scholarly journals N’zassa: from a collaborative translation approach to a collective construct

2019 ◽  
Vol 12 (2) ◽  
pp. 519-539
Author(s):  
Yéo N'gana
Keyword(s):  
The Other ◽  
Literary Translation ◽  
Collaborative Activity ◽  
Ethnographic Approach ◽  
Translation Practice ◽  
Collective Acceptance

The ethnographic approach to literary translation offers, undoubtedly, many avenues yet to be explored. If we can consider translation to be a perpetual search for a possibility, dialogic translation consists of waging with the ‘other’–be they present physically and/or metaphysically–the battle for meaning. The n’zassa approach has no aim but to both reinforce the translator’s visibility and build a trustworthy relationship with (trans)readers. I argue that every translation act is–or should be–based, to some extent, on a n’zassa approach, which sees translation practice as a collaborative activity, and its product, a collective construct wherein writers, translators and readers are Meaning Weavers. Each text carries an embryo of such an encounter, which stems from and results in mutual influences. With regard to the relation ethnography-translation, Buzelin (2004, 2005), Ferreira (2014, 2017) and Wolf’s (2000) discussions prove fundamental. I conclude that Adiaffi’s n’zassa, read through the lens of Latour’s (2008) ANT, helps reduce information lost and gives the translator a type of immediate collective acceptance. It is only through dialogue between subjects and forms, between divergent and convergent choices in the practice of translation that one can strive for a real and inclusive knowledge economy.N’zassa: De un enfoque de traducción colaborativa a una construcción colectivaResumenSin duda, el enfoque etnográfico en la traducción literaria ofrece muchas posibilidades sin explorar. Si se considera a la traducción una búsqueda perpetua de posibilidad, la traducción dialógica consiste en librar contra el otro –sea su presencia física o metafísica– la batalla por el sentido. El enfoque n’zassa busca tanto reforzar la visibilidad del traductor como construir una relación de confianza con los (trans)lectores. Defiendo que todo acto traductivo está –o debería estar–basado en cierta medida en un enfoque n’zassa, que ve en la traducción una actividad colaborativa y en su producto una construcción colectiva, en la que los escritores, traductores y lectores son tejedores de sentido. Sobre la relación entre etnografía y traducción, los trabajos de Buzelin (2004, 2005), Ferreira (2014, 2017) y Wolf (2010) son fundamentales. Concluyo que la lectura del n’zassa adiaffiano, desde la perspectiva de la teoría del actor-red de Latour, ayuda a reducir la pérdida de información y le otorga al traductor una especie de aceptación colectiva inmediata. Solo a través del diálogo entre sujetos y formas, y entre decisiones divergentes o convergentes en la práctica traductiva, se puede esperar una economía real e inclusiva del conocimiento.Palabras clave: n’zassa, traducción colaborativa, construcción colectiva, dialogismo, enfoque etnográficoFecha de recepción: 30/04/2019Fecha de aceptación: 22/06/2019¿Cómo citar este artículo? N’zassa: from a collaborative translation approach to a collective construct. Mutatis Mutandis. Revista Latinoamericana de Traducción, 12(2), 519-539. DOI: 10.27533/udea.mut.v12n2a09

The metalanguage of localization

Target ◽  
2007 ◽  
Vol 19 (2) ◽  
pp. 337-357 ◽  
Author(s):  
Iwona Mazur
Keyword(s):  
Translation Studies ◽  
The Other ◽  
Present Discussion ◽  
Translation Practice ◽  
The Future ◽  
Basic Concepts ◽  
The One

In recent years localization has become a popular concept in both translation practice and theory. It has developed a language of its own, which, however, still seems to be little known among translation scholars. What is more, being primarily an industry-based discourse, the terms related to localization are very fluid, which makes theorizing about it difficult. Therefore, the aim of this article is, first of all, to explain the basic terms of the metalanguage of localization, as they are used by both localization practitioners and scholars, and, secondly, to make this metalanguage more consistent by proposing some general definitions that cover the basic concepts in localization. This, in turn, should, on the one hand, facilitate scholar-to-practitioner communication and vice versa and, on the other, should result in concept standardization for training purposes. In the conclusions I link the present discussion of the metalanguage of localization to a more general debate on metalanguage(s) in Translation Studies and propose that in the future we might witness the emergence of a new discipline called Localization Studies.

