Chapter 4 first tackles the early reception of the concept of Weltliteratur in German criticism. I argue that these discussions, informed by the emergent economic and cultural nationalism of the 1830s-40s, offered a protectionist critique of free trade cosmopolitanism. Based on the conviction that untrammelled exchange assisted the exploitation of less developed trading partners, protectionists such as Friedrich List agitated for the temporary restriction of imports in support of domestic productive forces. Echoing these doctrines, world literature was associated with an overgrown translation industry that advanced the expansion of already hegemonic foreign literatures, wiping out demand for home-grown products in budding national markets. This combination of commercial self-protection and cultural self-defence was taken up in wider regions of East-Central Europe, especially in Hungary. The second part of the chapter discusses the shifting positions of world literature in Hungarian criticism between the 1840s and 1860s, as represented by the work of János Erdélyi and Hugó von Meltzl and their alternate strategies of self-assertion and self-expansion from a minor-marginal position.

This chapter focuses on foreign language books and asks what it means to own books that can’t be read. It analyses the difference between a book that a given individual can’t read and a book which nobody can read. It argues that Sloane did not just collect books in foreign languages as curios, but that there was a value given to the potential knowledge contained in them, regardless of his ability to access it. It looks at the presentation of polyglot books such as dictionaries and grammars, which have a ‘framing language’ that is very often Latin – suggesting their intended audience – and compares them with monolingual books. It expands this to include the seventeenth-century desire to construct an ‘ideal language’ and the creation of fictional languages by Thomas More and George Psalmanazaar, arguing that the collection created a context in which all languages were smaller pieces of a larger whole.

This chapter begins with outlining the repeated appeal from non-Indigenous Australians to share in the heritage of First Nations people without recognition of the ongoing impact of colonialism. It argues that one devastating consequence was the loss or endangering of many first languages of Australia. The chapter considers the relationship between poetry, language and Country, described by Alexis Wright as ‘library land’. Foregrounding the immeasurable significance of these archives of land and lived cultural practice, the chapter details the differences between Aboriginal oral traditions and the translation of Indigenous song poetry into a written context. Aboriginal women’s poetry of mourning and lament, milkarri, is discussed, the chapter pointing out that the power of such songs remains with those to whom the songs belong and the Country that has created the songs. It turns attention to attempted translations of Aboriginal song into English by Eliza Dunlop and then more contemporary translations of Indigenous oral traditions, such as John Bradley’s bilingual book co-authored by Yanuwa families, Stuart Cooke’s translation of Kimberley song cycles, and the Queensland University Press bilingual anthologies of Aboriginal song cycles. The chapter concludes with a discussion of the translation history of the Moon Bone cycle.

This chapter examines specifically oriented poetry anthologies of the twenty-first century, observing their interstitial and multivalent nature. It argues that they fall into two kinds. one is deployed towards institutional consolidation; the other, which is the principal focus of the chapter, is a strategic gathering around a cultural identity, or a thematic, aesthetic, formal or dialogical imperative. The chapter discerns that many such anthologies extend recuperative, topical or other discursive trajectories established in the late twentieth century. Many exceed national-historical formations, track evolving conceptual frames of literary and cultural studies, and map material changes in, and significant structures of feeling around, social, political, intellectual and artistic life. It also includes a discussion of the challenges and significance of translation.

This chapter summarizes the conlanging process described throughout the book and provides suggestions on how to continue to build a conlang, including composing and translating fictional texts, and developing vocabulary and grammar further. It also discusses the extent to which conlangs need to be consistent with patterns attested in natural languages and provides a full translation and gloss of a fictional text for the Salt language.

