The current study explores the international copublishing of literary books, in particular that of recent Canadian English novels translated into French by French Canadian publishers and copublished in France. Following a socio-traductological approach, and based on four case studies involving a range of publishers as well as translators, the research highlights the diversity in translation practices while identifying areas of overlap. The article also tackles the following questions: the potential impact of the copublishing model on the linguistic norm adopted by Quebec translators and publishers; how co-publishing shapes and is at once informed by the balance of power between the two editorial fields; to what extent perceptions about copublishing experiences by the involved parties are influenced by their position in the editorial field.
Translation plays an important role in the transcultural conceptualization of the characteristics of names (form, function, meaning, naming practices in the world…), especially when it includes names that look unusual from the Eurocentric, Western point of view. This paper analyzes such a situation in relation to the Spanish translations of Native American proper names in the literature by these cultural groups: it explores the diversity of names in the source language and culture and compares it to the target texts in order to observe the choices and decisions made by translators. The analysis also includes a revision of the scholarly ideas about the translation norms concerning Indian names and finally leads to an interpretation of the broader context of the transcultural reception of the indigenous Other in Spain.
Translation studies researchers have for a long time critically engaged with the idea of translation being a mode of creative rewriting across media and cultural or temporal divides. Adaptation studies experts use a similar premise to study products, processes and reception of adaptations for specific locales. This article combines such perspectives in order to shed light on an under-researched area of comic adaptation: this is the metabase, or transfer, of Aristophanic comedies to the comic book format in Greek and their subsequent translation into English for an e-book edition (Metaichmio Publications 2012). The paper suggests a model for the close reading of creative transfer based on Lefèvre’s (2011; 2012) typology of formal properties of comics and Attardo’s (2002) General Theory of Verbal Humour. As is shown, visual rhythm and text-image relations create a rich environment for anachronism, parody, comic characterisation and ideological comments, all of which serve a condensed plot. The English translation rewrites cultural/ideological references, amplifies obscenity and emphasizes narrator visibility, always taking into consideration the mise en scène.
Quality assurance (QA) and quality control (QC) are central to translation practice and research today, as is translation revision, which, today, is increasingly seen as an integral part of quality monitoring. Revision is also explicitly mentioned as a quality requirement in the European Standard for Translation Services EN 15 038, issued by the European Committee for Standardization (2006). Quality issues have also been a recurring topic at audiovisual translation (AVT) conferences, but in AVT, practice levels of QA and QC appear to be subject to fluctuations, and AVT research into QA and QC, including revision, is quite limited. This article will first clarify a number of terminological issues, discuss some of the relevant literature on translation and revision quality parameters and procedures, and report on a detailed survey conducted in 2013 on QA and QC practices in the subtitling industry.
In a contrastive study of front door rituals between friends in Australia and France (Béal and Traverso 2010), the interactional practices observed in the corpus collected are shown to exhibit distinctive verbal and non-verbal features, despite similarities. The recurrence of these features is interpreted as evidence of a link between conversational style and underlying cultural values.Like contrastive work in cross-cultural pragmatics more generally, this conclusion raises questions of representation from an audiovisual and audiovisual translation perspective: how are standard conversational routines depicted in film dialogues and in their translation in subtitling or dubbing? What are the implications of these textual representations for audiences? These questions serve as platform for the case study in this article, of greetings and other communicative rituals in a dataset of two French and one Spanish contemporary films and their subtitles in English. They are addressed from an interactional cross-cultural pragmatics perspective and draw on Fowler’s Theory of Mode (1991, 2000) to assess subtitles’ potential to mean cross-culturally as text.
