Journal articles on the topic 'French-Canadian fiction – Translations into English'

Abstract The translation into French of referents of Australia and Australianness in fiction necessitates a considerable variety of translational tendencies and interpretive choices. This study focuses on French translations of selected passages and blurbs from Australian fiction set in regional Australia to determine how referents of Australian flora, fauna, landscape and people are translated and interpreted in a non-English speaking cultural system. Guided by concerns for the target readers’ understanding of the text, French translators employ normative strategies and adaptive procedures common to translation to enhance reader orientation. There is, nonetheless, evidence of culture-specific appropriation of the text and systematic manipulation of Australian referents that goes beyond normative solutions. Such appropriation and manipulation stem from a desire to create and foster culture-specific suppositions about Australia consistent with French preoccupations with colonialism, the exotic, exploration and adventure.

Abstract Does Hortense Have a Hoo-Hoo? Gender, Consensus, and the Translation of Gisèle Pineau's L'espérance-macadam — This article uses an experiment in translating Guadeloupean writer Gisèle Pineau's novel L'espérance-macadam via consensus as a point of departure for analyzing the broader context of translating the French Caribbean for an English-speaking public. Previous efforts at translating recent French Caribbean fiction have focused on the challenge of representing the linguistic spectrum specific to the franco- and creolophone Caribbean. Here, it is suggested that Pineau's particular choices in inflecting French with Creole represent women in important ways, and that an awareness of this gendering of language is germane to translation into English. It is also acknowledged that desires on the part of English-speaking translators are not necessarily innocent but that an awareness of gender and local specificities can contribute to the consensus process entailed in publishing translations and should be part of ongoing debates concerning the French Caribbean in general.

There are now, in 2022, sixteen French translations of Jane Austen’s Pride and Prejudice. The incipit includes one of the most famous statements in the English language, as well as a modal auxiliary, the rendering of which constitutes a minor challenge for any translator. This essay will analyse all translations of the incipit, relating translation choices to historical circumstances, the contemporary status of British literature and attitudes to the translation of fiction as well as to the state of the book market.

The present paper examines the contexts and consequences of sentence splitting in English, Czech and French translated fiction. In the data extracted from a parallel (multilingual) corpus, we analyze first a language-specific context of sentence splitting (sententialization of non-finite verb forms in translations from English and French into Czech), and second, contexts of splitting occurring in all directions of translation. We conclude that sentence boundaries are usually introduced at the point of a sentence entailing the fewest modifications in the target sentence, especially between two coordinate clauses; and that a systematic sentence splitting, deeply modifying the style of the source text, involves the effect of simplification and normalization.

The paper deals with a comparative analysis of notes to the French and English translations of The Cathedral Clergy by N. S. Leskov. It involves analyzing the language of the notes which determines their function. The neutral lexical and grammatical composition of the notes to the English text ensures their referential function while the use of deictic elements in the French notes, namely first-person pronouns, informs the latter ones a phatic function. The paper examines the objects of the notes, most of which relate to the religious discourse sphere. The study reveals the specifics of commenting which is more detailed in the English text. Special attention is paid to the notes related to fiction. A wide range of works is covered by the notes in the French translation, including those indirectly related to the text of the novel. The author also dwells on the notes concerning names and historical events, which turn out to be more informative in English translation and more affective in the French one.

Abstract The aims of this paper are to analyse differences in the degree of lexical variation (type/token ratio and hapax/token ratio) of reporting verbs in reporting clauses placed medially or in postposition in English, French and Czech fiction and to evaluate their consequences in translation, especially in regard to explicitation/implicitation. We expect that, in translations from a language with a low degree of lexical variation of reporting verbs into a language with a high degree of lexical variation, the frequency and the degree of explicitation will be higher than in translations involving languages less different with respect to lexical variation. The analysis, relying on data extracted from the InterCorp multilingual corpus, proposes a classification of reporting verbs based on the type and amount of information conveyed, which allows evaluating the degree of explicitation operated in translations. The results show that most shifts involve only the neutral reporting verb say/dire, replaced by a stylistically more specific synonym or by a verb explicitating information obvious from the context. This suggests that modifications of reporting verbs in translation are motivated primarily by respect for the stylistic norm of the target language and the degree of acceptability of the repetition of the neutral reporting verb.

The Anglo-Irish author Maria Edgeworth (1768-1849) became very famous in Britain at the turn of the nineteenth century thanks to her pedagogical works, regionalist and feminocentric novels, whose translations were eagerly awaited on the Continent. This paper analyses a hitherto totally unexplored field of research within Edgeworth studies: the French translation of Edgeworth’s most important English society novel, Belinda (1801), from the point of view of gender and translation studies. For this purpose, we will take into account the particular context of the work, its main features in English and French, and the particular procedures adopted by the French translator to transform Edgeworth’s tale into moral fiction for women. Octave-Henri Gabriel, comte de Ségur, adapts Belinda to the taste of French readers by sacrificing both the macrostructural and microstructural features of the source text. Despite the success of the book in France, Bélinde (1802) is not comparable to the author’s original idea, as the textual history of Belinda reveals. Edgeworth’s book deals with controversial issues at that time and features her most memorable female character, which is distorted in the French text. Ultimately, this paper confirms that the publication of Ségur’s translation has consequences on the transmission of Edgeworth’s oeuvre in other European literatures and on her image as a feminist writer.

This article deals with Emile Benveniste’s theory of enunciation (see ‘Subjectivity in Language’ and ‘The Correlations of Tense in the French Verb’ in Problems in General Linguistics, 1971 [1966] and ‘L’appareil formel de l’énonciation’ in Problèmes de linguistique générale, tome 2, 1970), in particular his distinction between historical narration and discourse, and the way it applies to the translation of first-person fiction. In French narratives, the main tense of discourse is the passé composé, which is related to the time of enunciation, while the tense of historical narration is traditionally the passé simple, which is related to the moment of the events reported. The passé composé thus draws attention to the narrating I’s retrospective gaze, while the passé simple reflects the experiencing I’s perspective within the story. This raises complex issues of translation because the narrative use of the passé composé has no equivalent in English, so that the distinction between the perspectives of the retrospective narrator and of his former self are expressed differently in the two languages. This article explores the impact of this phenomenon on four different French translations of Fitzgerald’s The Great Gatsby (Llona, 1926; Tournier, 1996; Wolkenstein, 2011 and Jaworski, 2012).

The “Questioni d’amore” from Giovanni Boccaccio’s Filocolo were both works of imagination and forms of cultural capital in medieval and early modern Europe. Translations into French, Spanish, and English resituated the Questioni into new contexts of reading, reception, and social use. Prefaces and paratexts give direct evidence of recontextualizations within political structures, cultural programs, and regimes of self-fashioning. These recontextualizations depend to a significant extent, however, on Boccaccio’s fiction itself. If the Questioni are stabilized into forms of exemplary meaning, their aesthetic tensions remain in both the mimetic narratives and the hermeneutic frames.

This article analyzes what happens to the space of a narrative when it is translated. Its main goal is to demonstrate how we can deepen our understanding of space by seeing it through the twin lenses of narratology and comparative translation analysis. I will refer to the fictional universe created by the French Caribbean author Patrick Chamoiseau to illustrate this point. In particular, examples will be taken from Chronique des sept misères (2002 [1986]), from Texaco (2003 [1992]), and from the English and Dutch translations of these novels. After an introductory first section, the article sets out the narratological framework used in the analysis, based on a three-layered approach to space: the space constructed by the reader, its textual rendering, and the discursive space of the text itself. Adopting the same threefold structure, the third section offers an analysis of Chamoiseau’s texts, through a comparison of original and translated texts. In Section 4, the results of the analysis will be confronted with Chamoiseau’s own view on translation. The analysis shows how space is not only created by narratological and stylistic procedures, but also on the level of discourse, in the space the text creates for itself to speak from, which Maingueneau (1993: 123) has termed ‘scenography’. It also demonstrates how insights gained from translation studies can help narratologists to become aware of this interaction, and how a thorough narratological analysis that takes into account constructed space, its textual manifestation, and the space of enunciation, may help translation scholars better evaluate the impact of the translator’s choices.

This article seeks to examine how contemporary works of fiction and non-fiction by women from Cuba and Brazil are translated and marketed for Francophone readers. It will focus on Wendy Guer­ra’s novels, translated into French by Marianne Millon, and on contemporary Brazilian (non) fic­tion translated into French by Paula Anacaona, the head of Anacaona Éditions, a publishing outlet specialized in Brazilian literature for Francophone readers. The contribution will start with a brief presentation of the French publishing sector and some of the recurring patterns observed in what is often labeled as littérature étrangère or littérature monde (foreign literature and world literature, respec­tively), exploring various layers of intervention that appear in translated fiction. The article will then further explore the role of paratext in the marketing of Caribbean literatures for (non-)metropolitan French audiences, before it examines the translations of Todos se van and Domingo de Revolución by Cuban writer Wendy Guerra. Paratextual matter in Marianne Millon’s Tout le monde s’en va and Un dimanche de révolution will be analyzed as a site of feminine co-production, in which the author and the translator’s voices at times collide in unison and at others create dissonance. In the case of Do­mingo de revolución, the French translator’s practices will be compared to Cuban-American Achy Obe­jas’s English translation (Revolution Sunday), in the hope of highlighting varying degrees of cultural appropriation and/or acculturation, depending on the translator’s habitus and trajectory (Bourdieu) and her own background. These reflections will lead to a broader analysis of paratext as a site of further agency and potential redress as (Afro-) Brazilian history and literature are examined in works circulated by writer/translator/publisher Paula Anacaona. Ultimately, figures traditionally sidelined from hegemonic and patriarchal (his)stories, whose voices are restored in Anacaona’s paratextual practices, will serve as illustrations of feminine publishing practices that challenge (phallo-)centric models from the metropolis.

