Journal articles on the topic 'Genre, Babel'

The strategies of translating Fox Volant of the Snowy Mountain, a martial arts novel by Jin Yong, into English are determined mainly by the skopos of bringing Jin Yong’s work to life for a Western audience, shaped also by the translator’s ideology and the poetics dominant in the receiving culture. It follows that the functions associated with translating this literary text, a major genre in contemporary Chinese literature, would include introducing martial arts fiction as a literary genre; introducing Jin Yong as a master storyteller; and presenting genre-specific devices employed in penning a classic work. An overriding strategy adopted by the translator proved to be extensive rewriting into the target language as the translated work only materialized after serious efforts at recreative translating. The fluent translation strategy, when aptly used, is the one that effects transparency, thereby evoking authorial presence in a literary translation.

Melodrama is a genre with deep roots in Mexican cinema with distinct conventions and particularities. Alejandro González Iñárritu (AGI) demonstrates a fluency in this genre integrating it into the conventions of transnational art house cinema. As someone whose auteur status is conferred both through multiple prestigious awards and articulations of his creative self as originator of his projects, AGI’s play with genre is often overlooked. Using videographic criticism as a tool for analysis, this article considers the actor’s dynamic performances in AGI’s male-centred melodramas Amores perros (2000), 21 Grams (2003), Babel (2006), Birdman or (The Unexpected Virtue of Ignorance) (2014) and The Revenant (2015).

This article examines the cycle by Isaac Babel “Red Cavalry in the context of literary trends of the 1920s. I. Babel avoided various literary organizations and loud manifestos; therefore, his role within the post-revolutionary literary system remains somewhat isolated: he had a reputation of a realist writer (although with some reservations) mostly due to specifically historical backstory of his military cycle. In this regard, his literary style is rarely viewed as a phenomenon of modernist literature – metareflective, intertextual, centered on the experiments with literary form. However, the works of I. Babel can be viewed as a characteristic to modernism phenomenon of “synthesis of arts” – not only painting and cinematography, but music as well. His musicality is traced both on the semantic level and particular recurring images, an on the level of rhythmic structure of the text. The article demonstrates “pretexts” (genre and stylistic models) that underlie the cycle “Red Cavalry”: folk songs, revolutionary marches, poetry of French symbolism (namely A. Rimbaud), which targeted to substitute versification with a rhythmic prose. Thus, some elements of I. Babel's prose are interpreted as variations of a free verse, which corresponds to the draft genre definitions given by the author to his stories, as well as to his writing style testified by some of his contemporaries.

Abstract The relationship between texts and images in comics is essential from the graphic point of view and for the understanding of the story. Hence, the translation of comics has certain peculiarities that other literature genres do not have, partly due to its combination of iconic language and literary language. Among the wide array of interesting topics within this field, we are going to focus on a great challenge for translators: the graphic and phonetic values of the sounds in comics. Technical advances have improved comic books translation: nowadays modifying an element of the vignette no longer involves redrawing the whole animation. Thus, the translation of this literature genre can now focus on other problematic issues, such as the translation of sounds. Taking into account the lack of categorization of these sounds, this article deals with the translation of inarticulate sounds, interjections and onomatopoeias from English comic books into Spanish in order to observe the existing trends in these issues and to confirm if the new technologies have changed the translators’ task in the last 25 years.

Resumen La traducción de las Convenciones y las Leyes Modelo, documentos prototípicos emitidos por las Naciones Unidas en relación con la legislación reguladora del Comercio Internacional, constituye un caso de documentos iguales. Éstos muestran una gran dependencia entre el texto en lengua origen y el texto en lengua meta. Este artículo analiza algunos ejemplos de estos documentos en inglés y en español con el objetivo de proponer soluciones a algunos problemas de traducción relacionados con la semiótica de la cultura. En concreto, nuestro objetivo es, por un lado, analizar los modelos discursivos que subyacen a estos productos textuales y que se reflejan en algunos elementos macrotextuales tales como los abstracts, summaries y preámbulos; por otro, ilustrar la relación entre traducción e ideología, más concretamente, entre traducción y género. Nuestro análisis pone de manifiesto que pueden surgir problemas relacionados con la traducción del género en su doble acepción de ‘constructo social que hace referencia a actitudes socio culturales’ y de ‘tipo textual caracterizado por una serie de convenciones aceptadas por una comunidad discursiva’. Résumé Les conventions et lois-modèles des Nations-Unies sont des documents prototypiques concernant la réglementation du commerce international. Leur traduction donne lieu à des exemplaires des documents égaux (Sager 1998), caractérisés par un niveau élevé de dépendance réciproque entre le texte dans la langue source et dans la langue cible. Cet article traite de certains documents anglais et espagnols, afin d’offrir des solutions possibles concernant les difficultés de traduction, dues aux aspects de signification culturelle, en particulier à certains aspects de la signification relative à la triade genre–texte– discours (Hatim et Mason 1997). Plus précisément, nous analysons les modèles discursifs, formalisés au moyen d’éléments macro-textuels comme les résumés, les synthèses et les préambules, et nous étudions la traduction de l’idéologie (« genre »). Abstract The United Nations Conventions and Model Laws are prototypical documents related to regulation in International Trade. Their translation gives rise to exemplars of equal documents (Sager 1998), characterized by a high degree of reciprocal dependence between the text in the source and target language. This paper focuses on some English and Spanish documents to offer possible solutions regarding translation difficulties due to aspects of cultural meaning, particularly some aspects of meaning related with the genre-text-discourse triad (Hatim and Mason 1997). More specifically, we analyze the discursive models formalized through macrotextual elements such as abstracts, summaries and preambles, and we study the translation of ideology (‘gender’).

L'article se penche sur les traductions en anglais et en chinois de la tradition orale en se référant plus particulièrement aux traductions en anglais de la tradition orale Chinoise, Beijingren, de Zhang Xinxin et Sang Ye, et à la traduction en chinois de la tradition orale anglaise, American Dreams, par Studs Turkel. Par ailleurs, l'article propose des stratégies permettant de traduire ce genre littéraire dans deux langues aussi éloignées l'une de l'autre que sont l'anglais et le chinois. Il défend la thèse que ce sont les aspects linguistiques et non linguistiques de la tradition orale qui doivent l'emporter sur toute autre considération pour déterminer la méthode de transfert et les stratégies de traduction à utiliser. Dans son étude, l'auteur identifie trois problématiques principales d'ordre linguistique et sociolinguistique, dignes de susciter l'intérêt du traducteur amené à traduire la tradition orale. Il s'agit de la syntaxe, de la lexicologie et de l'emploi des varietés linguistiques dans la traduction. L'article aborde le problème des différences entre la langue écrite et parlée, entre les dialectes et les registres en traduction. Il fait remarquer que ces problèmes son liés à l'énorme différence qu'il y a entre l'anglais et le chinois, aussi bien du point de vue linguistique que sociolinguistique, et aux aspects spécifiques de la tradition orale. L'auteur suggère des moyens pour rendre plus efficace la traduction de ce genre de textes. Il propose d'activer différentes astuces linguistiques aussi bien au niveau linguistique que sociolinguistique, en vue de ratteindre le style particulier de la tradition orale.

The scope of this paper is the semiotic study of the techniques of interlingual translation of French film titles into Greek. Firstly, approaching the film titles as advertisement slogans, we will examine if advertisement characteristics and functions are present into both the French and Greek film titles. Then, we will study the process of translation of connotations of the film titles and the role of non verbal semiotic systems such as numbering and punctuation in translation. Also, we will examine if translation techniques are influenced by extra-linguistic factors such as the period of film production, the film genre, diacritics, and the principle of economy of the words. If a relation does exist between translation techniques and extra-linguistic factors this could be used for a second, a semiotic reading.