The 6-item Viewing Body Positivity Online Content Scale (Kvardova et al., 2022) assesses the self-reported (perceived) frequency of viewing body positivity content online. The scale can be administered online or in-person to adolescents or adults and is free to use in any setting. This chapter first discusses the development of the scale and then provides evidence of its psychometric characteristics. More specifically, the scale has been found to have a one-factor structure within confirmatory factor analysis and scalar measurement invariance between adolescent girls and boys, allowing for latent mean comparison across these gender groups. The high internal consistency reliability and preliminary evidence of validity, demonstrated through associations with related constructs, suggest its potential for measuring adolescents’ self-reported frequency of viewing body positivity content online. Next, this chapter provides the scale items in their entirety, instructions for administration, the item response scale, and the scoring procedure. Permissions, copyright, and contact information are provided for readers.

This chapter surveys the history of Pan-Africanism as an aesthetic current that paralleled more formalized political solidarity. The chapter asserts that differences across languages and periods complicate Pan-Africanism’s intellectual history. With particular attention to the diversity of origins, it shows how pre-independence African ties with the diaspora fed into continental initiatives along linguistic lines. While the anglophone tradition emerged in close alignment with African American writers, particularly Langston Hughes, the shared roots in negritude between francophone African and Caribbean writers were productive and provocative, lusophone alignments emerged through continent-based anthologies, and arabophone literatures were interpreted through Pan-Arab as well as Pan-African formations. Given the transnational dimension, African languages have figured less prominently in Pan-African literature. In more recent times, feminism, decolonial imperatives, and changes in publishing and educational institutions have been influential. The tensions between Pan-Africanism and other intellectual traditions remain fertile ground for future scholarship.

Starting with a genealogical survey, the chapter charts how semantics shape epistemologies and explores how positionality, imagery, and the politics of referencing determine the meanings associated with certain concepts. Based on a deep reading of Murakami’s source compilations and translations, the chapter demonstrates how he forged an image of early modern gaikō by emphasizing specific events and actors and by singling out diplomatic documents. It traces how Murakami Naojirō, as the protagonist of the book, played an essential role in shaping the notion of narratives about Japan’s engagement with the outside world during the sixteenth and seventeenth centuries. Through concrete terminological examples it also engages with the misconceptions and silences created through translational processes.

This chapter explains the rationale of the book and discusses Murakami Naojirō’s significance for Japanese historical scholarship. It sets the stage for exploring the practices institutionalized academic historians employed in constructing narratives of early modern Japan’s progressive foreign relations. Translation and hegemonic knowledge claims were major factors in this process, which had lasting consequences for global intellectual trajectories and perpetuated unequal power relations. The imperialist agenda of Murakami and his colleagues was at the forefront of hegemonic thinking about how history ought to be studied: which sources were relevant, whose actions and achievements were important, which groups had histories worth implementing into meta narratives, and whose voices were to be heard and included. The introduction also elaborates on key methodological frameworks such as entangled biography, empirical imperialism, and implicit comparison, and finally discusses important concepts as well as spatial and temporal dimensions of the study.

The Acceptance of Cosmetic Surgery Scale (ACSS; Henderson-King & Henderson-King, 2005) was developed to measure individuals’ attitudes about cosmetic surgery as a way of enhancing physical appearance. The 16-item ACSS is comprised of three subscales that assess 1) acceptance of cosmetic surgery for intrapersonal reasons (Intrapersonal), 2) acceptance of cosmetic surgery for social or career reasons (Social), and 3) the degree to which respondents would consider having cosmetic surgery to enhance their own attractiveness (Consider). This chapter briefly describes scale development and summarizes information about psychometric properties. Evidence is provided regarding its factor structure, reliability for the overall scale and each subscale, test-retest reliability, construct validity, and discriminant validity. While the ACSS was initially developed to be administered in its entirety, research focusing only on respondents’ interest in having cosmetic surgery, has relied solely on the items that comprise the Consider subscale. The scale can be administered online or in paper-and-pencil format. All items are presented in this chapter, as are the response scale and scoring instructions. Scholars wishing to use an unmodified version of the scale may do so without seeking further permission and at no cost. Additional information about permissions, copyright, translations, and contact information are also provided.

