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The cultural dynamics of reception are best understood as a reiterative process of reshaping and reframing. Reception as an object of critical study embraces first the history of how texts were read, disseminated, and consumed across media, languages, and geographical regions. But if this is the first port of call, such analysis quickly draws in questions about the relationship between reception and production, audience and agency, about contemporary and posthumous reputation. This special issue investigates the ways in which the act of reception is a reiterative process on a continuous spectrum with cultural production. Receivers — of texts, events, reputations — are mediators, creatively reconstituting that which they receive according to their own agendas and contemporary imperatives. The articles in this collection embrace international, comparative, and new material contexts for early modern reception studies as they address poetry, romance, letters, history, hagiography, autobiography, and literary reviews. The transnational perspectives that emerge lead from the Low Countries to Italy, Ireland to France and the Spanish Netherlands, Spain to England, and England to France. The introductory essay for the issue additionally examines recent digital projects concerned with the history of reading and reception, exploring in particular how digital resource design foregrounds questions of representation and our immersion, as critics, in the act of reception.

This article studies translated Russian literature as a factor of the development of contemporary Russian-Chinese intercultural communication. The authors examine the main traits of the reception of Russian literature in contemporary China, the mechanisms of the transformation of the interest of the Chinese public at large in the works of Russian writers, and the reasons for the sustainable role of Russian classic literature (A. Pushkin, M. Lermontov, N. Gogol, I. Turgenev, F. Dostoyevsky, L. Tolstoy, A. Chekhov, M. Gorky, M. Sholokhov, and N. Ostrovsky) as a basic element of the image of Russia. The authors identify the reasons why the Russian literature of the second half of the twentieth and early twenty-first centuries whose translations are available in China (some of them have received the Best Foreign Novel of the Twenty-First Century award) has not managed to change the established structure of priorities remaining at the periphery of contemporary processes of intercultural communication. It is demonstrated that the reception of classical and contemporary Russian literature in China has followed two scenarios, i.e. “profound” and “superficial”. The study of works of Chinese literary critics and cultural figures (Liu Wenfei, Wang Jiezhi, Cui Guoxin, etc.) makes it possible to identify the main criteria for the selection and perception of literary works in the conceptual, ethical and stylistic domains, and the domains of plot and imagery. It is emphasised that 21st-century Russian literature, which has lost its function as a model for emulation and a standard for copying, is interesting to Chinese specialists and readers as a corpus of texts that reflects aesthetic issues and ethnocultural regional traits without generating qualitatively new worldviews. The authors present the results of the quantitative and qualitative analysis of digital resources (Baidu, Sogou, etc.) that reveal the main features of the contemporary perception of Russian literature by Chinese Internet users., Переводная художественная литература России рассматривается в статье как фактор развития современной российско-китайской межкультурной коммуникации. Исследуются основные особенности рецепции литературы России в современном Китае, механизм трансформации интереса широкой китайской аудитории к произведениям российских писателей, причины прочного закрепления в китайском общественном сознании представлений о русской классике (о произведениях А. Пушкина, М. Лермонтова, Н. Гоголя, И. Тургенева, Ф. Достоевского, Л. Толстого, А. Чехова, М. Горького, М. Шолохова, Н. Островского) как базовом компоненте образа России. Выявляются причины, по которым литература России второй половины XX — начала XXI в., представленная в Китае многочисленными переводами, в том числе получившими премии «Лучший зарубежный роман XXI века», не смогла изменить устойчивую структуру приоритетных предпочтений, оставаясь на периферии современных процессов межкультурной коммуникации. В статье подчеркивается, что рецепция классической и современной литературы России в Китае осуществлялась по двум сценариям — «глубинному» и «поверхностному». На основе изучения работ китайских литературоведов и деятелей культуры (Лю Вэньфэя, Ван Цзечжи, Цуй Госиня и др.) формулируются основные критерии отбора и восприятия произведений: концептуальные, нравственно-этические, сюжетные, образные и стилистические особенности. Подчеркивается, что литература современной России, утратив в XXI в. функцию эталона для подражания и образца для копирования, интересна китайским специалистам и читателям как корпус текстов, отражающих художественно-эстетическую проблематику и этносоциокультурную специфику регионального масштаба, не формируя при этом качественно новых мировоззренческих парадигм. Представленные в статье результаты количественного и качественного анализа цифровых ресурсов (Baidu, Sogou и др.) отражают основные особенности современной рецепции литературы России китайской интернет-аудиторией.