Translation and literature walked hand in hand during the eighteenth century. The English novel became very well known throughout Europe and it was widely translated into most European languages. Richardson’s and Fielding’s novels were translated into French almost immediately and from this stepping stone were rendered into Spanish about forty years after the appearance of the source text; censorship played an important role in this delay. Once again, translation was the authentic international language that facilitated the transfer of ideas from place to place. My purpose here is to concentrate on the translation not as a process but as a result, focussing on its relationship with the literature and culture of the target language. This study is going to be based on the first Spanish translation of Tom Jones, which contains important differences from the English novel of the same title, because French and Spanish translators and writers alike shared a different concept of the novel as a genre.

Abstract This article argues that Genesis 11:1-9 follows the well attested structure of Mesopotamian building accounts polemically addressing the main themes and motifs presented therein. Motifs of name-making, universal hegemony and colossal building projects are found in both the Genesis account and the Mesopotamian inscriptions. The Hebrew author subverts the imperial hubris presented in Mesopotamian royal building ideology by creating a “mock” building account based on components traditional to the building-account genre. Analysis of the Genesis pericope in light of the building-account genre helps explain some of the difficult interpretive contours of the text (e.g. the so-called “double descent” of YHWH) as well as highlights a main aspect of the offense inherent in the actions and attitude of the Babel builders—that building an entirely new city on virgin ground required divine consent—consent that YHWH does not give to such royal imperialistic pretensions.

This study will entertain considerations of authenticity and identity in translating Spanish American Neoindigenist fiction. Ladino writing and its translatability, its translinguistic and transcultural nature, are explored, particularly insofar as its context intersects with the oral and written traditions and their convergences and divergences. Notions about authenticity that adhere to these forms and expressions are considered. The translational origins of supposedly “pure” works of indigenousness, including the Popol Vuh, are traced in order to show an anti-essentialist hybridity that embraces an aesthetic realism rather than a mimetic one. The impure, then, describes the multivocal, multigeneric, and even multilingual texts from which translators work in this genre, creating in their turn “twice translated” texts. The tensions of these texts must be accounted for in translation. The glossary and other paratexts in Neoindigenismo and its precursor, Indigenismo, are surveyed as strategic repositories, sometimes of ideological slippages and always of contentions between worldviews. The goal of representing the cultural frame, the ecology of the source text, is championed, as are other considerations in the historicized and ethical presentation of difference.

Abstract The paper is based on a corpus investigation of Danish theatre repertoire for the second half of the twentieth century. The discussion opens with a detailed presentation of those genre-specific challenges and even obstacles to a statistically oriented approach that arise the moment an investigation turns from ‘plays as published texts’ to ‘plays as performances and productions’. The main part of the analysis is a discussion of British and Russian theatrical import to Denmark, and the ways in which its development can shed light on the mechanisms of power working through translation politics. Danish repertoire choices reveal egotistic, self-centred motivation behind their treatment of British and Russian sources, respectively, when the English culture emerges as a source of, first of all, light entertainment, while the Russian one, on the contrary, seems to be called on to satisfy the demand for the artistic exploration of the more melancholic, dark side of human character. The analysis is focussed on the uses of Chekhov and Shakespeare in the construction of Danish cultural Self, and framed in a more theoretical discussion of the challenges and signifi cance of the theatre for Translation Studies in the new, culture conscious phase of its development. Resumé L’article est basé sur l’examen du corpus du répertoire théâtral danois pendant la seconde moitié du vingtième siècle. La discussion débute par une présentation détaillée des défi s spécifi ques au genre, voire des obstacles à une approche statistiquement orientée. Ces défi s surgissent au moment où la recherche passe des « pièces sous forme de textes publiés » à des « pièces devant être représentées et produites ». La partie principale de l’analyse est une discussion sur l’importation théâtrale britannique et russe au Danemark et sur la manière dont son développement peut éclairer les mécanismes de force qui agissent dans la politique de la traduction. Les choix du répertoire danois révèlent l’existence d’une motivation égotiste et égocentrique derrière leur traitement des sources britanniques et russes; la culture anglaise apparaît surtout comme une source de divertissement léger, tandis qu’au contraire, il semble qu’on fasse appel à la culture russe pour satisfaire la demande d’une explora tion artistique du côté sombre et plus mélancolique du caractère humain. L’analyse se concentre sur l’utilisation de Tchekhov et de Shakespeare dans la construction du Moi culturel danois, et s’inscrit dans une discussion plus théorique sur les défi s et la signification du théâtre pour la traductologie, dans la nouvelle phase de son développement, consciente de la culture.

Since the early 2000s, a number of researchers have devoted themselves to the study of wine language and discourse, and especially the genre of wine tasting notes. They have analyzed various aspects of tasting notes: their rhetorical structure, their terminology, their use of metaphors, among others. What the vast majority of these studies have attempted to show is what features most tasting notes share; in other words, they have tried to identify what a typical tasting note is like. However, analysis of tasting notes corpora reveals a number of subtle differences not only from one language to another, but also within a given language. Therefore, in this paper we have attempted to identify and categorize these differences, using an English and Spanish comparable corpus, with each language corpus subdivided into three subcorpora, on the basis of the origin of the tasting notes. Differences in content categories, format and style, both in the subcorpora of each language and between the two languages, are analyzed and discussed. Overall, the English subcorpora reveal greater variation than the Spanish ones, with some features figuring prominently in a given subcorpus and being almost invisible in another.

The article presents how the novel The Translation by Pablo De Santis reffers to the most important concepts of theory and philosophy of translation. Among these concepts the most significant are those which consider the boundaries and mechanisms of interpretation in the act of translation. These ideas are metaphorically expressed by the myth of the fall of the Tower of Babel. The interpretative context for the novel by De Santis is determined by the works of Jacques Derrida, Julia Kristeva and Hans-Georg Gadamer. An important research problem is also the relationship between the category of translation and the hybrid genre of the crime novel by De Santis.

Résumé Cet article examine comment le canon poétique et traductif dans la Bulgarie communiste a influencé non seulement la sélection des auteurs et des titres à traduire, mais aussi la manière dont on traduit. L’analyse s’appuie sur un recueil de poèmes de Paul Éluard traduits en bulgare en 1953. Lorsque l’œuvre d’Éluard fut publiée en Bulgarie, la poésie politiquement engagée était un genre qui existait déjà dans la littérature bulgare et qui était très apprécié par le canon. Cependant, il y avait une différence substantielle entre la manière dont les poèmes politiques étaient écrits en Bulgarie et l’expression poétique d’Éluard, ce qui a eu un impact sur la traduction. Les traducteurs s’écartaient de l’original de deux manières. Premièrement, ils intégraient une vision idéologique des poèmes d’Éluard en ajoutant ou en soulignant certaines images secondaires ou inexistantes dans l’original. En outre, ils réduisaient les métaphores complexes d’Éluard à des images standard à connotation révolutionnaire et militante. Deuxièmement, les traducteurs ajoutaient des nuances poétiques à l’écriture sobre de l’original. Des rythmes et des rimes étaient introduits, ainsi qu’un vocabulaire archaïque et des inversions poétiques. Ces écarts peuvent s’expliquer par l’impact que le canon littéraire au sens large et les projets du traducteur individuel exerçaient sur la pratique de la traduction dans la Bulgarie communiste.

The article examines some motifs of G. Flaubert and G. de Maupassant in the stories of I. Babel of the 1920s and 1930s. Stylistic and genre comparisons of Babel’s works with the works of French writers were noticed by critics in the first half of the 1920s. Similarities with Maupassant in the structure of the novella, with Flaubert — in the structure of the phrase were noted. Maupassant’s novella and Babel’s novella have a lot in common, first of all, brevity, saturation, paradoxicity. However, there is a significant difference: Maupassant almost never narrates in the first person, Babel, on the contrary, in the vast majority of his stories speaks on his own behalf, while most often the narrator is the actor. At the same time, the similarity of the narrative manner of Maupassant and Babel is noted. V. Shklovsky, appreciating Babel’s stories highly, insists on their similarity to Flaubert’s historical novel Salambo. But in this case, it is hardly possible to talk about direct borrowings or allusions, rather, we can talk about random coincidences and not quite obvious roll calls in the depiction of cruelty and death during the war, about some pomp and solemnity of individual descriptions in Babel’s stories from Red Cavalry or in Odessa stories, similar to the descriptions in Salambo. This article identifies allusions to the works of Maupassant in the short stories Quaker (1920), My first Goose (1924) and allusions to the works of Flaubert and Maupassant in the story Guy de Maupassant (1932).

