The people behind the words

2010 ◽  
Vol 5 (1) ◽  
pp. 41-58
Author(s):  
Hannah Amit-Kochavi

Drawing on recent sociological trends in Translation Studies, the present article describes the making of those translators who were active in the field of Arabic-Hebrew literary translation in Palestine (later Israel) and their special characteristics as a particular group of professionals. An attempt will be made to describe and explain the ethnic, educational, professional and ideological characteristics of this particular population and its activity patterns, with special attention to patterns of cooperation among its members.

Babel ◽  
1998 ◽  
Vol 44 (3) ◽  
pp. 234-243 ◽  
Author(s):  
Irma Sorvali

Abstract The translation process is studied from the translator's point of view. The translator is considered as an individual, i.e. as a creative being, and the process proper is thus seen as a typically human one. Translation strategies have been described in various ways within the framework of translation studies (TS). Transfer as such has very often been studied by linguistic analysis, but this is not sufficient to characterize the process itself. Other kinds of information are needed, which we can best obtain by interviewing translators. The interview method has not been widely used in TS, but it can provide very useful material on the creative nature of the translation process. Aesthetic and emotional values are of great importance in literary translation, but it is very difficult to measure them. Translators chiefly engaged with language written for special purposes (LSP) can be interviewed in a more objective way. Every translator has his principles of translating, and these can display very great variation, due to the creativity of the translator, but there are also phenomena that are common to all translating and all language transfer. There are thus individual and inter-individual differences, but also similarities. It is these differences and similarities that are described here. Résumé Le processus de la traduction est étudié du point de vue du traducteur considéré comme une entité individuelle, c'est-à-dire comme un être créatif, et par conséquent, le processus de traduction est considéré comme étant une activité typiquement humaine. Dans le cadre des études consacrées à la traduction (ET), les stratégies de la traduction ont été décrites de plusieurs manières différentes. En tant que stratégie, le transfert a souvent été étudié par le biais de l'analyse linguistique, mais en soi, cette approche est insuffisante pour caractériser le processus de traduction. Les ET n'ont pas souvent eu recours à la métode d'interview qui s'avère pourtant très utile pour faire apparaître l'aspect créatif du processus de traduction. Dans la traduction littéraire, les valeurs esthétiques et sentimentales sont très importantes mais il n'en demeure pas moins qu'elles sont aussi très difficiles à mesurer. Les traducteurs qui traduisent essentiellement des textes rédigés dans un but spécifique (TBS) peuvent être interviewés d'une manière plus objective. Chaque traducteur applique ses propres principes de traduction qui peuvent grandement varier selon la créativité du traducteur, mais il y a cependant des phénomènes communs à toutes les traductions et a tous les tranferts linguistiques. On peut donc affirmer qu'il y a des différences individuelles et inter-individuelles mais aussi des similitudes. Ce sont précisément ces differences et similitudes que l'auteur souhaite décrire dans le présent article.


Author(s):  
Llum Bracho Lapiedra ◽  
Penny MacDonald

Abstract The question concerning the visibility of the translator has been widely discussed in translation studies from different ideological positions, especially during the so-called post-structuralism period. Unlike other types of translation such as audiovisual or literary translation, in the case of specialized translation the translator’s name rarely appears, as demonstrated in previous research, in which, from an ambidirectional corpus in Catalan of environmental texts, in only 16% of cases was the translator’s name made explicit (Bracho, 2004, p. 318). In the present article, therefore, we study a current sample with similar features to that of the original corpus, with the aim of analyzing its profile and determining the behaviour, in this sense, more than a decade after our previous conclusions.


2019 ◽  
Vol 24 (4) ◽  
pp. 551-562
Author(s):  
Stephen Wearing ◽  
Stephen Schweinsberg ◽  
Patricia Johnson

Media representations of destinations play a powerful role in tourism appeal. The narrator assumes a role infused with knowledge and power, employing discourse to describe and interpret places and people to entice armchair audiences to not only travel vicariously alongside them, but to follow in their footsteps. This review article uses the English actor and writer Michael Palin to examine this phenomenon through the lens of the flâneur and choraster. Palin's travels have traditionally been viewed based on their ability to create space from the perspective of a representational voice of authority. In the present article, we wish to ask whether the power of the travel narrator for tourism is perhaps better expressed in their ability to develop a counter (or chora discourse), one where we are able to see space as locally contested. Palin's narrator expresses appreciation of his reliance on the people (chora) that inhabit the spaces he visits. His narrations of travel evidence how the flâneur perspective is influenced (and/or disrupted) by a chora in two ways—that which influences the perspective before travel and directs the gaze, and those that occupy and inscribe meaning on the spaces that are traveled to, that influences and/or forms experience.


