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Resumen: This paper compares and contrasts three English versions of The Peony Pavilion, with a view to exploring the strategies adopted in the three translations in respect to their treatment of erotic passages in the Chinese dramatic masterpiece Mudan Ting. It is found that while all three translators generally respect the integrity of the Chinese source text, they demonstrate different trajectories in terms of their translational dispositions. Specifically, while Zhang Guangqian shows evidence of attenuating sexually sensitive material in his translation, Wang Rongpei demonstrates a tendency to translate in a register that is closer to contemporary English vernacular than to the highly poetic register that characterizes the original Chinese play. Cyril Birch differs from his two Chinese counterparts by faithfully preserving the poetic flavor of the erotic passages, to the extent that a foreign feel is often evident in his translation. The study also locates its findings against the background of previous studies, concluding that the general norm exhibited by the three translators in respect to the treatment of erotic passages in The Peony Pavilion, which is that of retention, departs from the norm of deletion/mitigation found in Chinese translations of English literature with sexual content. The paper hypothesizes that euphemism is not the universal norm adopted by translators in the treatment of sexually sensitive material in literature. Rather, the strategy used in translating eroticism is a function of the assumed acceptability of such material by the target readership.

Resumen: This paper explores the ideological function of translation in negotiating power relations among languages in multilingual Singapore. Based on an analysis of the discursive roles of translation in multilingual literary anthologies published between 1985 and 2008, the paper argues that the power relation between English and the mother tongue languages has shifted over the past two decades. Central to this ideological shift is translation, the underlying discursive mechanism in all multilingual publications in Singapore. It has been found that the potential of a language to be translated into, as opposed to its being translated out of, is directly proportional to its symbolic capital in a multilingual society. It has also been predicted that the future trend in multilingual literary translation in Singapore will tend towards a multi-directional approach whereby the four official languages engage one another multilaterally in a complex dynamic of translation relations.

Resumen: Balzac's realistic technique relies mainly on the verisimilitude of a huge variety of elements (characters, descriptions, encyclopedic knowledge, etc.), among which language stands out as one of the mainstays of La Comedie humaine in general and Illusions perdues - the key novel - in particular. This paper highlights first the crucial role of Balzac's singular vocabulary (technical terms, slang words, etc.) for the success of his ambitious realist project, the variety and complexity of his language being a reflection of the variety and complexity of the new society he aims to describe. Then, through a comparative study of a group of English and Spanish translations of Illusions perdues, the paper insists on the importance of consciously maintaining Balzac's complex lexical singularities in the target languages, this being the only way to offer the reader a text faithful to the realistic intentions of his author instead of a modern "dubbed" easier-tounderstand version.