Etant donné que les critères actuels en matière de traduction posent certains problèmes, il s'avère nécessaire d'élaborer un critère idéal et pratique de la traduction. Le critère de traduction que je propose consiste a juger une traduction en fonction de l'ef-fet qu'elle engendre, ou de l'impression que le message reproduit procure au destinataire. En d'autre termes, si l'impression est plus ou moins semblable ou similaire à l'impression qu'a fait le message original sur son destinataire, la traduction sera bonne ou relativement bonne. Si l'impression s'écarte ou est assez différente de celle qu'a laissée le message original, la traduction est mauvaise ou n'atteint pas le niveau attendu. Pour permettre au destinataire du message reproduit d'avoir plus ou moins la même impression que celle ressentie par le destinataire du message original, il faut accorder de l'importance aux idées de l'original, au mode d'expression, au genre et au style d'écriture, à la fluidité du discours; les idées autant que l'esprit doivent être re-produits. II est souhaitable de disposer à la fois d'un critère optimal et minimal et d'un critère de traduction. Le critère optimal consiste à donner au destinataire une impression quasi pareille a celle du destinataire de l'original (pour cela il faut reproduire les idées, l'esprit, atteindre un état de perfection). Le critère minimal consiste à éviter les sept erreurs qui font qu'une traduction n'atteint pas le niveau exigé normalement.

Translation as a cultural process can be used in various ways to suppress or promote ideologies. Within the framework of Critical Studies in Translation, this article examines the presence of the phenomenon of manipulation; that is, deliberate alteration of central topics and messages for ideological purposes, in the Spanish translation of the story The Happy Prince by Oscar Wilde. It proposes that Wilde’s specific intent in using the fairy tale genre to battle heterosexism (the belief that heterosexuality is the only norm) is not transmitted in any of the Spanish versions of the story, since its English publication in 1888 to the twenty-first century.<p> The analysis proves that all twelve translations of the story found, included the famous translation by Jorge Luis Borges in 1910, manipulate the sex and sexuality of the characters by taking advantage of the commonly perceived ambiguities between the grammatical and cultural gender in Spanish. This is done in such a way that one of the messages of the story, the redemption of homosexual love and its acceptance by God, is omitted entirely to become, and promote, the standard and conventional view of sexuality that dominates contemporary Western tradition. The article finishes by pointing out the linguistic choices that need to be considered for a new translation of the story and provides the translation of a passage as an example.<p>

En Grande-Bretagne, Hans Christian Andersen est célèbre avant tout en tant qu'écrivain de contes de fées, et bien qu'il soit souvent cité comme un maître de ce genre littéraire, cet éloge lui est essentiellement décerné en raison de son aptitude à créer une 'bonne histoire'. Mais rares sont les lecteurs anglais qui réalisent à quel point Andersen manie la langue avec une extraordinaire subtilité. Les auteurs suggèrent que ceci est dû en grande partie au fait que ses écrits parviennent au lecteur anglais en traduction, et que, quel que soit le mérite de la traduction, cette dernière ne rend pas l'uniformité de certains termes clés utilisés dans le texte original. Les auteurs démontrent en particulier que certains termes clés auxquels Andersen accorde une signification bien précise dans toutes ses histoires et non seulement dans une seule, se perdent généralement lors de la traduction, même lorsqu'il s'agit d'une collection de traductions réalisée par le même traducteur. Parmi les choix linguistiques d'Andersen, les auteurs ont sélectionné ceux qui, dans l'optique sociocritique de son oeuvre, constituent des termes clés. Ils suggèrent et démontrent qu'en procédant à une analyse approfondie du style de plusieurs récits, le traducteur sera mieux en mesure de reproduire fidèlement l'uniformité terminologique d'Andersen. En respectant l'uniformité d'une oeuvre, le traducteur serait mieux à même de reproduire non seulement le style et les compétences linguistiques de l'auteur, mais également son talent de conteur.

Abstract This corpus-based contrastive study examines the thematic use of the semantic field of research and researchers in the Discussion section of biomedical reports in Spanish native texts and English-Spanish translations. This semantic field was divided into integral reference (specific named researchers), general nouns for researchers, and singular and plural nouns referring to research. Themes containing these lexical items were examined with regard to their syntactic manifestations and their lexicogrammatical relations with the main finite verb. Quantitative analysis was used to establish reference values for the native texts and to reveal differences between the two subcorpora. Qualitative contextual analysis then investigated how the data might be applied to the translated texts. The quantitative study showed that the Spanish texts had more integral references and more general researcher nouns in their themes whereas the translations had more singular research nouns, especially those referring to the current study. Singular research nouns were associated with more prepositional adjuncts in the Spanish texts but with more subject themes, either as head or as modifier, in the translations. The distribution of tenses was different in all categories except for plural research nouns, with a higher percentage of present and present perfect in the Spanish texts and more past indefinite in the translations. Differences were also found in the distribution of lexical verbs related to integral references and singular research nouns. The contextual analysis revealed that awareness of these differences and strategic choices based on them could lead to thematic and discourse patterns that come closer to the target-language norms for this genre.

Abstract Repetition or reiteration is a phenomenon common in language, music, religion, and literature, and has been studied extensively by linguists and rhetoricians. Unfortunately, it has not been investigated in Translation Studies because repetition is essentially an aspect of comparative rhetoric, a burgeoning discipline that is still in an embryonic stage. Among other things, it deals with how a particular rhetorical device functions in a certain language, and whether that function is preserved, metamorphosed, or compromised in translation. A rhetorical device does not necessarily require verbatim translation, because one must take into consideration such factors as genre, discourse, and text. Rhetorical repetition is used for emphasis, exaggeration, or the creation of parallel structures. Sometimes, repetition is much more subtle, where it enhances the contents or the message of the literary work. Several translation examples are discussed within this context to show where and how translation fails because it has not taken into consideration the constraints behind reiteration. The paper attempts to show how different translators have rendered repetition in poetry and prose in literary texts from English and Arabic. Translators handle reiteration in one of three ways: translate repetition as repetition; opt for variation; or completely ignore it. Although there are as yet no established rules concerning the translation of repetition, it seems that in non-literary contexts, and unless reiteration is markedly motivated, it is safe to translate it as variation. In literary works, however, translation or repetition should be approached with greater caution because it is always foregrounded, and hence its translation as repetition is recommended. Variation or omission of repetition in translating literature could result in gross misjudgment and distortion of the author’s intention. Résumé La répétition ou réitération est un phénomène commun à la langue, la musique, la religion et la littérature; elle a été étudiée de façon approfondie par les linguistes et rhétoriciens. Malheureusement, elle n’a pas fait l’objet de recherches dans la Traductologie, car la répétition est essentiellement un aspect de la rhétorique comparative, discipline croissante encore au stade embryonnaire. Entre autres éléments, elle traite de la façon dont un outil rhétorique spécifique fonctionne dans un certain langage et si cette fonction est préservée, métamorphosée ou compromise dans la traduction. Un outil rhétorique ne suppose pas nécessairement de traduction mot-à-mot parce qu’il faut prendre en considération des facteurs comme le genre, le discours et le texte. La répétition rhétorique est utilisée pour créer de l’emphase, de l’exagération ou pour établir des structures parallèles. Parfois, la répétition est bien plus subtile lorsqu’elle met en évidence le contenu du message de l’oeuvre littéraire. Plusieurs exemples de traduction sont discutés pour démontrer où et comment la traduction présente des défauts parce qu’elle n’as pas pris en considération les contraintes derrière la réitération. L’article tente de montrer comment différents traducteurs ont rendu la répétition en poésie et en prose dans les textes littéraires, de la langue anglaise vers la langue arabe. Les traducteurs manient la réitération de l’une de ces trois façons: traduire la répétition telle qu’elle est; opter pour la variation; ou bien l’ignorer complètement. Bien qu’il n’existe pas encore de règles établies à propos de la traduction de la répétition, il semble que dans les textes non littéraires, et à moins que la réitération ne soit fortement motivée, il est prudent de la traduire comme une variation. Cependant dans les ouvrages littéraires, la traduction de la répétition devrait être abordée avec une plus grande prudence parce qu’elle est toujours au premier plan, et donc une traduction comme répétition est recommandée. La variation ou l’omission de la répétition lors de la traduction d’ouvrages littéraires pourrait avoir comme conséquence une appréciation gravement erronée et une distorsion de l’intention de l’auteur.