The paper focuses on the role of the Swedish spatial particles upp ‘up’ and ner ‘down’ to signal the endpoint-of-motion in the description of motion situations and is based on Swedish original fiction texts and their translations into English, German, French and Finnish. Frequently the endpoint is marked with a locative preposition such as på ‘on’ or i ‘in’, and then a particle is required to signal change-of-place. In German and Finnish, the particle is often zero translated and change-of-place is indicated by case. The particle is often zero translated also in French, a V(erb)-framed language. This leads to contrasts at the conceptual level since verticality is not expressed. The result points to radical intra-typological differences between S(atellite)-framed languages in the expression of Path depending on general morpho-syntactic differences. Another important conclusion is that several different classes of motion verbs must be distinguished even in S-languages to describe the expression of change-of-place.

Literary translators are often too shy to discuss their own practice. As the penury of translators’ prefaces would attest, they have assimilated the fidelity imperative only too well and, even though they may be masters at transforming the literal into the literary, they prefer to remain invisible behind their author as if only the latter were real and they merely fiction(al) workers. Such doesn’t appear to be the case for two translators of Tres Tristes Tigres by the Cuban writer Guillermo Cabrera Infante: the first, Albert Bensoussan, working in French and the author of Confessions d’un traître (PU de Rennes, 1995); the second, Suzanne Jill Levine, working in English and the author of The Subversive Scribe (Graywolf Press, 1991). While it is undeniable that their respective collaboration with authors of the calibre of Cabrera Infante must have played a large part in their desire to write of what must have been an unforgettable experience, this paper will focus on different questions in order to gain insight into the theorization by translators of their own practice: Why and how do both Bensoussan and Levine produce prize-winning translations of famously difficult and considered “untranslatable” works? Why, in spite of their success and ability to push translational creativity to its limits, are they ultimately incapable of dispelling a sense of betrayal? Rather than providing definitive answers, exploring these questions leads to reflect on possibly constant factors in literary translation and on teaching or evaluating translations as well as training translators.

The Breton Lays in Middle English is an enigmatic label customarily used to designate eight or nine brief narratives: Sir Orfeo, Sir Degaré, Lay le Freine, “The Franklin's Tale,” Sir Launfal, The Earl of Toulouse, Emaré, and Sir Gowther. The label is awkward because it may seem to suggest that the poems are consistently derived from or inspired by Breton or Old French sources and thus are a sort of stepchildren, little more than translations or, worse, misunderstandings of a multi-media heritage. Most scholars have seen the grouping as traditional and artificial, passed along in uncritical reception, not resting on substantial generic similarities that distinguish the poems from other literary forms. John Finlayson, for instance, concludes, “In fact, considered coldly, shortness and adventure or ordeal would seem to be the only things that can really be isolated as universal characteristics.” Some scholars have accounted for the poems as a set. The distinctions they discuss commonly include the lays' close relation to the conventions of the folk-tale, relationship to provincial audiences, and a growing sophistication of the craft of fiction.

The article focuses on the problems of social and cultural aspects of the translation process, It has been emphasized that not only linguistic characteristics but social and cultural constituents of the translated text influence its quality. While translating, it is of paramount importance to take into account the extent the culture is involved into the text, and the text is involved into the culture. Language, being a semiotic system, is projecting onto sociocultural and semiotic aspects of translation. The translator should be aware of the culture, customs, traditions, social background expressed both in the source language and the target language as he is presenting to the foreign language audience not only a literary work but also the country of its origin, constructing its image, and the image of its culture In this respect it is important to analyze the role of individuality in translation process. It has been offered to disclose the major stages of a translator’s individuality development process in the creative activity of translating fiction. An American scholar and translator Dr. Michael M. Naydan and f Canadian scholar, translator, and editor Roma Franko have been chosen as a model of a translator in a contemporary translation industry. The choice has been stipulated by a number of reasons: the wide-world recognition of their achievements and their constant striving to popularize the Ukrainian culture in the Anglophone world. The major stages of Michael M. Naydan’s personality as a scholar and as a translator as well as Roma Franko have been considered in the article. Major emphasis is laid on their Ukrainian-English translations which includes prose and poetical works. An attempt has been made to reveal the basic translation tools which they employ to achieve an adequate translation. The article contains the information about the creative activities of Michael Naydan and Roma Franko, offers further perspectives of their study.

The stories of the Chinese writer Pu Songling about the extraordinary are well known all over the world: there are translations in English, French, German and Spanish. The article, based on the study of the stories of Pu Songling in the translations of the outstanding Russian orientalist Vasiliy Mikhailovich Alekseev (1881-1951), presents the image of a student and the features of the examination system (keju) during the reign of the Manchu Qing Dynasty in China (1644-1911). The importance of fiction in the study of the content of the institution of state examinations is emphasized. Artistic images help to see the uniqueness and specificity of the keju system. Highly qualified translations of Liao Zhai's stories and V.M. Alekseev's comments create the image of a student - "a criminal in prison", "a bee frozen by the end of autumn", "a sick bird released from a cage", "a monkey on a leash", "a fly that has drunk poison", "a turtle dove whose eggs have broken". The materials of the article can be useful in preparing for classes in "History" study field. These stories allow considering the system of state examinations (keju) during the Qing Dynasty as a specific phenomenon of Chinese culture. The author considers three types of exams in the period of the Manchu Qing Dynasty - county-regional, provincial and metropolitan with a specific system of tasks and levels of difficulty for each level.

The article discusses W. Küchelbecker’s Dictionary [Slovar] that he compiled during his studies at the Tsarskoe Selo Lyceum as a kind of reading diary from 1815 to 1817. Dictionary gives an insight into formative influences on the future writer as well as his close friends from among fellow students – most notably Pushkin, who is known to have read the manuscript. It contains extracts from books of fiction as well as philosophical and historical works and periodicals read by Küchelbecker at the time. Among others, Dictionary mentions Pseudo-Longinus, J.-J. Rousseau, F. de Weiss, F. Schiller, L. Sterne, etc., listing the extracts in alphabetical order. Most translations from German, French, and English are penned by Küchelbecker himself. A fi st such experiment in the systematic analysis of this relic of the 1810s intellectual culture, the article reconstructs the reading list of Küchelbecker and his fellow students at the Lyceum. Approximately one sixth of Dictionary, covering the entries from A to G, is published in the appendix to the article, supplied with notes on the sources and their brief description.

Among the writers of his generation, Alecsandri is the most comprehensive one, expressing not only the patriotic aspirations and desires, but also the discoveries from the universe of the private life and trying to make himself noticed in almost all the main literary genres and species. By different circumstances, Alecsandri gets to travel through Moldavia, Wallachia, Bucovina and Transylvania, to the European part of Turkey, to Italy, Austria, Germany, France, Spain, Great Britain, North of Africa, either for personal pleasure, to accompany Elena Negri, who was trying to find a more favourable climate for her fragile health, or for official business. All these travels and each of them separately are part of the development of his creation, leaving marks in his fiction and poetry and “it is printed on the screen of the human experience which defines his public and private personality”. In one of these travels, Alecsandri will discover the folk poetry, discovery which will profoundly mark his destiny as a writer and it will also have immeasurable consequences on the entire development of the Romanian literature from the last century, but also from the years to follow. As a result of the translations into French, German and English of the folk poems or of some of his original poems, Alecsandri becomes one of our first modern writers who became famous also abroad, being accessible to the foreign world.

This semi-autobiographical article reflects on the discipline known as Translation Studies from the point of view of the author, who was a full-time Canadian government translator from 1974 to 2014, but also taught and wrote about translation. The narrative begins with the emergence of Translation Studies in Canada and in Europe and continues through the present neoliberal era, with reflection on a variety of topics including the English name of the discipline, the lack of definition of an object of study, the original role of the journal Meta, and the notion of translation as applied linguistics. The last section considers two fictive scenarios in which Translation Studies does not emerge, and translation is studied, right from the start, in ways much more closely linked to the translation profession, with a focus on translators rather than translations, and therefore on translational production rather than the analysis of completed translations.

