The Translation and Publication of Chinese Science Fiction in Germany: A Case Study of Kapsel Based on Field, Patronage, and Actor-Network Theories

The Translation and Publication of Chinese Science Fiction in Germany: A Case Study of Kapsel Based on Field, Patronage, and Actor-Network Theories | Research Square window.SnipcartSettings = { analytics: { enabled: false } }; (function() { var accessVector = localStorage.getItem('access_vector') || ''; window.dataLayer = window.dataLayer || []; if (accessVector) { window.dataLayer.push({ user: { profile: { profileInfo: { snid: accessVector } } } }); } })(); (function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='https://www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','dataLayer','GTM-K279D39R'); Browse Preprints In Review Journals COVID-19 Preprints AJE Video Bytes Research Tools Research Promotion AJE Professional Editing AJE Rubriq About Preprint Platform In Review Editorial Policies Our Team Advisory Board Help Center Sign In Submit a Preprint Cite Share Download PDF Article The Translation and Publication of Chinese Science Fiction in Germany: A Case Study of Kapsel Based on Field, Patronage, and Actor-Network Theories Weicheng Yu, Gaoya Chen This is a preprint; it has not been peer reviewed by a journal. https://doi.org/ 10.21203/rs.3.rs-8866352/v1 This work is licensed under a CC BY 4.0 License Status: Under Review Version 1 posted 6 You are reading this latest preprint version Abstract The translation and publication of Chinese science fiction in Germany have garnered increasing academic attention in recent years. Focusing on the independent publishing collective Kapsel as a primary case study, this article investigates the pathways through which Chinese science fiction is introduced and analyzes the operational mechanisms anchored in its publishing practices. By synthesizing Latour’s Actor-Network Theory, Lefevere’s theory of patronage, and Bourdieu’s theory of the literary field, this study systematically conducts an empirical examination of the magazine’s development, categorizing its evolution into three distinct phases. The empirical data is derived from in-depth interviews with publisher Lukas Dubro, complemented by textual materials from core team members, including Shen Chong. Based on these theoretical frameworks and data, the article elucidates the team's strategic considerations regarding text selection and translation, while further exploring practical aspects such as the optimization of publication processes, product diversification, and event organization. In doing so, it underscores the substantive contributions made by this independent editorial board to the cross-cultural dissemination of Chinese science fiction in Germany. Humanities/Cultural and media studies Social science/Cultural and media studies Humanities/Language and linguistics Social science/Language and linguistics Humanities/Literature Kapsel Patronage Field Actor-Network Germany Magazine Figures Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Introduction and Research Background Within the scholarly frameworks of global science fiction circulation and translation studies, the transnational mobility of speculative texts and their associated translation practices have increasingly emerged as focal points of academic inquiry. Scholarship has directed particular attention toward the circulation pathways of non-Anglophone works and the mechanisms underpinning the formation of transnational readership communities. Against this backdrop, the recent international ascent of Chinese science fiction constitutes a significant yet under-researched phenomenon. While the global reception of Liu Cixin’s Die Drei Sonnen ( The Three-Body Problem ) has garnered scholarly interest, existing discourse remains disproportionately centered on this single author and his major works. Consequently, the dynamics governing the reception and dissemination of Chinese science fiction within specific regional markets have yet to be systematically investigated. The German-speaking world, where a "Three Body Fever" emerged in 2016, represents a critical case study for the introduction of Chinese science fiction into a distinct publishing ecosystem; yet, it has largely remained at the periphery of academic scrutiny. Although the commercial success of Liu Cixin’s oeuvre in the German market has stimulated broader interest in the genre, the underlying mechanisms sustaining its integration into the German cultural sphere—encompassing publishing pathways, media strategies, and reception contexts—have not yet been adequately mapped or theorized. Currently, the dissemination of Chinese science fiction in German-speaking countries primarily operates through three distinct publishing models. Regarding the three aforementioned pathways governing the dissemination of Chinese science fiction in Germany, there is currently a distinct lack of systematic academic discourse. Consequently, the classification presented herein constitutes a preliminary framework derived from the author's doctoral research. Notably, since 2016, Heyne Verlag has established a dominant position in the German-language publishing sector for contemporary Chinese literature—particularly within the domain of genre fiction—by leveraging the extensive distribution and market networks of its parent company, Penguin Random House. Statistical data indicates that “more than two-thirds of Chinese genre literary works introduced to the German market after 2016 have been published by Heyne” (Yu 2025 , 370). Facilitated by the China Educational Publications Import & Export Corporation Ltd (CEPIEC) ① , Heyne acquired the German international copyrights for Liu Cixin’s works. Subsequently, the publisher secured rights from the same entity for Chen Qiufan’s Die Siliziuminsel ( The Waste Tide ; 2019), Bao Shu’s Botschafter der Sterne ( The Redemption of Time ; 2021), and Wang Jinkang’s Die Kolonie ( Ant Life ; 2021), thereby undertaking the systematic translation and publication of these texts. Distinct from the state-sponsored CEPIEC framework, a second channel facilitates the entry of Chinese science fiction into the German-language sphere through independent mechanisms. Prominent examples include Hao Jingfang’s Peking falten ( Beijing Folding ; 2017), initially released by Elsnior Verlag and reissued by Rowohlt Verlag in 2018, and Regina Wang Kanyu’s Das Meeresfrüchterestaurant ( The Seafood Restaurant ; 2024), published by Drachenhaus Verlag as an independent single-volume edition. Furthermore, Campus Verlag directly imported the English-language original of KI 2041: Zehn Zukunftsvisionen ( AI 2041: Ten Visions for Our Future ; 2022), co-authored by Kai-Fu Lee and Chen Qiufan. The third mode of dissemination comprises short stories or excerpts published in periodicals, a category further divisible into traditional literary magazines and specialized science fiction outlets. The former is illustrated by Hao Jingfang’s Der letzte Tapfere ( The Last Brave ) ② (Hao 102–110), which appeared in the Austrian literary magazine Lichtungen in 2015, and by works featured in Erik Schreiber's 2017 anthology Rund um die Welt in mehr als 80 SF-Geschichten ( Around the World in More Than 80 SF Stories ). This anthology includes Xia Jia’s Die Dämonenflasche ( The Demon Bottle ), Fei Dao's Krieg der Götter ( War of the Gods ), and Han Song's Das Rad von Samara ( The Wheel of Samara ) ③ (Schreiber 306). The latter pathway is best exemplified by the specialized journal Kapsel , founded by Lukas Dubro in 2015, which employs an annual format to systematically introduce contemporary Chinese science fiction. In 2020, a strategic partnership with Heyne Verlag resulted in the publication of the anthology Zerbrochene Sterne ( Shattered Stars ). Additionally, in close cooperation with Fruehwerk Verlag, the magazine co-published the anthology Science-Fiction aus China: Sechs Geschichten von heute über morgen ( Science Fiction from China: Six Stories of Today about Tomorrow ) in 2021. An analysis of Chinese science fiction publishing models in Germany since 2016 indicates that medium-sized and large publishing houses dominate the first two categories. These entities primarily release single-volume works by authors who have already achieved significant recognition in international or Anglophone markets. The distinction between these two models lies chiefly in their divergent approaches to the acquisition of international copyrights. In contrast, the third category, representing the traditional pathway for the dissemination of short stories, is typified by the journal Kapsel , which demonstrates a notable advantage regarding timeliness. Its annual publication schedule differs fundamentally from the sporadic inclusion of Chinese works in other literary magazines or anthologies, as Kapsel explicitly positions itself as a periodical dedicated exclusively to Chinese science fiction literature. Situated within the scholarship on the global circulation and translation of science fiction, Kapsel constitutes a significant case study regarding its positioning within the heterogeneous German publishing field. This study investigates how the journal negotiates its distinct status amidst this complexity, examining the structural forces and patronage networks that shape its publication. The inquiry is guided by several pivotal questions: the mechanisms and strategies employed by Kapsel in the curation of contemporary Chinese science fiction; the influence of interactions among publishers, translators, and cultural institutions on its editorial orientation; and the mechanics of its patronage system. Furthermore, the study juxtaposes Kapsel ’s publishing models with those of major publishing houses to explore the implications for the reception of Chinese science fiction in Germany, while also addressing the challenges and opportunities precipitated by the genre's growing prominence. Consequently, this research analyzes how these determinants condition the journal’s content selection, editorial protocols, and market positioning. Additionally, it examines the construction and operation of a stable Sino-German publishing network—one that encompasses not only publishers, translators, and editors but also extends to cultural institutions, academic circles, and readership communities. 1. Theoretical Framework: An Integrated Analysis of Field, Network, and Differentiated Patronage In recent years, the publication of contemporary Chinese literature in Germany has seen a continuous increase. This trend has been further amplified by Mo Yan's receipt of the Nobel Prize in Literature in 2012 and the surge of interest generated by Liu Cixin's The Three-Body Problem in 2016. Consequently, the academic community has accumulated a solid body of research concerning the overseas publication of contemporary Chinese genre literature. Eva Hung identified four publishing models for contemporary Chinese novels in the English-speaking world (Hung, 1991 ). Building upon Hung's research, Wang Baorong employed Bruno Latour's Actor-Network Theory to conduct a typological analysis of the overseas publication of Chinese literature (Wang, 2019 ; 2020 , 2021 ). Other scholars have focused on exploring the pathways for the overseas publication of contemporary Chinese literature, aiming to provide recommendations for publishing practices. These suggestions include strengthening collaborations with overseas literary agencies (He, 2024 , 195); implementing multidimensional communication strategies that encompass targeted agenda-setting, training of key opinion leaders, and enhancement of interpersonal communication networks (Shao & Xie, p. 100); and leveraging channels such as Confucius Institutes, specialized funding, and international publishing collaborations (Chen & Dai, 80). Within the sphere of international cultural policy, the influence of funding mechanisms on literary production and reception is examined through Lefevere’s concept of patronage. Feng Xiaobing systematizes this theory along the dimensions of ideology, economics, and status. However, Feng’s core argument reductively equates patronage with financial sponsorship. He interprets the average print run of Chinese novels as the primary rationale for commercial publishers acting as economic promoters (Feng 2021, 105). He similarly categorizes periodicals, newspapers, sinological excerpts, and privately funded publications solely as manifestations of financial patronage (105). Citing the 2009 Frankfurt Book Fair, he emphasizes the decisive role of Sino-German cooperative funding in the publication of 33 novels (106). This conclusion underpins Feng’s interpretation of a primarily economically determined “literary translation within the literary system” post-2000. However, by conceptualizing patronage predominantly as monetary support and perceiving publishers merely as economic actors, he neglects their multifunctional capacity as agents of ideological and status-oriented patronage. This study constructs an integrated analytical framework by synthesizing key concepts from Pierre Bourdieu’s field theory, Bruno Latour’s Actor-Network Theory (ANT), and André Lefevere’s model of patronage. The synthesis is designed to provide a multidimensional analysis of the unique organizational model of Kapsel , a small-scale, independent project dedicated to translating Chinese science fiction into German. Crucially, the analysis recenters the Kapsel core editorial team as the principal network-builder and patronage coordinator, actively assembling and managing these theoretical dimensions rather than being passively shaped by a dominant “Western publisher.” 1.1 Bourdieu ’ s Field Theory: Position-Taking and Capital Conversion The theory of Strategies of Position-Taking emphasizes the importance of defining a position within the cultural field, where each work is situated relative to others. It posits that every position, including dominant ones, is contingent upon its interactions with surrounding positions and the determinants imposed by them. The structured network of relations among various agents informs the strategies employed by those occupying different positions to enhance or redefine their status. Each position-taking is connected to a set of possible alternatives, which highlights the challenges faced in the dynamic landscape of cultural production. Ultimately, the value of any position is shaped by its contextual relationships, reflecting a continuous negotiation within the field's power dynamics. (Bourdieu 1993 ,30) The theory of Capital Conversion explains the processes by which distinct forms of capital—economic, cultural, and social—may be transformed or exchanged for one another within a specific field. (Bourdieu 1986 , 242) It proposes that capital does not exist in isolation but operates dynamically, shaping the opportunities and limitations agents encounter in social life. Conversion mechanisms depend on particular conditions, such as social context and the nature of the capital involved, emphasizing the complexity embedded in social relations. (243–245) Moreover, the theory underscores that the capacity to convert capital frequently relies on an individual’s position within extended relational networks, which influences access and achievement across different fields. (246) Ultimately, Capital Conversion illustrates the multidimensional character of power and agency in social structures, uncovering the strategic actions individuals employ to accumulate and effectively deploy their capital. 1.2 Actor-Network Theory: Network Formation and Translation Heterogeneous Actors and Enrollment The theory of Heterogeneous Actors posits that social interactions are characterized by the involvement of diverse and distinct entities that collectively shape social dynamics. This perspective emphasizes that the term social encompasses a variety of actors with differing properties, which complicates the understanding of social ties. (Latour 2005 , 76) Such heterogeneous assemblages challenge traditional notions of social cohesion, as they reveal the complexities inherent in tracing connections among varied participants. The theory underscores the necessity of recognizing the influence of both human and non-human actors in shaping social actions and outcomes. (77) It emphasizes that these non-human agents enable the transportation and articulation of distant sites into the local setting, making the social visible only when it is allowed to percolate through such non-social agencies.