Farm and Liang’s Version of Shakespeare7.3 The Translator’s Ideology and the Dominant Ideology7.4 ConclusionChapter VIII The Use of Translations for the War of Words8.1 The Use of the Works of Rousseau, Sinclair and More for the Debates8.1.1 Rousseau’s Emile and Sinclair’s Mammonart8.1.2 Paul Elmer More’s "Property and Law"8.1.3 The Proletarian Works8.2 Vyacheslav Polonsky’s "Lenin’s Views of Art and Culture"8.3 ConclusionChapter IX The Differences between Liang Shiqiu and Wu Mi in Terms of Translation Poetics9.1. Wu Mi’s Translation Poetics9.1.1 The Definition and Purpose of Translation9.1.2 The Relationship between Translation and Imitation9.1.3 The Selection of Materials for Translation9.1.4 The Criteria of Translation9.1.5 The Method of Translation9.2 Irving Babbitt’s Influence on Wu Mi9.3 A Summary on Wu’s Translation Poetics9.4 The Reasons for the Differences between Liang and Wu in Terms of Literary and Translation PoeticsChapter X General ConclusionReferencesIndex