scholarly journals Re-semantization of A. Pushkin’s poetry in the creative work of V. Kosenko (on the example of “The Five Romances”, op. 20)

2018 ◽  
Vol 50 (50) ◽  
pp. 89-102
Author(s):  
Duangui Wang
Keyword(s):  
Slow Motion ◽  
The Other ◽  
Literary Translation ◽  
Time Space ◽  
Free Translation ◽  
The One ◽  
The Individual ◽  
Two Parameters ◽  
Love Language ◽  
Poetic Composition

Formulation of the problem. In the chamber-vocal genre, the composer exists in two images: he is both the interpreter of the poetic composition and the author of a new synthetic music and poetic composition. The experience of the style analysis of one of the best examples of Ukrainian vocal lyrics of the first third of the 20th century shows that the cycle op. 20 characterizes the mature style of the composer, which was formed, on the one hand, under the influence of European Romanticism. On the other hand, the essence of the Ukrainian “branch” of the Western European song-romance (“solo-singing”) is revealed by the prominent national song-romance intonation, filled with not only a romantic worldview, but also with some personal sincerity, chastity, intimate involvement with the great in depth and simplicity poetry line, read from the individual position of the musician. The paradox is as follows. Although Pushkin’s poetry is embodied in a “holistic adequacy” (A. Khutorskaya), and the composer found the fullest semantic analogue of the poetic source, however, in terms of translating the text into the Ukrainian language, the musical semantics changes its intonation immanence, which naturally leads to inconsistency of the listeners’ position and ideas about the style of Russian romance. We are dealing with inter-specific literary translation: Pushkin’s discourse creates the Ukrainian romance style and system of figurative thinking. The purpose of the article is to reveal the principle of re-semantization of the intonation-figurative concept of the vocal composition by V. Kosenko (in the context of translating Pushkin’s poetry into the Ukrainian language) in light of the theory of interspecific art translation. Analysis of recent publications on the topic. Among the most recent studies of Ukrainian musicology, one should point out the dissertation by G. Khafizova (Kyiv, 2017), in which the theory of modelling of the stylistic system of the vocal composition as an expression of Pushkin’s discourse is described. The basis for the further stylistic analysis of V. Kosenko’s compositions is the points from A. Hutorska’s candidate’s thesis; she develops the theory of interspecific art translation. The types of translation of poetry into music are classified according to two parameters. The exact translation creates integral adequacy, which involves the composer’s finding a maximally full semantic analogue of the poetic source. The free translation is characterized by compensatory, fragmentary, generalized-genre adequacy. Presenting the main material. The Zhitomir period for Viktor Kosenko was the time of the formation of his creative style. Alongside the lyrical imagery line, the composer acquired one more – dramatic, after his mother’s death. It is possible that the romances on the poems of A. Pushkin are more late reflection of this tragic experience (op. 20 was created in 1930). “I Loved You” opens the vocal cycle and has been dedicated by A. V. Kosenko. The short piano introduction contains the intonation emblem of the love-feeling wave. The form of the composition is a two part reprising (А А1) with the piano Introduction and Postlude. The semantic culmination is emphasized by the change of metro-rhythmic organization 5/4 (instead of 4) and the plastic phrase “as I wish, that the other will love you” sounding in the text. Due to these melodies (with national segments in melo-types, rhythm formulas and harmony) V. Kosenko should be considered as “Ukrainian Glinka”, the composer who introduced new forms and “figures” of the love language into the romantic “intonation dictionary”. In general, V. Kosenko’s solo-singing represents the Ukrainian analogue of Pushkin’s discourse – the theme of love. The melos of vocal piece “I Lived through My Desires” is remembered by the broad breath, bright expression of the syntactic deployment of emotion. On the background of bass ostinato, the song intonation acquires a noble courage. This solo-singing most intermediately appeal to the typical examples of the urban romance of Russian culture of the 19th century. “The Raven to the Raven” – a Scottish folk ballad in the translation by A. Pushkin. V. Kosenko as a profound psychologist, delicately transmits the techniques of versification, following each movement of a poetic phrase, builds stages of the musical drama by purely intonation means. The semantics of a death is embodied through the sound imaging of a black bird: a marching-like tempo and rhythm of the accompaniment, with a characteristic dotted pattern in a descending motion (like a raven is beating its wings). The middle section is dominated by a slow-motion perception of time space (Andante), meditative “freeze” (size 6/4). The melody contrasts with the previous section, its profile is built on the principle of descending move: from “h1” to “h” of the small octave (with a stop on S-harmony), which creates a psychologically immersed state, filled by premonition of an unexpected tragedy. In general, the Ukrainian melodic intonation intensified the tragic content of the ballad by Pushkin. The musical semantics of V. Kosenko’s romances is marked by the dependence on the romantic “musical vocabulary”, however, it is possible to indicate and national characteristics (ascending little-sixth and fifth intervals, which is filled with a gradual anti-movement; syllabic tonic versification, and other). Conclusion. The romances (“solo-singings”) by V. Kosenko belongs to the type of a free art translation with generalized-genre adequacy. There is a re-semantization of poetic images due to the national-mental intonation. Melos, rhythm, textural presentation (repetitions), stylization of different genre formulas testify to the rare beauty of Kosenko’s vocal style, spiritual strength and maturity of the master of Ukrainian vocal culture. Entering the “Slavic song area”, the style of Ukrainian romance, however, is differenced from the Russian and common European style system of figurative and intonation thinking (the picture of the world).