Abstract Translating children’s literature has been an object of interest researched from a number of vantage points, including the question of constraining factors. Scholars have highlighted mainly the question of dual readership or cultural adaptation, frequently without a global and systemic analysis of all impediments. This article examines the Polish translation of the German book for children, Katharina von der Gathen’s Klär mich auf, from a constraint-based framework. This article focuses on the reconstruction of the constraints in the translation process: the point of departure is the framework with three basic factors that constrain translation, i.e., the intention of the author/translator, text type, and the profile of the audience. The presented argumentation incorporates other formal impediments, such as the visual layer of the book and the semiotic make-up of the source text, language taboo and censorship or the literary polysystems. The analysis of the constraint framework helps to comprehend the translation in terms of the ST-TT relationship regarding their intended audiences, genre-related features, and the child-adult duality.

Pour plusieurs raisons, l'ouvrage de Bulgakov, The Master and Margarita, est intéressant pour les étudiants en traduction et c'est la raison pour laquelle le présent article aborde toute une série de questions. Cependant, l'auteur tente avant tout de cerner deux aspects fondamentaux. En premier lieu, il analyse le caractère étonnamment "étrange" de l'univers textuel du roman et les difficultés qu'il représente par conséquent pour le traducteur. Au nombre de ces difficultés figure entre autres la nécessité pour le traducteur d'être familiarisé avec toute une gamme d'antécédents littéraires présents dans le roman. C'est à ce niveau-là que surgit une seconde difficulté, à savoir d'effectuer un "transfert culturel" qui tienne compte du fait que Bulgakov élabore un univers textuel unique en son genre en y intégrant des éléments culturels d'origines diverses. L'auteur en conclut que dans de telles conditions, la traduction devient un ré-encodage secondaire du code culturel d'origine. En second lieu, l'auteur tente de justifier la liberté d'approche dont fait preuve Michael Glenny, l'un des deux traducteurs anglais de l'ouvrage de Bulgakov. Cette traduction libre se manifeste par l'adjonction d'éléments et de nuances qui ne se trouvent pas dans le texte original mais que l'auteur justifie eu égard à la nécessité, pour une traduction, d'être fidèle à sa propre logique interne. A titre d'exemple, il cite et analyse l'adjonction de l'expression yiddish Mazel tov. L'auteur tente également de découvrir dans quelle mesure il est admissible voire souhaitable que le traducteur crée sa traduction en y reflétant ses propres convictions ou sa personnalité. Enfin, Particle aborde une série de questions d'importance secondaire, telles que les noms utilisés par Bulgakov, le style et les problèmes que suscite l'existence de plusieurs versions différentes, manuscrites, du roman.

Abstract This article aims to investigate the relationship between paratexts and the translation product with a case study of Lolita translations in China. Since Lolita has been one of the most frequently retranslated literary works in China over the past three decades, it can serve as a bellwether of the changes that have taken place in the translation field as well as those in the social, cultural and historical context. Therefore, a comparative study of the paratextual elements of Lolita translations acts as a reflection of the negotiations between the translation activity and the changing socio-political context. The analysis of paratexts locates translation as a social activity in which many agents are involved other than simply the translator and the source text. Through their organic integration with the translation products, the paratextual elements, functioning as genre indicators, work to promote the translation while potentially predicting its target readership. In the translation and retranslation of the same source text, a discussion of the paratexts may provide new insights into understanding the relationship between translations and retranslations as well as the evolution of the translation field in relation to Chinese society.

Abstract A great deal of speculation dominates the translation industry with regard to the effectiveness of (MT) Machine Translation, or translation software. This project investigates the conclusions of Bennet (1994) about the size of the UT (unit of translation), based on the raw translations of a sample text as produced by four competitive PC programs. These programs are all transfer systems, which employ a minimum UT, such as a single noun phrase. The sample text is an authentic business correspondence text. A linguistic analysis of the four translations is performed. Results of the analysis show that numerous errors are committed which require the intervention of the professional translator. This research concludes that, for this type of text, a transfer system is not cost-effective because it will still require extensive human editing. The semantic errors particularly demonstrate the need to emphasize research towards the development of translation software which incorporates a larger UT. Résumé L'industrie de la traduction est soumise à de nombreuses spéculations en ce qui concerne l'efficacité de la traduction informatisée (TI) ou des logiciels de traduction. Dans cet article, l'auteur examine les conclusions de Bennet (1994) concernant la dimension de l'unité de traduction (UT), basée sur les traductions brutes d'un texte servant d'échantillons et produites par quatre programmes concurrentiels sur PC. Tous ces programmes sont des systèmes de tranfert qui emploient une UT minimum, par exemple une phrase nominale simple. Le texte d'échantillon est une lettre commerciale existante. Les quatre traductions obtenues sont soumises à une analyse linguistique, dont les résultats indiquent plusieurs erreurs exigeant l'intervention d'un traducteur professionnel. Cette étude permet de conclure que pour ce genre de textes, les systèmes de tranfert ne sont pas rentables du point de vue du coût puisqu'ils doivent être corrigés par une personne. Les erreurs sémantiques en particulier rélèvent le besoin de développer des logiciels capables d'incorporer une plus grande UT.

Abstract This article contributes to the discussion of retranslation in Translation Studies through a case study on the retranslation of romance novels in Taiwan. Although retranslation has received some attention from translation researchers, most of the existing studies are based on examples of classic literature. In contrast, popular fiction like the romance novel remains relatively under-researched. In this article, paratextual analysis is applied to the publishing environment and marketing strategies for romance novels in order to explain why works of this genre – which are usually regarded as cheap and “throwaway” – are retranslated and how consumers are motivated to purchase such products. The findings suggest that the retranslation of best-selling romantic novels is a low-cost and low-risk investment for the publishers concerned. Such retranslations are promoted through three channels: via the branding of the retranslation as a “classic”; by persuading readers to believe that the retranslated version is more faithful to the original, and thus superior; and by introducing a different mode of consumption – a shift away from renting and towards the purchase of novels. It is argued that, for commercially-driven retranslations, market factors rather than the inherent features of the texts concerned provide a clearer explanation for the phenomenon of retranslation.

Abstract This paper aims to look closely at the achievement of coherence in interpreting through the prism of metadiscourse, a set of grammatical resources instrumental in organizing a discourse, guiding the recipients towards an author/speaker’s preferred interpretation while taking account of their needs and expectation. Despite a general consensus on the role of the umbrella term, opinions vary on what falls under it. Further, while the conception sets an illuminating framework for empirical endeavors to delve into the way in which meaning is negotiated and represented at discoursal level, its discussion is often confined to the analysis of written text in specific genre (e.g. academic treatise), leaving its role in oral discourse scarcely explored. In this paper, we propose an adapted taxonomy for the analysis of devices as such in interpretation and relate them to the building of coherence in interpreted events. Qualitative analysis of instances from real-life situations is then presented to show that successful communication in interpreting does not only come as a result of rendering the propositional message, but also involves a process of skillfully managing various metadiscoursal devices in reconstructing intertextual and intratextual conherences, both of which serve the same communicative goal with neither enjoying precedence over the other. The proposed taxonomy of metadiscourse may have some pedagogical and practical implications.