Partiendo de la relación indisoluble entre la traducción y el medio migrante y transnacional del cómic, este artículo realiza una revisión teórica al estado de la cuestión de la traducción de cómic y la presencia de esta modalidad en los Estudios de Traducción y en los Estudios de Cómic. Se concluye que el lenguaje icónico-textual del cómic debe leerse e interpretarse como un todo, y que la traducción debe ir más allá de lo puramente interlingüístico. Se propone una definición de la traducción de cómic en continua expansión y se describen las contribuciones incluidas en el presente monográfico. Starting from the inextricable connection between translation and comics as a migrant, transnational medium, this article offers a theoretical overview of comic translation and its presence within the fields of Translation Studies and Comics Studies. It comes to the resolution that the verbal and visual language of comics should be read and interpreted as a cohesive whole. Therefore, comics translation has to go beyond a mere interlinguistic approach. The article offers an open, inclusive definition of comic translation, in line with the contributions included in this monograph.

Starting from the inextricable connection between translation and comics as a migrant, transnational medium, this article offers a theoretical overview of comic translation and its presence within the fields of Translation Studies and Comics Studies. It comes to the resolution that the verbal and visual language of comics should be read and interpreted as a cohesive whole. Therefore, comics translation has to go beyond a mere interlinguistic approach. The article offers an open, inclusive definition of comic translation, in line with the contributions included in this monograph. Partiendo de la relación indisoluble entre la traducción y el medio migrante y transnacional del cómic, este artículo realiza una revisión teórica al estado de la cuestión de la traducción de cómic y la presencia de esta modalidad en los Estudios de Traducción y en los Estudios de Cómic. Se concluye que el lenguaje icónico-textual del cómic debe leerse e interpretarse como un todo, y que la traducción debe ir más allá de lo puramente interlingüístico. Se propone una definición de la traducción de cómic en continua expansión y se describen las contribuciones incluidas en el presente monográfico.

Поступила в редакцию: 12.02.2020. Принята к печати: 23.06.2021. Submitted: 12.02.2020. Accepted: 23.06.2021. Переводная художественная литература России рассматривается в статье как фактор развития современной российско-китайской межкультурной коммуникации. Исследуются основные особенности рецепции литературы России в современном Китае, механизм трансформации интереса широкой китайской аудитории к произведениям российских писателей, причины прочного закрепления в китайском общественном сознании представлений о русской классике (о произведениях А. Пушкина, М. Лермонтова, Н. Гоголя, И. Тургенева, Ф. Достоевского, Л. Толстого, А. Чехова, М. Горького, М. Шолохова, Н. Островского) как базовом компоненте образа России. Выявляются причины, по которым литература России второй половины XX — начала XXI в., представленная в Китае многочисленными переводами, в том числе получившими премии «Лучший зарубежный роман XXI века», не смогла изменить устойчивую структуру приоритетных предпочтений, оставаясь на периферии современных процессов межкультурной коммуникации. В статье подчеркивается, что рецепция классической и современной литературы России в Китае осуществлялась по двум сценариям — «глубинному» и «поверхностному». На основе изучения работ китайских литературоведов и деятелей культуры (Лю Вэньфэя, Ван Цзечжи, Цуй Госиня и др.) формулируются основные критерии отбора и восприятия произведений: концептуальные, нравственно-этические, сюжетные, образные и стилистические особенности. Подчеркивается, что литература современной России, утратив в XXI в. функцию эталона для подражания и образца для копирования, интересна китайским специалистам и читателям как корпус текстов, отражающих художественно-эстетическую проблематику и этносоциокультурную специфику регионального масштаба, не формируя при этом качественно новых мировоззренческих парадигм. Представленные в статье результаты количественного и качественного анализа цифровых ресурсов (Baidu, Sogou и др.) отражают основные особенности современной рецепции литературы России китайской интернет-аудиторией. This article studies translated Russian literature as a factor of the development of contemporary Russian-Chinese intercultural communication. The authors examine the main traits of the reception of Russian literature in contemporary China, the mechanisms of the transformation of the interest of the Chinese public at large in the works of Russian writers, and the reasons for the sustainable role of Russian classic literature (A. Pushkin, M. Lermontov, N. Gogol, I. Turgenev, F. Dostoyevsky, L. Tolstoy, A. Chekhov, M. Gorky, M. Sholokhov, and N. Ostrovsky) as a basic element of the image of Russia. The authors identify the reasons why the Russian literature of the second half of the twentieth and early twenty-first centuries whose translations are available in China (some of them have received the Best Foreign Novel of the Twenty-First Century award) has not managed to change the established structure of priorities remaining at the periphery of contemporary processes of intercultural communication. It is demonstrated that the reception of classical and contemporary Russian literature in China has followed two scenarios, i.e. “profound” and “superficial”. The study of works of Chinese literary critics and cultural figures (Liu Wenfei, Wang Jiezhi, Cui Guoxin, etc.) makes it possible to identify the main criteria for the selection and perception of literary works in the conceptual, ethical and stylistic domains, and the domains of plot and imagery. It is emphasised that 21st-century Russian literature, which has lost its function as a model for emulation and a standard for copying, is interesting to Chinese specialists and readers as a corpus of texts that reflects aesthetic issues and ethnocultural regional traits without generating qualitatively new worldviews. The authors present the results of the quantitative and qualitative analysis of digital resources (Baidu, Sogou, etc.) that reveal the main features of the contemporary perception of Russian literature by Chinese Internet users.