(193) Thus, local interactions are essentially assemblages of other spatially and temporally distributed interactions, connected and given form via the mediating role of material objects and non-human actors, which function as articulators or localizers. Agency as a Network Effect In Actor-Network Theory, agency is conceptualized as a network effect that emerges from associations, rather than as an inherent property of individual entities. (10) This perspective requires granting non-humans a form of agency that is neither purely symbolic nor strictly naturalist, but an active capacity generated through their relations within a network. (51–52) Consequently, agency is attributed based on the transformative role an actor plays in a network of relations, regardless of the author's own theoretical alignment. Following Latour, this analysis considers both human actors, including the editorial team, authors, and translators, and non-human actors such as the magazine format, digital platforms, funding contracts, and event spaces. It explores how the core initiators engaged these diverse entities, aligning their varied interests with the project’s objective of introducing Chinese science fiction. The framework challenges the notion of attributing agency to a singular entity, such as "the publisher." Instead, it examines how the capacity to act, or the agency of Kapsel , emerged as a distributed effect of the network it constructed and maintained. This approach highlights the interconnectedness of varied actors in shaping the project's outcomes. 1.3 Lefevere’s Patronage: Differentiated Support and Systemic Control Differentiated Patronage as a Core Analytical Lens The literary system consists of critics, reviewers, teachers, and translators who, through targeted rewriting, adapt literary works to the prevailing poetics and ideology, thereby possessing the capacity to suppress certain works (Lefevere 1992 , 15). The first factor governs the system internally, whereas the second factor, patronage, dictates the scope and parameters of this control. Lefevere delineates patronage as a nexus of power emanating from individuals or institutions that influence processes of reading, writing, and rewriting through either promotion or hindrance (15). Lefevere distinguishes also between undifferentiated and differentiated patronage within literary systems. Undifferentiated patronage occurs when a single patron controls ideological, economic, and status components as seen in historical absolutist regimes. (17) Differentiated patronage emerges when economic success is relatively independent from ideology and status such as in contemporary bestselling authors. He argues that modern publishing in democratic societies can exhibit a form of undifferentiated patronage driven primarily by profit motives rather than ideology. Patronage within the Double Control Factor Foundational to Lefevere’s theory is the concept of the literary system. He defines it as a dualistic system wherein cultural and social systems are open and mutually influential, with cultural logic determining interactions within this subsystem (Lefevere 14). Lefevere identifies a "double control factor" comprising internal and external systemic elements: Patronage is analyzed as an integral component of Lefevere’s external control factor governing a literary system (Fig. 1 ). This study investigates how various patrons influenced the project’s parameters without directly dictating its content. Meanwhile, the editorial team served as a crucial "professional" factor within the internal control system, shaping the project's poetics and selection criteria. This dual framework highlights the interaction between external influences and internal decision-making processes in the literary context. Ultimately, it underscores the complexity of the relationships between patrons and editorial practices. 2. The Initial Phase of Kapsel (2017–2019): Network Formation and Field Positioning Network Genesis and Core Actors The Kapsel project originated in 2015 from Lukas Dubro’s graduate research in Applied Literature at the Free University of Berlin, evolving from a pedagogical exercise into a professionalized site for transcultural production (Chen 92). This transition was facilitated by a core editorial board whose composition deliberately transcended traditional publishing industry roles. The network coalesced around journalist Lukas Dubro, sinologist and translator Felix Meyer zu Venne, graphic designer Marius Wenker, and scholar Shen Chong. Each member contributed distinct forms of capital: Dubro provided initial project impetus and local cultural networking capital; Meyer zu Venne brought sinological expertise and academic legitimacy; Wenker supplied essential visual and design capital; and Shen Chong, as an associate professor at Fudan University (Shen 23), offered crucial cultural and linguistic capital, along with direct access to the Chinese literary field. Their alliance was less a formal publishing house than a professional editorial team operating under the non-profit Fruehwerk Verlag, funded through collectively raised publication funds (Yu 2024 , 40). This heterogeneous actor-network was fundamentally bound by shared interest rather than commercial imperative: Operational Model and Field Strategy Kapsel ’s early operational model, as outlined in Fig. 2 , was defined by an annual publication cycle focused on introducing a single, previously unknown Chinese science fiction author to the German market. (Dubro 2017 , 2018 , 2020 ) This model stood in direct contrast to the conventional commercial pathway exemplified by Liu Cixin’s entry into Germany via the China Educational Publishing Import and Export Corporation (CEPIEC) and agent-assisted deals (Gao and Yu 60). Kapsel exercised significant agency by proactively seeking themes and reaching internal consensus on authors who lacked recognition in Germany, thereby bypassing traditional gatekeepers like literary agents and large publishing houses. This strategy constituted a form of position-taking within the literary field. By specializing in “depoliticized” genre fiction and targeting a niche, it navigated the “double hierarchy” of the field of power (Bourdieu 38–39). This approach allowed Kapsel to sidestep direct ideological confrontations within the broader field of class relations, instead focusing on cultivating symbolic capital and autonomy within the sub-field of speculative literature. Capital Acquisition and Translational Autonomy The network’s ability to secure resources relied heavily on its members’ social and cultural capital, particularly Shen Chong’s embeddedness in Chinese academic and literary circles. His suggestion to use the Douban platform led to securing translation rights for Chi Hui’s work via reader networks, bypassing formal agents (Shen 23). Furthermore, copyrights were typically secured through direct, low-cost licensing agreements with authors (Yu 2025 , 162). This direct channel minimized economic capital needs and reinforced editorial control. The translation process itself exemplified high autonomy. Translator-editor Shen Chong’s dual role and the collaborative, dialogic translation method with Dubro—using basic digital tools in an “adventurous” process (Shen 23)—were insulated from the influence of Fruehwerk Verlag. This ensured that translational decision-making remained within the core actor-network, privileging aesthetic and scholarly criteria over commercial ones. Differentiated Patronage and Economic Foundations Kapsel ’s initial economic sustainability was achieved through a differentiated patronage model, visualized in Fig. 3 . This model integrated “economic support” from local Berlin cultural funds (e.g., for events at Kunsthaus Acud) with what can be termed “internal literary system patronage” from the non-profit Fruehwerk Verlag. As Dubro noted, funding from cultural institutions was pivotal for professionalization, enabling author invitations, translations, and website development (Interview, 14 Feb 2024). This pluralistic support structure was crucial. The non-ideological, economic nature of the local cultural funding and the aligned mission of the non-profit publisher provided essential financial capital without imposing significant heteronomous (market-driven) pressures on editorial content. Thus, the editorial team effectively became its own primary patron within the cultural production circuit, balancing external economic support with internal artistic autonomy. In its initial phase, Kapsel successfully established itself as a resilient actor-network by leveraging the complementary capital of its core members, adopting a niche operational model that maximized editorial agency, and constructing a differentiated patronage system that provided economic foundation without compromising cultural autonomy. Its position within the literary field was strategically peripheral, allowing it to build symbolic capital through curated, direct cultural translation. However, this very model—reliant on personal networks, limited-scale funding, and a protected niche—contained inherent limitations for growth. The subsequent phase of development, marked by the inclusion of Felix Meyer zu Venne and collaborations with larger commercial entities like Heyne, would inevitably test this equilibrium, forcing the network to negotiate the tensions between preserving its hard-won autonomy and accessing the broader circulation and recognition afforded by the mainstream publishing field. As shown in Fig. 2 , the content illustrates the publication model of Kapsel magazine under the “internal literary system patronage” provided by the nonprofit publisher Fruehwerk Verlag. However, according to the author’s interview with Lukas Dubro, the magazine has been profitable since the release of its fourth issue, Träume . (Interview, 14 Feb 2024). It should be noted that the Kapsel editorial team primarily relied on in-person events held at Kunsthaus Acud for the venue of the "Launch Event" during this period. At the same time, Kapsel was simultaneously sold at physical bookstores such as Otherland and Zabriskie in Berlin, funk Magazine in Cologne, and Softcover in Vienna. Additionally, as the main sponsor, Fruehwerk Verlag conducted sales both online through its official website and offline (Interview, 14 Feb 2024). 3. Heterogeneous Network Construction, Capital Conversion, and Poetic Reshaping of Kapsel (2020–2021) Building upon the aforementioned interview, it is worth noting that since 2020, the K apsel editorial team has established a deep collaborative relationship with the major publishing house Heyne Verlag. In this study, this period is defined as the project's “Transformation and Expansion Phase” (Yu 2025 , 359). It should be noted that, following the immense market success of Liu Cixin's works, Heyne Verlag has established a strong presence in the German science fiction publishing market through a multi-layered translation strategy. Based on the recognition of the Kapsel editorial team's professional expertise, and with the support of the renowned American science fiction translator and author Ken Liu, the Kapsel editorial team was invited to participate in the compilation of the anthology “Zerbrochene Sterne (Shattered Stars)” (Liu 2020 , 1): As shown in Fig. 4 , Kapsel Publishing features emerging contemporary Chinese science fiction authors, notably Bao Shu and Chen Qiufan (Dubro, 2021 , 3). For instance, Chen Qiufan’s short story "Das Licht" ( The Light ), featured in Zerbrochene Sterne , won the Gold Medal for Best Short Story at the 6th Xingyun Awards in 2015. Similarly, Bao Shu’s "Großes steht bevor" ( Great Things Are Ahead ) won the Kurd-Lasswitz-Prize for Best Foreign Language Novel. These early successes paved the way for the publication of their standalone works at Heyne Verlag. Additionally, the anthology Science-Fiction aus China includes German authors such as Anja Kümmel, Anja Engst, Julia Dorsch, Rudi Nuss, and Philipp Böhm. This collection facilitates a transcultural dialogue, highlighting the shared values within the science fiction cultures of both nations. It should be noted that the entire Kapsel editorial team—Lukas Dubro, Felix Meyer zu Venne, and Shen Chong—participated as translators in the anthology project edited by Ken Liu, constituting nearly half of the translation team. According to my interview with Lukas Dubro, his close personal relationship with editor Ken Liu enabled the inclusion of several works that resonate with Kapsel’ s existing thematic focus. For instance, Xia Jia’s work had previously been published by Kapsel , while writings by authors such as Gu Shi and Regina Kanyu Wang later became part of Kapsel ’s publications in standalone volumes and periodicals. As Ken Liu states in the anthology’s preface, “Die Geschichte musste mir gefallen, und: Sie musste mir im Gedächtnis bleiben (The story had to appeal to me, and it had to stay in my memory)” (Liu 2020 , 9). Thus, through this collaboration, the Kapsel editorial team essentially carried out a dual act of translation—on one hand, transforming the diversity of Chinese science fiction, underpinned by its accumulated cultural capital, into hitherto underexplored commercial potential, and on the other hand, converting the team’s own professional expertise into a form of “quality assurance.” This process aptly illustrates the logic of translating cultural capital into industrial value. The strategic collaboration with Heyne represents a pivotal turning point in the development of Kapsel . This partnership signifies the successful translation of the editorial team’s previously accumulated specific form of cultural capital—comprising a distinctive grasp of cutting‑edge Chinese science‑fiction trends and a specialized reputation within niche circles—into scaled and industrial value. This collaborative venture not only confirms the recognition of Kapsel editorial team’s authority within its professional domain by the mainstream publishing establishment, but also underscores its crucial role as a cultural intermediary in systematically channeling marginal knowledge resources into broader market spheres. Through its collaboration with Heyne Verlag in the role of translators, the Kapsel editorial team acquired essential economic capital—including advance royalties and expanded distribution channels—as well as symbolic capital, such as recognition from mainstream publishing circles. However, this partnership may also have subtly undermined the team’s autonomy in wielding cultural capital regarding “what defines outstanding Chinese science fiction,” leading to a partial concession to market-driven commercial logic—that is, the principle of heteronomy. The dynamic lays the groundwork for understanding the team’s subsequent proactive pursuit of partnerships with cultural institutions—a move that can be interpreted as an effort to reassert and reconstruct its cultural autonomy. Following 2022, the evolution of the Kapsel editorial network demonstrated significant expansion and deepening. Through practices such as organizing literary unconferences ⑤ and planning Sino-German writer workshops, the editorial team incorporated a more diverse range of human actors (e.g., German writers, poets) and non-human actors (e.g., Acud, Literarisches Colloqium Berlin) into the network. These actions not only extended the network’s boundaries but also, through the dialogic mode of “literature responding to literature ⑥ ,” shifted internal network interactions from singular textual translation toward cross-cultural creative symbiosis. Throughout this process, the editorial team consistently played the central role in constructing and coordinating the network. This network expansion can be interpreted as a strategic operation of capital by the editorial team within the Sino-German science fiction crossover field. By facilitating dialogues between Chinese and German writers on shared themes such as artificial intelligence and climate change, the editorial team transformed its accumulated cultural and social capital into symbolic capital that fosters transnational creative exchange. (Dubro 2021 , 14) Notably, by inviting writers such as Jiang Bo and Regina Kanyu Wang—previously featured in its anthologies—to Germany, the editorial team accomplished a shift from “text introducer” to “curator of cross-cultural dialogue.” (Shen 2023 , 27)This transition marked its elevation from a peripheral participant to a central organizer within the literary field. This strategy of capital conversion not only reinforced