Translating A Hundred Phrases for Fans into Chinese gives a double challenge: on the one hand, the exoticism diminished by the familiarity of ideographic characters for the Chinese reader; on the other, the visual presentation of the collection, closely linked to its meaning, which must be preserved. Using examples, our study explains the approach we have adopted to restore the Christian resonance of Claudelian poetic imagery in its dialogue with Japanese poetry, and preserve the essential visual effect of the poems.
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