Imaginary genres have always played with language and lexicon in order to build their worlds. The science fiction genre, in particular, creates a lexicon on the borderline between literary creation and scientific and technical terminology so the stories can be framed elsewhere or in the future. The translation of these invented words can be a real challenge for translators because of their very nature as hybrids, but also because of the science fictional megatext. The translation treatment from English into French of these neologisms, known as “fiction terms”, shows different strategies of lexical (re)creation. Following a terminological approach, this paper presents a contrastive analysis of lexical creation strategies and morpho- syntactic structures between the two languages on a list of science fictional terms from the audiovisual field and extracted from a corpus of science fiction novels.

Republican China (1912–49) saw the rise and fall of a sub-field of source cultureinitiated foreign language translations of Chinese literature targeted at both expatriate and domestic audiences in China. This unique translation phenomenon, which challenges Gideon Toury’s generally held assumption that “translations are facts of target cultures,” has hitherto been under-researched in and outside of China. This paper presents the findings of a case study of George Kin Leung’s English translation of Lu Xun’s fictional masterpiece A Q Zhengzhuan (The True Story of Ah Q). Four socio-cultural factors which engendered the emergence of this sub-field in the early Republican years are analyzed. Inspired by French sociologist Pierre Bourdieu’s theory of the field of cultural production, this putative sub-field of restricted production is interpreted as functioning primarily on the basis of the accumulation of symbolic capital. Leung’s participation in the dynamics of this historical field is examined by tracing his professional trajectory, followed by an analysis of his motivation for translating A Q Zhengzhuan – to make a name for himself or to accumulate symbolic capital in the field. It is then found through text analysis that Leung’s version shows a combination of overall literalness and occasional license. A tentative explanation is sought by drawing on André Lefevere’s theory of rewriting. The primary conclusion is that Leung’s literalistic approach to translation was dictated by the intended readership and the translation norm (i.e., literal translation) that prevailed in 1920s’ China, while the liberties Leung took with the original text reveal the influence ofhis ideology, poetics and aesthetics.

When an Author Becomes a Translator and a Translator Becomes anAuthor. Nicole Brossard’s Le désert mauve Translated by Susanne deLotbinière-Harwood The article aims to describe the space of translation understood as a spacefor dialogue and mutual influence on the example of a novel by Nicole Brossard, Quebec writer and feminist translator, entitled Le désert mauve (1987), and its English translation (Mauve Desert, 1990), by Susanne de Lotbinière-Harwood. The first part of Brossard’s novel was written by a fictional writer, while the second part is a translation of the first part, also in French. The “original” and its “translation” are separated by the description of a translation process by a fictional translator, showing primarily how the original is interpreted. Brossard’s novel is a literary illustration of a translation as a creative act that requires invasion to the original.The English translation of the novel by de Lotbinière-Harwood shows in practice the process of interpretation and invasion, as it is based on the idea of re-writing a literary text, so called “re-creation”, very present in the Canadian context.

In their explorations of narrative, many narratologists distinguish between the narrated (the situations and events presented), the narrating (the way these situations and events are presented), and the concrete manifestation of narrated and narrating in a particular medium (linguistic, say, pictorial, balletic) or a particular form thereof (English or French, film or painting, classical or modern). By and large, narratologists focus on the narrated and the narrating rather than on the medium of manifestation. Still, they are not unaware of, nor insensitive to, the effects that specific means of expression can have on narratives and, more particularly, on their transpositions (from prose to canvas, from stage to screen) or on their translations (from English to French, for instance, and vice versa). Taking as examples a variety of fictional texts by Stendhal, George Eliot, Anne Garréta, Ernest Hemingway, and others, the article discusses some of the effects that translation’s inevitable nonequivalences, variances, or paraphrases have on narrating and narrated features. More specifically, it uses translation to revisit these features, to reconsider their basicness, centrality or indispensability, and to reassess the narratological models they bring about.

Most translation theorists agree that source text fidelity results in a translation that aptly transmits the foreign cultural values and meaning embedded within the source language to a target culture. While the preservation of foreignness might be beneficial for the propagation of international artistic diversity, when translating works of popular fiction, domestication is key to a novel’s successful incorporation into the target literary system. In popular fiction translation, the goal is accessibility rather than artistic influence or cultural exchange, yet the necessary domestication can be problematic. This article examines the reception of the English-to-French translation of an epic fantasy novel by Clive Barker. Online reviews written by the French-speaking readership describe the translated text as aberrant of Barker’s oeuvre and incomprehensible. While it may be easy to dismiss this translation as yet another example of poor translation practices, knowing that the translator, Jean-Daniel Brèque, is an award-winning translator and that he has translated many works by other popular artists such as Stephen King and Dan Simmons points the blame elsewhere. An analysis of Jean-Daniel Brèque’s translation of Weaveworld reveals the detrimental effect that strict adherence to the source text can have on the reception of popular literature in translation and affirms that domestication is necessary to transform the source text into a version digestible and understandable by the target audience.

While asyndeton between finite clauses within the sentence may be considered a marginal construction, compared for example to coordination or subordination, it is more frequent in French than in English, in which it is limited with respect to genre. Particularly interesting examples, both quantitively and qualitively, can be found in French literature, notably in the fiction of Marguerite Duras, who made asyndeton her hallmark. This study documents the choices made by English translators of Duras, and of three other French writers who exploit asyndeton. Literature aside, asyndeton in French texts is not carried over into English, in what can be qualified as norm-governed translation. However, asyndeton in literary texts is carried over into English in up to fifty percent of cases, reflecting a certain compromise between norms in the source language and those in the target language. Apart from describing Duras’ specific use of asyndeton, and illustrating the difficulty of translating any element that is an essential ingredient of a writer’s style, which, by definition, represents a departure from an accepted norm, this study brings to light certain aspects governing clause combining in English. Certain linguistic parameters that favour the exploitation of asyndeton in English are systematised, specifically concision, rhythm and isotopy. Semantic, temporal and/or aspectual constraints are also highlighted.

In this article I will examine the ways in which the ethical gestures available to translators are inscribed in the etymologies of key terms and cognate pairs (especially in English and French) within the semantic field marked out by the category of translation: trade, transfer, transgress. translate / translater, traduire / traduce, betray / trahir. What emerges is a pattern dominated by themes of give and take, loss and gain, and above all, faithfulness and betrayal. Betrayal (like the French verb trahir) holds a pivotal position within this set, due to its two-faced character, given to both deceit and revelation. Juxtaposed on and rooted in these themes are the timeworn types in which translators have been chronically cast (when not simply ignored): the loser (mainly in the sense of the agent of loss) and the traitor. Such associations throw into stark relief the intrinsically political and ethical nature of the act of translation, which Lawrence Venuti and others have forcefully theorized and which the fate of translators in Iraq and Afghanistan, for example, have brutally embodied in recent times. Drawing in part on my own thirty odd years as a translator of literary and non-literary texts, I will consider the implications of the figure of the translator as “double-agent” in the Canadian context, where a translation economy has grown against a backdrop of conflicts over loyalties and faithlessness. Furthermore, by way of dialoguing with Venuti’s project of “minoritizing translation,” I hypothesize a strategy of translators voluntarily affirming their “double-agency” or “traitorhood” as an additional challenge to prevailing textual and cultural assumptions and regimes.

“French-English Translation in Canada” is the transcript of a talk given by Montreal publisher Maynard Gertler to an unidentified audience in 1976. When Gertler founded Harvest House in 1959, his aim was to issue the first English-language translations of the works of Québécois writers in inexpensive, accessible editions. The talk is a document of enduring value that provides incisive analysis of contemporary Canadian publishing and presents the challenges facing a domestic publisher who was committed to issuing French works in English translation.

(English): The Anglophilia which marks much of French Enlightenment prose fiction also points to a transformation of the representation of sociability. Through pseudo-translation and the use of the ‘English story’, Marie-Jeanne Riccoboni gives a critical account of the rules and the codes that regulate French social order in the second half of the eighteenth century. The depiction of a free and tolerant society in the novels Lettres de Fanni Butlerd (1757) and Lettres de mylord Rivers (1777) attests to a questioning of French sociability and of women's place and roles. How are social practices redefined and what ideological meanings are associated to them in Mme Riccoboni's writings and use of pseudo-translation?

Abstract The Astérix comic-book series, originally in French, is well-known and widely translated. Each book relates an adventurous episode in which the principal character is Astérix, a small, witty warrior from a fictional Gaulish village, the only village to have successfully resisted the Roman occupation. The series relies on many humorous techniques, but word-play and puns form an integral part. Much humour derives from the names used, combining various comic effects, particularly puns and double entendres. Thus the translator faces not only the usual problems in translating literary names, but also the problem of retaining these comic effects. This paper examines these problems and their solutions, based on a complete collection of name data from all 30 books in 4 languages (French original; English, German, Finnish translations), with numerous references to translations into other languages.