the editorial team’s cultural authority but also laid the groundwork for exploring new creative pathways while maintaining editorial autonomy. Analyzed through Lefevere’s model of differentiated patronage, the practices during this phase benefited from the continued support of a hybrid patronage structure. The venue support provided by Acud Kunsthaus can be regarded as a form of “non-commercial spatial patronage” focused on cultural dialogue, which functionally complemented the publishing patronage offered by Fruehwerk Verlag. This patronage configuration enabled the editorial team to carry out experimental literary dialogues without being entirely subject to immediate market demands. As a result, the editorial team was able to conceive and incubate the thematically interconnected works featured in the fourth issue of Kapsel , demonstrating its structural capacity to maintain a high degree of editorial autonomy and cultural exploratory agency within a commercial publishing environment. During the period from 2020 to 2021, the editorial team's expansion of operations and the publication of science fiction anthologies indicated that its core role as a patron of Chinese science fiction literature remained unchanged. As Shen Chong completed his doctoral dissertation in 2019 and prepared to return to China, the editorial team welcomed the addition of Felix Meyer zu Venne ⑦ . This sinologist gradually became the new topic leader of the editorial team starting from the second issue. Shen praised Felix Meyer zu Venne for “significantly enhancing the magazine's translation efficiency and quality, while also taking on the responsibility of connecting with Chinese authors and identifying suitable science fiction stories”. (Shen 2023 ,25) The inclusion of Felix Meyer zu Venne in the editorial team signaled a transformation in the operational paradigm of Kapsel , shifting from reliance on individual enthusiasm and contingent connections toward a more institutionalized and reproducible professional practice. This transition was prominently reflected during the preparation of the journal’s third issue. Prior to the publication of the third issue, Felix integrated into the published interview both the nuanced process of his meeting with Jiang Bo in Shanghai and the text‑message exchanges that preceded their encounter (Dubro 2020 , 40). This editorial approach not only illustrated a collaborative and mutually‑engaged dynamic between the editorial department and the author, but also marked the team’s first initiative to conduct in‑person author interviews in China. The interview demonstrated Felix’s scholarly expertise as a sinologist and provided essential primary material for understanding Jiang Bo’s creative background as well as his reflections on artificial intelligence—thereby offering substantial academic value for the deeper interpretation of his works. Concurrently, during his visit to China, Felix successfully secured a contribution from the prominent science‑fiction author Chen Qiufan, who authored a column for the third issue of Kapsel examining the inevitability of artificial intelligence’s into literary creation (64). The content generated through this visit led Shen Chong to characterize the third issue as “a transitional work that connects what came before with what followed, with many of its elements recurring in subsequent issues and affiliated publications” (Shen 2023 , 26). In summary, Felix’s trip to China not only represented a key moment in the professionalization of Kapsel ’s editorial practice, but also laid a sustainable foundation for the content structure and editorial orientation of later publications by establishing a stable network of authors and acquiring in‑depth interviews as well as forward‑looking thematic contributions. The engagement of the Kapsel editorial team in the Zerbrochene Sterne project represents a strategic act of network embedding. By entering the pre-existing translation network led by Ken Liu under a “partial affiliation” model, the team did not assume a passive role. Instead, through undertaking nearly half of the translation work, they actively integrated their accumulated cultural capital in Chinese science fiction and their professional translation competence into the mainstream publishing network. In this process, the editorial members and their translation practices functioned as crucial human actors, while the specific cultural perceptions and aesthetic standards they carried entered the network as non-human actors. This joint action enabled a subtle yet effective expansion of the network’s influence. Subsequently, during the compilation of anthologies such as Fantastische Geschichten aus China and Science-Fiction aus China. Sechs Geschichten von heute über morgen , the editorial team’s strategic approach shifted markedly. Their network strategy evolved from “embedding into others’ networks” to “autonomously building networks,” demonstrating a clear exploratory drive and editorial agency. This shift marked their entry into the market with genuine cultural products and the development of a new product line. The editorial team proactively managed the entire process, from theme conception and author liaison to text selection and translation coordination, thereby becoming the core actor in network construction. This transition reflects the team’s repositioning within the Sino-German science fiction field, moving from peripheral participation toward a more central, curatorial role. 4. Institutional Restructuring and Poetic Resonance: Field Positioning and Network Enactment within the Sponsorship Framework of Maro Publishing (2022–2025) Between 2020 and 2022, against the backdrop of the global COVID-19 pandemic, the Kapsel editorial team, following a process of prudent deliberation, elected to establish a partnership with MaroVerlag, a publishing house characterized by its superior institutional scale. With the singular exception of Tong Tong’s Sommer —a self-published special edition produced in 2022 utilizing literary funding—the editorial board’s publishing initiatives have been formally anchored within the MaroVerlag infrastructure commencing in 2023: During this interim, Lukas Dubro, acting in his capacity as Editor-in-Chief, participated for the first time in a three-day literary unconference held at Berlin-Wannsee in late April 2022. In the course of collective deliberations with more than ten German authors, Dubro leveraged his professional position at a German news agency to create the text Streit um knappe Speicher – Gartenidyll wegen Festival vor dem Aus . (Shen 2023 , 28) This work was subsequently anthologized in Kollaps und Hope Porn , a science fiction collection published by MaroVerlag. This publishing instance signifies that a foundation of substantive professional engagement and mutual trust had already been established prior to the formalization of the partnership regarding Kapsel magazine. (Dubro and Felix 2024, 2) Furthermore, Dubro corroborated this social bond in an interview, noting that he had originally made the acquaintance of MaroVerlag publisher Sarah Käsmayr as early as 2017 during the 'Misslady' event (Yu 2024 , 40). MaroVerlag superseded the incumbent Fruehwerk Verlag, emerging as a new institutional actor. This transition transcends a mere transfer of publishing rights; rather, it profoundly exemplifies the reconfiguration of the literary production mechanism governed by concept of patronage. Functioning as the operative agent of this new patronage, MaroVerlag editor Sarah Käsmayr did not merely furnish the requisite economic capital but also intervened deeply in the construction of poetics. Through her comprehensive involvement in the production of Kollaps und Hope Porn , combined with the strategic reissuing of Science-Fiction aus China, she successfully transformed these two geoculturally distinct texts into a pair of mutually resonant non-human actants. Viewed through the lens of ANT, this publishing strategy enrolls the previously disparate Chinese and German science fiction texts into a unified heterogeneous network. By establishing a sibling relationship within both the publisher’s catalogue and the thematic content, this approach materially anchors the durability of transcultural dialogue. Underpinned by this novel patronage structure, Editor-in-Chief Lukas Dubro underwent a significant transformation of Habitus in the Bourdieusian sense. Transcending his previous function as a mere organizer of resources within the field, he positioned himself, for the first time, at the locus of literary production as an author. Dubro creatively translated the professional expertise and social capital accumulated within the realistic field of journalism nto symbolic capital within the literary field; by constructing the persona of a reporter for a fictional Virtual Press Agency, he dissolved the ontological boundaries between the real and the fictive. The struggle for virtual resources depicted in his work, Streit um knappe Speicher , serves as an allegory for the internal competition for attention—a scarce capital—within the literary field. This strategy substantially augmented the permeability of the Kapsel network across disparate discursive systems. As illustrated in Fig. 5 , the evolution of the Kapsel project has transcended linguistic and national boundaries, demonstrating a distinct trajectory of transnational field expansion. This strategic enlargement is not an isolated occurrence but is deeply contingent upon the restructuring of the patronage system. MaroVerlag, acting as a larger and operationally more mature publishing entity, functions as a robust institutional patron. It not only supplies the stable economic capital necessary for the consistent publication of the Kapsel annuals—thereby mitigating the existential precarity often associated with independent publishing—but, more critically, leverages its superior distribution and marketing networks to endow the Kapsel team with the confidence and agency required for external exploration. This escalation in the patronage relationship has enabled Kapsel to shift from a defensive posture of local survival to an assertive strategy of Bourdieusian field expansion. Lukas Dubro’s relocation to Paris (Yu 2024 , 40) constitutes more than a personal biographical shift; it represents an act of extension for a heterogeneous network. Functioning as a mobile node conveying information, he has physically interconnected the Berlin editorial office with the Parisian environment of literary production. He indicated that this was a publishing house he discovered by chance during his time residing in Paris, and therefore, he scheduled a time to introduce Kapsel to Philippe Thiollier, the publisher of L'Asiatheque. (41) Through an active strategy of "translation," Dubro successfully enrolled L'Asiatheque, a renowned French publisher of Asian literature, into Kapsel 's actor-network. The establishment of this transnational collaboration marks Kapsel 's transformation from a singular German-language introduction platform into a multi-nodal European publishing network. The incorporation of L'Asiatheque not only introduced a new non-human actant into the network—specifically, the French edition of Kapsel released in late 2024—but also facilitated the cross-border conversion of field capital: the symbolic capital accumulated by Kapsel in the German-speaking sphere (namely, its connoisseurship and editorial authority regarding Chinese science fiction) was effectively converted into legitimacy within the French literary field through the alliance with L'Asiatheque. This cross-cultural publishing practice transgresses what Bourdieu termed the "nation-state boundaries of the literary field," constructing a trans-European heterogeneous actor-network with Chinese science fiction as its circulating content, propelled by MaroVerlag and woven together by Dubro and L'Asiatheque. This process vividly illustrates how a literary sub-field can achieve displacement from the periphery toward a broader European cultural center through the upgrading of patronage systems and the spatial operations of key actors. 5. Conclusion Drawing upon the theoretical dimensions of the literary field, Actor-Network Theory (ANT), and patronage structures, this study investigates the three developmental phases of the German science fiction journal Kapsel . It offers a comprehensive analysis of this empirical case, examining how the editorial team collaborated with various publishing houses to translate and disseminate Chinese science fiction. The analysis demonstrates that the configuration of the patronage system establishes a fundamental basis for comprehending the dissemination of contemporary Chinese genre literature (specifically science fiction) in Germany, while also delineating the diversified landscape of its publication. Furthermore, the key actors within the editorial team during different stages characterize the core dynamics driving each period of development. Operating autonomously from major publishing conglomerates and employing differentiated trajectories and publication strategies, this model has made a significant and distinct contribution to Sino-German cultural exchange. This article also reveals the development trajectory of an editorial team as the core actor. The team has continuously expanded its influence within the literary system, improved content quality, and deepened thematic exploration. By leveraging non-human actors such as the Kunsthaus Acud art space, they organized the magazine's launch event, literary non-conferences, and workshops. At appropriate times, they shifted their sponsorship reliance to different publishing institutions, successfully transforming a science fiction magazine that initially stemmed from interest into a more professional and systematic entity. Throughout this process, the editorial team, with its high level of professionalism, not only enriched the product line by launching science fiction anthologies, related products, and series of magazines but also achieved an extension of literary works across different media. Notes 1. China Educational Publications Import & Export Corporation (CEPIEC) serves as the exclusive agent for the international rights to Liu Cixin's oeuvre. The overseas promotion of his work was formally inaugurated by CEPIEC in 2012, an initiative jointly supported by the author and Science Fiction World . In that year, Liu’s representatives executed an agreement with CEPIEC and Science Fiction World regarding the English-language rights for The Three-Body Problem (Xinhua 2012). 2. The original Chinese title is 《最后一个勇敢的人》(The Last Brave Person), featured in Hao Jingfang's science fiction collection 《记忆光谱》(Memory Spectrum). This collection utilizes memory as a central thematic lens, blending multiple narratives to explore the intersection of technology and human nature. 3. For instance, following Mo Yan's Nobel Prize in Literature in 2012, the Swiss publisher Unionsverlag was precluded from acquiring the international rights for the author's new work. In an interview, publisher Lucien Leitess indicated that the quote provided by the Andrew Wylie Literary Agency for the German rights was prohibitively exorbitant, far exceeding a reasonable market range. 4. The anthology Science-Fiction aus China. Sechs Geschichten von heute über morgen features contributions from German science fiction writers including Anja Kümmel, Anja Engst, Julia Dorsch, Rudi Nuss, and Philipp Böhm. This structure facilitates a transcultural dialogue between Chinese and German authors, demonstrating a profound integration of the universal values underlying the science fiction cultures of both nations. 6. An unconference is a type of meeting wherein the agenda is driven and established by the participants. The preparation for such meetings is generally not organized by a single institution or a small group of entities. The term initially originated within the geek community. The process of an unconference is analogous to Open Space Technology, and in other respects, it possesses a history exceeding twenty years, exemplified by the future workshops in futurology. 7. It refers to a new model of literary production, translation, and interpretation attempted by the Kapsel editorial team. The fourth issue of Kapsel inaugurated a novel mode characterized by “literature responding to literature” and “writers commenting on writers.” 