The translation scholar Lawrence Venuti has argued that texts with very great cultural authority, including "the Bible, [...] the Homeric epics, Dante's Divine Comedy, Shakespeare's plays, or the Miguel de Cervantes novel Don Quixote, are likely to prompt retranslation because different readerships in the receiving culture may have different interpretations, and may want to apply their own values to the text.
[8] Modern usage, however, does not always imply this[8] and may be demonstrated in the following examples: An implicit retranslation hypothesis can be attributed to Goethe's 1819 claim that three kinds of translation are required.
Goethe then recognizes that these three kinds need not necessarily follow each other: "in every literature, those three modes or phases of translating repeat, reverse themselves, or take effect at the same time."
From this, the British translation scholar Andrew Chesterman extracts an explicit retranslation hypothesis as follows: "Goethe's three phases can be reduced to a dual opposition between 'freer earlier' and 'closer later'.
[17] A new translation by Constance Borde and Sheila Malovany-Chevalier appeared in 2009 and many critics felt it was a more accurate representation of de Beauvoir's text.
[19] Many classic Russian novels have been translated a number of times; in recent years Richard Pevear and Larissa Volokhonsky have produced well-received retranslations of works including Dostoevsky's The Brothers Karamazov and The Idiot, and Leo Tolstoy's War and Peace and Anna Karenina.
[26] The subtitler Lenny Borger has resubtitled a number of French classics for Rialto Pictures, including La grande illusion, Rififi and Children of Paradise.