This research investigates the reception of English and French translations of Jin Yong’s Wuxia novels through sentiment analysis --- a text mining technique which helps uncover readers’ opinions of these translated literary works from their online reviews. The findings show that almost all of the published English/French versions of Jin Yong’s Wuxia novels are well received by readers in both languages in terms of fictional details like “character”, “plot” and “narratives”, despite there are some minor complains. These findings lead us to reflect on the current literary position of Wuxia translations in the English and French-speaking countries, where translated Wuxia works positioning as “Chinese literary classics” may partly help facilitate further reception of this type of traditional Chinese literature in the West.

This article comments on the notion of ‘constraint’ by analysing the specific difficulties in the translation of a martial arts (‘wuxia’) novel into French and English. The Legend of the Condor Heroes (射鵰英雄傳, she diao ying xiong zhuan) is the first part of the ‘Condor Trilogy’ (射鵰三部曲, she diao san bu qu), the masterpiece of Chinese writer Jin Yong (金庸). Little known in the West, the novel was recently translated by Anna Holmwood and Wang Jiann-Yuh. This article studies the strategies adopted by each translator to render the cultural specificities of the source context in the target culture. By so doing, it contributes to theoretical debates concerning transfers between two distant literary and cultural systems.

Abstract Joseph Conrad’s fiction – Lord Jim especially – contains several instances of characters struggling with translation, or with foreign languages more generally, or transferring speech or syntactic patterns from one language to another. These features have much to suggest about Conrad’s own multilingual early life and his eventual adoption of English for his writing. They also have wider implications concerning his vision and tactics as a novelist – including his reliance on French fiction, and his regular emphases on cultural difference and on the cognitive and epistemological challenges of communicating experience. These challenges, in turn, initiate or anticipate concerns widely apparent in modernist fiction, indicating stresses in an advancing, globalised modernity which made its innovations so necessary. Appreciating Conrad’s interest in translation elucidates and confirms Fredric Jameson’s judgement of his writing as a key factor in the emergence of modernism in the early twentieth century.

Out of Herménégilde Chiasson’s many French publications, only seven are available in English translation. While these translations are very conservative and consistent in their attempt to transcribe “accurately” the source texts, a closer study reveals the fallacy of this approach in terms of understanding either the texts or their implications for the reading of cultures. Other than generally minor errors or compromises, the translations are “faithful” to the sources, textually, but this is hardly significant or sufficient, other than in reinforcing clichés about Canadian binary nationalism. However, the participation in different literary systems, their paratextual presentations, the particular selectivity of these works over others in Chiasson’s corpus, and the traditional critical reactions all point to the construction of a very different, more passive and “universalized” Acadian author in English. A “multipolar” approach, borrowed from Comparative Literature and Translation Studies, means these differences can be revealed, explained, and understood. Even though the results may not suit a comfortable view of Canadian society, the resistance to the erasure of difference is an important role for our disciplines in training better readers, who are more open to difference and multiplicity in cultural production.

From Translation to the Writing: On the Quebec Feminists, Anglo-Canadian Women Translators and the Translation ContinuumThe article presents the unique relationship between French- and English- -speaking translators in Canada, which has resulted in a great number of interesting translation phenomena. The author makes reference to the distinction between feminist translation and translation in the feminine, derived from literature in the feminine, both widely practiced in Quebec. One of the representatives of this trend was Suzanne de Lotbiniere-Harwood, mostly French-English translator, known for her translations of Nicole Brossard’s works. Her activity, as well as that of other translators, contributed to the spread of the idea of translation in the feminine among Canadian writers and theoreticians. What is more, their cooperation has resulted in the creation of the magazine Tessera and in the emergence of a range of phenomena on the borderline between translation and literature. This relationship is also a rare example of the impact of “minor literature”, which is the literature of Quebec, on the English-language Canadian literature.

Within the Italian Canadian literary corpus, fiction written in Italian has occupied a special spot. Because Italian Canadian authors have written primarily in English or, secondarily, in French, works by italophone writers have had an even more meagre circulation than that, already itself quite reduced, enjoyed by their anglophone or francophone counterparts. Yet, despite this limitation or perhaps also because of it, Italian Canadian italophone is nonetheless literature which does raise important issues. Focusing on the short stories and novels of Nino Famà, this article traces those issues in order to show not only how they summarize the main thematic and stylistic gist of Italian Canadian italophone fiction but also, most importantly, how they relate to some of the concerns which have always been associated with the Western modern novel.

This article assesses the role that translation has played in the transmission of Holocaust testimonies that have been shown to be false or embellished. It analyses how elements of such fakery are apparent in different ways in the various linguistic versions. Close readings are given of the details of translation from French in the case of Martin Gray's exaggerated For Those I Loved; from German in relation to Binjamin Wilkomirski's entirely fabricated Fragments; and the complex process of a back-translation into English from a French translation in the case of Misha Defonseca's equally fictional Surviving with Wolves.

Abstract. The alexithymia construct is commonly measured with the 20-Item Toronto Alexithymia Scale (TAS-20), with more than 20 different language translations. Despite replication of the factor structure, however, it cannot be assumed that observed differences in mean TAS-20 scores can be interpreted similarly across different languages and cultural groups. It is necessary to also demonstrate measurement invariance (MI) for language. The aim of this study was to evaluate MI of the English and French versions of the TAS-20 using data from 17,866 Canadian military recruits; 71% spoke English and 29% spoke French as their first language. We used confirmatory factor analyses (CFAs) to establish a baseline model of the TAS-20, and four increasingly restrictive multigroup CFA analyses to evaluate configural, metric, scalar, and residual error levels of MI. The best fitting factor structure in both samples was an oblique 3-factor model with an additional method factor comprised of negatively-keyed items. MI was achieved at all four levels of invariance. There were only small differences in mean scores across the two samples. Results support MI of English and French versions of the TAS-20, allowing meaningful comparisons of findings from investigations in Canadian French-speaking and English-speaking groups.

The aim of this study is to reveal the peculiarities of functioning of translations of Vasyl Stefanyk’s novellas in other languages: both in the Slavic and in the Romance-Germanic world, elucidate a translatological toolkit in old and contemporary interpretations. The research methods lie in employing a philological method and linguistic principles, as well as the principles of reader-response criticism through the prism of comparative approaches and comparative-historical principles of analysing the foreign language material, created by translators on the basis of Vasyl Stefanyk’s novellas. The results of researching into the posed problem led to the discovery of quite different methodological strategies of the foreign interpretation of different periods of translations of Vasyl Stefanyk’s works, the delineation of the whole complex of issues connected with a fictional being of Vasyl Stefanyk’s translated novellas, for example, in Polish, Bulgarian, Czech, Russian or English, German, French, Spanish languages. It is proved that foreign translators, first of all, used Stefanyk’s word as a fictional unit and succeeded the cases where the translation of Stefanyk’s text was done not literally, but, first and foremost, adequately for the writer’s ideological-aesthetical conceivement. Having implemented Russian and English translations of Vasyl Stefanyk’s novellas for analyzing the posed problem, there are made the conclusions as to creative successes and failures of numerous translators of Vasyl Stefanyk’s novellas into these languages. The scientific novelty of the article lies in the fact that it actualizes an important problem of being of the Ukrainian author’s prose in other languages in different cultural-historical environments, in the lingual space of these or those literatures.

Signed and posted to the internet on July 6, 2012 in the months following the “Printemps érable” and leading up to Idle No More, “Mes lames de tannage” is one of Natasha Kanapé Fontaine’s most important slams. In analysing my English translation of this slam, published in Canadian Literature in 2016, this essay speaks to the relationship between Indigenous literatures and European languages. It participates in a conversation about what it means to translate French-language Indigenous literature from Quebec into English. Such translation enables Indigenous writers across North America to make links with each other and foster a broader interpretive community for their writing. Given the flow of Indigenous literature and critical thought from English into French over the past decades, thanks to publishing houses in France, the recent wave of translations from French into English and the sharing of French-language work mark a significant shift in the field. At the same time, the gesture of translating into English a writer who works primarily in French but is in the process of relearning her maternal language, Innu-aimun, brings to the fore all the pitfalls of moving from one colonial language to another. The challenge for translation is not to lose sight of Kanapé Fontaine’s relationship to French and especially, the way she lends it her voice. In the slam, French is a language of contestation but also of collaboration. Drawing on what she calls a “poetics of relation to the land,” Kanapé Fontaine works toward a respectful cohabitation of the territory. In this context, my strategies of including the French alongside the English and leaving words un-translated aim to disrupt the English version, expose the mediating work of the settler-translator and turn attention to Kanapé Fontaine’s mobilization of French for a writing of decolonization.