8. Felix Meyer zu Venne is a sinologist, translator, and instructor of Chinese based in Berlin. His academic and professional trajectory includes editorial work at Elfenbein Verlag in Berlin and a lecturing position in the Department of Sinology at the Westfälische Wilhelms-Universität Münster during his studies. Since 2018, he has served as editor-in-chief of Kapsel , assuming the additional role of co-editor from 2021 onward. His translations have appeared in publications such as Hefte für ostasiatische Literatur, by Heyne, and in Kapsel. Meyer zu Venne also maintains an active research focus on Chinese theater. Declarations Ethical Approval All procedures performed in studies involving human participants were in accordance with the ethical standards of the institutional and/or national research committee and with the 1964 Helsinki Declaration and its later amendments or comparable ethical standards. The study was approved by Ningbo University (Approval Date: February 7, 2026; Nr. 202602070001). This study was approved by the Institutional Review Board (IRB) of Ningbo University (Approval Date: February 7, 2026; Nr. 202602070001). It is noted that formal ethical approval was obtained after the initial data collection commenced; however, all research procedures involving the human participant were conducted in strict accordance with the ethical standards of the Declaration of Helsinki and the relevant institutional guidelines. The participants involved in the interview were adults Lukas Dubro (born in 1987) and Shen Chong (born in 1989) at the time of the study. The study commenced on February 14, 2024, when the interviewer as author conducted a Zoom interview with Lukas Dubro. This interview was subsequently included in the 2024 World Science Fiction Frontier (Issue 1, 2024), with the content of the interview remaining unedited. In October 2025, the interviewer informed Lukas Dubro and Shen Chong and obtained their permission. In November 2025, the interviewer began collaborating with co-author to write this study. Informed Consent Informed consent was obtained from all participants interviewed in this study, all of whom are adults. The data and supporting materials underpinning the findings of this study are available for review and public access. These materials include the video recording of the interview with Lukas Dubro, the published interview text in World Science Fiction Frontier (Issue 1, 2024), the research article by Shen Chong in World Science Fiction Frontier (Issue 2, 2023), and selected electronic excerpts from Kapsel magazine. All information regarding the development of Kapsel in this paper is primarily derived from these two interview articles, with the interview related to Lukas Dubro serving as an important reference for analyzing and studying the operational model of Kapsel magazine. The article by Shen Chong published in World Science Fiction Frontier (Issue 2, 2023) is a significant document for the study of the publishing history of Kapsel. Data Availability Informed consent was obtained from the participant (Lukas Dubro) prior to the study. The participant provided explicit written consent for the interview to be video-recorded and for the resulting video, along with the subsequent Chinese publication in World Science Fiction Frontier (Issue 1, 2024), to be used and shared for academic research and publication purposes. All aforementioned datasets and documents can be accessed via the following stable link: [https://drive.google.com/drive/folders/11SNkH4eiTNjGGZY6xWA0C064ethOmKiw?usp=drive_link]. These materials are provided to ensure the transparency of the methodology and the verifiability of the qualitative analysis presented in this manuscript. The shared data includes: 1. Interview with Lukas Dubro on February 14, 2024. 2. Electronic versions of issues 1-4 of Kapsel magazine, as well as one anthology published by Kapsel. 3. The interview with Shen Chong published in World Science Fiction Frontier (Issue 02, 2023). 4. The interview with Lukas Dubro (with author of this study) published in World Science Fiction Frontier (Issue 01, 2024). References Bourdieu, Pierre. The Field of Cultural Production . Columbia University Press, 1993. Bourdieu, Pierre. “The Forms of Capital.” Handbook of Theory and Research for the Sociology of Education . Ed.. Richards J. E. Greenwood Press, 1986. 241-258. Cheng, Lin (程林). “科幻杂志《胶囊》与中国科幻在德国的传播——访《胶囊》编辑部 [The Sci-Fi Magazine Kapsel and the Dissemination of Chinese Science Fiction in Germany: An Interview with the Kapsel Editorial Team]”. Science Writing Review 科普创作评论 1(2021): 91-96. Liu, Ken (ed.). Zerbrochene Sterne [ Shattered Stars ]. Heyne, 2020. Dubro Lukas, Meyer zu Venne Felix (ed.). Im Ozean ein Mutterschiff und andere Geschichten [ In the Ocean, a Mother Ship and Other Stories ]. Maro, 2024. Dubro Lukas, Meyer zu Venne Felix, Schneider-Vielsäcker Frederike (ed.). Science-Fiction aus China. Sechs Geschichten von heute über morgen [Science Fiction from China: Six Stories of Today about Tomorrow]. Fruehwerk, 2021. Dubro, Lukas (ed.). Das Insektennest [ The Insect Nest ]. Fruehwerk, 2017. Dubro, Lukas (ed.). Die Wolken [ The Clouds ]. Fruehwerk, 2018. Dubro, Lukas (ed.). Die perfekte Diagnose [ The Perfect Diagnosis ]. Fruehwerk, 2020. Dubro, Lukas (ed.). Träume [ Dreams ]. Fruehwerk, 2021. Feng, Xiaobing (冯小冰). “中国当代小说在德语国家的译介研究(1978～2017) [A Study on the Translation and Reception of Contemporary Chinese Fiction in the German-Speaking World (1978–2017)]”. Social Science Academic Press (China) 社会文学科学出版社, 2020. Hung, Eva. “Blunder or Service? The Translation of Contemporary Chinese Fiction into English”. Translation Review , Nr. 36/37 (1991): 39-45. Hao, Jingfang. “Der letzte Tapfere”. Lichtungen. Zeitschrift für Literatur, Kunst und Zeitkritik , Band 141 (2015): 102-110. He, Hongli (贺鸿莉). “中国现当代文学在海外的译介与接受 [The Translation and Reception of Modern and Contemporary Chinese Literature Abroad]”. Journal of Hubei Open Vocational College 湖北开放职业学院学报, Nr. 13 (2024): 194-195 + 198. Lefevere, André. Translation, Rewriting, and the Manipulation of Literary Fame . Routledge, 1992. Latour, Bruno. Reassembling the Social: An Introduction to Actor-Network-Theory . Oxford University Press, 2005. Schreiber, Erik. Rund um die Welt in mehr als 80 SF-Geschichten [ Around the World in More Than 80 SF Stories ]. Saphir im Stahl, 2017. Shen, Chong (沈冲).“当我们翻译科幻时我们在翻译什么——以德国独立杂志为例 ”[What Do We Translate When We Translate Science Fiction? A Case Study of the Independent German Magazine Kapsel: Chinese Fantastic Stories ] ”. World Science Fiction Frontier 世界科幻动态 02(2023):22-29. Yu, Weicheng. Die Rezeption chinesischer Gegenwartsliteratur in deutschsprachigen Ländern seit 2000: eine Untersuchung mit Fokus auf das Verlagswesen [ The Reception of Contemporary Chinese Literature in German-Speaking Countries Since 2000: An Investigation with a Focus on the Publishing Industry ]. Dissertation, Fudan University, 2025. Wang, Baorong (汪宝荣). “中国文学译介传播模式社会学分析 [A Sociological Analysis of Translation and Dissemination Models in Chinese Literature]”. Shanghai Journal of Translators 上海翻译, Nr. 2 (2019): 1-6. —. “中国文学译介与传播行动者网络模式——以西方商业出版社为中心 [A Network Model of Actors in the Translation and Dissemination of Chinese Literature: Focused on Western Commercial Publishers]”. Foreign Languages Bimonthly 解放军外国语学院学报, Nr. 2 (2020): 34-42. —. “中国文学译介与传播模式研究述评 [A Review of Research on Translation and Dissemination Models of Chinese Literature]”. Foreign Languages and Cultures 外国语言与文化, Nr. 4 (2021): 94-102. Yu, Weicheng (於伟澄).“编辑、运营、分销‘三维一体’化的范例——采访科幻文学杂志》创办人 [A Paradigm of the Tripartite Integration of Editorial, Operational, and Distributional Mechanisms: An Interview with the Founder of the Science Fiction Literary Journal Kapsel ]”. World Science Fiction Frontier 世界科幻动态 01(2024):38-42. —. Die Rezeption chinesischer Gegenwartsliteratur in deutschsprachigen Ländern seit 2000: eine Untersuchung mit Fokus auf das Verlagswesen [ The Reception of Contemporary Chinese Literature in German-Speaking Countries Since 2000: An Investigation with a Focus on the Publishing Industry ]. Dissertation, Fudan University, 2025. Additional Declarations No competing interests reported. Cite Share Download PDF Status: Under Review Version 1 posted Reviews received at journal 24 Mar, 2026 Reviewers agreed at journal 10 Mar, 2026 Reviewers invited by journal 09 Mar, 2026 Editor assigned by journal 27 Feb, 2026 Submission checks completed at journal 22 Feb, 2026 First submitted to journal 22 Feb, 2026 You are reading this latest preprint version Research Square lets you share your work early, gain feedback from the community, and start making changes to your manuscript prior to peer review in a journal. As a division of Research Square Company, we’re committed to making research communication faster, fairer, and more useful. We do this by developing innovative software and high quality services for the global research community. Our growing team is made up of researchers and industry professionals working together to solve the most critical problems facing scientific publishing. Also discoverable on Platform About Our Team In Review Editorial Policies Advisory Board Help Center Resources Author Services Accessibility API Access RSS feed Manage Cookie Preferences © Research Square 2026 | ISSN 2693-5015 (online) Privacy Policy Terms of Service Do Not Sell My Personal Information {"props":{"pageProps":{"initialData":{"identity":"rs-8866352","acceptedTermsAndConditions":true,"allowDirectSubmit":false,"archivedVersions":[],"articleType":"Article","associatedPublications":[],"authors":[{"id":604599696,"identity":"5288e80c-efcd-494f-b8ca-32d092b32ded","order_by":0,"name":"Weicheng 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13:00:41","extension":"jpg","order_by":5,"title":"Figure 5","display":"","copyAsset":false,"role":"figure","size":116926,"visible":true,"origin":"","legend":"\u003cp\u003e\u003cstrong\u003eThe Chinese Science Fiction literary magazine and anthologies published by\u003c/strong\u003e\u003cem\u003e\u003cstrong\u003e Kapsel\u003c/strong\u003e\u003c/em\u003e\u003cstrong\u003e (2022-2025)\u003c/strong\u003e\u003c/p\u003e","description":"","filename":"5.jpg","url":"https://assets-eu.researchsquare.com/files/rs-8866352/v1/f89aff6dedb672538a0123df.jpg"},{"id":104781321,"identity":"393cb463-7658-40e5-af3a-539252181779","added_by":"auto","created_at":"2026-03-17 07:55:25","extension":"pdf","order_by":0,"title":"","display":"","copyAsset":false,"role":"manuscript-pdf","size":1522645,"visible":true,"origin":"","legend":"","description":"","filename":"manuscript.pdf","url":"https://assets-eu.researchsquare.com/files/rs-8866352/v1/34a357d7-11d6-488b-8019-f7c0ec7468b6.pdf"}],"financialInterests":"No competing interests reported.","formattedTitle":"The Translation and Publication of Chinese Science Fiction in Germany: A Case Study of Kapsel Based on Field, Patronage, and Actor-Network Theories","fulltext":[{"header":"Introduction and Research Background","content":"\u003cp\u003eWithin the scholarly frameworks of global science fiction circulation and translation studies, the transnational mobility of speculative texts and their associated translation practices have increasingly emerged as focal points of academic inquiry. Scholarship has directed particular attention toward the circulation pathways of non-Anglophone works and the mechanisms underpinning the formation of transnational readership communities. Against this backdrop, the recent international ascent of Chinese science fiction constitutes a significant yet under-researched phenomenon. While the global reception of Liu Cixin\u0026rsquo;s \u003cem\u003eDie Drei Sonnen\u003c/em\u003e (\u003cem\u003eThe Three-Body Problem\u003c/em\u003e) has garnered scholarly interest, existing discourse remains disproportionately centered on this single author and his major works. Consequently, the dynamics governing the reception and dissemination of Chinese science fiction within specific regional markets have yet to be systematically investigated.\u003c/p\u003e \u003cp\u003eThe German-speaking world, where a \"Three Body Fever\" emerged in 2016, represents a critical case study for the introduction of Chinese science fiction into a distinct publishing ecosystem; yet, it has largely remained at the periphery of academic scrutiny. Although the commercial success of Liu Cixin\u0026rsquo;s oeuvre in the German market has stimulated broader interest in the genre, the underlying mechanisms sustaining its integration into the German cultural sphere\u0026mdash;encompassing publishing pathways, media strategies, and reception contexts\u0026mdash;have not yet been adequately mapped or theorized. Currently, the dissemination of Chinese science fiction in German-speaking countries primarily operates through three distinct publishing models.\u003c/p\u003e \u003cp\u003eRegarding the three aforementioned pathways governing the dissemination of Chinese science fiction in Germany, there is currently a distinct lack of systematic academic discourse. Consequently, the classification presented herein constitutes a preliminary framework derived from the author's doctoral research. Notably, since 2016, Heyne Verlag has established a dominant position in the German-language publishing sector for contemporary Chinese literature\u0026mdash;particularly within the domain of genre fiction\u0026mdash;by leveraging the extensive distribution and market networks of its parent company, Penguin Random House. Statistical data indicates that \u0026ldquo;more than two-thirds of Chinese genre literary works introduced to the German market after 2016 have been published by Heyne\u0026rdquo; (Yu \u003cspan citationid=\"CR19\" class=\"CitationRef\"\u003e2025\u003c/span\u003e, 370). Facilitated by the China Educational Publications Import \u0026amp; Export Corporation Ltd (CEPIEC)\u003csup\u003e①\u003c/sup\u003e, Heyne acquired the German international copyrights for Liu Cixin\u0026rsquo;s works. Subsequently, the publisher secured rights from the same entity for Chen Qiufan\u0026rsquo;s \u003cem\u003eDie Siliziuminsel\u003c/em\u003e (\u003cem\u003eThe Waste Tide\u003c/em\u003e; 2019), Bao Shu\u0026rsquo;s \u003cem\u003eBotschafter der Sterne\u003c/em\u003e (\u003cem\u003eThe Redemption of Time\u003c/em\u003e; 2021), and Wang Jinkang\u0026rsquo;s \u003cem\u003eDie Kolonie\u003c/em\u003e (\u003cem\u003eAnt Life\u003c/em\u003e; 2021), thereby undertaking the systematic translation and publication of these texts.\u003c/p\u003e \u003cp\u003eDistinct from the state-sponsored CEPIEC framework, a second channel facilitates the entry of Chinese science fiction into the German-language sphere through independent mechanisms. Prominent examples include Hao Jingfang\u0026rsquo;s \u003cem\u003ePeking falten\u003c/em\u003e (\u003cem\u003eBeijing Folding\u003c/em\u003e; 2017), initially released by Elsnior Verlag and reissued by Rowohlt Verlag in 2018, and Regina Wang Kanyu\u0026rsquo;s \u003cem\u003eDas Meeresfr\u0026uuml;chterestaurant\u003c/em\u003e (\u003cem\u003eThe Seafood Restaurant\u003c/em\u003e; 2024), published by Drachenhaus Verlag as an independent single-volume edition. Furthermore, Campus Verlag directly imported the English-language original of \u003cem\u003eKI 2041: Zehn Zukunftsvisionen\u003c/em\u003e (\u003cem\u003eAI 2041: Ten Visions for Our Future\u003c/em\u003e; 2022), co-authored by Kai-Fu Lee and Chen Qiufan.\u003c/p\u003e \u003cp\u003eThe third mode of dissemination comprises short stories or excerpts published in periodicals, a category further divisible into traditional literary magazines and specialized science fiction outlets. The former is illustrated by Hao Jingfang\u0026rsquo;s \u003cem\u003eDer letzte Tapfere\u003c/em\u003e (\u003cem\u003eThe Last Brave\u003c/em\u003e)\u003csup\u003e②\u003c/sup\u003e (Hao 102\u0026ndash;110), which appeared in the Austrian literary magazine \u003cem\u003eLichtungen\u003c/em\u003e in 2015, and by works featured in Erik Schreiber's 2017 anthology \u003cem\u003eRund um die Welt in mehr als 80 SF-Geschichten\u003c/em\u003e (\u003cem\u003eAround the World in More Than 80 SF Stories\u003c/em\u003e). This anthology includes Xia Jia\u0026rsquo;s \u003cem\u003eDie D\u0026auml;monenflasche\u003c/em\u003e (\u003cem\u003eThe Demon Bottle\u003c/em\u003e), Fei Dao's \u003cem\u003eKrieg der G\u0026ouml;tter\u003c/em\u003e (\u003cem\u003eWar of the Gods\u003c/em\u003e), and Han Song's \u003cem\u003eDas Rad von Samara\u003c/em\u003e (\u003cem\u003eThe Wheel of Samara\u003c/em\u003e)\u003csup\u003e③\u003c/sup\u003e (Schreiber 306). The latter pathway is best exemplified by the specialized journal \u003cem\u003eKapsel\u003c/em\u003e, founded by Lukas Dubro in 2015, which employs an annual format to systematically introduce contemporary Chinese science fiction. In 2020, a strategic partnership with Heyne Verlag resulted in the publication of the anthology \u003cem\u003eZerbrochene Sterne\u003c/em\u003e (\u003cem\u003eShattered Stars\u003c/em\u003e). Additionally, in close cooperation with Fruehwerk Verlag, the magazine co-published the anthology \u003cem\u003eScience-Fiction aus China: Sechs Geschichten von heute \u0026uuml;ber morgen\u003c/em\u003e (\u003cem\u003eScience Fiction from China: Six Stories of Today about Tomorrow\u003c/em\u003e) in 2021.