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By V. S. Naipaul

V. S. Naipaul has consistently confronted the demanding situations of "fitting one civilization to another." In A Writer's People, he's taking us into this means of artistic and highbrow assimilation, which has formed either his writing and his life.

Naipaul discusses the writers to whom he used to be uncovered early on—Derek Walcott, Gustave Flaubert, and his father, between them—and his first encounters with literary tradition. He illuminates the ways that the writings of Gandhi, Nehru, and different Indian writers either display and hide the authors themselves and their kingdom. And he brings an identical scrutiny to endure on his personal existence: his early years in Trinidad; the empty areas in his kinfolk historical past; his ever-evolving reactions to the extra advanced India he could stumble upon for the 1st time at age thirty.

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Extra resources for A Writer's People: Ways of Looking and Feeling

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The scheme also allows the original writer to remain the Page xvi authority and effectively erases the translator from the mediatory process. Bassnett's insights point out just how difficult it is to determine the border between original writing and translation and how critics 'collude' with a culture that tends to have very distinct and separate concepts of original writing and translation. Such thinking makes Constructing Culture appeal to cultural studies scholars and language philosophers alike.

The explosion of thinking and writing on and about translations has made it hard for anyone to keep up. For those recently discovering the field, Bassnett's and Lefevere's Constructing Cultures offer a variety of essays that reflect the evolution of the field: these essays address the most recent developments in theory, in cultural studies, in translation research (called descriptive studies by translation studies scholars), and in teaching translation. Susan Bassnett and André Lefevere also continue to push the boundaries of the definition of the field of translation studies.

They can, and do, appear given for all eternity only when, as so often happens, they have been interiorised by human beings to such an extent that they have become totally transparent for them, that they appear 'natural'. If textual grids do exist, and we claim that they do, not explicitly, but as a pattern of expectations that is felt, has been interiorised by members of a culture, who may not be able to list most, or all of their characteristic features and the rules that regulate their production, then students of translation should pay more attention to them than they have in the past, whether they want to learn the technique of translating, or whether they want to analyse translations and the part they play in the evolution of cultures.

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