Linguistics, at different times of its existence, has constantly raised the question of how and by what means a person designates the world around him, which, being, in essence, a dynamic and developing substance, always brings new phenomena that require designation by new words. However, the language already has a certain lexical system which imposes restrictions on the creative process of creating new words. As an object of study, we have selected the neologisms of the English and French languages, with a temporal arc from the beginning of the year 2010 to the present day. The objective of this research is to analyze the pragmatics of the functioning of neologisms in fiction and newspaper texts by comparing two distantly related languages: English and French. During the study, to achieve this objective, the following tasks were carried out: - determine the main groups of neologisms noted in the original literary texts and translated into French and English; - discover the purpose of the use of neologisms of various groups in original literary texts in comparative languages from the point of view of pragmalinguistics; - identify the role of the translator in the pragmatic chain of recipient-recipient when using various types of neoplasms to create stylistic effects in literary texts in French and English; - establish points of similarity and differences in the pragmatics of the functioning of the new vocabulary in the original texts of the French and English newspapers. The scientific novelty of this research lies in the systematization of theoretical approaches to the main provisions of neology and neography on the problems of the functioning of neologisms in the text and the discovery of similarities and differences in the use of new words in texts of different functional styles on the example of the comparison of two languages of different families (English and French) from the point of view of pragmalinguistics. The theoretical significance lies in the further development of a pragmalinguistic approach to the study of the lexical composition of a language in a comparative aspect using elements of functional analysis. At the same time, the reasons for the appearance of various types of neoplasms in the text are theoretically justified. The practical value of this work lies in the possibility of applying the results of the study at conferences on comparative linguistics, comparative lexicology of the French and English languages, the style of the French language, the style of the English language as well as in translation theory and translation practice courses at university.

Chiac, the hybrid vernacular spoken by Acadians in the Moncton region, is increasingly used in works of fiction. By placing it on a par with French, Acadian novelists attempt to legitimize it as the language of a modern and urban Acadie. Their task is a difficult one, to which they respond with ambivalence: Chiac inscribes a difference which marginalizes them, whereas its absence amounts to a disappearance into the French norm. As a consequence, writers using Chiac face the challenge of making room for hybridity without dissociating themselves from their francophone identity. In their encounter with Chiac, translators of Acadian literature into English face a challenge of their own. Both multilingualism and vernacular languages have been deemed untranslatable, and Chiac happens to be at once multilingual and a vernacular. The dilemma faced by these translators is hence not too far from the dilemma of writers of Chiac: how much difference should they erase, how much should they insist on it at the risk of confirming stereotypes? How can they assist and pursue attempts at legitimization? How can they avoid assimilation into English on the one hand, and ethnography on the other? This article investigates the strategies brought into play by two translators who have tackled Chiac and its ambivalent use by Acadian novelists: Robert Majzels, translator of France Daigle, and Jo-Anne Elder, translator of Gérald Leblanc. Keywords: Chiac, Acadian literature, Acadian literature in translation, literary multilingualism, sociolects and vernaculars.