\u003c/p\u003e \u003cp\u003eAn analysis of Chinese science fiction publishing models in Germany since 2016 indicates that medium-sized and large publishing houses dominate the first two categories. These entities primarily release single-volume works by authors who have already achieved significant recognition in international or Anglophone markets. The distinction between these two models lies chiefly in their divergent approaches to the acquisition of international copyrights. In contrast, the third category, representing the traditional pathway for the dissemination of short stories, is typified by the journal \u003cem\u003eKapsel\u003c/em\u003e, which demonstrates a notable advantage regarding timeliness. Its annual publication schedule differs fundamentally from the sporadic inclusion of Chinese works in other literary magazines or anthologies, as \u003cem\u003eKapsel\u003c/em\u003e explicitly positions itself as a periodical dedicated exclusively to Chinese science fiction literature.\u003c/p\u003e \u003cp\u003eSituated within the scholarship on the global circulation and translation of science fiction, \u003cem\u003eKapsel\u003c/em\u003e constitutes a significant case study regarding its positioning within the heterogeneous German publishing field. This study investigates how the journal negotiates its distinct status amidst this complexity, examining the structural forces and patronage networks that shape its publication. The inquiry is guided by several pivotal questions: the mechanisms and strategies employed by \u003cem\u003eKapsel\u003c/em\u003e in the curation of contemporary Chinese science fiction; the influence of interactions among publishers, translators, and cultural institutions on its editorial orientation; and the mechanics of its patronage system. Furthermore, the study juxtaposes \u003cem\u003eKapsel\u003c/em\u003e\u0026rsquo;s publishing models with those of major publishing houses to explore the implications for the reception of Chinese science fiction in Germany, while also addressing the challenges and opportunities precipitated by the genre's growing prominence.\u003c/p\u003e \u003cp\u003eConsequently, this research analyzes how these determinants condition the journal\u0026rsquo;s content selection, editorial protocols, and market positioning. Additionally, it examines the construction and operation of a stable Sino-German publishing network\u0026mdash;one that encompasses not only publishers, translators, and editors but also extends to cultural institutions, academic circles, and readership communities.\u003c/p\u003e"},{"header":"1. Theoretical Framework: An Integrated Analysis of Field, Network, and Differentiated Patronage","content":"\u003cp\u003eIn recent years, the publication of contemporary Chinese literature in Germany has seen a continuous increase. This trend has been further amplified by Mo Yan's receipt of the Nobel Prize in Literature in 2012 and the surge of interest generated by Liu Cixin's The Three-Body Problem in 2016. Consequently, the academic community has accumulated a solid body of research concerning the overseas publication of contemporary Chinese genre literature.\u003c/p\u003e \u003cp\u003eEva Hung identified four publishing models for contemporary Chinese novels in the English-speaking world (Hung, \u003cspan class=\"CitationRef\"\u003e1991\u003c/span\u003e). Building upon Hung's research, Wang Baorong employed Bruno Latour's Actor-Network Theory to conduct a typological analysis of the overseas publication of Chinese literature (Wang, \u003cspan class=\"CitationRef\"\u003e2019\u003c/span\u003e; \u003cspan class=\"CitationRef\"\u003e2020\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e2021\u003c/span\u003e). Other scholars have focused on exploring the pathways for the overseas publication of contemporary Chinese literature, aiming to provide recommendations for publishing practices. These suggestions include strengthening collaborations with overseas literary agencies (He, \u003cspan class=\"CitationRef\"\u003e2024\u003c/span\u003e, 195); implementing multidimensional communication strategies that encompass targeted agenda-setting, training of key opinion leaders, and enhancement of interpersonal communication networks (Shao \u0026amp; Xie, p. 100); and leveraging channels such as Confucius Institutes, specialized funding, and international publishing collaborations (Chen \u0026amp; Dai, 80). Within the sphere of international cultural policy, the influence of funding mechanisms on literary production and reception is examined through Lefevere’s concept of patronage. Feng Xiaobing systematizes this theory along the dimensions of ideology, economics, and status. However, Feng’s core argument reductively equates patronage with financial sponsorship. He interprets the average print run of Chinese novels as the primary rationale for commercial publishers acting as economic promoters (Feng 2021, 105). He similarly categorizes periodicals, newspapers, sinological excerpts, and privately funded publications solely as manifestations of financial patronage (105). Citing the 2009 Frankfurt Book Fair, he emphasizes the decisive role of Sino-German cooperative funding in the publication of 33 novels (106). This conclusion underpins Feng’s interpretation of a primarily economically determined “literary translation within the literary system” post-2000. However, by conceptualizing patronage predominantly as monetary support and perceiving publishers merely as economic actors, he neglects their multifunctional capacity as agents of ideological and status-oriented patronage.\u003c/p\u003e \u003cp\u003eThis study constructs an integrated analytical framework by synthesizing key concepts from Pierre Bourdieu’s field theory, Bruno Latour’s Actor-Network Theory (ANT), and André Lefevere’s model of patronage. The synthesis is designed to provide a multidimensional analysis of the unique organizational model of \u003cem\u003eKapsel\u003c/em\u003e, a small-scale, independent project dedicated to translating Chinese science fiction into German. Crucially, the analysis recenters the \u003cem\u003eKapsel\u003c/em\u003e core editorial team as the principal network-builder and patronage coordinator, actively assembling and managing these theoretical dimensions rather than being passively shaped by a dominant “Western publisher.”\u003c/p\u003e \u003cp\u003e \u003cb\u003e1.1 Bourdieu\u003c/b\u003e’\u003cb\u003es Field Theory: Position-Taking and Capital Conversion\u003c/b\u003e\u003c/p\u003e \u003cp\u003eThe theory of Strategies of Position-Taking emphasizes the importance of defining a position within the cultural field, where each work is situated relative to others. It posits that every position, including dominant ones, is contingent upon its interactions with surrounding positions and the determinants imposed by them. The structured network of relations among various agents informs the strategies employed by those occupying different positions to enhance or redefine their status. Each position-taking is connected to a set of possible alternatives, which highlights the challenges faced in the dynamic landscape of cultural production. Ultimately, the value of any position is shaped by its contextual relationships, reflecting a continuous negotiation within the field's power dynamics. (Bourdieu \u003cspan class=\"CitationRef\"\u003e1993\u003c/span\u003e,30)\u003c/p\u003e \u003cp\u003eThe theory of Capital Conversion explains the processes by which distinct forms of capital—economic, cultural, and social—may be transformed or exchanged for one another within a specific field. (Bourdieu \u003cspan class=\"CitationRef\"\u003e1986\u003c/span\u003e, 242) It proposes that capital does not exist in isolation but operates dynamically, shaping the opportunities and limitations agents encounter in social life. Conversion mechanisms depend on particular conditions, such as social context and the nature of the capital involved, emphasizing the complexity embedded in social relations. (243–245) Moreover, the theory underscores that the capacity to convert capital frequently relies on an individual’s position within extended relational networks, which influences access and achievement across different fields. (246) Ultimately, Capital Conversion illustrates the multidimensional character of power and agency in social structures, uncovering the strategic actions individuals employ to accumulate and effectively deploy their capital.\u003c/p\u003e \u003cp\u003e \u003cb\u003e1.2 Actor-Network Theory: Network Formation and Translation\u003c/b\u003e \u003c/p\u003e \u003cdiv id=\"Sec3\" class=\"Section2\"\u003e \u003ch2\u003eHeterogeneous Actors and Enrollment\u003c/h2\u003e \u003cp\u003eThe theory of Heterogeneous Actors posits that social interactions are characterized by the involvement of diverse and distinct entities that collectively shape social dynamics. This perspective emphasizes that the term social encompasses a variety of actors with differing properties, which complicates the understanding of social ties. (Latour \u003cspan class=\"CitationRef\"\u003e2005\u003c/span\u003e, 76) Such heterogeneous assemblages challenge traditional notions of social cohesion, as they reveal the complexities inherent in tracing connections among varied participants. The theory underscores the necessity of recognizing the influence of both human and non-human actors in shaping social actions and outcomes. (77) It emphasizes that these non-human agents enable the transportation and articulation of distant sites into the local setting, making the social visible only when it is allowed to percolate through such non-social agencies.(193) Thus, local interactions are essentially assemblages of other spatially and temporally distributed interactions, connected and given form via the mediating role of material objects and non-human actors, which function as articulators or localizers.\u003c/p\u003e \u003c/div\u003e\n\u003ch3\u003eAgency as a Network Effect\u003c/h3\u003e\n\u003cp\u003eIn Actor-Network Theory, agency is conceptualized as a network effect that emerges from associations, rather than as an inherent property of individual entities. (10) This perspective requires granting non-humans a form of agency that is neither purely symbolic nor strictly naturalist, but an active capacity generated through their relations within a network. (51–52) Consequently, agency is attributed based on the transformative role an actor plays in a network of relations, regardless of the author's own theoretical alignment.\u003c/p\u003e \u003cp\u003eFollowing Latour, this analysis considers both human actors, including the editorial team, authors, and translators, and non-human actors such as the magazine format, digital platforms, funding contracts, and event spaces. It explores how the core initiators engaged these diverse entities, aligning their varied interests with the project’s objective of introducing Chinese science fiction. The framework challenges the notion of attributing agency to a singular entity, such as \"the publisher.\" Instead, it examines how the capacity to act, or the agency of \u003cem\u003eKapsel\u003c/em\u003e, emerged as a distributed effect of the network it constructed and maintained. This approach highlights the interconnectedness of varied actors in shaping the project's outcomes.\u003c/p\u003e \u003cp\u003e \u003cb\u003e1.3 Lefevere’s Patronage: Differentiated Support and Systemic Control\u003c/b\u003e \u003c/p\u003e\n\u003ch3\u003eDifferentiated Patronage as a Core Analytical Lens\u003c/h3\u003e\n\u003cp\u003eThe literary system consists of critics, reviewers, teachers, and translators who, through targeted rewriting, adapt literary works to the prevailing poetics and ideology, thereby possessing the capacity to suppress certain works (Lefevere \u003cspan class=\"CitationRef\"\u003e1992\u003c/span\u003e, 15). The first factor governs the system internally, whereas the second factor, patronage, dictates the scope and parameters of this control. Lefevere delineates patronage as a nexus of power emanating from individuals or institutions that influence processes of reading, writing, and rewriting through either promotion or hindrance (15). Lefevere distinguishes also between undifferentiated and differentiated patronage within literary systems. Undifferentiated patronage occurs when a single patron controls ideological, economic, and status components as seen in historical absolutist regimes. (17) Differentiated patronage emerges when economic success is relatively independent from ideology and status such as in contemporary bestselling authors. He argues that modern publishing in democratic societies can exhibit a form of undifferentiated patronage driven primarily by profit motives rather than ideology.\u003c/p\u003e\n\u003ch3\u003ePatronage within the Double Control Factor\u003c/h3\u003e\n\u003cp\u003eFoundational to Lefevere’s theory is the concept of the literary system. He defines it as a dualistic system wherein cultural and social systems are open and mutually influential, with cultural logic determining interactions within this subsystem (Lefevere 14). Lefevere identifies a \"double control factor\" comprising internal and external systemic elements:\u003c/p\u003e \u003cp\u003e \u003c/p\u003e \u003cp\u003ePatronage is analyzed as an integral component of Lefevere’s external control factor governing a literary system (Fig.\u0026nbsp;\u003cspan class=\"InternalRef\"\u003e1\u003c/span\u003e). This study investigates how various patrons influenced the project’s parameters without directly dictating its content. Meanwhile, the editorial team served as a crucial \"professional\" factor within the internal control system, shaping the project's poetics and selection criteria. This dual framework highlights the interaction between external influences and internal decision-making processes in the literary context. Ultimately, it underscores the complexity of the relationships between patrons and editorial practices.\u003c/p\u003e "},{"header":"2. The Initial Phase of Kapsel (2017–2019): Network Formation and Field Positioning","content":"\u003ch3\u003eNetwork Genesis and Core Actors\u003c/h3\u003e\u003cp\u003eThe \u003cem\u003eKapsel\u003c/em\u003e project originated in 2015 from Lukas Dubro’s graduate research in Applied Literature at the Free University of Berlin, evolving from a pedagogical exercise into a professionalized site for transcultural production (Chen 92). This transition was facilitated by a core editorial board whose composition deliberately transcended traditional publishing industry roles. The network coalesced around journalist Lukas Dubro, sinologist and translator Felix Meyer zu Venne, graphic designer Marius Wenker, and scholar Shen Chong. Each member contributed distinct forms of capital: Dubro provided initial project impetus and local cultural networking capital; Meyer zu Venne brought sinological expertise and academic legitimacy; Wenker supplied essential visual and design capital; and Shen Chong, as an associate professor at Fudan University (Shen 23), offered crucial cultural and linguistic capital, along with direct access to the Chinese literary field. Their alliance was less a formal publishing house than a professional editorial team operating under the non-profit Fruehwerk Verlag, funded through collectively raised publication funds (Yu \u003cspan class=\"CitationRef\"\u003e2024\u003c/span\u003e, 40). This heterogeneous actor-network was fundamentally bound by shared interest rather than commercial imperative:\u003c/p\u003e\u003ch2\u003eOperational Model and Field Strategy\u003c/h2\u003e\u003cp\u003e \u003cem\u003eKapsel\u003c/em\u003e’s early operational model, as outlined in Fig.