scholarly journals Communicative Approaches to Learning Latin: Voice and Tone in Learning Latin Terminations

2018 ◽  
Vol 19 (38) ◽  
pp. 61-62
Author(s):  
Grace Miller
Keyword(s):  
Approaches To Learning ◽  
The Other ◽  
Translation Practice ◽  
Student Reading

I conducted a series of 20-minute activities during my research sequence where students solely read the Latin aloud to each other in pairs, emphasising verb terminations and noun/adjective agreement, and finished with the students using this technique during their normal written translation practice, with one student reading the Latin aloud and the other translating.

Preservation of Indigenous Culture of Bataan through an Ayta Magbukon School of Living Tradition (SLT) Program

2013 ◽  
Vol 7 (1) ◽  
Author(s):  
NEIL D. DAVID
Keyword(s):  
Social Science ◽  
Cultural Heritage ◽  
Indigenous Knowledge ◽  
The Other ◽  
Oral Literature ◽  
Indigenous Culture ◽  
Traditional Medicines ◽  
Science Culture ◽  
Ethnographic Approach ◽  
Living Tradition

The UNESCO declares that there are two approaches to preserve cultural heritage: one is to record it in tangible form and conserve it in an archive; the other is to preserve it in a living form by ensuring its transmission to the next generations. The establishment of SLT is in response to the second approach. This undertaking focuses on the transmission of indigenous knowledge (IK) to the young. It aims to encourage culture specialists to continue with their own work and train younger people to take place in the future. In order to preserve the Ayta Magbukon indigenous culture, the oral literature, traditional skills that included traditional dances, songs, chanting, traditional cooking and traditional medicines were documented using ethnographic approach as the method of collecting data and information. These data was presented again to the cultural masters for validation using the triangulation approach. Results show the significance of this data in the SLT Program in the transmission of the Ayta Magbukon indigenous culture to the young. The program will achieve its goals of culture preservation and the continuation of their wisdom from generation to generation as long as this kind of undertaking will have continuity even without outside intervention.Keywords: Social Science, culture preservation, living traditions, ethnography, descriptive design, Bataan, Philippines

scholarly journals Musik bukan Pekerjaan: Distingsi dan Transgresi dalam Karier Bermusik Musisi Metal Ekstrem Yogyakarta

2021 ◽  
Vol 10 (1) ◽  
pp. 18
Author(s):  
Agustinus Aryo Lukisworo ◽  
Oki Rahadianto Sutopo
Keyword(s):  
Research Method ◽  
Youth Culture ◽  
Cultural Practices ◽  
The Other ◽  
Research Approach ◽  
Ethnographic Approach ◽  
Youth Transition ◽  
Extreme Metal ◽  
The One ◽  
Concrete Reality