Al llarg de la història, la recepció dels productes culturals nipons ha evolucionat segons una sèrie de variables econòmiques, geopolítiques i culturals. Des de la seva obertura forçada a mitjans del segle XIX, el Japó ha desenvolupat una sèrie d'estratègies de promoció i difusió cultural que, juntament amb el criteri dels agents culturals estrangers, han contribuït al desenvolupament de l'acolliment de la producció. En aquest sentit, les Exposicions Universals celebrades per tot el món des de la segona meitat del segle XIX han representat un paper clau com a aparadors de patrimoni i com a espais dintercanvi cultural. Actualment, malgrat el context marcat per la globalització i el mercat de consum, esdeveniments com el Saló del Manga de Barcelona compleixen una funció anàloga. A través de l'anàlisi del discurs periodístic sobre tots dos esdeveniments, és possible obtenir una imatge general del desenvolupament del rebut de la cultura japonesa. A lo largo de la historia, la recepción de los productos culturales nipones ha evolucionado en función de una serie de variables económicas, geopolíticas y culturales. Desde su apertura forzada a mediados del siglo XIX, Japón ha desarrollado una serie de estrategias de promoción y difusión cultural que, junto al criterio de los agentes culturales extranjeros, han contribuido al desarrollo de la acogida de su producción. En este sentido, las Exposiciones Universales celebradas por todo el mundo desde la segunda mitad del siglo XIX han representado un papel clave como escaparates de patrimonio y como espacios de intercambio cultural. Actualmente, pese al contexto marcado por la globalización y el mercado de consumo, eventos como el Salón del Manga de Barcelona cumplen una función análoga. A través del análisis del discurso periodístico acerca de ambos eventos, es posible obtener una imagen general del desarrollo del recibo de la cultura japonesa. Throughout history, the reception of Japanese cultural products has evolved based on a series of economic, geopolitical and cultural variables. Since its forced opening in the mid-nineteenth century, Japan has developed a series of cultural promotion and dissemination strategies that, together with the judgement of foreign cultural agents, have contributed to the development of the reception of its production. In this sense, the Universal Exhibitions held around the world since the second half of the 19th century have played a key role as showcases of heritage and as spaces for cultural exchange. Nowadays, despite the context marked by globalization and the consumer market, events such as the Barcelona Manga Fair fulfill a similar function. Through the analysis of the journalistic discourse about both events, it is possible to obtain a general image of the development of the reception of Japanese culture.

Аутореферат докторске дисертације одбрањене на Филолошком факултету Универзитета у Београду 30. септембра 2017. године пред комисијом у саставу: проф. др Александра Вранеш, доц. др Гордана Ђоковић, доц. др Драгана Грујић и проф. др Младен Шукало.

El artículo reconstruye una controversia que tuvo lugar entre dos grupos de fans de la banda Patricio Rey y sus Redonditos de Ricota. La misma se desplegó en diversos foros de internet y se suscitó ante la propuesta de realización de un evento específico: un “banderazo” en conmemoración a la banda, a comienzos de 2009. A partir de recrear el proceso de debate argumentativo previo a la realización de este banderazo –un tipo de evento que es transferido desde el mundo del futbol hacia la afición musical-, se muestra cómo se definieron performativamente dos modos de comprender y actualizar el fanatismo en esta comunidad de gusto (Lash 1997). Por un lado, se identificaron aquellos fans que valoraron en dicho evento la oportunidad de recrear una instancia de participación colectiva; por otro, aquellos que rechazaron la propuesta subrayando el carácter íntimo del gusto. Derivado de ello, se analiza cómo estos dos modos de vivir la afición procesan gramáticas de la persona (Martuccelli 2007) divergentes en el interior de la comunidad, así como disputas generacionales dentro de este público. Este desarrollo converge en una reflexión en torno a las dinámicas que asumen los procesos de recepción cultural en las sociedades contemporáneas. El trabajo se sustenta en una estrategia metodológica que combinó el análisis de discurso con la entrevista etnográfica., The article reconstructs a controversy that took place between two groups of fans of the band Patricio Rey y sus Redonditos de Ricota. This controversy was unfolded in various internet forums and was motivated by the realization of a specific event: a “banderazo” in commemoration of the band, which took place in 2009. From recreating the process of argumentative debate previous to the realization of this banderazo –a practice that is transfered from the football world to the musical taste–, the article show how are defined two modes of understanding and update the fanatism in this community of taste (Lash 1997). On the one hand, was identified those fans who valued in that event the opportunity to recreate an instance of collective participation; on the other, those who rejected the proposal emphasizing the intimate character of the taste. Derived from it, is analyze how these two modes process divergent person grammars (Martuccelli 2007) into the “community”, and generational disputes within these public. The development converge in a reflection about the dynamics that take the cultural reception processes in contemporary societies. The work is based on a methodological strategy that combined discourse analysis with ethnographic interview., Facultad de Humanidades y Ciencias de la Educación