Abstract This paper presents a series of observations arising from the experience of translating Jibanananda Das's Bengali poetry into English. Though the emphasis is on the practice of translation the observations in question are foregrounded against the perspective of theories of translation studies. The first part of the paper demarcates the scope of the paper in theoretical terms. Several possible approaches to translations of Jibanananda Das (in terms of process, end product, and sociological connotation) are considered with a view to focusing on practical observations. In the course of this process of theoretical delimitation some sense of the linguistic and literary context within which Jibanananda worked, and which the translator must appreciate, is conveyed. The second part is guided to a large extent by Roman Jakobson's notion that the activity of translating is influenced more by what languages must convey rather than by what they can convey. Consequently, this part identifies those features of the source and target languages which pose the greatest difficulties for the translator. It is assumed throughout that the practice of literary translation is largely a decision-making process: examples from the poetry of Jibanananda Das are cited and the range of decisions facing the translator are clarified where ever necessary. Four features of the Bengali language as compared to the English language are examined at some length: neutral pronouns of Bengali as opposed to gender-specific pronouns of English; culture-specific words; sadhu and calit used in Bengali (and analogously formal and informal modes of address); and symbolic forms (or echo-type onomatopoeic words or expressives) in Bengali and English. In the third part a translator's practice with regard to the specifically poetic features, over and above the inevitable linguistic features, of texts like Jibanananda's is considered briefly. Résumé Le présent article contient une série d'observations formulées à partir de la traduction en anglais de la poésie de Jibanananda Das. Bien que l'auteur mette l'accent sur la pratique de la traduction, ces observations s'inscrivent dans la perspective des théories relatives aux études de la traduction. Dans une première partie, l'auteur définit le cadre théorique de l'article. Les traductions de la poésie de Jibanananda Das sont approchées sous différents angles (processus traductionnel, produit final et connotations sociologiques) de manière à pouvoir se concentrer sur les aspects pratiques. La délimitation d'un cadre théorique doit permettre la découverte du contexte linguistique et théorique dans lequel s'inscrivent les oeuvres de Jibanananda et qui doit être apprécié à sa juste valeur par le traducteur. La seconde partie de l'article est dominée par un principe de Roman Jakobson, à savoir que l'activité traductionnelle est davantage influencée par ce que les langues doivent faire passer plutôt que par ce qu'elles sont capables de faire passer. Par conséquent, dans cette seconde partie, l'auteur désigne les aspects qui, dans la langue d'origine et dans la langue d'arrivée, posent le plus de difficultés au traducteur. L'auteur considère que la pratique de la traduction littéraire est en grande partie un processus décisionnel. A ce propos, il cite des exemples empruntés à la poésie de Jibanananda Das et explicite, chaque fois qu'elles s'avèrent nécessaires, les décisions auxquelles est confronté le traducteur. Quatre caractéristiques de la langue bengali sont comparées à l'anglais et examinées en détails: les pronoms neutres en bengali par opposition aux pronoms de genre en anglais; termes typiques de la culture; usage de sadhu et de calit en bengali (et, par analogie, formes de politesse ou tutoiement); et formes symboliques (ou expressions ou onomatopées de type écho) en bengali et en anglais. Dans la troisième partie, l'auteur aborde brièvement la pratique de la traduction, plus spécifiquement en ce qui concerne les aspects poétiques, par-dessus et au-delà des caractéristiques linguistiques inévitables, de textes tels que ceux de Jibanananda.

Abstract Published in 1958, The Languages of Pao by Jack Vance is one of the earliest linguistic speculations in the science fiction genre. Directly inspired by the Sapir-Whorf hypothesis, it describes a complex, linguistic engineering experiment set up to transform the essentially peaceful nature of the inhabitants of the planet Pao, so that they might stand up to invaders from another planet. It does so through the creation and implementation of three new languages, as opposed to the one they already speak, to create a merchant class, technical class, and warrior class. While Vance’s extrapolation is excessively schematic, and certainly leans heavily on a concept of linguistic relativism that now sounds rather dated, other science fiction writers have explored in different ways the idea that language influences thought and perception of the world, beginning with Babel 17 by Samuel Delany, and Ted Chiang’s Story of Your Life (on which the film The Arrival by Denis Villeneuve is based). But of particular importance here is Mother Tongue by Suzette Haden Elgin. Her novel is set in a dystopian, patriarchal future, where a group of linguists creates an artificial language, the Làadan, to better express women’s perception of life and as an act of resistance to the dominant male-centred culture, thus anticipating many themes in today’s debate on language and gender.

AbstractThis essay focusses on two short stories pertaining to that part of the Borgesian œuvre, which has attracted less scholarly attention than his world-famous fantastic stories (La biblioteca de Babel, El inmortal, El Aleph). The ‘Argentinian’ stories – such as El muerto, or Tema del traidor y del héroe – impress readers with their laconic diction and cynicism. Ultimately, however, they may seem to be limited to a sort of nineteenth-century mimeticism. Considering these texts in detail, it turns out that the elements conveyed by the narrator insinuate different versions of the respective story—all of which are compatible with the ‘real’ events they refer to. Consequently, the author’s mimetic tales share a conceptual framework with his fantastic yarns – precisely one that is committed to the basic assumptions of skepticism. In what follows, the essay relates Borges’ twentieth-century version of this noetic edifice to its Ancient foundations, as well as to the first ‘wave’ of Skepticism in European Modernity (Descartes; Calderón). The last section addresses the aesthetic dimension of the Borgesian short stories: how does philosophy (and epistemology especially) relate to literary fiction – that is, to a textual genre, whose primary function appears to be entertainment, based on fantasizing? Resuming the discussion of Borges’ philosophical position, the essay concludes by quoting some remarks by David Hume, which seem to give expression to an attitude towards skepticism that is shared by the Argentinian author.

The increasing popularity of audiovisual translation in recent years has contributed to a better understanding of the audiovisual world. Nevertheless, some modalities such as voice-over have not received thorough attention. In Poland, where voice-over is the prevailing audiovisual, one voice talent reads out the entire dialogue list in a monotonous way. The translated version is subject to time and space restrictions, and both the original and the translated soundtracks are audible at the same time, making it interesting to analyze a key aspect of voice-over: the process of synchronization. Departing from a categorization which originated within the field of dubbing, and which was later extended and applied to the voice-over of non-fictional products by Franco, Matamala and Orero, this article aims to assess whether voice-over isochrony, literal synchrony, kinetic synchrony and action synchrony are maintained in the voice-over of fiction genres in Poland, and if so, what strategies are used to achieve this. The corpus is made up of four 15-minutes samples from movies belonging to four different genres: a comedy (Whatever Works, directed by Woody Allen 2009), a drama (Marvin’s Room, directed by Jerry Zaks 1996), an action movie (Spy Game, directed by Tony Scott 2001), and a musical (Nine, directed by Rob Marshall 2009). The study highlights the specificities of synchrony in fictional movies and opens the door for future research into this previously underestimated audiovisual transfer mode.

This article looks at two recent and widely recognized productions of Henry Purcell's Dido and Aeneas (by choreographer Sasha Waltz, Berlin 2005, and theatre director Sebastian Nbling, Basel 2006) and discusses three main aspects: 1. Genre: coming from a Tanztheater (Waltz) and a Sprechtheater (Nbling) background, each director renegotiates conventions of the operatic genre and consciously evades expectations in pursuit of a new and challenging experience for both the performers and their audience. 2. Physicality: both productions place the performers' bodies at the forefront of the mise-en-scne they remap the singing, dancing, acting body by questioning conventions and expectations commonly found in the production and reception process. 3. Adaptation: both productions take unconventional liberties by adapting in a domain where notions of Werktreue (fidelity to the original work or score) still reign. Adopting ideas from Nicholas Cook and Mikhail Bakhtin, I will argue that the conceptual, musical and theatrical implications of both productions indicate a renegotiation of the social and performative relevance of operatic performance.