This article focuses on the separation between music and work that has been done by Yogyakarta’ extreme metal musician. Along with a deeper explanation of youth cultural practices in Yogyakarta, this article also provides a gap bridge between youth culture and youth transition perspective. In order to obtain those purposes, this article utilizes youth culture perspective and youth transition perspective approach, together with field and doxa. Regarding the research method, this article uses qualitative ethnographic approach and has been done through six months data collecting. This research approach was chosen in order to capture the concrete reality that has been experienced by research informants. Based on the findings analysis, which has been done both textually and interpretively, the separation between music and work among informants, on the one hand could be understood as a strategy to maintain informants' pride within the extreme metal scene. On the other hand, this separation also could be defined as a strategy to maintain informants' social position, especially as Indonesian middle class.

scholarly journals (Un)translatability revisited: transmetic and intertextual puns in Viktor Pelevin’s Generation “P” and its translations

2019 ◽  
Vol 7 (1) ◽  
pp. 109 ◽  
Author(s):  
Roman Ivashkiv
Keyword(s):  
Comparative Analysis ◽  
The Other ◽  
Literary Translation ◽  
Russian Market ◽  
Creative Solutions ◽  
The One

Babylen Tatarsky, the protagonist in Russian writer Viktor Pelevin's novel Generation “P” (translated into English by Andrew Bromfield as Homo Zapiens), works to adapt American advertisements for the Russian market and witnesses how the reality of Russia’s tumultuous 1990s is replaced by a consumer-driven television simulation. Puns in the advertising slogans that Tatarsky translates, interspersed throughout Generation “P”, are central to its plot. Some of these puns exhibit greater sophistication than others: in addition to utilizing homonymy, homophony, homography, paronymy, and polysemy, they involve transmesis, multilingualism, and intertextuality. This article compares how Pelevin’s translators (English, German, Polish, Spanish, and French) approached these difficult puns. The objective of this comparative analysis is to demonstrate how the intertext(s) evoked through wordplay may, on the one hand, impede translation, but, on the other, open avenues for creative solutions, by producing new traces and echoes of meaning that make the act of translation possible. The issues raised by the various translations point to a need to re-examine the roles and tasks of the translator and underscore the importance of keeping the (un)translatability debate open. Ultimately, this article aims to contribute to the ongoing reconceptualization of what literary translation is and, especially, what it does: with texts, readers, literatures, and, above all, with language.

scholarly journals Gender stereotypes in translation: stylistic perspective

2020 ◽  
Keyword(s):  
Human Behavior ◽  
Gender Stereotypes ◽  
Geographical Location ◽  
The Other ◽  
Literary Translation ◽  
Historical Experience ◽  
Cultural Phenomenon ◽  
Gender Perceptions ◽  
The One ◽  
Standardized Formula

The article focuses on the means of gender stereotype verbalization in the English-Ukrainian literary translation. Within the framework of the study, gender is represented as a social and cultural phenomenon which, on the one hand, is constructed in the course of interaction with the reality, on the other hand, it is spread in time and space through language. Recurrent characteristics which are traditionally regarded as feminine/masculine lead to the emergence of stereotypes associated with a certain gender. The stereotypical perceptions turn into the mechanisms of human behavior regulation which determine actions, words, position in the society to be expected from a man/woman. However, various cultural environments are capable of different gender conceptualization due to discrepancies in the historical experience, even geographical location or dominant religion. Consequently, the translator may face difficulties related to the cleavage between the characteristics forming the stereotype in the interacting cultures, including cases when such features vary in their intensity. The presence of fixed gender perceptions entails the emergence of standardized formula for their verbalization, conventional metaphors, epithets, etc. In a broader sense, every linguistic choice of the author which determines the construction of gender for all the characters is relevant for the translator whose task consists in coherent reproduction of every aspect of their personality. Meanwhile, the manifestations of feminine/masculine characteristics in the representatives of a certain gender, that are considered completely natural for one linguistic and cultural community, can prove unusual or even unacceptable. The stylistic presentation of the text, thus, becomes a powerful instrument allowing the translator to manipulate the original and the subtlest shades of meanings embedded by the author to meet the needs and, to a certain extent, expectations of the target audience, while the translator’s interference remains almost imperceptible. Still, considering all the similarities of the source and target cultures, the translator may produce a more vivid message in the target text or, on the contrary, blur some of the author’s ideas through the stylistic devices he/she employs.

