This article, therefore, will tease out what it might mean to understand literary translation, retranslation, and their related creative by-products as being indebted to an inherently refractive process. I cannot help but find this concept to be a surprisingly useful one for working through how texts angle off in a different direction from the path of origin upon being translated, how they adapt to new forms and take on new significances, and how we are able to read, in English, something quite different in form and style from what the West understands as belonging to the novelistic genre and yet speak in all seriousness of having read a Japanese novel.
It was Newton who taught us that all those colours are not created by the prism, as was previously believed, but rather that they are naturally contained within the light itself. its various components each taking a different angle) are also the result of refraction, the colour spectrum constituting the visible manifestation of the existing range of wavelengths. More spectacular natural phenomena such as rainbows or the splitting of white light into many colours as it passes through a glass prism and disperses (i.e.
Refraction tends to create optical illusions, for which our brains have learned to compensate-we “know” that a pencil standing in a glass of water is not really broken or that objects below the surface of a lake are not quite as large as they may appear.
The wave’s velocity is affected by this change in medium the wavelength changes (increasing or decreasing depending on circumstances) although the frequency may remain the same. Refraction involves the turning or bending of something as it passes from one medium into another, the term normally being used of light or sound waves, which become oblique as they encounter the boundary between media of different densities.
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