Cet article se propose d’identifier les textes et les domaines que les traducteurs professionnels espagnol-français et français-espagnol traduisent habituellement. Tout d’abord, nous examinons brièvement quelques travaux portant sur la traduction professionnelle ainsi que des études relatives à la traduction économique en espagnol et en français. Bien que ces travaux nous permettent de savoir, par exemple, quels documents ou domaines certains formateurs de traducteurs proposent à leurs étudiants de traduction économique, ou la place qu’occupe ce type de traduction aux côtés d’autres spécialités comme la traduction juridique, la traduction technique ou la traduction littéraire, ils ne nous permettent cependant pas de discerner la réalité professionnelle du marché espagnol. Après avoir présenté l’enquête que nous avons menée afin de connaître de plus près la réalité de la traduction économique en français et en espagnol, nous décrivons le profil des traducteurs ayant répondu à l’enquête pour identifier finalement les textes et les domaines le plus fréquemment traduits. Les résultats montrent des différences quant aux textes et aux domaines, et aussi quant aux combinaisons linguistiques. Ainsi, ces résultats pourront non seulement aider les formateurs de traducteurs économiques à concevoir leurs programmes ou modules spécialisés mais aussi à poursuivre la recherche sur l’analyse contrastive de genres textuels de l’économie.

Journalistic Arabic appears to be encroaching upon Classical Arabic language in many respects. The former seems to have been influenced by European languages via translation. New construct phrases and idiomatic expressions have come into existence and other classical syntactic structures ceased to exist in journalistic Arabic. The new syntactic modes of expression are not as strict as Classical ones. They seem conformed to the English thought habits and thus retain much less of the rigid Classical Arabic structural particularities. Thus journalistic Arabic is deemed more flexible than Classical Arabic, which enjoys a restricted formal scope of Arabic literary genres that bring about the poetic use of the language. Such use is unwelcome by the media, merely because the focus of the media writing is on communicating the message rather than presenting the aesthetic value of the expression. It is not the intention of the author here to promote Classical language to the detriment of the language of the media, but to show how deviant the modern journalistic language is in relation to the classical Arabic, the most revered and highly respected. This paper is thus an inquiry into the journalistic transgression against Classical Arabic via translation from European languages, especially English. This transgression is obvious in deviant passive structures, negative constructions, and literal translation of foreign idiomatic expressions. Each of these themes will be discussed, alongside representative examples to elucidate each point in question. The paper ends by discussing the repercussions of this study for journalists and their affinity with Classical Arabic.

This article will examine the ethical and directorial challenges faced by the documentary filmmaker when collaborating with a central subject who lives with a potentially fatal genetic condition, whilst pursuing a career as a professional dominatrix. What modes of representation and collaboration are open to the director, when artificial boundaries and television genre categorisations such as ‘the science documentary’, ‘the biography’ and the fetish or ‘porno film’ seem limiting? Jabe Babe – A Heightened Life ( Merewether 2005 ) seeks to collapse and merge these conventionally distinct practices by developing a hybrid mode of representation, provoking questions about society's desire for sexual, visual, and genetic conformity.

Abstract This paper describes the development of a new range of bilingual dictionaries which are based on translating the explanations in monolingual Cobuild dictionaries2 into the user's mother tongue. These dictionaries have been designed by Cobuild's Editor-in-Chief, John Sinclair, primarily to address the needs of language learners. The philosophy which underlies the design reveals important assumptions about the nature and limits of equivalence.3 Moreover, the development and implementation of the editorial policies have raised a number of issues which are of immediate concern to scholars of translation and to applied linguists. These include, for example, the nature and boundaries of the units of language and hence of the unit of translation, as well as the practical question of handling new genres in translation. This paper concentrates on the treatment of equivalence in the range of dictionaries under discussion. RÉSUMÉ Le présent article décrit une nouvelle série de dictionnaires bilingues basés sur la traduction, vers d'autres langues, de dictionnaires anglais unilingues. Ces dictionnaires s'adressent aux étudiants en langues dont les connaissances linguistiques sont inférieures au niveau intermédiaire. Cependant, les dictionnaires en soi sont faits par des traducteurs professionnels ou réalisés sous le contrôle de ces derniers. C'est la raison pour laquelle leur contenu représente de véritables exercices de traduction dont chacun a pour but d'aborder un domaine différent de la communication. De plus, la conception de ces dictionnaires est basée sur une notion d'équivalence, plus sophistiquée que celle que l'on trouve dans les dictionnaires bilingues classiques. Les équivalences, aussi bien au niveau des explications/définitions qu'à celui des exemples, sont souvent abordées dans le détail. L'article fait également remarquer que cette série de dictionnaires pourra très bien être utilisée dans les écoles de traduction.

The lute tablature CH-Bu F IX 70 was compiled by Emanuel Wurstisen (1572–1616), a Basel University student, who became a physician in Biel toward the end of his life. His biography has been supplemented here so as to include new information concerning, among other things, his collaboration with German surgeon Wilhelm Fabricius Hildanus during the first decade of the seventeenth century. When commencing his tablature, in 1591, Wurstisen planned to divide it into eight books, each devoted to works of a similar genre. The manuscript comprises nearly five hundred works, mostly anonymous, while among those of known attribution, compositions by Orlando di Lasso take pride of place. Composers mentioned by name include Amandus Polanus a Polansdorf, a professor of theology at Basel University, who wrote his Was Gott will most likely after the death of his wife, in 1605, which thus becomes the hypothetical terminus post quem for the completion of the tablature. There are many Polish elements in the manuscript. Piotr Poźniak long since identified the works signed with the initials C.S. as written by Kasper Sielicki, and noted that the two works by Wojciech Długoraj, as well as the Fantasia by Diomedes Cato, differ from the versions published by J. B. Besard (1603). Hence they may have reached Wurstisen not through printed editions, but in some other way. The author studies how these and other pieces from the Polish repertoire (including Polish dances) could have found their way to Basel. Among those who could have played some part in this ‘import’ of music, she points, first and foremost, to students and residents who came to Basel from Poland, such as Marcin Chmielewski, a professor of Basel University, the medical student Orestes Cato, brother of Diomedes, and the poet Daniel Naborowski, who frequently returned to Switzerland. The attributions of works from CH-Bu F IX 70 are complemented by the identification of the composer of works signed in the tablature with the initials F.D.D (F.D.D.D.) as Fridericus de Drusina Dantiscanus, a lutenist from Royal Prussia, son of Benedict de Drusina. The pieces by this composer found in Wurstisen’s manuscript (Exercitium and a pair of dances, Passomezo and Saltarello) are his only known works.

Abstract Audiovisual translation has become one of the main means of communication between cultures. Although the number of Chinese films that reach Spanish audiences is rather limited, the cinema is still a very powerful tool in bridging the gap between these two cultures. This paper aims to give an overview of the situation of Chinese cinema in Spain through audiovisual translation. In order to do so, a database of 500 Chinese films translated into Spanish has been created. For each film, different types of information organized into three blocks have been collected: firstly, data regarding the source film in Chinese; secondly, data on the translated film; and finally, information about paratexts related to the film in Chinese, Spanish and English. Through a quantitative and qualitative analysis of our data the main trends in Chinese-Spanish audiovisual translation from the mid-1970s to today are shown. Our results identify the most popular Chinese directors and the main genres and translation modalities. We point out the role of the translator and the importance of mediating languages; and, finally, we highlight the significance of distribution channels, particularly film festivals. This article aims at filling the gap with regard to research in audiovisual translation as an intercultural exchange between China and Spain.

The aim of this article is to trace the influence of Axiochus, an apocryphal text attributed to Plato, on Humanism. The dialogue, which belongs to the literary genre of “consolation”, addresses the theme of contempt of death and the immortality of the soul. The jurist Pedro Díaz de Toledo (1410/15 – 1466) translated it into Spanish in 1444 from a Latin version entitled De morte contemnenda, which Cencio de’ Rustici had translated eight years earlier, probably from the Greek codex provided by Joannes Chrysoloras, the Vaticanus gr. 1031. For his part, the humanist Beatus Rhenanus (1485 – 1547), the owner of five editions, revised and corrected in detail the text of a translation by Rudolf Agricola, proposing a number of amendments and changes that would appear in the Basel edition printed by Adam Petri in 1518.

