The Bengali translations of Yeats attempted by the pioneering Bengali modernist poet Bishnu Dey (1909-1982) may be regarded as “domesticating” (to borrow from Venuti’s famous binary), but far from rendering himself invisible as a translator, Dey projects his own distinctive poetic style onto Yeats’ texts. Dey’s primary emphasis is apparently on the verbal music and formal structure of the poem and its readability in translation. Although the poems in translation adhere to the subject, cultural references, number of lines and often also the rhyme scheme of the source texts, they showcase Dey’s hallmark poetic style with its abstruse Sanskrit diction and obscure, elliptical syntax. In his essays on Yeats, Dey marvels at the unadorned epigrammatic compactness that Yeats achieved in his poetry around 1910, but Dey does not follow such a style in his translations of Yeats. Dey’s translations may be seen as presenting to an elite constituency of Bengali readers (trained in the appreciation of poetry) his own reading of Yeats as mediated through Dey’s own recognisable poetic idiom.
Keywords: Yeats, Translation, Modernism, Bengali Modernist Poetry, Reception of Yeats in Bengali.

This paper examines how platform-based secondary creation reshapes the dissemination of Chinese classical literature in the digital age through a case study of Muyu Shuixin’s commentary video series on Hongloumeng. By comparing the circulation and reception of the same series on Bilibili and YouTube, the study explores how language, platform mechanisms, cultural familiarity, and audience participation shape the formation of literary fandom. It argues that secondary creation is not merely a derivative cultural practice but an important form of literary mediation that recontextualises canonical texts for contemporary viewers. The findings show that the series successfully fostered a recognisable literary fandom on Bilibili, but failed to generate a comparable fan community on YouTube. This contrast reveals both the possibilities and the limitations of platform-based secondary creation in the cross-cultural circulation of Chinese classical literature.
Keywords: Secondary Creation, Literary Fandom, Hongloumeng, Muyu Shuixin, Cross-platform Adaptation.

The fundamental questions underlying what is actually meant by author and translation are raised by Rabindranath Tagore’s self-translation from Bengali (1910) to English (1912). This paper does not seek to reproduce Tagore’s original work, but rather to describe the process of what it calls second writing, a creative process of restructuring, using imagery and drawing on cultural references, for a new global audience. The paper looks at five selected Tagorean poems in both versions through the prism of Itamar Even-Zohar’s polysystem theory and research on bilingual cognition to reflect the way Tagore manoeuvred between devotional lyricism in Bengali and spiritual sensibility in the West. This analysis shows that there were two-fold reasons for his self-translation. It assisted in his international reception, and it redefined his poetic voice in a new literary system. The discoveries here proposed make a bold claim to the original and the translation, suggesting that Tagore’s bicultural or bilingual practice is a form of creative authorial practice rather than a mere derivative of the original. The implications for translation studies in the Postcolonial context, and for multilingualism and authorship, are explored.
Keywords: Self-translation, Bilingual Creativity, Polysystem Theory, Postcolonial Translation, Authorial Agency, Gitanjali.