This chapter puts world literature and African print cultures into conversation by exploring a widely circulating tale of desire, deception and escape that was told all over pre-colonial Africa and then spread across the globe by slavery and imperialism. The Palm-Wine Drinkard brought the folktale known as the ‘complete gentleman’ story to an international audience in 1952, but the scale of this narrative phenomenon was already massive. Since 1860, more than 450 versions have been printed in over a hundred languages across the African continent and the Atlantic and Indian Ocean worlds. The story also inspired dozens of adaptations across a variety of media, including many by renowned creative writers. This chapter explores what this traveling tale can teach the study of world literatures and African print cultures. It includes an overview of the phenomenon, a discussion of methodology, and an analysis of adaptations by Amos Tutuọla, Efua Sutherland and Ousmane Socé.

Print creates frames and slots in which equivalences between genres, texts and languages become visible or imaginable. The iterative and segmented character of newspapers, in particular, lends itself to the perception of equivalences. In 1920s Lagos, the public culture of the literate elites was bilingual, and it was in the weekly bilingual newspapers that the interface between Yoruba and English was most consciously signalled and creatively explored. Contributors in both langauges deliberately enriched their texts by working across the linguistic interface — quoting, recycling, translating and answering back. The Yoruba-language writers were especially inventive. Taking as an example Yoruba obituaries and ‘In Memoriam’ pieces, this chapter shows how they fluidly combined elements of traditional orature, translations of sentimental Victorian verse, and local popular nicknames and anecdotes. In the formal print sphere this moment of creative intertwining has long passed, but today, comparable experiments can be seen in popular song genres

The aim of the translation is to provide an English text that is both scholarly and accessible. The referencing system resembles the familiar biblical chapters and verses; sections are provided with titles that identify their key theme and bring to light the structure of a work often regarded as diffuse and repetitive.

The significance of Russian culture for the Bloomsbury group and their role in its dissemination in Britain is the focus of this chapter. British fascination with Russian culture peaked in the 1910s and 1920s and, because this was precisely when members of the Bloomsbury group came to prominence in their respective fields, their interpretation of Russian culture had considerable influence. Particular attention is paid to Boris Anrep’s curation of the “Russian Section” for Roger Fry’s Second Post-Impressionist Exhibition (1912); the role of the Ballets Russes in Bloomsbury conceptions of “civilization”; the 1917 Club, founded by Oliver Strachey and Leonard Woolf; John Maynard Keynes’ and Leonard Woolf’s engagement in political debates about post-revolutionary Russia; and the significance of Russian literature to Virginia Woolf and the Hogarth Press.

Chaucer’s works were written during the late fourteenth century, a period which saw considerable changes in the functions of the English language as it came to replace French and Latin as the languages of written record. As well as being an important source for the scholarly understanding of late Middle English, Chaucer’s works shed light on the status of English and its variety of registers and dialects, enabling scholars to gain a deeper awareness of the sociolinguistic connotations of its different forms and usages. The Canterbury Tales, with its array of pilgrims drawn from a variety of professions, social classes and geographical regions narrating a series of tales reflecting a wide range of genres, is a valuable source of evidence for historical pragmatics. This chapter shows the way in which Chaucer’s text offers insights into the conventions of social interaction, including forms of address, politeness and verbal aggression, and the use of discourse markers.

The introduction sets the scene at the catacombs of San Gennaro in Naples, where our only early Christian fresco from the Shepherd of Hermas is painted on a tomb wall. I lay out the thesis and roadmap for the book, namely, that the Shepherd crafts obedient early Christian subjects within the ancient Mediterranean discourse of enslavement. A brief overview of the Shepherd’s content is provided, as well as regarding its popularity and transmission history across the ancient, late ancient, and medieval worlds. I especially note how the Shepherd became a pedagogical tool in late antiquity, and that the Shepherd’s teachings are even placed in Jesus’s own mouth by some late ancient writers, heightening the stakes for understanding how enslavement is utilized in a text used to shape Christian thought and practice for centuries after its composition. Also provided is a brief introduction to slavery in antiquity to situate the reader, as well as outline some of the major influences on my approach to reading the text, especially womanist translational theory and Chris de Wet’s concept of doulology.