scholarly journals Together or Apart? A Historical Snapshot of Personal Internet Usage at Home

2022 ◽  
Vol 18 (1) ◽  
pp. 0-0
Keyword(s):  
Family Life ◽  
Internet Usage ◽  
The Other ◽  
The Internet ◽  
Separate Study ◽  
Social Transformations ◽  
Ethnographic Approach ◽  
The Family ◽  
Watching Tv ◽  
Depth Interviews

This paper provides a historical snapshot of personal ICT usage in 2005/2006, specifically shedding light on how Australian and German couples (N= 48) had integrated the internet into their homes with a focus on spatial and social transformations. Using a home ethnographic approach, this qualitative study implemented in-depth interviews across two countries. From a spatial perspective, Australian couples had their laptops or PCs highly integrated into the family life usually in multifunctional rooms or open areas, whereas German couples’ laptops and PCs were most often found in separate study rooms. From a social perspective, internet use can be related to elements that bring couples together, but also to elements of disintegration. A shift in how couples spent their time together was observed from watching TV together in the same room, to going online in the same room at two PCs or one person being online while the other conducted other activities.

scholarly journals Переводы русской / узбекской литературы на русский / узбекский языки: диахроническая характеристика

2020 ◽  
Author(s):  
S.E. Kamilova
Keyword(s):  
Russian Literature ◽  
Theory And Practice ◽  
Single Stage ◽  
Literary Translation ◽  
Two Stage ◽  
Translation Strategy ◽  
Translation Practice ◽  
Scientific Value

Характеристика литературного трансфера русской литературы навосточные языки имеет научную ценность и актуальность для теории и практики перевода. Этот вопрос недостаточно исследован узбекскими переводоведами. В художественном переводе русской литературы на узбекский язык и узбекской литературы нарусский выделяются несколько этапов, для которых характерно движение от пересказывания до одноступенчатой и двуступенчатой форм переводов. В статье дана характеристика переводческой школы Узбекистана на примере переводов текстов русской литературы на узбекский язык и наоборот, определяются основные векторы современной переводческой стратегии художественной литературы.The problem of characterizing the development of literary transfer of Russian literature to Eastern languages has scientific value and relevance for the theory and practice of translation, as this issue is not sufficiently studied by Uzbek linguists. It should be noted that in Uzbekistan, the strategy of literary translation is characterized by versatility and uniqueness. The Russian-Uzbek literary transfer has a centuries-old tradition. The evolution of the strategy of literary translation of Russian literature into the Uzbek language and Uzbek literature into Russian is characterized by several stages, which are characterized by the movement from retelling to single-stage and two-stage forms of translation. This article describes the translation school of Uzbekistan on the example of translations of Russian literature into the Uzbek language and vice versa, defines the main vectors of the modern translation strategy of fiction. The analysis of the translation practice reveals the existence of a vast experience of the Russian-Uzbek translation school, which testifies to the deep cultural interrelations between Russia and Uzbekistan.

scholarly journals Relations between terms: a cognitive approach. The interaction between Terminology, Lexicology, Translation Studies and translation practice

2021 ◽  
Vol 1 ◽  
Author(s):  
Marcel Thelen
Keyword(s):  
Translation Studies ◽  
Actual Practice ◽  
The Other ◽  
Cycle Model ◽  
Cognitive Approach ◽  
Translation Practice ◽  
Associative Relation ◽  
The One

This paper discusses two problem areas of Terminology: the word-term dis-tinction and a particular type of terminological relation, viz. the complex or associative relation. Both areas will be discussed in the light of the actual practice of translating and the translator. It will be argued that for the trans-lator to deal with these areas successfully there should be a contribution from basic translation practices and Translation Studies, on the one hand, and from Lexicology, notably TCM (“Two-Cycle Model of Grammar”), on the other.

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