Abstraite Afin de s’assurer une bonne compréhension du texte source, le traducteur juridique se doit de maîtriser la macrostructure des genres textuels du droit, le style du langage juridique et la terminologie du champ thématique en question. C’est sur ce dernier aspect, la terminologie, que portera la présente étude. Plus concrètement, nous nous intéressons à certains termes du droit des successions qui ont une forme linguistique similaire en français et en espagnol. La proximité des langues et des systèmes juridiques concernés mène le traducteur à considérer que certains de ces termes désignent le même concept alors que ce n’est pas toujours le cas. Nous nous demandons si, entre les termes choisis, il existe véritablement une relation d’équivalence sémantique pleine ou si, au contraire, cette relation conceptuelle est asymétrique et imparfaite. La confirmation de cette dernière hypothèse signifierait l’identification de faux-amis dont il faudrait tenir compte pour éviter des erreurs de sens au moment d’opter pour une solution de traduction. Pour répondre à ces questions nous proposons une analyse comparative fondée sur la méthodologie du droit comparé et sur le concept d’équivalence fonctionnelle. L’intérêt d’une telle approche méthodologique pour le traitement de l’équivalence a été mis en relief dans plusieurs travaux portant sur la traduction juridique. En même temps elle permet de réfléchir sur l’acceptabilité de certaines techniques de traduction lorsque nous avons affaire à ce type de mots.

In this essay I construct a literary genealogy that situates William Dean Howells in the middle of a call-and-response literary conversation with popular women writers about race, gender, and genre. Since Howells correlated racial questions with realism, his only novel that treats intermarriage, An Imperative Duty (1891), offered Howells an opportunity to deploy his presumably objective, scientific, realist knowledge about race in order to challenge women's romantic miscegenation plots found in Margret Holmes Bates's The Chamber over the Gate (1886) and Alice Morris Buckner's Towards the Gulf (1887), two novels that he had recently read and reviewed. Yet the tragic mulatta stereotype, a stock figure of romanticism and sentimentality that was resistant to scientific discourse, ruptures Howells's goal of representing the figure according to the tenets of realism. In Iola Leroy (1892), Frances Ellen Watkins Harper cunningly recasts the tragic mulatta stereotype both to critique Howells's project and to represent the potential of black womanhood. Knowledge of Bates and Buckner can change critical conversation about the influence of women writers on Howells, the understanding of the role of the racialized woman in his fiction, and his conception of the link between the romantic mulatta and realist representation. Likewise, Harper takes issue with Howells's supposed ironic sophistication about race, and in Iola Leroy she rewrites many of his views in order to show the ways that miscegenation is at once a novelistic and a national problem.

Abstract In the post-modern world where thinking of pluralism and relativism is prevalent (Honeysett 2002), fundamental values such as respect for life pertinent to the health and welfare of humanity should remain unchanged in order to preserve the culture from corrosion. In this paper, through examining creativity in translation and creative writing (Zawawy 2008; Perteghella and Loffredo 2006), macro- and micro- strategies of translating a Chinese prose into an English play will be discussed, with the aim to explore the notion, “creativity is culturally variable” (Carter 2016) in literary translation. I would concur with Ludwig Wittgenstein who stated, “ethics and aesthetics are one” (1961), and argue that genres and forms of expression might vary in cross-cultural translation, semantic content and message should still be unaltered. Literary translators can act as cultural mediators to advocate peace. So to “develop an understanding of translation strategies and of the vital role that creativity plays throughout the translation/interpreting process” (Levý in Beylard-Ozeroff, Králová and Moser-Mercer 1998) can help translators build bridges rather than promote violence, to foster diversity rather than divisiveness. As such, I would explore how a translator can translate cultures with respect, integrity and creativity in the midst of tensions, confrontations and conflicts due to misunderstandings linguistically and culturally. As Vezzaro (2010: 10) put it, “to come closer to feeling compassion, which is what writing and translating is ultimately all about.” This will call for efforts to translate texts with faithfulness and the right degree of creativity (Grassilli 2014), making good decisions at individual levels and beyond. This will also require cultural understanding and collaboration at national and even international levels.

This introductory article follows one of the most widely read and used Qur'an editions in Christian Europe, Theodor Bibliander's Machumetis Saracenorum principis, eiusque successorum vitae, ac doctrina, ipseque Alcoran, printed in Basel in 1543 and in a second edition in 1550. The article analyses some of the interpretations, appropriations, and polemical uses that this Qur'an version was exposed to during an age of confessional rivalry and political fragmentation. By doing so, the article tries to show the deep entanglement of the Qur'an in European religious and political discourses. It argues that with regard to the transformations that the Qur'an underwent in its transition from the Islamic-Arabic world to the various Latin and vernacular versions in Europe, as well as with regard to the ways that the Qur'an is read, used, and adapted in Christian and Jewish European contexts, we are confronted with a text genre sui generis–—the European Qur'an.

The Class of ’92 is a documentary film featuring six Manchester United F.C. players who recount their time during a pivotal period for the club, English football and English society. The documentary claims to offer a commentary on Britain in the 1990s, but appears, without acknowledging the fact, to be a promotional vehicle to establish the six men as a brand labeled the Class of ’92 (CO92). Creating this brand necessarily involved presenting a selective account of their time and places with the film being little more than an advertisement, masquerading as an observational documentary. The film draws freely upon the symbolic capital held by the club and the city of Manchester and uses the Busby Babes/Munich chapter and the more recent “Madchester scene” to forge the Class of ’92 brand by editing out those elements that did not accord with this project. The article argues that a more complete representation of ’90s Britain, while disrupting the intended narrative, would acknowledge the significant structural and commercial changes experienced by the club, the sport, and the city in the last decade of the 20th century. We suggest that the Class of ’92 invites the viewer to consider how the documentary film genre can contribute to brand development and promotion.

This article deals with Pieter de Hooch’s enigmatic painting Woman holding a basket with beans in a garden of 1661 (Kunstmuseum, Basel), and, more specifically, with the identity of the man depicted on the window shutter of the building in the foreground of the painting. The author argues that this portrait, which was hidden behind a layer of paint for a long time and only uncovered sometime between 1913-1927, represents the Emperor Charles V, whose portrait still decorates many buildings in the Netherlands. It is also argued that the building in the background of the painting can be typified as a ‘hofje’ or almshouse, and that its architecture resembles that of the Leiden Eva van Hoogeveenshofje, built by the architect Arent van ‘s-Gravesande in the 1650s. This suggests that De Hooch did not only paint locations in Delft and Amsterdam, but also in Leiden. The Dutch Republic’s seventeenth-century ‘hofjes’ were renowned, eliciting praise from foreign visitors, not only because of the way the Dutch Calvinist elite took care of the needy but also because of their superb architecture that enhanced the beauty of the Republic’s cities. Interestingly, De Hooch painted a servant girl in the garden of the almshouse, which at first may seem incongruous with an institution intended for the poor. However, as will be shown, residents of almshouses in the seventeenth-century Dutch Republic were not as poor as is generally thought. Some were even quite well-off and did indeed keep servants. In fact, some contemporaries even likened the Dutch almshouses to palaces. The portrait of the emperor on the window shutter may thus have criticised this type of ‘poor relief’ and could well have been intended to bring out the resemblance between the ‘hofje’ and an emperor’s palace. The word ‘hofje ‘ after all means ‘small court’. As such an overt criticism is unique in De Hooch’s oeuvre, it may have been the artist himself who blotted the emperor’s portrait out, thus changing the image into a straightforward genre scene. It was precisely this type of scene that was to bring De Hooch some success following his move to Amsterdam in 1660.

