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The "World Geography" ("Wanguo dili quanji" 萬國地理全集) published in 1844 by the Protestant missionary Karl F.A. Gützlaff was the first geographical account to introduce some European ethnotypes to China. Based on recent archival findings, my article compares this book with both its presumed Western source and its rendering in the 1847 edition of Wei Yuan 魏源's "Maps and Documents of the Maritime Countries" ("Haiguo tuzhi" 海國圖志). It thus explores the role that interlingual and intralingual transfers respectively played first in negotiating and then renegotiating two European stereotypes in their early travels to and within the Qing empire.
Transforming a text - narrative or poetic - into a play, made of dialogues and organized into scenes, has been one of the most frequent forms of literary transcodification both in the past and in the present. We can find examples of this procedure at the very origins of Italian theatre, which indeed began as the rewriting of earlier texts, both in the "sacre rappresentazioni" and in the profane field: the Bible in the first case and the Ovidian mythologies in the second. Poliziano's "Fabula d'Orfeo" and "Cefalo e Procri" by Niccolò da Correggio are the first well-known examples of this process. Thus, the metamorphosis of a text into a dramatization has many models in the history of theatre and literature. It would be of great interest to start with an overview of the different types, aims, and forms of transcodification of texts that are enacted in order to create dramatizations capable of being performed on stage. Erminia Ardissino attempts to offer an introduction to her study of Giovanni Giudici's play about Dante's "Paradiso" with a brief discussion of three different practices of theatrical transcodification. She looks at three pièces written at the request of the Italian scenographer Federico Tiezzi between 1989 and 1990 as stage productions of the three cantiche of the Divine Comedy. Although they belong to the same project, are inspired by the same person, and share a unified aim, the three pièces created by Edoardo Sanguineti, Mario Luzi, and Giovanni Giudici show three different approaches to the task of transcodifying a text in order to produce a drama - the task, in Genette's words, of creating a theatrical palimpsest.