2016 ◽  
Vol 6 (4) ◽  
pp. 50
Author(s):  
Gholam-Reza Parvizi

The question of image in literary studies and in recent years in Translation Studies is one of the most problematic innature. In the present study an attempt was made to define the nature of translating linguistic constructions – evokingimages in the mind of reader – in English novels and their rendered versions in Persian translations. In this studyseven types of images (visual, auditory, olfactory, gustatory, tactile, kinesthetic and organic) in two English novelsand their rendered versions in Persian were analyzed based on two theoretical frameworks, the first one is Jiang’sImage-Based Model to Literary Translation (2008) by which the nature of translation of images were examined andthe other is Chesterman’s translation strategies (1997) which help to systematize translation strategies adopted bytranslators in rewriting the images in English novels. The results have shown that in most of the cases the images thatare intended by original author have been changed in the translations, and the aesthetic experience of the ST reader isdifferent from that of the TT reader.


Author(s):  
Galina G. Poddubnaya

The musical culture of the people, being inside the integral space of folk art, quite fully reflects the peculiarities of the mentality of the people and manifests its self-identification. The present article analyses artels as a form of being of a nationality in musical culture, which involves the mutual enrichment of collective and individual principles of musical folk art.


Author(s):  
Еkaterina A. Shkurskaya ◽  

The article focuses on verbal olfacty representation on the example of phytonym “sage” in the poetic text of Rimma Khaninova “Sage Scent” (2008) and the literary translation by Nikolay and Gala Burlakovs. The comparative analysis of the original and the English translation enables us not only to set the intercultural dialogue but also see the distinctive features of one culture through the prism of another language. The phytonym “sage” in the author’s text has a strong and associative dominance reflecting the underlying peculiarities of the culture of the Kalmyk people. Such floral features of phytonym “sage” as a long-lasting fragrance and color create a lot of additional metaphorical associations. On the figurative level, the scent of sage represents the scent of motherland, freedom, on the emotional level – it is the memory of the native land, a landmark. The national identity is expressed implicitly through positive evaluative characteristics of sage scent. In the poetic translation by N. and G. Burlakovs the main idea and the plot line of the poem remained the same, however, the verbal olfacty representation – the sage scent ― is rendered from the point of view of the people of the Western culture. The emotional and image associations in English stay the same, but they do not reflect the unique feature of the phytonym “sage” for national identity of the Kalmyk people, they lack the dominant ethnic-specific feature of this plant which is the equality to the native land and national language.


Sociology ◽  
2015 ◽  
Vol 51 (3) ◽  
pp. 559-574 ◽  
Author(s):  
Jørn Ljunggren

The cultural elite are believed to be under siege due to significant changes in the ‘workings’ of cultural capital. Despite such changes, there is very little information about the class subjectivities of the ‘cultural elite’ themselves. The present article seeks to contribute to this shortcoming by taking advantage of in-depth qualitative interviews with individuals possessing great levels of cultural capital in a highly egalitarian country, Norway. This study shows that while the interviewees experience lack of recognition and honour from ‘the people’, they are far from passively descending. The main demarcation to other groups seems not to be cultural taste, but instead the orientation towards culture, broadly defined. While egalitarian sentiments are voiced, this does not hinder cultural elite awareness, but rather dampens how this can be expressed in public – merged into a form of elitist egalitarianism.


2018 ◽  
Vol 11 (1) ◽  
pp. 105-140 ◽  
Author(s):  
Francisco Gonzálvez-García

Abstract Building on Tabakowska’s (1993, 2003, 2005, 2009, 2013) full-blown defense of a cognitive linguistic approach to literary translation as well as on previous research dealing with the implementations of Construction Grammar(s) for translation studies (Szymańska 2011a, 2011b; Serbina 2015), this paper critically examines the role of iconicity in selected lines from Shakespeare’s Sonnets capitalizing on the passage of Time-Death and their corresponding translations in present-day Spanish and Italian. Specifically, drawing on Cognitive Construction Grammar (Goldberg 2006) and Contrastive Construction Grammar (Boas 2010a; Boas & Gonzálvez-García 2014), I focus on instances of secondary predication with verbs of sensory perception, causative constructions and aspectual constructions iconically connected with the above-mentioned motif and demonstrate that iconicity emerges as a very useful communicative ‘filter’ that can help to minimize any undesirable arbitrariness which may obscure the semantico-pragmatic interpretation of the source text and/or its rendering into the target text.


Sign in / Sign up

Export Citation Format

Share Document