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.

This study examines translation strategies and techniques employed in Chinese-to-English military translation through a case study of Chapters 7 and 8 of Science of Military Strategy 2020. Using a qualitative and quantitative corpus-based approach, the research analyzes 128 military Terms, and strategic expressions translated from Chinese into English. The study categorizes the translations into three major strategies: domestication, foreignization, and hybrid translation. The findings reveal that domestication is the most frequently employed strategy, accounting for 53.12% of the corpus, indicating the translator’s preference for readability and accessibility for English-speaking audiences. Foreignization constitutes 30.47%, reflecting efforts to preserve distinctive Chinese strategic culture, ideological discourse, and PLA doctrinal terminology. Hybrid strategies account for 16.41%, demonstrating a balanced approach combining conceptual preservation with target-language fluency. The study highlights the complex linguistic and ideological challenges involved in translating Chinese military discourse and argues that effective military translation requires balancing doctrinal accuracy, cultural specificity, and strategic readability. The research contributes to Chinese-English military translation studies, strategic discourse analysis, and cross-cultural military communication research.
Keywords: Chinese-English military translation, translation strategies, PLA discourse.

Translation is much more than a mere mechanical process of conversion of one language to another language. It is an activity fraught with cultural compromises wherein the conversion from one linguistic medium to a totally different verbal exchange of ideas is both subtle and sometimes quite elusive. The paper probes cultural mediation required through translation and the translator’s acumen in maintaining a balance of fidelity to the original text while also preserving accessibility to the audience for whom the translation is intended. This challenging complexity is quite adequately adumbrated in the translations of the two Nepali texts: Mauli, by Badrinarayan Pradhan and Phoolange by Lekhnath Chhetri. The translators of these two texts, Anmole Prasad and Anurag Basnet, respectively, while negotiating the socio-political and linguistic nuances of the Nepali text, outline for us the necessary acts of subversion and creation that translation ultimately demands.
Keywords: Translation, Cultural Mediation, Fidelity, Nepali Literature, Socio-Political Nuance, Translator Agency.