NOTICIAS / NEWS (“transfer”, 2018) 1) LIBROS – CAPÍTULOS DE LIBRO / BOOKS – BOOK CHAPTERS 1. Bandia, Paul F. (ed.). (2017). Orality and Translation. London: Routledge. <<www.routledge.com/Orality-and-Translation/Bandia/p/book/9781138232884>> 2. Trends in Translation and Interpretin, Institute of Translation & Interpreting<<www.iti.org.uk/news-media-industry-jobs/news/819-iti-publishes-trends-e-book>> 3. Schippel, Larisa & Cornelia Zwischenberger. (eds). (2017). Going East: Discovering New and Alternative Traditions in Translation Studies. Berlin: Frank & Timme.<<www.frank-timme.de/verlag/verlagsprogramm/buch/verlagsprogramm/bd-28-larisa-schippelcornelia-zwischenberger-eds-going-east-discovering-new-and-alternative/backPID/transkulturalitaet-translation-transfer.html>> 4. Godayol, Pilar. (2017). Tres escritoras censuradas: Simone de Beauvoir, Betty Friedan y Mary McCarthy. Granada: Comares.<<www.editorialcomares.com/TV/articulo/3149-Tres_escritoras_censuradas.html>> 5. Vanacker, Beatrijs & Tom Toremans. (eds). (2016). Pseudotranslation and Metafictionality/Pseudo-traduction: enjeux métafictionnels. Special issue of Interférences Littéraires.<<www.interferenceslitteraires.be/nr19>> 6. Jiménez-Crespo, Miguel A. (2017). Crowdsourcing and Online Collaborative Translations: Expanding the Limits of Translation Studies. Amsterdam: John Benjamins. <<https://benjamins.com/#catalog/books/btl.131>> 7. Quality Assurance and Assessment Practices in Translation and Interpreting<<www.igi-global.com/publish/call-for-papers/call-details/2640>> 8. Hurtado Albir, Amparo. (ed.). (2017). Researching Translation Competence by PACTE Group. Amsterdam: John Benjamins.<<www.benjamins.com/#catalog/books/btl.127/main>> 9. Taivalkoski-Shilov, Kristiina, Liisa Tittula and Maarit Koponen. (eds). (2017). Communities in Translation and Interpreting. Toronto: Vita Traductiva, York University<<http://vitatraductiva.blog.yorku.ca/publication/communities-in-translation-and-interpreting>> 10. Giczela-Pastwa, Justyna and Uchenna Oyali (eds). (2017). Norm-Focused and Culture-Related Inquiries in Translation Research. Selected Papers of the CETRA Research Summer School 2014. Frankfurt am Main: Peter Lang.<<www.peterlang.com/view/product/25509>> 11. Castro, Olga & Emek Ergun (eds). (2017). Feminist Translation Studies: Local and Transnational Perspectives. London: Routledge.<<www.routledge.com/Feminist-Translation-Studies-Local-and-Transnational-Perspectives/Castro-Ergun/p/book/9781138931657>> 12. Call for papers: New Trends in Translation Studies. Series Editor: Prof. Jorge Díaz-Cintas, Centre for Translation Studies (CenTraS), University College London.<<(www.ucl.ac.uk/centras)>>, <<www.peterlang.com/view/serial/NEWTRANS>> 13. Valero-Garcés, Carmen & Rebecca Tipton. (eds). (2017). Ideology, Ethics and Policy Development in Public Service Interpreting and Translation. Bristol: Multilingual Matters.<<www.multilingual-matters.com/display.asp?isb=9781783097517>> 14. Mahyub Rayaa, Bachir & Mourad Zarrouk. 2017. A Handbook for Simultaneous Interpreting Training from English, French and Spanish to Arabic / منهج تطبيقي في تعلّم الترجمة الفورية من الانجليزية والفرنسية والإسبانية إلى العربية. Toledo: Escuela de Traductores.<<https://issuu.com/escueladetraductorestoledo/docs/cuaderno_16_aertefinal_version_web>> 15. Lapeña, Alejandro L. (2017). A pie de escenario. Guía de traducción teatral. Valencia: JPM ediciones.<<http://jpm-ediciones.es/catalogo/details/56/11/humanidades/a-pie-de-escenario>> 16. Mével, Alex. (2017). Subtitling African American English into French: Can We Do the Right Thing? Oxford: Peter Lang.<<www.peterlang.com/view/product/47023>> 17. Díaz Cintas, Jorge & Kristijan Nikolić. (eds). (2017). Fast-Forwarding with Audiovisual Translation. Bristol: Multilingual Matters.<<www.multilingual-matters.com/display.asp?K=9781783099368>> 18. Taibi, Mustapha. (ed.). (2017). Translating for the Community. Bristol: Multilingual Matters.<<www.multilingual-matters.com/display.asp?isb= 9781783099122>> 19. Borodo, Michał. (2017). Translation, Globalization and Younger Audiences. The Situation in Poland. Oxford: Peter Lang.<<www.peterlang.com/view/product/81485>> 20. Reframing Realities through Translation Cambridge Scholars Publishing<<https://cambridgescholarsblog.wordpress.com/2017/07/28/call-for-papers-reframing-realities-through-translation>> 21. Gansel, Mireille. 2017. Translation as Transhumance. London: Les Fugitives<<www.lesfugitives.com/books/#/translation-as-transhumance>> 22. Goźdź-Roszkowski, S. and G. Pontrandolfo. (eds). (2018). Phraseology in Legal and Institutional Settings. A Corpus-based Interdisciplinary Perspective. London: Routledge<<www.routledge.com/Phraseology-in-Legal-and-Institutional-Settings-A-Corpus-based-Interdisciplinary/Roszkowski-Pontrandolfo/p/book/9781138214361>> 23. Deckert, Mikołaj. (ed.). (2017). Audiovisual Translation – Research and Use. Frankfurt am Main: Peter Lang.<<www.peterlang.com/view/product/80659>> 24. Castro, Olga; Sergi Mainer & Svetlana Page. (eds). (2017). Self-Translation and Power: Negotiating Identities in European Multilingual Contexts. London: Palgrave Macmillan.www.palgrave.com/gb/book/9781137507808 25. Gonzalo Claros, M. (2017). Cómo traducir y redactar textos científicos en español. Barcelona: Fundación Dr. Antonio Esteve.<<www.esteve.org/cuaderno-traducir-textos-cientificos>> 26. Tian, Chuanmao & Feng Wang. (2017).Translation and Culture. Beijing: China Social Sciences Press.<<http://product.dangdang.com/25164476.html>> 27. Malamatidou, Sofia. (2018). Corpus Triangulation: Combining Data and Methods in Corpus-Based Translation Studies. London: Routledge.<<www.routledge.com/Corpus-Triangulation-Combining-Data-and-=Methods-in-Corpus-Based-Translation/Malamatidou/p/book/9781138948501>> 28. Jakobsen, Arnt L. and Bartolomé Mesa-Lao. (eds). (2017). Translation in Transition: Between Translation, Cognition and Technology. Amsterdam: John Benjamins.<<https://benjamins.com/#catalog/books/btl.133>> 29. Santaemilia, José. (ed.). (2017). Traducir para la igualdad sexual / Translating for Sexual Equality. Granada: Comares.<<www.editorialcomares.com/TV/articulo/3198-Traducir_para_la_igualdad_sexual.html>> 30. Levine, Suzanne Jill & Katie Lateef-Jan. (eds). (2018). Untranslatability Goes Global. London: Routledge.<<www.routledge.com/Untranslatability-Goes-Global/Levine-Lateef-Jan/p/book/9781138744301>> 31. Baer, Brian J. & Klaus Kindle. (eds). (2017). Queering Translation, Translating the Queer. Theory, Practice, Activism. New York: Routledge.<<www.routledge.com/Queering-Translation-Translating-the-Queer-Theory-Practice-Activism/Baer-Kaindl/p/book/9781138201699>> 32. Survey: The translation of political terminology<<https://goo.gl/forms/w2SQ2nnl3AkpcRNq2>> 33. Estudio de encuesta sobre la traducción y la interpretación en México 2017<<http://italiamorayta.org/wp-content/uploads/2017/09/ENCUESTAS.pdf>> 34. Beseghi, Micòl. (2017). Multilingual Films in Translation: A Sociolinguistic and Intercultural Study of Diasporic Films. Oxford: Peter Lang.<<www.peterlang.com/view/product/78842>> 35. Vidal Claramonte, María Carmen África. (2017). Dile que le he escrito un blues: del texto como partitura a la partitura como traducción en la literatura latinoamericana. Madrid: Iberoamericana.<<www.iberoamericana-vervuert.es/FichaLibro.aspx?P1=104515>> 36. Figueira, Dorothy M. & Mohan, Chandra. (eds.). (2017). Literary Culture and Translation. New Aspects of Comparative Literature. Delhi: Primus Books. ISBN: 978-93-84082-51-2.<<www.primusbooks.com>> 37. Tomiche, Anne. (ed.). (2017). Le Comparatisme comme aproche critique / Comparative Literature as a Critical Approach. Tome IV: Traduction et transfers / Translation and Transferts. París: Classiques Garnier. ISBN: 978-2-406-06533-3. 2) REVISTAS / JOURNALS 1. Call for papers: The Translator, special issue on Translation and Development, 2019. Contact: jmarais@ufs.ac.za 2. Call for papers: Applied Language LearningContact: jiaying.howard@dliflc.edu<<www.dliflc.edu/resources/publications/applied-language-learning>> 3. Panace@: Revista de Medicina, Lenguaje y Traducción; special issue on “La comunicación escrita para pacientes”, vol. 44<<www.tremedica.org/panacea/PanaceaActual.htm>> 4. mTm, issue 9<<www.mtmjournal.gr/default.asp?catid=435>> 5. Asia Pacific Translation and Intercultural Studies, Volume 4 Issue 3 (November 2017)<<http://explore.tandfonline.com/cfp/ah/aptis>>, <<www.tandfonline.com/rtis>> 6. Call for papers: The Journal of Translation Studies, special issue on Translation and Social Engagement in the Digital AgeContact: Sang-Bin Lee, sblee0110@naver.com 7. Current Trends in Translation Teaching and Learning E<<www.cttl.org>> 8. Translation and Interpreting Studies, 15 (1), Special issue on The Ethics of Non-Professional Translation and Interpreting in Public Services and Legal Settings<<www.atisa.org/call-for-papers>> 9. Call for papers: Translation & Interpreting – The International Journal of Translation and Interpreting Research, Special issue on Translation of Questionnaires in Cross-national and Cross-cultural Research<<www.trans-int.org/index.php/transint/announcement/view/19>> 10. Revista Digital de Investigación en Docencia Universitaria (RIDU), Special issue on Pedagogía y didáctica de la traducción y la interpretación<<http://revistas.upc.edu.pe/index.php/docencia/pages/view/announcement>> 11. Translation, Cognition & Behavior<<https://benjamins.com/#catalog/journals/tcb/main>> 12. FITISPos International Journal, vol. 4 (2017)Shedding Light on the Grey Zone: A Comprehensive View on Public Services Interpreting and Translation<<www3.uah.es/fitispos_ij>> 13. Post-Editing in Practice: Process, Product and NetworksSpecial issue of JoSTrans, The Journal of Specialised Translation, 31<<www.jostrans.org/Post-Editing_in_Practice_Jostrans31.pdf>> 14. Call for papers: MonTI 10 (2018), Special issue on Retos actuales y tendencias emergentes en traducción médica<<https://dti.ua.es/es/monti/convocatorias.htm>> 15. Call for papers: trans‐kom Special Issue on Industry 4.0 meets Language and Knowledge Resources.Contact: Georg Löckinger (georg.loeckinger@fh‐wels.at)<<http://trans-kom.eu/index-en.html>> 16. Translaboration: Exploring Collaboration in Translation and Translation in CollaborationSpecial Issue, Target, vol 32(2), 2020.<<www.benjamins.com/series/target/cfp_target_32.pdf>> 17. redit, Revista Electrónica de Didáctica de la Traducción e Interpretación, nº11.<<www.revistas.uma.es/index.php/redit>> 18. Call for papers: InVerbis, special issue on Translating the Margin: Lost Voices in the Aesthetic Discourse, June 2018.Contact: alessandra.rizzo@unipa.it & karen.Seago1@city.ac.uk<<www.unipa.it/dipartimenti/dipartimentoscienzeumanistiche/CFP-Translating-the-margin-Lost-voices-in-the-aesthetic-discourse>> 19. trans-kom, Vol. 10 (1), 2017. <<www.trans-kom.eu>> 20. JoSTrans, The Journal of Specialised Translation, issue 28 (July 2017).<<www.jostrans.org/issue28/issue28_toc.php>> 21. Call for papers: InVerbis, special issue on Translating the Margin: Lost Voices in the Aesthetic Discourse, June 2018.<<www.unipa.it/dipartimenti/scienzeumanistiche/.content/documenti/CFPInverbis.pdf>> 22. Call for papers: TTR, special Issue on Lost and Found in Transcultural and Interlinguistic Translation/La traduction transculturelle et interlinguistique : s’y perdre et s’y retrouver<<http://professeure.umoncton.ca/umcm-merkle_denise/node/30>> 23. Call for proposals for thematic issues:Linguistica Antverpiensia, New Series – Themes in Translation Studies (LANS – TTS)<<https://lans-tts.uantwerpen.be>> 24. Call for papers: trans‑kom, special issue on Didactics for Technology in Translation and InterpretingVol. 