The interaction between China and Europe during the late Qing period was ac- companied by a prosperous cross-cultural exchange. One of the most outstanding results of such contact was the formation of a modern Chinese press from the combination of Western journalism and Chinese gazettes. The Shenbao was one of the most representative newspapers of this cultural phenomenon. For nearly forty years of the Imperial period, Italy appeared in over two thousand articles, with a significant selection focused on Italian cultural production and historic tradition. This article aims to propose a multifaceted portrait of Italian cultural heritage of- fered to Chinese readership by the Shenbao. Topics of interest were art and archae- ology, literature, language and teaching system. The article illustrates the dynamics that contributed to the construction of a collective imaginary of Italian culture and the phenomena that influenced and transformed the vision of Italy’s culture during different moments of the Sino-Italian relations.

O texto procura problematizar a relação complexa e ambígua entre os meios de comunicação social e os processos de produção de cidadania. Em alternativa à noção de esfera pública, propõe‑se a de públicos, mediáticos e políticos, que permite restituir a teia densa de factores que condicionam a recepção dos conteúdos mediáticos. Por outro lado, é dada especial atenção à função ideológica dos media e, a partir da análise de dois casos concretos, procura-se indagar da possibilidade e das condicionantes da apresentação de gramáticas alternativas que potenciem a construção de um mundo comum que não consensual. This text seeks to problematize the complex and ambiguous relation between the media and the processes of production of citizenship. As an alternative to the concept of public sphere, the text proposes that of mediatic and political publics, which allows the restitution of the dense network of factors that condition the reception of media contents. The text also gives particular attention to the ideological function of the media and, based on two concrete cases, it seeks to explore the possibility and conditions of the presentation of alternative grammars that can enhance the construction of a common, but not necessarily consensual, world. Le texte présent cherche à problématiser la relation complexe et ambigüe existant entre les moyens de communication sociale et les processus de la production de citoyenneté. Face à la notion de la sphère publique, est proposée l’alternative de notion des publics, médiatiques et politiques. Celle-ci permet de restituer la trame dense des facteurs qui conditionnent la réception des contenus médiatiques. D’un autre côté, une importance particulière est donnée ici à la fonction idéologique des media et, à partir de l’analyse de deux cas concrets, l’étude cherche à s’informer de la possibilité et des conditions de la présentation des grammaires alternatives qui puissent rendre possible la construction d’un monde plutôt commun que consensuel.

Cuando una obra literaria es trasladada a la gran pantalla y tanto la película resultante como la propia obra literaria se traducen a otro idioma, se crea entre el sistema emisor y el receptor un nexo de intercambio cultural en el cual intervienen varias formas de transferencia: la traducción literaria, la traducción audiovisual y la adaptación cinematográfica. La combinación de estas formas de trasvase constituye un fenómeno especialmente ilustrativo de las relaciones interculturales entre sistemas. A partir de esta hipótesis y tomando como marco epistemológico la teoría de los polisistemas, se ha desarrollado un modelo de análisis que permite estudiar de forma sistemática la combinación de estos trasvases y su papel en el intercambio cultural. Dicho constructo teórico se ha aplicado a un corpus de adaptaciones cinematográficas españolas y su recepción en Alemania en el período 1975-2000 con el objetivo de analizar las relaciones interculturales hispano-germanas que se dan a través del cine y la literatura., When a literary work is transferred to the screen and both the resulting movie and the literary work itself are translated into another language, an intercultural connection arises, where various transfer forms take place: literary translation, audiovisual translation and film adaptation. The combination of these three transfer forms establishes a very illustrative phenomenon of the intercultural relationships between systems. On the basis of this assumption and using Polysystem Theory as apistemological framework, an analysis model has been designed, which enables to systematically explore this transfer combination and its role in cultural exchange. This model has been than applied to a corpus of Spanish film adaptations and their reception in Germany between 1975 and 2000, in order to analyse the Spanish-German intercultural relationships which take place through translated cinema and translated literature.