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in: Multimodal Insights into Translation and Interpreting Studies, Didem Tuna Küçük Nazan Müge Uysal, Editor, Logos Verlag Berlin GmbH, Berlin, pp.105-119, 2024
The existing literary critical models of Canadian identity have been predomi- nantly anthropocentric, neglecting the rich tradition of nature writing and its contributors in the Canadian literary canon. Despite being an influential fore- bearer of this genre, Ernest Evan Thompson Seton (1860-1946) remains over- shadowed within the Canadian literary canon, receiving only passing comments in theoretical literature and popular anthologies. However, his position in the Soviet canon of world Hiterature was quite different, as he is considered a note- worthy example of “countercanon formation” (Damrosch, 2006, p. 50) in this context. This paper explores the dynamics of comparison between the estab- lished national canon and world literature, focusing on Seton's countercanon- ization process through the transtations of his works in the Soviet literary sphere, By delving into the possible reasons for his disregard in the national literary canon, this study aims to demonstrate how Seton gained prominence in the Soviet world literature canon. During the Sovict period, Seton's fame as a writer of “animal stories” and his distinet naturalist aesthetics played a signifi- cant role in conveying Marxist-Darwinist theoretical principles to a wide audi- ence, particularly children. To support this analysis, the role of paratexts, which ideologically preparc the readers for interpreting the text and guide them toward the “correct” understanding of Seton's works within the Soviet context, will be examined in this study. By analyzing existing paratexts that accompanied So- viet translations of Seton's writings, this study will explore their significance in mediating the process of importation, appropriation, and countercanon for- mation of Scton within the Soviet world literature canon.