11(2), December 2018.Contact: aietimonografia@gmail.com / carmen.valero@uah.es 25. Journal of Languages for Special PurposesVol 22/2, New Perspectives on the Translation of Advertising<<https://ojsspdc.ulpgc.es/ojs/index.php/LFE/issue/view/53>>Vol 23/1, Linguistics, Translation and Teaching in LSP<<https://ojsspdc.ulpgc.es/ojs/index.php/LFE/issue/view/72>> 26. Call for papers: Parallèles, special issue on La littérature belge francophone en traduction (in French), Volume 32(1), 2020.Contact: katrien.lievois@uantwerpen.be & catherine.gravet@umons.ac.be 27. Call for papers: Asia Pacific Translation and Intercultural Studies, Volume 5(1), 2018.<<www.tandfonline.com/rtis>> 28. Target, special issue on Translaboration: Exploring Collaboration in Translation and Translation in Collaboration<<www.benjamins.com/series/target/cfp_target_32.pdf>> 29. Research in Language, special issue on Translation and Cognition: Cases of Asymmetry, Volume 15(2).<<www.degruyter.com/view/j/rela.2017.15.issue-2/issue-files/rela.2017.15.issue-2.xml>> 30. Call for papers: Translation Spaces, special issue on Translation in Non-governmental Organisations, 7(1), 2018.<<www.reading.ac.uk/web/files/modern-languages-and-european-studies/CfP_SI_Translation_Spaces-translation_in_NGOs.pdf>> 31. Call for papers: Translating the Margin: Lost Voices in the Aesthetic Discourse, special issue of InVerbis (2018).<<www.unipa.it/dipartimenti/scienzeumanistiche/CFP-Translating-the-margin-Lost-voices-in-the-aesthetic-discourse>> 32. Call for papers: Translation and Disruption: Global and Local Perspectives, special issue of Revista Tradumàtica (2018).Contact: akiko.sakamoto@port.ac.uk; jonathan.evans@port.ac.uk and olga.torres.hostench@uab.cat 33. Call for papers: JoSTrans. The Journal of Specialised Translation 33 (January 2020), Special Issue on ‘Experimental Research and Cognition in Audiovisual Translation’. Guest editors: Jorge Díaz Cintas & Agnieszka Szarkowska. Deadline for proposals: 19 February 2018<<http://www.jostrans.org/>> 34. Dragoman – Journal of Translation Studies<<www.dragoman-journal.org/books>> 35. Call for papers: Translation Spaces 7(1) 2018, special issue on Translation in Non-governmental Organisations<<www.reading.ac.uk/web/files/modern-languages-and-european-studies/CfP_SI_Translation_Spaces-translation_in_NGOs-public-extended_deadline.pdf>> 36. Call for papers: Public Service Interpreting and Translation and New Technologies Participation through Communication with Technology, special issue of FITISPos International Journal, Vol 5 (2018).Contact: Michaela Albl-Mikasa (albm@zhaw.ch) & Stefanos Vlachopoulos (stefanos@teiep.gr) 37. Sendebar, Vol. 28 (2017)<<http://revistaseug.ugr.es/index.php/sendebar>> 38. Ranzato, Irene. (2016). North and South: British Dialects in Fictional Dialogue, special issue of Status Quaestionis – Language, Text, Culture, 11.<<http://statusquaestionis.uniroma1.it/index.php/statusquaestionis>> 39. Translation Studies 10 (2), special issue on Indirect Translation.<<www.tandfonline.com/toc/rtrs20/current>> 40. Translation & Interpreting – Special issue on Research Methods in Interpreting Studies, Vol 9 (1), 2017. 41. Translation and Translanguaging in Multilingual Contexts, special issue on Between Specialised Texts and Institutional Contexts – Competence and Choice in Legal Translation, edited by V. Dullion, 3 (1), 2017.<<https://benjamins.com/#catalog/journals/ttmc.3.1/toc>> 42. Translation and Performance, 9 (1), 2017<<https://journals.library.ualberta.ca/tc/index.php/TC/issue/view/1879>> 3) CONGRESOS / CONFERENCES 1. ATISA IX: Contexts of Translation and InterpretingUniversity of Wisconsin, Milwaukee, USA, 29 March – 1 April 2018<<www.atisa.org/sites/default/files/CFP_ATISA_2018_FINAL.pdf> 2. V International Translating Voices Translating Regions – Minority Languages, Risks, Disasters and Regional CrisesCentre for Translation Studies (CenTraS) at UCL and Europe House, London, UK, 13-15 December 2017.<<www.ucl.ac.uk/centras/translation-news-and-events/v-translating-voices>> 3. Translation and Health Humanities: The Role of Translated Personal Narratives in the Co-creation of Medical KnowledgeGenealogies of Knowledge I Translating Political and Scientific Thought across Time and Space, University of Manchester, UK7-9 December 2017.<<http://genealogiesofknowledge.net/2017/02/20/call-panel-papers-translation-health-humanities-role-translated-personal-narratives-co-creation-medical-knowledge>> 4. Fourth International Conference on Non-Professional Interpreting and Translation (NPIT4), Stellenbosch University, South Africa, 22-24 May 2018.<<http://conferences.sun.ac.za/index.php/NPIT4/npit4>> 5. I International Conference on Interdisciplinary Approaches for Total Communication: Education, Healthcare and Interpreting within Disability Settings, University of Málaga, Spain, 12-14 December 2017.<<https://ecplusproject.uma.es/cfp-iciatc>> 6. Translation & Minority 2: Freedom and DifferenceUniversity of Ottawa, Canada, 10-11 November 2017.<<https://translationandminority.wordpress.com>> 7. Staging the Literary Translator: Roles, Identities, PersonalitiesUniversity of Vienna, Austria, 17-19 May 2018.<<http://translit2018.univie.ac.at/home>> 8. IATIS 2018 – Translation and Cultural MobilityPanel 9: Translating Development: The Importance of Language(s) in Processes of Social Transformation in Developing CountriesHong Kong, 3-6 July 2018.<<www.iatis.org/index.php/6th-conference-hong-kong-2018/item/1459-panels#Panel09>> 9. Fun for All 5: Translation and Accessibility in Video Games Conference, Universitat Autònoma de Barcelona, Spain, 7-8 June 2018.<<http://jornades.uab.cat/videogamesaccess>> 10. ACT/Unlimited! 2 Symposium, Universitat Autònoma de Barcelona, Spain, 6 June 2018.<<http://pagines.uab.cat/act/content/actunlimited-2-symposium>> 11. IATIS 2018 – Translation and Cultural MobilityPANEL 06: Museum Translation: Encounters across Space and TimeHong Kong Baptist University, 3-6 July 2018.<<www.iatis.org/index.php/6th-conference-hong-kong-2018/item/1459-panels#Panel06>> 12. IATIS 2018 – Translation and Cultural Mobility PANEL 12: Advances in Discourse Analysis in Translation Studies: Theoretical Models and Applications Hong Kong Baptist University3-6 July 2018.<<www.iatis.org/index.php/6th-conference-hong-kong-2018/item/1459-panels#Panel12>> 13. Understanding Quality in Media Accessibility, Universidad Autònoma de Barcelona, Spain, 5 June 2018. <<http://pagines.uab.cat/umaq/content/umaq-conference>> 14. Managing Anaphora in Discourse: Towards an Interdisciplinary Approach, University of Grenoble Alpes, France, 5-6 April 2018.<<http://saesfrance.org/4071-2>> 15. Traduire les voix de la nature / Translating the Voices of Nature, Paris, France, 25-26 May 2018.<<www.utu.fi/en/units/hum/units/languages/mts/Documents/CFP.pdf>> 16. IATIS 2018 – Translation and Cultural MobilityPANEL 10: Audiovisual Translation as Cross-cultural Mediation – New Trajectories for Translation and Cultural Mobility?Hong Kong Baptist University, 3-6 July 2018. <<www.iatis.org/index.php/6th-conference-hong-kong-2018/item/1459-panels#Panel10>> 17. The Fourth International Conference on Research into the Didactics of Translation, Universitat Autònoma de Barcelona, Spain20-22 June 2018.<<http://grupsderecerca.uab.cat/pacte/en/firstcircular>> 18. I Coloquio Internacional Hispanoafricano de Lingüística, Literatura y Traducción. España en contacto con África, su(s) pueblo(s) y su(s= cultura(s) Universidad FHB de Cocody-Abidjan, Costa de Marfil 7-9 March 2018.<<www.afriqana.org/encuentros.php>> 19. Transius Conference 2018, Geneva, Switzerland, 18-20 June 2018.<<http://transius.unige.ch/en/conferences-and-seminars/conferences/18/>> 20. 39th International GERAS Conference - Diachronic Dimensions in Specialised Varieties of English: Implications in Communications, Didactics and Translation Studies, University of Mons, Belgium15-17 March 2018.<<www.geras.fr/index.php/presentation/breves/2-uncategorised/245-cfp-39th-international-geras-conference>> 21. 31st Annual Conference of the Canadian Association for Translation Studies - Translation and Adaptation, University of Regina, Canada, 28-30 May 2018.<<https://linguistlist.org/issues/28/28-3413.html>> 22. 2nd Valencia/Napoli Colloquium on Gender and Translation: Translating/Interpreting LSP through a Gender PerspectiveUniversità di Napoli 'L'Orientale', Italy, 8-9 February 2018.Contact: eleonorafederici@hotmail.com 23. Ninth Annual International Translation Conference: Translation in the Digital Age: From Translation Tools to Shifting Paradigms, Hamad Bin Khalifa’s Translation & Interpreting Institute (TII), Doha, Qatar, 27-28 March 2018.<<www.tii.qa/9th-annual-translation-conference-translation-digital-age-translation-tools-shifting-paradigms>> 24. ACT/Unlimited! 2 Symposium – Quality Training, Quality Service in Accessible Live Events, Barcelona, Spain, 6 June 2018.<<http://pagines.uab.cat/act/content/actunlimited-2-symposium>> 25. Fourth International Conference on Research into the Didactics of Translation, Universitat Autònoma de Barcelona, Spain, 20-22 June 2018.<<http://grupsderecerca.uab.cat/pacte/en/secondcircular2018>> 26. Talking to the World 3. International Conference in T&I Studies – Cognition, Emotion, and Creativity, Newcastle University, UK, 17-18 September 2018.<<www.ncl.ac.uk/sml/news-events/news/item/talkingtotheworld3ticonference.html>> 27. Translation & Interpreting in the Digital Era, Hankuk University of Foreign Studies, Seoul, South Korea, 29-30 January 2018.Contact: itri@hufs.ac.kr 28. 7th META-NET Annual Conference: Towards a Human Language Project, Hotel Le Plaza, Brussels, Belgium, 13-14 November 2017.<<www.meta-net.eu/events/meta-forum-2017>> 4) CURSOS – SEMINARIOS – POSGRADOS / COURSES – SEMINARS – MA PROGRAMMES 1. Certificate / Diploma / Master of Advanced Studies in Interpreter Training (online), FTI, University of Geneva, Switzerland,4 September 2017 - 10 September 2019.<<www.unige.ch/formcont/masit>> 2. Master’s Degree in Legal Translation, Institute of Advanced Legal Studies, London, UK.<<http://ials.sas.ac.uk/study/courses/llm-legal-translation>> 3. Certificat d’Université en Interprétation en contexte juridique : milieu judiciaire et secteur des demandes d’asile, University of Mons, Belgium.<<http://hosting.umons.ac.be/php/centrerusse/agenda/certificat-duniversite-en-interpretation-en-contexte-juridique-milieu-judiciaire-et-secteur-des-demandes-dasile.html>> 4. Online MA in Translation and Interpreting ResearchUniversitat Jaume I, Castellón, Spain.Contact: monzo@uji.es<<www.mastertraduccion.uji.es>> 5. MA in Intercultural Communication, Public Service Interpreting and Translation 2017-2018, University of Alcalá, Madrid, Spain.<<www3.uah.es/master-tisp-uah/introduction-2/introduction>> 6. Research Methods in Translation and Interpreting StudiesUniversity of Geneva, Switzerland.<<www.unige.ch/formcont/researchmethods-distance1>><<www.unige.ch/formcont/researchmethods-distance2>> 7. La Traducción audiovisual y el aprendizaje de lenguas extranjeras, Universidad Nacional de Educación a Distancia (UNED), Spain, 4 December 2017.<<https://goo.gl/3zpMgY>> 8. Fifth summer school in Chinese-English Translation and Interpretation (CETIP), University of Ottawa, Canada, 23 July – 17 August 2018.<<http://arts.uottawa.ca/translation/summer-programs>> 9. First summer school in Arabic – English Translation and Interpretation (AETP), University of Ottawa, Canada, 23 July – 17 August 2018.<<http://arts.uottawa.ca/translation/summer-programs>> 10. Third summer school in translation pedagogy (TTPP)University of Ottawa, Canada, 23 July – 17 August 2018.<<http://arts.uottawa.ca/translation/summer-programs>> 4) PREMIOS/AWARDS 1. The Warwick Prize for Women in Translation<<http://www2.warwick.ac.uk/fac/cross_fac/womenintranslation>