\u0026nbsp;\u003cspan class=\"InternalRef\"\u003e2\u003c/span\u003e, was defined by an annual publication cycle focused on introducing a single, previously unknown Chinese science fiction author to the German market. (Dubro \u003cspan class=\"CitationRef\"\u003e2017\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e2018\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e2020\u003c/span\u003e) This model stood in direct contrast to the conventional commercial pathway exemplified by Liu Cixin’s entry into Germany via the China Educational Publishing Import and Export Corporation (CEPIEC) and agent-assisted deals (Gao and Yu 60). \u003cem\u003eKapsel\u003c/em\u003e exercised significant agency by proactively seeking themes and reaching internal consensus on authors who lacked recognition in Germany, thereby bypassing traditional gatekeepers like literary agents and large publishing houses. This strategy constituted a form of position-taking within the literary field. By specializing in “depoliticized” genre fiction and targeting a niche, it navigated the “double hierarchy” of the field of power (Bourdieu 38–39). This approach allowed \u003cem\u003eKapsel\u003c/em\u003e to sidestep direct ideological confrontations within the broader field of class relations, instead focusing on cultivating symbolic capital and autonomy within the sub-field of speculative literature.\u003c/p\u003e\u003ch3\u003eCapital Acquisition and Translational Autonomy\u003c/h3\u003e\u003cp\u003eThe network’s ability to secure resources relied heavily on its members’ social and cultural capital, particularly Shen Chong’s embeddedness in Chinese academic and literary circles. His suggestion to use the Douban platform led to securing translation rights for Chi Hui’s work via reader networks, bypassing formal agents (Shen 23). Furthermore, copyrights were typically secured through direct, low-cost licensing agreements with authors (Yu \u003cspan class=\"CitationRef\"\u003e2025\u003c/span\u003e, 162). This direct channel minimized economic capital needs and reinforced editorial control. The translation process itself exemplified high autonomy. Translator-editor Shen Chong’s dual role and the collaborative, dialogic translation method with Dubro—using basic digital tools in an “adventurous” process (Shen 23)—were insulated from the influence of Fruehwerk Verlag. This ensured that translational decision-making remained within the core actor-network, privileging aesthetic and scholarly criteria over commercial ones.\u003c/p\u003e\u003ch3\u003eDifferentiated Patronage and Economic Foundations\u003c/h3\u003e\u003cp\u003e \u003cem\u003eKapsel\u003c/em\u003e’s initial economic sustainability was achieved through a differentiated patronage model, visualized in Fig.\u0026nbsp;\u003cspan class=\"InternalRef\"\u003e3\u003c/span\u003e. This model integrated “economic support” from local Berlin cultural funds (e.g., for events at Kunsthaus Acud) with what can be termed “internal literary system patronage” from the non-profit Fruehwerk Verlag.\u003c/p\u003e\u003cp\u003eAs Dubro noted, funding from cultural institutions was pivotal for professionalization, enabling author invitations, translations, and website development (Interview, 14 Feb 2024). This pluralistic support structure was crucial. The non-ideological, economic nature of the local cultural funding and the aligned mission of the non-profit publisher provided essential financial capital without imposing significant heteronomous (market-driven) pressures on editorial content. Thus, the editorial team effectively became its own primary patron within the cultural production circuit, balancing external economic support with internal artistic autonomy.\u003c/p\u003e\u003cp\u003eIn its initial phase, \u003cem\u003eKapsel\u003c/em\u003e successfully established itself as a resilient actor-network by leveraging the complementary capital of its core members, adopting a niche operational model that maximized editorial agency, and constructing a differentiated patronage system that provided economic foundation without compromising cultural autonomy. Its position within the literary field was strategically peripheral, allowing it to build symbolic capital through curated, direct cultural translation. However, this very model—reliant on personal networks, limited-scale funding, and a protected niche—contained inherent limitations for growth. The subsequent phase of development, marked by the inclusion of Felix Meyer zu Venne and collaborations with larger commercial entities like Heyne, would inevitably test this equilibrium, forcing the network to negotiate the tensions between preserving its hard-won autonomy and accessing the broader circulation and recognition afforded by the mainstream publishing field. As shown in Fig.\u0026nbsp;\u003cspan class=\"InternalRef\"\u003e2\u003c/span\u003e, the content illustrates the publication model of \u003cem\u003eKapsel\u003c/em\u003e magazine under the “internal literary system patronage” provided by the nonprofit publisher Fruehwerk Verlag. However, according to the author’s interview with Lukas Dubro, the magazine has been profitable since the release of its fourth issue, \u003cem\u003eTräume\u003c/em\u003e. (Interview, 14 Feb 2024).\u003c/p\u003e\u003cp\u003eIt should be noted that the \u003cem\u003eKapsel\u003c/em\u003e editorial team primarily relied on in-person events held at Kunsthaus Acud for the venue of the \"Launch Event\" during this period. At the same time, \u003cem\u003eKapsel\u003c/em\u003e was simultaneously sold at physical bookstores such as Otherland and Zabriskie in Berlin, funk Magazine in Cologne, and Softcover in Vienna. Additionally, as the main sponsor, Fruehwerk Verlag conducted sales both online through its official website and offline (Interview, 14 Feb 2024).\u003c/p\u003e"},{"header":"3. Heterogeneous Network Construction, Capital Conversion, and Poetic Reshaping of Kapsel (2020–2021)","content":"\u003cp\u003eBuilding upon the aforementioned interview, it is worth noting that since 2020, the K\u003cem\u003eapsel\u003c/em\u003e editorial team has established a deep collaborative relationship with the major publishing house Heyne Verlag. In this study, this period is defined as the project's “Transformation and Expansion Phase” (Yu \u003cspan class=\"CitationRef\"\u003e2025\u003c/span\u003e, 359). It should be noted that, following the immense market success of Liu Cixin's works, Heyne Verlag has established a strong presence in the German science fiction publishing market through a multi-layered translation strategy. Based on the recognition of the \u003cem\u003eKapsel\u003c/em\u003e editorial team's professional expertise, and with the support of the renowned American science fiction translator and author Ken Liu, the \u003cem\u003eKapsel\u003c/em\u003e editorial team was invited to participate in the compilation of the anthology “Zerbrochene Sterne (Shattered Stars)” (Liu \u003cspan class=\"CitationRef\"\u003e2020\u003c/span\u003e, 1):\u003c/p\u003e\u003cp\u003eAs shown in Fig.\u0026nbsp;\u003cspan class=\"InternalRef\"\u003e4\u003c/span\u003e, \u003cem\u003eKapsel\u003c/em\u003e Publishing features emerging contemporary Chinese science fiction authors, notably Bao Shu and Chen Qiufan (Dubro, \u003cspan class=\"CitationRef\"\u003e2021\u003c/span\u003e, 3). For instance, Chen Qiufan’s short story \"Das Licht\" (\u003cem\u003eThe Light\u003c/em\u003e), featured in \u003cem\u003eZerbrochene Sterne\u003c/em\u003e, won the Gold Medal for Best Short Story at the 6th Xingyun Awards in 2015. Similarly, Bao Shu’s \"Großes steht bevor\" (\u003cem\u003eGreat Things Are Ahead\u003c/em\u003e) won the Kurd-Lasswitz-Prize for Best Foreign Language Novel. These early successes paved the way for the publication of their standalone works at Heyne Verlag. Additionally, the anthology \u003cem\u003eScience-Fiction aus China\u003c/em\u003e includes German authors such as Anja Kümmel, Anja Engst, Julia Dorsch, Rudi Nuss, and Philipp Böhm. This collection facilitates a transcultural dialogue, highlighting the shared values within the science fiction cultures of both nations.\u003c/p\u003e\u003cp\u003eIt should be noted that the entire \u003cem\u003eKapsel\u003c/em\u003e editorial team—Lukas Dubro, Felix Meyer zu Venne, and Shen Chong—participated as translators in the anthology project edited by Ken Liu, constituting nearly half of the translation team. According to my interview with Lukas Dubro, his close personal relationship with editor Ken Liu enabled the inclusion of several works that resonate with \u003cem\u003eKapsel’\u003c/em\u003es existing thematic focus. For instance, Xia Jia’s work had previously been published by \u003cem\u003eKapsel\u003c/em\u003e, while writings by authors such as Gu Shi and Regina Kanyu Wang later became part of \u003cem\u003eKapsel\u003c/em\u003e’s publications in standalone volumes and periodicals. As Ken Liu states in the anthology’s preface, “Die Geschichte musste mir gefallen, und: Sie musste mir im Gedächtnis bleiben (The story had to appeal to me, and it had to stay in my memory)” (Liu \u003cspan class=\"CitationRef\"\u003e2020\u003c/span\u003e, 9). Thus, through this collaboration, the \u003cem\u003eKapsel\u003c/em\u003e editorial team essentially carried out a dual act of translation—on one hand, transforming the diversity of Chinese science fiction, underpinned by its accumulated cultural capital, into hitherto underexplored commercial potential, and on the other hand, converting the team’s own professional expertise into a form of “quality assurance.” This process aptly illustrates the logic of translating cultural capital into industrial value.\u003c/p\u003e\u003cp\u003eThe strategic collaboration with Heyne represents a pivotal turning point in the development of \u003cem\u003eKapsel\u003c/em\u003e. This partnership signifies the successful translation of the editorial team’s previously accumulated specific form of cultural capital—comprising a distinctive grasp of cutting‑edge Chinese science‑fiction trends and a specialized reputation within niche circles—into scaled and industrial value. This collaborative venture not only confirms the recognition of \u003cem\u003eKapsel\u003c/em\u003e editorial team’s authority within its professional domain by the mainstream publishing establishment, but also underscores its crucial role as a cultural intermediary in systematically channeling marginal knowledge resources into broader market spheres.\u003c/p\u003e\u003cp\u003eThrough its collaboration with Heyne Verlag in the role of translators, the \u003cem\u003eKapsel\u003c/em\u003e editorial team acquired essential economic capital—including advance royalties and expanded distribution channels—as well as symbolic capital, such as recognition from mainstream publishing circles. However, this partnership may also have subtly undermined the team’s autonomy in wielding cultural capital regarding “what defines outstanding Chinese science fiction,” leading to a partial concession to market-driven commercial logic—that is, the principle of heteronomy. The dynamic lays the groundwork for understanding the team’s subsequent proactive pursuit of partnerships with cultural institutions—a move that can be interpreted as an effort to reassert and reconstruct its cultural autonomy.\u003c/p\u003e\u003cp\u003eFollowing 2022, the evolution of the \u003cem\u003eKapsel\u003c/em\u003e editorial network demonstrated significant expansion and deepening. Through practices such as organizing literary unconferences\u003csup\u003e⑤\u003c/sup\u003e and planning Sino-German writer workshops, the editorial team incorporated a more diverse range of human actors (e.g., German writers, poets) and non-human actors (e.g., Acud, Literarisches Colloqium Berlin) into the network. These actions not only extended the network’s boundaries but also, through the dialogic mode of “literature responding to literature\u003csup\u003e⑥\u003c/sup\u003e,” shifted internal network interactions from singular textual translation toward cross-cultural creative symbiosis. Throughout this process, the editorial team consistently played the central role in constructing and coordinating the network.\u003c/p\u003e\u003cp\u003eThis network expansion can be interpreted as a strategic operation of capital by the editorial team within the Sino-German science fiction crossover field. By facilitating dialogues between Chinese and German writers on shared themes such as artificial intelligence and climate change, the editorial team transformed its accumulated cultural and social capital into symbolic capital that fosters transnational creative exchange. (Dubro \u003cspan class=\"CitationRef\"\u003e2021\u003c/span\u003e, 14) Notably, by inviting writers such as Jiang Bo and Regina Kanyu Wang—previously featured in its anthologies—to Germany, the editorial team accomplished a shift from “text introducer” to “curator of cross-cultural dialogue.” (Shen \u003cspan class=\"CitationRef\"\u003e2023\u003c/span\u003e, 27)This transition marked its elevation from a peripheral participant to a central organizer within the literary field. This strategy of capital conversion not only reinforced the editorial team’s cultural authority but also laid the groundwork for exploring new creative pathways while maintaining editorial autonomy.\u003c/p\u003e\u003cp\u003eAnalyzed through Lefevere’s model of differentiated patronage, the practices during this phase benefited from the continued support of a hybrid patronage structure. The venue support provided by Acud Kunsthaus can be regarded as a form of “non-commercial spatial patronage” focused on cultural dialogue, which functionally complemented the publishing patronage offered by Fruehwerk Verlag. This patronage configuration enabled the editorial team to carry out experimental literary dialogues without being entirely subject to immediate market demands. As a result, the editorial team was able to conceive and incubate the thematically interconnected works featured in the fourth issue of \u003cem\u003eKapsel\u003c/em\u003e, demonstrating its structural capacity to maintain a high degree of editorial autonomy and cultural exploratory agency within a commercial publishing environment.\u003c/p\u003e\u003cp\u003eDuring the period from 2020 to 2021, the editorial team's expansion of operations and the publication of science fiction anthologies indicated that its core role as a patron of Chinese science fiction literature remained unchanged. As Shen Chong completed his doctoral dissertation in 2019 and prepared to return to China, the editorial team welcomed the addition of Felix Meyer zu Venne\u003csup\u003e⑦\u003c/sup\u003e. This sinologist gradually became the new topic leader of the editorial team starting from the second issue. Shen praised Felix Meyer zu Venne for “significantly enhancing the magazine's translation efficiency and quality, while also taking on the responsibility of connecting with Chinese authors and identifying suitable science fiction stories”. (Shen \u003cspan class=\"CitationRef\"\u003e2023\u003c/span\u003e,25)\u003c/p\u003e\u003cp\u003eThe inclusion of Felix Meyer zu Venne in the editorial team signaled a transformation in the operational paradigm of \u003cem\u003eKapsel\u003c/em\u003e, shifting from reliance on individual enthusiasm and contingent connections toward a more institutionalized and reproducible professional practice. This transition was prominently reflected during the preparation of the journal’s third issue.\u003c/p\u003e\u003cp\u003ePrior to the publication of the third issue, Felix integrated into the published interview both the nuanced process of his meeting with Jiang Bo in Shanghai and the text‑message exchanges that preceded their encounter (Dubro \u003cspan class=\"CitationRef\"\u003e2020\u003c/span\u003e, 40). This editorial approach not only illustrated a collaborative and mutually‑engaged dynamic between the editorial department and the author, but also marked the team’s first initiative to conduct in‑person author interviews in China. The interview demonstrated Felix’s scholarly expertise as a sinologist and provided essential primary material for understanding Jiang Bo’s creative background as well as his reflections on artificial intelligence—thereby offering substantial academic value for the deeper interpretation of his works.