Сочинение Публия Папиния Стация «Фиваида» представляет собой самое обширное дошедшее до нас изложение войны, развязанной сыновьями фиванского царя Эдипа – Этеоклом и Полиником. Братоубийственная война у Стация является преступлением, о котором он хочет поведать читателю, утвердив себя в роли морализирующего поэта, который является настолько же римским, насколько и греческим. В случае с детьми Эдипа война является божественным наставлением-наказанием, которое не могут или не хотят предотвратить смертные. Этеокл и Полиник в изображении Стация – это злые по природе юноши, ненависть которых друг к другу и жажда власти являются врожденными. Осуществив пересечение жанров, Стаций создал новую версию мифологических событий, к которой обращались как древнегреческие, так и древнеримские драматурги. В его версии Этеокл и Полиник не являются последним поколением, к которому перешло проклятие, передающееся по мужской линии между потомками фиванского царя Лая и неизбежно затрагивающее линию женскую. Словно давая Этеоклу и Полинику шанс стать лучше, Стаций постоянно отсрочивает начало войны, что позволяет Полинику обзавестись ребенком, которому уготовано стать четвертым поколением «нечестивого рода». О судьбе этого ребенка Стаций не сообщает, давая читателю право самому решить, станет ли он очередным педагогическим фиаско или обернется педагогической победой над проклятьем дома Лая. В статье также была проанализирована терминология Стация и Гигина относительно погребения Полиника – одной из ключевых точек сюжета. Для обозначения погребального костра Гигин использует слово pyra, которое заимствовано из греческого языка (πυρά). Стаций предпочитает использовать латинский аналог (bustum) для определения погребального костра Этеокла, куда Антигона с Аргией водружают тело Полиника. Сцена погребения Полиника Антигоной и Аргией, описанная Стацием и Гигином, имеет свое визуальное воспроизведение на мраморном саркофаге конца II в. н. э. (Villa Doria Pamphilj). Подтверждением тому, что версия погребения Полиника Антигоной и Аргией не придумана в римское время, а является древнегреческой традицией, которая уходит корнями в архаический период, являются данные материальной культуры. Например, саркофаг из Коринфа, датируемый серединой II в. н. э., имеющий в своем художественном выражении классическое греческое влияние, а также этрусская амфора ок. 550 г. до н. э. (Basel: Inv. Züst 209), где изображен поединок Полиника с Тидеем, за которым наблюдают Аргия и ее сестра Деипила. The Thebaid by Publius Papinius Statius is the most extensive surviving account of the war started by the sons of the Theban king Oedipus—Eteocles and Polynices. This fratricidal war is a crime that Statius wants to tell the reader about, having established himself in the role of a moralizing poet who is equally Roman and Greek. In the case of Oedipus’ children, the war is a divine instruction-punishment that mortals cannot or do not want to prevent. Eteocles and Polynices, as described by Statius, are young men evil by nature, experiencing the innate hatred of each other and lust for power. Having mixed the genres, Statius created a new version of the mythological events, which both ancient Greek and ancient Roman playwrights turned to. In his version, Eteocles and Polynices are not the last generation to whom the curse passed. Though the curse descended on the male line among the descendants of the Theban king Laius, it inevitably affected the female line as well. As if giving Eteocles and Polynices a chance to become better, Statius keeps delaying the beginning of the war, which allows Polynices to have a baby who is destined to become the fourth generation of the “wicked family”. Statius does not report on the fate of this child, giving readers the right to decide for themselves whether he will become the next pedagogical fiasco or turn into a pedagogical victory over the curse of the House of Laius. The article also analyzes the terminology used by Statius and Hyginus regarding the burial of Polynices—one of the key points of the plot. To refer to the funeral pyre, Hyginus uses the word ‘pyra’ borrowed from Greek (πυρά). Statius chooses to use the Latin word ‘bustum’ to refer to the funeral pyre of Eteocles, where Antigone and Argia place the body of Polynices. The scene of Antigone and Argia burying Polynices, described by Statius and Hyginus, is reproduced on a marble sarcophagus dating back to late II AD (Villa Doria Pamphilj). The fact that the version of Antigone and Argia buried Polynices was not invented in the Roman times but is rooted in an ancient Greek tradition going back to the archaic period is confirmed by the artifacts from material culture: for example, a sarcophagus from Corinth dating from the middle of the second century AD, which demonstrates a classical Greek influence, and an Etruscan amphora dating from approx. 550 BC (Basel: Inv. Züst 209), which depicts a combat between Polynices and Tydeus that Argia and her sister Deipyle watched.

RÉSUMÉLe principal objectif de cet article est d’encourager une approche plus large, supraconfessionnelle, du mariage et de la famille à l’époque moderne. La conjugalité a été “désacralisée” par les réformateurs protestants du 16e siècle. Martin Luther, parmi d’autres, a refusé le statut de sacrement au mariage, tout en valorisant celui-ci comme une arme contre le péché. En réaction, le concile de Trente a réaffirmé avec force que le mariage est bien un des sept sacrements chrétiens. Mais, promouvant la supériorité du célibat, l’Église catholique n’a jamais beaucoup insisté sur les vertus de la vie et de la piété familiales avant le 19e siècle. En parallèle, les historiens décèlent des signes de “sacralisation” de la famille protestante à partir du 16e siècle. Leurs conclusions doivent être relativisées à la lumière de recherches plus récentes et plus critiques, centrées sur les rapports et les représentations de genre. Elles peuvent néanmoins inspirer une étude élargie et comparative, inexistante dans l’historiographie traditionnelle, des réalités et des perceptions de la famille chrétienne au-delà des frontières confessionnelles.MOTS-CLÉ: Époque Moderne, mariage, famille, protestantisme, Concile de TrenteABSTRACTThe main purpose of this paper is to encourage a broader supra-confessional approach to the history of marriage and the family in the Early Modern era. Wedlock was “desacralized” by the Protestant reformers of the 16th century. Martin Luther, among others, denied the sacramental status of marriage but valued it as a weapon against sin. In reaction, the Council of Trent reinforced marriage as one of the seven sacraments. But the Catholic Church, which promoted the superiority of celibacy, did little to defend the virtues of family life and piety before the 19th century. In parallel, historians have identified signs of a “sacralization” of the Protestant family since the 16th century. These findings must be relativized in the light of newer and more critical studies on gender relations and representations. But they can still inspire a broader comparative study, non-existent in traditional confessional historiography, of the realities and perceptions of the Christian family beyond denominational borders.KEY WORDS: Early Modern Christianity, marriage, family, Protestantism, Council of Trent BIBLIOGRAPHIEAdair, R., Courtship, Illegitimacy and Marriage in Early Modern England, Manchester, Manchester University Press, 1996.Beaulande-Barraud, V., “Sexualité, mariage et procréation. Discours et pratiques dans l’Église médiévale (XIIIe-XVe siècles)”, dans Vanderpelen-Diagre, C., & Sägesser, C., (coords.), La Sainte Famille. Sexualité, filiation et parentalité dans l’Église catholique, Problèmes d’Histoire des Religions, 24, Bruxelles, Éditions de l’Université de Bruxelles, 2017, pp. 19-29.Bels, P., Le mariage des protestants français jusqu’en 1685. 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Abstract This article explores genre variation and simplification in interpreted language from both comparable (interpreted vs. non-interpreted/non-mediated) and intermodal (interpreted vs. translated) perspectives. It draws on a newly built unidirectional comparable and intermodal corpus named the LegCo+, which features legislative proceedings in the Legislative Council of Hong Kong (including originals and their translations and interpretations from Cantonese to English), as well as original plenary speeches delivered by native English speakers in the UK Parliament. It investigates the variation patterns of four simplification features in three dimensions, namely, standardized type-token ratio (STTR) and list heads for lexical diversity, lexical density for informativeness, and average sentence length for lexical sophistication. It aims to uncover the effects of mediation and genre, as well as their interaction effects on linguistic variation. The results indicate that texts of different mediation statuses and genre categories vary with respect to simplification patterns. From a comparable perspective, interpretations rely on a narrower range of vocabulary than non-interpretations, but they are also more informative, and such informativeness is dependent on genre categories. Intermodally speaking, interpretations exhibit consistent patterns of simplification, indicating a strong modality (or mode of mediation) effect.