Summary Translators, linguists and translation researchers often have to deal with subtle and sometimes complex syntactical aspects involved in translation. Properly conveying the structure and rhythm of a sentence or text in another language is a difficult task that requires a good understanding of syntactical aspects of both the source and the target language. The morphology of Lithuanian verbs and nouns, and specially its system of declensions and cases, without any doubt facilitates a relatively flexible word order. Many linguists also agree that word order in the Spanish sentence is also freer than in French, English or other modern languages. It has often been said that Spanish has the most flexible word order of all Romance languages. However, Spanish word order is by no means as free as in Lithuanian. A comparative study of Lithuanian texts and their translation into Spanish allows a better understanding of the syntactical differences between both languages. This article examines a case of syntactical inversion in Lithuanian: the displacement of the direct object and its location at the beginning of the sentence, and the translation of such sentences into Spanish. In Spanish the direct object usually follows the verb, except in the cases when that function is carried out by pronouns. In order to displace a direct object to the beginning of the sentence, Spanish syntactical structures should be used. In this article two stylistically different Lithuanian texts will be compared with their Spanish translation so as to identify the linguistic means used in each case. A comparative analysis of different types of texts is useful to reveal the Spanish syntactical structures chosen by the translators as well as certain tendencies in each specific context.

When we are looking at the books displayed in the window of a bookshop, what first catches the eye is the title. Titles pave the way to the text, even in a literal sense. In any case, they establish a first contact with a potential readership, informing them, for example, about the genre (novel, non-fiction, children’s book) or the content of the book, praising its qualities, and, if all this raises the readers’ interest, appealing to them to buy and later read the book, or even guiding their interpretation of the text. This shows how important it is that a title is apt to fulfil all these functions - an original title in its own culture, a translated title in the target culture. It is a well-known fact that translators do not normally have the last word in the process of deciding on the title of a book they have translated. Nevertheless, if they can offer good arguments for or against certain title formulations, they might at least be heard. At any rate, just pleading for a “faithful” translation of the original title will not do. There may be a lot of arguments - and not only linguistic ones - against a literal translation, with which translators have to be familiar. The following study is based on a corpus including titles of fictional, nonfictional and children’s books in English, German, French and Spanish. After justifying the classification as titles as texts, and even a genre with its own culture-specific conventions, it aims at showing the forms and functions of book titles in order to provide a sound foundation for their translation, discussing some of the problems derived from this functional perspective.

A phrase-based statistical machine translation approach — the alignment template approach — is described. This translation approach allows for general many-to-many relations between words. Thereby, the context of words is taken into account in the translation model, and local changes in word order from source to target language can be learned explicitly. The model is described using a log-linear modeling approach, which is a generalization of the often used source-channel approach. Thereby, the model is easier to extend than classical statistical machine translation systems. We describe in detail the process for learning phrasal translations, the feature functions used, and the search algorithm. The evaluation of this approach is performed on three different tasks. For the German-English speech Verbmobil task, we analyze the effect of various system components. On the French-English Canadian Hansards task, the alignment template system obtains significantly better results than a single-word-based translation model. In the Chinese-English 2002 National Institute of Standards and Technology (NIST) machine translation evaluation it yields statistically significantly better NIST scores than all competing research and commercial translation systems.

Paul Lomami Tchibamba (1914–85) is often described as the Congo’s first novelist. Previous research in French and English has depicted Tchibamba’s work as a straightforward example of ‘writing back’ to the colonial canon. However, this article advances scholarship on Tchibamba’s work by demonstrating that his later writing responds not only to Henry Morton Stanley’s account of the imperial subjugation of the Congo, but to Joseph Conrad’s questioning of colonialist narratives of ‘progress’. Drawing on recent theoretical work that examines intertextuality in postcolonial fiction, this article demonstrates that while Tchibamba is highly critical of Stanley, he enters into dialogue with Conrad’s exposure of colonial brutality. Bringing together comparative research insights from Congolese and European literatures, this article also employs literary translation. This is the first time that excerpts from two of Tchibamba’s most important responses to colonial authors have been translated into English. Also for the first time, Tchibamba’s novella Ngemena is shown to be a crucial postcolonial Congolese response to Heart of Darkness. Through close textual analysis of Tchibamba’s use of irony and imagery, this article’s key findings are that, while Tchibamba nuances Conrad’s disparaging portrait of a chief, he develops the ironic mode of Conrad’s An Outpost of Progress, and updates the journey upriver into the interior in Heart of Darkness. This article illustrates the complex and nuanced way in which Tchibamba interacts with his European intertexts, deploying close analyses of his responses to Conradian imagery.

Background:Objective clinical evaluation of memory frequently requires serial testing but the issue of whether multiformed tests are equivalent and can be used interchangeably is seldom examined. An added problem in bilingual Canadian settings is the extent to which it is appropriate to measure French speakers’ performance on translations of English tests. The present work used the Rey Auditory Verbal Learning Test (RAVLT) and a nonverbal analog, the Aggie Figures Learning Test (AFLT), to examine whether a) different forms of the same test are equivalent, b) performance on the two tests is comparable, c) two language groups perform similarly, and d) the RAVLT can detect dysfunction in patients with temporal lobe epilepsy (TLE).Methods:We compared three French versions of the RAVLT and three forms of the AFLT in 114 healthy francophone adults. We subsequently compared the performance of the same francophone subjects to a previously obtained sample of anglophones on both tests, and then administered the RAVLT to anglophone or francophone patients with TLE.Results:For both tasks the three forms were equivalent and performance on the RAVLT was comparable to that on the AFLT. Francophone subjects performed slightly worse on the RAVLT compared to anglophones but performance of the two language groups did not differ on the AFLT. Finally, left TLE patients were impaired compared to right on the RAVLT, but no performance differences were observed across the two language groups in the patient sample.Conclusions:The RAVLT and AFLT are useful tools for examination of learning and memory in French and English speaking populations. On the RAVLT, the lesion effect in patients is not affected by differences in performance between language groups.

To date, region-based scholarship into Hispanophone literary self-translation overwhelmingly locates practices in spaces where Spanish not only has official language status but is also the dominant language. Yet, in officially bilingual (English-French) Canada, at least 25 people translated their own writing into or out of Spanish between 1971 and 2016, making these writers the single largest subset of Canada-based self-translators working with an unofficial language. But who are these authors? What might be said about their self-translations? And what does it mean to self-translate using Spanish when that language does not have official status? Adopting a product-oriented perspective, I explore these questions via three lines of enquiry: 1) time and space: when and where were these writers born? 2) frequency: how often do these authors self-translate? and 3) language: how can self-translations and self-translators be characterized in terms of language variety and combinations? Ultimately, I argue that, in the context of Canadian self-translation, the Spanish language is simultaneously imposing—pushing resolutely against paradigms of two-ness embodied by official bilingualism—and imposed upon, since it lacks official status of its own and the infrastructural robustness that accompanies it.