\u003c/p\u003e\u003cp\u003eConcurrently, during his visit to China, Felix successfully secured a contribution from the prominent science‑fiction author Chen Qiufan, who authored a column for the third issue of \u003cem\u003eKapsel\u003c/em\u003e examining the inevitability of artificial intelligence’s into literary creation (64). The content generated through this visit led Shen Chong to characterize the third issue as “a transitional work that connects what came before with what followed, with many of its elements recurring in subsequent issues and affiliated publications” (Shen \u003cspan class=\"CitationRef\"\u003e2023\u003c/span\u003e, 26). In summary, Felix’s trip to China not only represented a key moment in the professionalization of \u003cem\u003eKapsel\u003c/em\u003e’s editorial practice, but also laid a sustainable foundation for the content structure and editorial orientation of later publications by establishing a stable network of authors and acquiring in‑depth interviews as well as forward‑looking thematic contributions.\u003c/p\u003e\u003cp\u003eThe engagement of the \u003cem\u003eKapsel\u003c/em\u003e editorial team in the \u003cem\u003eZerbrochene Sterne\u003c/em\u003e project represents a strategic act of network embedding. By entering the pre-existing translation network led by Ken Liu under a “partial affiliation” model, the team did not assume a passive role. Instead, through undertaking nearly half of the translation work, they actively integrated their accumulated cultural capital in Chinese science fiction and their professional translation competence into the mainstream publishing network. In this process, the editorial members and their translation practices functioned as crucial human actors, while the specific cultural perceptions and aesthetic standards they carried entered the network as non-human actors. This joint action enabled a subtle yet effective expansion of the network’s influence.\u003c/p\u003e\u003cp\u003eSubsequently, during the compilation of anthologies such as \u003cem\u003eFantastische Geschichten aus China\u003c/em\u003e and \u003cem\u003eScience-Fiction aus China. Sechs Geschichten von heute über morgen\u003c/em\u003e, the editorial team’s strategic approach shifted markedly. Their network strategy evolved from “embedding into others’ networks” to “autonomously building networks,” demonstrating a clear exploratory drive and editorial agency. This shift marked their entry into the market with genuine cultural products and the development of a new product line. The editorial team proactively managed the entire process, from theme conception and author liaison to text selection and translation coordination, thereby becoming the core actor in network construction. This transition reflects the team’s repositioning within the Sino-German science fiction field, moving from peripheral participation toward a more central, curatorial role.\u003c/p\u003e"},{"header":"4. Institutional Restructuring and Poetic Resonance: Field Positioning and Network Enactment within the Sponsorship Framework of Maro Publishing (2022–2025)","content":"\u003cp\u003eBetween 2020 and 2022, against the backdrop of the global COVID-19 pandemic, the \u003cem\u003eKapsel\u003c/em\u003e editorial team, following a process of prudent deliberation, elected to establish a partnership with MaroVerlag, a publishing house characterized by its superior institutional scale. With the singular exception of \u003cem\u003eTong Tong’s Sommer\u003c/em\u003e—a self-published special edition produced in 2022 utilizing literary funding—the editorial board’s publishing initiatives have been formally anchored within the MaroVerlag infrastructure commencing in 2023:\u003c/p\u003e\u003cp\u003eDuring this interim, Lukas Dubro, acting in his capacity as Editor-in-Chief, participated for the first time in a three-day literary unconference held at Berlin-Wannsee in late April 2022. In the course of collective deliberations with more than ten German authors, Dubro leveraged his professional position at a German news agency to create the text \u003cem\u003eStreit um knappe Speicher – Gartenidyll wegen Festival vor dem Aus\u003c/em\u003e. (Shen \u003cspan class=\"CitationRef\"\u003e2023\u003c/span\u003e, 28) This work was subsequently anthologized in \u003cem\u003eKollaps und Hope Porn\u003c/em\u003e, a science fiction collection published by MaroVerlag. This publishing instance signifies that a foundation of substantive professional engagement and mutual trust had already been established prior to the formalization of the partnership regarding \u003cem\u003eKapsel\u003c/em\u003e magazine. (Dubro and Felix 2024, 2) Furthermore, Dubro corroborated this social bond in an interview, noting that he had originally made the acquaintance of MaroVerlag publisher Sarah Käsmayr as early as 2017 during the 'Misslady' event (Yu \u003cspan class=\"CitationRef\"\u003e2024\u003c/span\u003e, 40).\u003c/p\u003e\u003cp\u003eMaroVerlag superseded the incumbent Fruehwerk Verlag, emerging as a new institutional actor. This transition transcends a mere transfer of publishing rights; rather, it profoundly exemplifies the reconfiguration of the literary production mechanism governed by concept of patronage. Functioning as the operative agent of this new patronage, MaroVerlag editor Sarah Käsmayr did not merely furnish the requisite economic capital but also intervened deeply in the construction of poetics. Through her comprehensive involvement in the production of \u003cem\u003eKollaps und Hope Porn\u003c/em\u003e, combined with the strategic reissuing of Science-Fiction aus China, she successfully transformed these two geoculturally distinct texts into a pair of mutually resonant non-human actants. Viewed through the lens of ANT, this publishing strategy enrolls the previously disparate Chinese and German science fiction texts into a unified heterogeneous network. By establishing a sibling relationship within both the publisher’s catalogue and the thematic content, this approach materially anchors the durability of transcultural dialogue.\u003c/p\u003e\u003cp\u003eUnderpinned by this novel patronage structure, Editor-in-Chief Lukas Dubro underwent a significant transformation of Habitus in the Bourdieusian sense. Transcending his previous function as a mere organizer of resources within the field, he positioned himself, for the first time, at the locus of literary production as an author. Dubro creatively translated the professional expertise and social capital accumulated within the realistic field of journalism nto symbolic capital within the literary field; by constructing the persona of a reporter for a fictional Virtual Press Agency, he dissolved the ontological boundaries between the real and the fictive. The struggle for virtual resources depicted in his work, \u003cem\u003eStreit um knappe Speicher\u003c/em\u003e, serves as an allegory for the internal competition for attention—a scarce capital—within the literary field. This strategy substantially augmented the permeability of the \u003cem\u003eKapsel\u003c/em\u003e network across disparate discursive systems.\u003c/p\u003e\u003cp\u003eAs illustrated in Fig.\u0026nbsp;\u003cspan class=\"InternalRef\"\u003e5\u003c/span\u003e, the evolution of the \u003cem\u003eKapsel\u003c/em\u003e project has transcended linguistic and national boundaries, demonstrating a distinct trajectory of transnational field expansion. This strategic enlargement is not an isolated occurrence but is deeply contingent upon the restructuring of the patronage system. MaroVerlag, acting as a larger and operationally more mature publishing entity, functions as a robust institutional patron. It not only supplies the stable economic capital necessary for the consistent publication of the \u003cem\u003eKapsel\u003c/em\u003e annuals—thereby mitigating the existential precarity often associated with independent publishing—but, more critically, leverages its superior distribution and marketing networks to endow the \u003cem\u003eKapsel\u003c/em\u003e team with the confidence and agency required for external exploration. This escalation in the patronage relationship has enabled \u003cem\u003eKapsel\u003c/em\u003e to shift from a defensive posture of local survival to an assertive strategy of Bourdieusian field expansion.\u003c/p\u003e\u003cp\u003eLukas Dubro’s relocation to Paris (Yu \u003cspan class=\"CitationRef\"\u003e2024\u003c/span\u003e, 40) constitutes more than a personal biographical shift; it represents an act of extension for a heterogeneous network. Functioning as a mobile node conveying information, he has physically interconnected the Berlin editorial office with the Parisian environment of literary production. He indicated that this was a publishing house he discovered by chance during his time residing in Paris, and therefore, he scheduled a time to introduce \u003cem\u003eKapsel\u003c/em\u003e to Philippe Thiollier, the publisher of L'Asiatheque. (41)\u003c/p\u003e\u003cp\u003eThrough an active strategy of \"translation,\" Dubro successfully enrolled L'Asiatheque, a renowned French publisher of Asian literature, into \u003cem\u003eKapsel\u003c/em\u003e's actor-network. The establishment of this transnational collaboration marks \u003cem\u003eKapsel\u003c/em\u003e's transformation from a singular German-language introduction platform into a multi-nodal European publishing network. The incorporation of L'Asiatheque not only introduced a new non-human actant into the network—specifically, the French edition of \u003cem\u003eKapsel\u003c/em\u003e released in late 2024—but also facilitated the cross-border conversion of field capital: the symbolic capital accumulated by \u003cem\u003eKapsel\u003c/em\u003e in the German-speaking sphere (namely, its connoisseurship and editorial authority regarding Chinese science fiction) was effectively converted into legitimacy within the French literary field through the alliance with L'Asiatheque. This cross-cultural publishing practice transgresses what Bourdieu termed the \"nation-state boundaries of the literary field,\" constructing a trans-European heterogeneous actor-network with Chinese science fiction as its circulating content, propelled by MaroVerlag and woven together by Dubro and L'Asiatheque. This process vividly illustrates how a literary sub-field can achieve displacement from the periphery toward a broader European cultural center through the upgrading of patronage systems and the spatial operations of key actors.\u003c/p\u003e"},{"header":"5. Conclusion","content":"\u003cp\u003eDrawing upon the theoretical dimensions of the literary field, Actor-Network Theory (ANT), and patronage structures, this study investigates the three developmental phases of the German science fiction journal \u003cem\u003eKapsel\u003c/em\u003e. It offers a comprehensive analysis of this empirical case, examining how the editorial team collaborated with various publishing houses to translate and disseminate Chinese science fiction. The analysis demonstrates that the configuration of the patronage system establishes a fundamental basis for comprehending the dissemination of contemporary Chinese genre literature (specifically science fiction) in Germany, while also delineating the diversified landscape of its publication. Furthermore, the key actors within the editorial team during different stages characterize the core dynamics driving each period of development. Operating autonomously from major publishing conglomerates and employing differentiated trajectories and publication strategies, this model has made a significant and distinct contribution to Sino-German cultural exchange.\u003c/p\u003e \u003cp\u003eThis article also reveals the development trajectory of an editorial team as the core actor. The team has continuously expanded its influence within the literary system, improved content quality, and deepened thematic exploration. By leveraging non-human actors such as the Kunsthaus Acud art space, they organized the magazine's launch event, literary non-conferences, and workshops. At appropriate times, they shifted their sponsorship reliance to different publishing institutions, successfully transforming a science fiction magazine that initially stemmed from interest into a more professional and systematic entity. Throughout this process, the editorial team, with its high level of professionalism, not only enriched the product line by launching science fiction anthologies, related products, and series of magazines but also achieved an extension of literary works across different media.\u003c/p\u003e \n\u003cp\u003e\u003cstrong\u003eNotes\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003e1. \u003cstrong\u003eChina Educational Publications Import \u0026amp; Export Corporation (CEPIEC)\u003c/strong\u003e serves as the exclusive agent for the international rights to Liu Cixin\u0026apos;s oeuvre. The overseas promotion of his work was formally inaugurated by CEPIEC in 2012, an initiative jointly supported by the author and \u003cem\u003eScience Fiction World\u003c/em\u003e. In that year, Liu\u0026rsquo;s representatives executed an agreement with CEPIEC and \u003cem\u003eScience Fiction World\u003c/em\u003e regarding the English-language rights for \u003cem\u003eThe Three-Body Problem\u003c/em\u003e (Xinhua 2012).\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e2.\u0026nbsp;The original Chinese title is\u0026nbsp;《最后一个勇敢的人》(The Last Brave Person), featured in Hao Jingfang\u0026apos;s science fiction collection\u0026nbsp;《记忆光谱》(Memory Spectrum). This collection utilizes memory as a central thematic lens, blending multiple narratives to explore the intersection of technology and human nature.\u003c/p\u003e\n\u003cp\u003e3. For instance, following Mo Yan\u0026apos;s Nobel Prize in Literature in 2012, the Swiss publisher Unionsverlag was precluded from acquiring the international rights for the author\u0026apos;s new work. In an interview, publisher Lucien Leitess indicated that the quote provided by the Andrew Wylie Literary Agency for the German rights was prohibitively exorbitant, far exceeding a reasonable market range.\u003c/p\u003e\n\u003cp\u003e4. The anthology \u003cem\u003eScience-Fiction aus China. Sechs Geschichten von heute \u0026uuml;ber morgen\u0026nbsp;\u003c/em\u003efeatures contributions from German science fiction writers including Anja K\u0026uuml;mmel, Anja Engst, Julia Dorsch, Rudi Nuss, and Philipp B\u0026ouml;hm. This structure facilitates a transcultural dialogue between Chinese and German authors, demonstrating a profound integration of the universal values underlying the science fiction cultures of both nations.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e6.\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u003c/strong\u003eAn unconference is a type of meeting wherein the agenda is driven and established by the participants. The preparation for such meetings is generally not organized by a single institution or a small group of entities. The term initially originated within the geek community. The process of an unconference is analogous to Open Space Technology, and in other respects, it possesses a history exceeding twenty years, exemplified by the future workshops in futurology.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e7.\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u003c/strong\u003eIt refers to a new model of literary production, translation, and interpretation attempted by the \u003cem\u003eKapsel\u003c/em\u003e editorial team. The fourth issue of \u003cem\u003eKapsel\u003c/em\u003e inaugurated a novel mode characterized by \u0026ldquo;literature responding to literature\u0026rdquo; and \u0026ldquo;writers commenting on writers.\u0026rdquo;\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e8.\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u003c/strong\u003eFelix Meyer zu Venne is a sinologist, translator, and instructor of Chinese based in Berlin. His academic and professional trajectory includes editorial work at Elfenbein Verlag in Berlin and a lecturing position in the Department of Sinology at the Westf\u0026auml;lische Wilhelms-Universit\u0026auml;t M\u0026uuml;nster during his studies. Since 2018, he has served as editor-in-chief of \u003cem\u003eKapsel\u003c/em\u003e, assuming the additional role of co-editor from 2021 onward. His translations have appeared in publications such as Hefte f\u0026uuml;r ostasiatische Literatur, by Heyne, and in \u003cem\u003eKapsel.\u003c/em\u003e Meyer zu Venne also maintains an active research focus on Chinese theater.\u003c/p\u003e"},{"header":"Declarations","content":"\u003cp\u003e\u003cstrong\u003eEthical Approval \u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eAll procedures performed in studies involving human participants were in accordance with the ethical standards of the institutional and/or national research committee and with the 1964 Helsinki Declaration and its later amendments or comparable ethical standards. The study was approved by Ningbo University (Approval Date: February 7, 2026; Nr. 202602070001).