This article seeks to explore what Bakhtinian dialogism could mean for the poetics of literary translation. Using Bakhtin’s theory of discourse, the claim made is that translation involves a dialogical process of creation. This process is described as the incorporation, in the “created” of the translated text’s form, of a “given,” that is, a translation material that entails the fundamental non-equivalence of the other’s word. The differential binarism of supposedly equivalent “source” and “target” forms is thus replaced with an inclusive poetics that considers the “original” to be a non-translated text, and the translated text to be an original, which newly created form integrates the translation material of the other’s non-equivalent word. Retranslations, moreover, are all the more dialogic because they imply a dialogical position with regard to a “given” that comprises both the translation material and the forms by which first translations have dialogically incorporated that material. By analysing dialogism in the English retranslations of Camus’ L’Étranger (Kaplansky 2004) and Zola’s Nana (Brownlie 2006) and in the French retranslation of Joyce’s Ulysses (Hoepffner 2011), evidence is provided to show that retranslation redefines and intensifies dialogical intersections between texts, languages and cultures. In brief, the retranslations under investigation are not more “source-oriented” as is suggested by the retranslation hypothesis, but more openly dialogic, that is, both-source-and-target-oriented, than first translations.
We can synthesize the approaches of translation by means of two mythological figures: Hermes and Orpheus. The first is a metaphor of an hermeneutical translation which transposes the meaning, in other words it’s a source-oriented translation. On the other hand, we find Orpheus, a figure that fumbles around in the darkness of form: it is a metaphor of a target-oriented translation. However, we can assume another type of translation, Apollo’s translation: it’s the mysterious way of recreation and revelation. We will explain those metaphors through four French translations of the first sonnet of Petrarch’s Canzoniere: Louis Aragon, Gérard Genot, Yves Bonnefoy and Jean-Yves Masson translations.
An empirical research was carried out in order to analyze intonation as a quality criterion in simultaneous interpreting. As opposed to previous studies on quality expectations, this paper focusses on one single criterion, aiming at finding out the discrepancies in the relative weight given to intonation between the subject’s expectation pattern and the actual impact of intonation on their assessment. With this in mind, we scrutinize the most frequent level of monotony in simultaneous interpreting, as well as the effects of the interpreter’s intonation on the audience when assessing simultaneous interpreting performances.The results of this study show that monotonous intonation is common in simultaneous interpreting and suggest two basic ways of conceptualization linking the intonation to the effects on the simultaneous interpreting. On the one hand, the psychological effects of the interpreter’s monotonous intonation on the audience. On the other, those effects that directly influence another quality criterion, sense consistency. The latter stresses the relation between the non verbal criterion intonation and the verbal criteria cohesion and sense consistency, which have been consistently identified as the most important ones in most of the surveys on quality expectations.
Roman Jakobson’s tripartite typology of translation is accepted by many translation scholars as a broad definition of translation and is frequently included in the beginning of textbooks introducing Translation Studies. However, when it comes to the research carried out within Translation Studies, focus is overwhelmingly set on interlingual translation, or translation proper. A few scholars explicitly argue against the inclusion of intralingual and intersemiotic translation in a definition of translation whereas some provide arguments or discussions of concepts central to Translation Studies which explain the marginal status of intralingual and intersemiotic translation. The aim of this article is to review these arguments and to discuss the place of intralingual translation within Translation Studies. On this basis, the article suggests a criterial definition of translation to be used for scientific purposes within the field of Translation Studies, a definition which fully includes intralingual translation.
This article demonstrates that translation patronage can shift imperceptibly
between being undifferentiated and differentiated. It focuses on the passage of time as a
factor that could be added to Lefevere’s conceptualization of patronage. Currently this
conceptualization approaches history as a series of snapshots, with little focus on
transition, most importantly, between one form of patronage and another. With an overview of
the development of translation patronage in early modern Japanese history, this article
explores the dynamics of translation patronage over a period of well over two centuries,
when the country maintained a policy of national isolationism. Under this policy,
Christianity became absolutely taboo, and those associated with it were regarded with utmost
suspicion. Yet, limited international trade was permitted to continue by a state-owned
collegium of interpreters. Under this system, the patronage of translators in Japan was
extremely undifferentiated, being obtained solely from governmental sources. However, before
the end of this system, patronage had already shifted to a differentiated model, in which
translation services were being sought by a wide range of parties beyond the