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The Translation of Gender Representation in Keyes’s Watermelon and Ahern’s PS. I Love You into Vietnamese

Nhat Tuan Nguyen*

Vietnam International Education Development, Hanoi, Vietnam

Background to the Chapter

Translation has a special place in the literary process, as translated literature facilitates access to the literature and culture of other nations. In fact, translation is a key to the development of a national literary process, because by translating works of foreign literature, “features (both principles and elements) are introduced into the home literature which did not exist there before” (Even - Zohar, 1990 p. 47).

In the light of introducing a new literary genre to a Vietnamese audience, in 2009 publishing houses in Vietnam began to publish several series of contemporary female popular fiction or Chick Lit as it is popularly known. This new fictional genre is marketed in Vietnam as a must read for contemporary women who love modern, fast-paced and glamorous living. The translation of contemporary female popular fiction into Vietnamese not only

Email: This email address is being protected from spam bots, you need Javascript enabled to view it introduces a new concept of women’s life to Vietnamese audiences but also meets the need of local readers who are living in a time of economic development and globalization, in which the local literature has not yet had a sufficient number of fictional works that address the audience’s experience. In fact, the growing number of contemporary female popular fictional works translated into Vietnamese reflects “the increasing confidence among young, single women in the country, especially those living in cities with good jobs” (Huong Le, 2009). Among a number of writers who have had their works translated for Vietnamese readers, Irish writers have a special position in the market. Marian Keyes is marketed as “The Queen of Chick Lit” and her books are warmly welcomed in the Vietnamese market. These facts led to my doctoral research, which investigates the Vietnamese translations of Irish contemporary female popular fiction, and this chapter is a part of that research.

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