\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThis study was approved by the Institutional Review Board (IRB) of Ningbo University (Approval Date: February 7, 2026; Nr. 202602070001). It is noted that formal ethical approval was obtained after the initial data collection commenced; however, all research procedures involving the human participant were conducted in strict accordance with the ethical standards of the Declaration of Helsinki and the relevant institutional guidelines. The participants involved in the interview were adults Lukas Dubro (born in 1987) and Shen Chong (born in 1989) at the time of the study.\u003c/p\u003e\n\u003cp\u003eThe study commenced on February 14, 2024, when the interviewer as author conducted a Zoom interview with Lukas Dubro. This interview was subsequently included in the 2024 World Science Fiction Frontier (Issue 1, 2024), with the content of the interview remaining unedited. In October 2025, the interviewer informed Lukas Dubro and Shen Chong and obtained their permission. In November 2025, the interviewer began collaborating with co-author to write this study.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eInformed Consent\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eInformed consent was obtained from all participants interviewed in this study, all of whom are adults. The data and supporting materials underpinning the findings of this study are available for review and public access. These materials include the video recording of the interview with Lukas Dubro, the published interview text in\u003cem\u003e\u0026nbsp;World Science Fiction Frontier\u003c/em\u003e (Issue 1, 2024), the research article by Shen Chong in\u003cem\u003e\u0026nbsp;World Science Fiction Frontier\u003c/em\u003e (Issue 2, 2023), and selected electronic excerpts from Kapsel magazine.\u003c/p\u003e\n\u003cp\u003eAll information regarding the development of Kapsel in this paper is primarily derived from these two interview articles, with the interview related to Lukas Dubro serving as an important reference for analyzing and studying the operational model of Kapsel magazine. The article by Shen Chong published in \u003cem\u003eWorld Science Fiction Frontier\u0026nbsp;\u003c/em\u003e(Issue 2, 2023) is a significant document for the study of the publishing history of Kapsel.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eData Availability\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eInformed consent was obtained from the participant (Lukas Dubro) prior to the study. The participant provided explicit written consent for the interview to be video-recorded and for the resulting video, along with the subsequent Chinese publication in\u003cem\u003e\u0026nbsp;World Science Fiction Frontier\u0026nbsp;\u003c/em\u003e(Issue 1, 2024), to be used and shared for academic research and publication purposes.\u003c/p\u003e\n\u003cp\u003eAll aforementioned datasets and documents can be accessed via the following stable link: [https://drive.google.com/drive/folders/11SNkH4eiTNjGGZY6xWA0C064ethOmKiw?usp=drive_link]. These materials are provided to ensure the transparency of the methodology and the verifiability of the qualitative analysis presented in this manuscript.\u003c/p\u003e\n\u003cp\u003eThe shared data includes:\u003c/p\u003e\n\u003cp\u003e1.\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;Interview with Lukas Dubro on February 14, 2024.\u003c/p\u003e\n\u003cp\u003e2.\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;Electronic versions of issues 1-4 of Kapsel magazine, as well as one anthology published by Kapsel.\u003c/p\u003e\n\u003cp\u003e3.\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;The interview with Shen Chong published in World Science Fiction Frontier (Issue 02, 2023).\u003c/p\u003e\n\u003cp\u003e4.\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;The interview with Lukas Dubro (with author of this study) published in World Science Fiction Frontier (Issue 01, 2024).\u003c/p\u003e"},{"header":"References","content":"\u003cp\u003eBourdieu, Pierre. \u003cem\u003eThe Field of Cultural Production\u003c/em\u003e. Columbia University Press, 1993.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eBourdieu, Pierre. \u0026ldquo;The Forms of Capital.\u0026rdquo; \u003cem\u003eHandbook of Theory and Research for the Sociology of Education\u003c/em\u003e. Ed.. Richards\u0026nbsp;J. E. Greenwood Press, 1986.\u0026nbsp;241-258.\u003c/p\u003e\n\u003cp\u003eCheng, Lin (程林). \u0026ldquo;科幻杂志《胶囊》与中国科幻在德国的传播\u0026mdash;\u0026mdash;访《胶囊》编辑部\u0026nbsp;[The Sci-Fi Magazine \u003cem\u003eKapsel\u0026nbsp;\u003c/em\u003eand the Dissemination of Chinese Science Fiction in Germany: An Interview with the \u003cem\u003eKapsel\u003c/em\u003e Editorial Team]\u0026rdquo;. \u003cem\u003eScience Writing Review\u0026nbsp;\u003c/em\u003e科普创作评论\u0026nbsp;1(2021): 91-96.\u003c/p\u003e\n\u003cp\u003eLiu, Ken (ed.). \u003cem\u003eZerbrochene Sterne\u003c/em\u003e [\u003cem\u003eShattered Stars\u003c/em\u003e]. Heyne, 2020.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eDubro Lukas, Meyer zu Venne Felix (ed.).\u0026nbsp;\u003cem\u003eIm Ozean ein Mutterschiff und andere Geschichten\u0026nbsp;\u003c/em\u003e[\u003cem\u003eIn the Ocean, a Mother Ship and Other Stories\u003c/em\u003e]. Maro, 2024.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eDubro Lukas, Meyer zu Venne Felix, Schneider-Viels\u0026auml;cker Frederike (ed.).\u0026nbsp;\u003cem\u003eScience-Fiction aus China. Sechs Geschichten von heute \u0026uuml;ber morgen\u003c/em\u003e [Science Fiction from China: Six Stories of Today about Tomorrow]. Fruehwerk, 2021.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eDubro, Lukas (ed.).\u0026nbsp;\u003cem\u003eDas Insektennest\u0026nbsp;\u003c/em\u003e[\u003cem\u003eThe Insect Nest\u003c/em\u003e]. Fruehwerk, 2017.\u003c/p\u003e\n\u003cp\u003eDubro, Lukas (ed.).\u003cem\u003e\u0026nbsp;Die Wolken\u003c/em\u003e [\u003cem\u003eThe Clouds\u003c/em\u003e]. Fruehwerk, 2018.\u003c/p\u003e\n\u003cp\u003eDubro, Lukas (ed.).\u0026nbsp;\u003cem\u003eDie perfekte Diagnose\u0026nbsp;\u003c/em\u003e[\u003cem\u003eThe Perfect Diagnosis\u003c/em\u003e]. Fruehwerk, 2020.\u003c/p\u003e\n\u003cp\u003eDubro, Lukas (ed.). \u003cem\u003eTr\u0026auml;ume\u003c/em\u003e [\u003cem\u003eDreams\u003c/em\u003e]. Fruehwerk, 2021.\u003c/p\u003e\n\u003cp\u003eFeng, Xiaobing\u0026nbsp;(冯小冰).\u0026nbsp;\u0026ldquo;中国当代小说在德语国家的译介研究(1978～2017) [A Study on the Translation and Reception of Contemporary Chinese Fiction in the German-Speaking World (1978\u0026ndash;2017)]\u0026rdquo;.\u003cem\u003e\u0026nbsp;Social Science Academic Press (China)\u003c/em\u003e 社会文学科学出版社, 2020.\u003c/p\u003e\n\u003cp\u003eHung, Eva. \u0026ldquo;Blunder or Service? The Translation of Contemporary Chinese Fiction into English\u0026rdquo;.\u0026nbsp;\u003cem\u003eTranslation Review\u003c/em\u003e, Nr. 36/37 (1991): 39-45. \u0026nbsp;\u003c/p\u003e\n\u003cp\u003eHao, Jingfang. \u0026ldquo;Der letzte Tapfere\u0026rdquo;. \u003cem\u003eLichtungen. Zeitschrift f\u0026uuml;r Literatur, Kunst und Zeitkritik\u003c/em\u003e, Band 141 (2015): 102-110.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eHe, Hongli (贺鸿莉). \u0026ldquo;中国现当代文学在海外的译介与接受\u0026nbsp;[The Translation and Reception of Modern and Contemporary Chinese Literature Abroad]\u0026rdquo;. \u003cem\u003eJournal of Hubei Open Vocational College\u003c/em\u003e 湖北开放职业学院学报, Nr. 13 (2024): 194-195 + 198.\u003c/p\u003e\n\u003cp\u003eLefevere, Andr\u0026eacute;.\u0026nbsp;\u003cem\u003eTranslation, Rewriting, and the Manipulation of Literary Fame\u003c/em\u003e. Routledge, 1992.\u003c/p\u003e\n\u003cp\u003eLatour, Bruno. \u003cem\u003eReassembling the Social: An Introduction to Actor-Network-Theory\u003c/em\u003e. Oxford University Press, 2005.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eSchreiber, Erik. \u003cem\u003eRund um die Welt in mehr als 80 SF-Geschichten\u003c/em\u003e [\u003cem\u003eAround the World in More Than 80 SF Stories\u003c/em\u003e]. Saphir im Stahl, 2017.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eShen, Chong\u0026nbsp;(沈冲).\u0026ldquo;当我们翻译科幻时我们在翻译什么\u0026mdash;\u0026mdash;以德国独立杂志\u0026lt;胶囊：中国幻想故事集\u0026gt;为例 \u0026rdquo;[What Do We Translate When We Translate Science Fiction?\u0026nbsp;A Case Study of the Independent German Magazine \u003cem\u003eKapsel: Chinese Fantastic Stories\u003c/em\u003e]\u0026nbsp;\u0026rdquo;. \u003cem\u003eWorld Science Fiction Frontier\u003c/em\u003e 世界科幻动态\u0026nbsp;02(2023):22-29.\u003c/p\u003e\n\u003cp\u003eYu, Weicheng.\u003cem\u003e\u0026nbsp;Die Rezeption chinesischer Gegenwartsliteratur in deutschsprachigen L\u0026auml;ndern seit 2000: eine Untersuchung mit Fokus auf das Verlagswesen\u003c/em\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e[\u003cem\u003eThe Reception of Contemporary Chinese Literature in German-Speaking Countries Since 2000: An Investigation with a Focus on the Publishing Industry\u003c/em\u003e]. Dissertation, Fudan University, 2025.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eWang, Baorong\u0026nbsp;(汪宝荣). \u0026ldquo;中国文学译介传播模式社会学分析\u0026nbsp;[A Sociological Analysis of Translation and Dissemination Models in Chinese Literature]\u0026rdquo;. \u003cem\u003eShanghai Journal of Translators\u0026nbsp;\u003c/em\u003e上海翻译, Nr. 2 (2019): 1-6.\u003c/p\u003e\n\u003cp\u003e\u0026mdash;.\u0026nbsp;\u0026ldquo;中国文学译介与传播行动者网络模式\u0026mdash;\u0026mdash;以西方商业出版社为中心\u0026nbsp;[A Network Model of Actors in the Translation and Dissemination of Chinese Literature: Focused on Western Commercial Publishers]\u0026rdquo;. \u003cem\u003eForeign Languages Bimonthly\u003c/em\u003e 解放军外国语学院学报, Nr. 2 (2020): 34-42.\u003c/p\u003e\n\u003cp\u003e\u0026mdash;.\u0026nbsp;\u0026ldquo;中国文学译介与传播模式研究述评\u0026nbsp;[A Review of Research on Translation and Dissemination Models of Chinese Literature]\u0026rdquo;. \u003cem\u003eForeign Languages and Cultures\u0026nbsp;\u003c/em\u003e外国语言与文化, Nr. 4 (2021): 94-102.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eYu, Weicheng\u0026nbsp;(於伟澄).\u0026ldquo;编辑、运营、分销\u0026lsquo;三维一体\u0026rsquo;化的范例\u0026mdash;\u0026mdash;采访科幻文学杂志\u0026lt;胶囊\u0026gt;》创办人\u0026nbsp;[A Paradigm of the Tripartite Integration of Editorial, Operational, and Distributional Mechanisms: An Interview with the Founder of the Science Fiction Literary Journal \u003cem\u003eKapsel\u003c/em\u003e]\u0026rdquo;. \u003cem\u003eWorld Science Fiction Frontier\u003c/em\u003e 世界科幻动态\u0026nbsp;01(2024):38-42.\u003c/p\u003e\n\u003cp\u003e\u0026mdash;. \u003cem\u003eDie Rezeption chinesischer Gegenwartsliteratur in deutschsprachigen L\u0026auml;ndern seit 2000: eine Untersuchung mit Fokus auf das Verlagswesen\u003c/em\u003e [\u003cem\u003eThe Reception of Contemporary Chinese Literature in German-Speaking Countries Since 2000: An Investigation with a Focus on the Publishing Industry\u003c/em\u003e]. Dissertation, Fudan University, 2025.\u0026nbsp;\u003c/p\u003e"}],"fulltextSource":"","fullText":"","funders":[],"hasAdminPriorityOnWorkflow":false,"hasManuscriptDocX":true,"hasOptedInToPreprint":true,"hasPassedJournalQc":"","hasAnyPriority":false,"hideJournal":false,"highlight":"","institution":"","isAcceptedByJournal":false,"isAuthorSuppliedPdf":false,"isDeskRejected":"","isHiddenFromSearch":false,"isInQc":false,"isInWorkflow":false,"isPdf":false,"isPdfUpToDate":true,"isWithdrawnOrRetracted":false,"journal":{"display":true,"email":"[email protected]","identity":"humanities-and-social-sciences-communications","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":false,"externalIdentity":"palcomms","sideBox":"Learn more about [Humanities \u0026 Social Sciences Communications](http://www.nature.com/palcomms/)","snPcode":"41599","submissionUrl":"https://submission.springernature.com/new-submission/41599/3","title":"Humanities and Social Sciences Communications","twitterHandle":"","acdcEnabled":true,"dfaEnabled":true,"editorialSystem":"stoa","reportingPortfolio":"Nature AJ","inReviewEnabled":true,"inReviewRevisionsEnabled":false},"keywords":"Kapsel, Patronage, Field, Actor-Network, Germany, Magazine","lastPublishedDoi":"10.21203/rs.3.rs-8866352/v1","lastPublishedDoiUrl":"https://doi.org/10.21203/rs.3.rs-8866352/v1","license":{"name":"CC BY 4.0","url":"https://creativecommons.org/licenses/by/4.0/"},"manuscriptAbstract":"\u003cp\u003eThe translation and publication of Chinese science fiction in Germany have garnered increasing academic attention in recent years. Focusing on the independent publishing collective \u003cem\u003eKapsel\u003c/em\u003e as a primary case study, this article investigates the pathways through which Chinese science fiction is introduced and analyzes the operational mechanisms anchored in its publishing practices. By synthesizing Latour\u0026rsquo;s Actor-Network Theory, Lefevere\u0026rsquo;s theory of patronage, and Bourdieu\u0026rsquo;s theory of the literary field, this study systematically conducts an empirical examination of the magazine\u0026rsquo;s development, categorizing its evolution into three distinct phases. The empirical data is derived from in-depth interviews with publisher Lukas Dubro, complemented by textual materials from core team members, including Shen Chong. Based on these theoretical frameworks and data, the article elucidates the team's strategic considerations regarding text selection and translation, while further exploring practical aspects such as the optimization of publication processes, product diversification, and event organization. In doing so, it underscores the substantive contributions made by this independent editorial board to the cross-cultural dissemination of Chinese science fiction in Germany.\u003c/p\u003e","manuscriptTitle":"The Translation and Publication of Chinese Science Fiction in Germany: A Case Study of Kapsel Based on Field, Patronage, and Actor-Network Theories","msid":"","msnumber":"","nonDraftVersions":[{"code":1,"date":"2026-03-13 13:00:30","doi":"10.21203/rs.3.rs-8866352/v1","editorialEvents":[{"type":"communityComments","content":0},{"type":"editorInvitedReview","content":"","date":"2026-03-24T06:01:41+00:00","index":"hide","fulltext":""},{"type":"reviewerAgreed","content":"328501289290134174211654121434382795214","date":"2026-03-10T05:49:30+00:00","index":"hide","fulltext":""},{"type":"reviewersInvited","content":"","date":"2026-03-09T13:23:30+00:00","index":"","fulltext":""},{"type":"editorAssigned","content":"","date":"2026-02-27T09:24:35+00:00","index":"","fulltext":""},{"type":"checksComplete","content":"","date":"2026-02-22T14:58:15+00:00","index":"","fulltext":""},{"type":"submitted","content":"Humanities and Social Sciences Communications","date":"2026-02-22T14:41:14+00:00","index":"","fulltext":""}],"status":"published","journal":{"display":true,"email":"[email protected]","identity":"humanities-and-social-sciences-communications","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":false,"externalIdentity":"palcomms","sideBox":"Learn more about [Humanities \u0026 Social Sciences Communications](http://www.nature.com/palcomms/)","snPcode":"41599","submissionUrl":"https://submission.springernature.com/new-submission/41599/3","title":"Humanities and Social Sciences Communications","twitterHandle":"","acdcEnabled":true,"dfaEnabled":true,"editorialSystem":"stoa","reportingPortfolio":"Nature AJ","inReviewEnabled":true,"inReviewRevisionsEnabled":false}}],"origin":"","ownerIdentity":"bf9ed7a3-185f-4c21-a331-246a33fca299","owner":[],"postedDate":"March 13th, 2026","published":true,"recentEditorialEvents":[],"rejectedJournal":[],"revision":"","amendment":"","status":"under-review","subjectAreas":[{"id":64344529,"name":"Humanities/Cultural and media studies"},{"id":64344530,"name":"Social science/Cultural and media studies"},{"id":64344531,"name":"Humanities/Language and linguistics"},{"id":64344532,"name":"Social science/Language and linguistics"},{"id":64344533,"name":"Humanities/Literature"}],"tags":[],"updatedAt":"2026-03-13T13:00:30+00:00","versionOfRecord":[],"versionCreatedAt":"2026-03-13 13:00:30","video":"","vorDoi":"","vorDoiUrl":"","workflowStages":[]},"version":"v1","identity":"rs-8866352","journalConfig":"researchsquare"},"__N_SSP":true},"page":"/article/[identity]/[[...version]]","query":{"redirect":"/article/rs-8866352","identity":"rs-8866352","version":["v1"]},"buildId":"XKTyCvWXoU3ODBz1xrDgd","isFallback":false,"isExperimentalCompile":false,"dynamicIds":[84888],"gssp":true,"scriptLoader":[]}