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(2011). Translating Nichita Stanescu and Friends. Translation Review: Vol. 82, No. 1, pp. 44-51.

The goal of this collective effort is to provide an overview of the course of Central European literatures in the twenty years following the fall of the Berlin Wall. The authors have highlighted works they consider representative of their countries’ literary production and placed them in the context of the political and social changes they reflect. Where English translations of the works in question are available, they are listed in a bibliography attached to each article.

This article describes the discourse and practice of translation during the Soviet colonization of Romania. Translation serves as an ideal object for the study of this cultural political process, because Soviet colonization emphasized the transformation of a nation through language. The new regime pursues a policy of foreignizing Romanian, creating the conditions for a resistant practice of domestication. This model reverses our common understanding of cultural politics of translation, exemplified by Lawrence Venuti. I focus on one actual translation: Lucian Blaga’s 1955 version of Faust. By looking at the role of translation in the Soviet colonization of Romania, we can better understand how culture, language, and power come together, creating unique forms of both domination and resistance., Cet article décrit à la fois le discours et la pratique de la traduction littéraire pendant la période de la colonisation de la Roumanie par les Soviétiques. La traduction est un objet idéal d’étude du processus culturel et politique de cette époque, à cause de la manière avec laquelle la colonisation soviétique a privilégié la transformation de la nation à travers sa langue. Le nouveau régime a poursuivi une politique dans laquelle la langue roumaine subissait des transformations étrangères, ce qui crée des conditions favorisant une pratique réfractaire à l’intégration. Ce modèle renverse la compréhension des politiques culturelles de la traduction, comme elle a été expliquée par Lawrence Venuti. Le présent travail se concentre sur une traduction spécifique : la version de Faust publiée en 1955 par Lucian Blaga. Quand on regarde le rôle de la traduction dans la colonisation soviétique de la Roumanie, on peut mieux comprendre comment la culture, la langue et le pouvoir se rejoignent pour constituer des formes uniques de domination tout autant que de résistance.

Eliot's baptism and confirmation in the Anglican Church in 1927 is usually taken to mark a conversion, not only in his spiritual life, but also in his aesthetics. This year divides the "early" from the "late" Eliot, the author of "Prufrock" and The Waste Land from the author ofAsh-Wednesday and Four Quartets, the ironic avant-garde ventriloquist from the dogmatic czar ofletters. Helen Gardner's statement is exemplary: The change in Mr Eliot's poetry cannot be discussed without reference to the fact that the author ofAsh Wednesday is a Christian while the author of The WasteLandwas not. Nobody can underrate the momentousness for any mature person ofacceptance ofall that membership ofthe Christian Church entails. (103) While it is not clear what all is entailed, we can hear in "momentousness" the solemn tone reserved for this moment in Eliot's life, as though he has made a desperate and possibly fatal choice. I will argue that we are mourning a false sense ofrupture. We know from his Harvard notebooks (Gordon 537-8) and from poems such as "The Love Song of St. Sebastian" that Eliot wrestled with Christian beliefthroughout his life, and 1927 marks his public avowal ofthis commitment. Eliot's statement ofbeliefdoes not, however, mark his withdrawal from the avant-garde. In fact, this statement shows the depth of his involvement with that particular faction called Dada. Eliot was not a Dadaist in that he did not perform at the Cabaret Voltaire, he did not contribute to Dadajournals, and he did not write or sign any ofthe many Dada manifestos. But we can understand the dynamics of his Anglican beliefs more accurately if we see them as an extension ofthis continental avant-garde tradition. As Ronald Bush and Denis Donoghue both argue, Eliot's poetry does undergo a change, beginning with Ash-Wednesday (1930), his first long poem published after 1927. This poem moves his aesthetics closer to, not further from, those of the Dadaists Hugo Ball and Tristan Tzara. In it Eliot employs the aesthetic nonsense ofDadaist goading as a structural technique, making his Christianity not into a solemn funeral but into a music-hall comedy. Eliot must have expected, when For Lancelot Andrewes was published, the overwhelminglyhostilereactionthathis preface would evoke. For example, Eugene Jolas (the editor oftransition, publisher ofJoyce's Work in Progress and Gertrude Stein's Tender Buttons) called Eliot "senile" and assumed that he had given up literary creation

We have characterized the single-copy rat gene encoding the protein precursor of insulinlike growth factor II (pre-pro-rIGF-II) that is located downstream from and in the same transcriptional orientation as the homologous insulin II gene (5′-insulin-IGF-II-3′). This gene consists of at least three coding exons and utilizes two promoters that generate alternate 5′ non-coding exons. Multiple transcripts from both promoters appear primarily in fetal or neonatal tissues (in all of the developmental stages and tissues that we have examined), but they are extremely rare or undetectable in adult tissues, with the exception of the brain and the spinal cord. These transcripts, which exhibit characteristic developmental profiles in various tissues, differ both in the presence of one of the alternate 5′ non-coding exons and in the length of their fourth exon. The possible occurrence of differential splicing or differential polyadenylation (or both) in this region is discussed.