scholarly journals Translators as Well as Thinkers: Teaching of Journalistic Translation in Hong Kong1

2006 ◽  
Vol 51 (3) ◽  
pp. 611-619 ◽  
Author(s):  
Defeng Li
Keyword(s):  
Hong Kong ◽  
Empirical Evidence ◽  
Professional Practice ◽  
Real World ◽  
The Real ◽  
The World ◽  
Translator Training ◽  
The Difference ◽  
Translation Methods

Abstract Hong Kong is probably one of the most exciting places in the world to study translation as a student or a researcher. Seven out of the eight universities offer translation degrees. Among others, journalistic translation has always been one of the most popular courses for students. However, students have often felt underprepared in journalistic translation even after taking some related courses. This study argues, with the support of empirical evidence that one of the major reasons accountable for this is the gap between institutional translator training and the real world of professional translation, which, in the context of journalistic translation, manifests itself as the difference in translation methods taught in translation programs and used in professional practice. The author further contends that this gap needs to be bridged in order to better prepare student translators for the market. Recommendations are also made as to how the gap can be narrowed or bridged.

Introduction

2018 ◽  
Author(s):  
G. Andrew Stuckey
Keyword(s):  
Hong Kong ◽  
Real World ◽  
Social Effects ◽  
The Real ◽  
The World ◽  
The Creation ◽  
Chinese Cinemas ◽  
Ways Of Being

The “Introduction” describes the theoretical and practical understanding of what metacinema is and does in the context of Chinese filmmaking. Metacinema is a kind of textual reflexivity that foregrounds the mechanisms involved in the creation or reception of a film. Consideration of metacinema reveals a discourse on film arising from the films themselves. A key, but often overlooked, metacinematic category is genre: collective semiotic codes adopted, adapted, updated, or subverted that allow another vantage on the ways films influence each other. In the context of Chinese cinemas, this discourse ricochets amongst and between the industries of Hong Kong, Taiwan, and the PRC. Further, focus on film audiences within films allows us to theorize the personal and social effects film watching has on viewers. The films provide models for ways of being in the world that characters within the films, and by analogy audiences in the real world, adopt, update, and subvert in their own lives.

Chiasm of Thought-and-Action

1993 ◽  
Vol 11 (3) ◽  
pp. 279-294 ◽  
Author(s):  
G Olsson
Keyword(s):  
Coordinate System ◽  
Real World ◽  
Double Helix ◽  
Three Dimensional ◽  
The Real ◽  
Human Thought ◽  
The World ◽  
Minimalist Approach ◽  
The Difference ◽  
Three Dimensional Coordinate

How do I know the difference between you and me and how do we share our beliefs in the same? How are we made so obedient and so predictable? As a minimalist approach to these questions I imagine human thought-and-action as a double helix, It is assumed firstly, that man is a semiotic animal, a species whose individuals are kept together and apart by their use of signs; secondly, that every sign within itself combines elements of drastically different ontologies. This invisible world is then captured in a three-dimensional coordinate system whose axes are those of identity, difference, and intentionality. While the resulting map is anchored in fix-points of silence, the real world of socialization and understanding is always in flux. The paper closes with a pastiche on Carl von Linné's Flora Suecica; in the current world of thought-and-action, signifier and signified are assigned the same ordering functions as stamina and pistil once were in the world of plants. How do I draw the invisible lines of the taken-for-granted? How do I project a dematerialized point onto a transparent plane?

Multiple original spellings, living authors and the Code: The case of Malachius raniansis Mawlood, Hammamurad & Abdulla, 2017 (Coleoptera: Melyridae)

Zootaxa ◽  
2021 ◽  
Vol 4927 (2) ◽  
pp. 297-300
Author(s):  
ISIDOR S. PLONSKI
Keyword(s):  
Real World ◽  
Zoological Nomenclature ◽  
International Code ◽  
Present Communication ◽  
The Real ◽  
The World

The present communication is primarily nomenclaturial–classical taxonomy is only touched in a side note on a diagnosis. It uses technical terminology coined by Alain Dubois, who is interested in the study of the concepts and theory of biological nomenclature (i.e. the “objective connection between the real world of populations of organisms and the world of language” (Dubois & Ohler 1997)), and who discusses the current ‘International Code for Zoological Nomenclature’ [hereafter just called ‘the Code’] in great detail. The terms are explained where necessary–but see also the glossaries in Dubois et al. (2019) and the works by A. Dubois cited below. 

scholarly journals Biblical Inspirations in Nikifor’s Paintings

2019 ◽  
Vol 26 (3) ◽  
pp. 31-46
Author(s):  
Krzysztof Wałczyk
Keyword(s):  
Real World ◽  
The Self ◽  
Creative Activity ◽  
The Real ◽  
Ideal World ◽  
The World ◽  
Biblical Anthropology ◽  
Divine Order ◽  
The Ideal

Nikifor Krynicki (Epifaniusz Drowniak, 1895-1968) was one of the most popular non-academic Polish painters worldwide. To show the biblical inspiration in his creative output I chose two categories from various thematic aspects: self-portraits and landscapes with a church. There are plenty of Nikifor’s paintings showing him as a teacher, as a celebrating priest, as a bishop, or even as Christ. A pop­ular way to explain this idea of self-portraits is a psychological one: as a form of auto-therapy. This analysis is aims to show a deeper expla­nation for the biblical anthropology. Nikifor’s self-portraits as a priest celebrating the liturgy are a symbol of creative activity understood as a divine re-creation of the world. Such activity needs divine inspira­tion. Here are two paintings to recall: Potrójny autoportret (The triple self-portrait) and Autoportret w trzech postaciach (Self-portrait in three persons). The proper way to understand the self-identification with Christ needs a reference to biblical anthropology. To achieve our re­al-self we need to identify with Christ, whose death and resurrection bring about our whole humanity. The key impression we may have by showing Nikifor’s landscapes with a church is harmony. The painter used plenty of warm colors. Many of the critics are of the opinion that Nikifor created an imaginary, ideal world in his landscapes, the world he wanted to be there and not the real world. The thesis of this article is that Nikifor created not only the ideal world, but he also showed the source of the harmony – the divine order.

Playing With Time: An Analysis of Time and Space in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead

2017 ◽  
Author(s):  
Johanna Lawrie
Keyword(s):  
Real World ◽  
Time And Space ◽  
The Real ◽  
Opening Scene ◽  
The World

In this paper I will examine the multiple layers of time within Tom Stoppard’s play, Rosencrantz and Guildenstern Are Dead. Typically, a script plays with two definitions of the term: stage time being that of the audience and the “real world,” and dramatic time, the passing of time within the world of the play and the characters’ lives. Rosencrantz and Guildenstern Are Dead is unique in its multitude of times, each occupying its own space within the story. Hamlet resides in a time that extends beyond that of Rosencrantz and Guildenstern Are Dead, while presenting the same story through different characters. When are these stories presented harmoniously, and when can gaps be found between the two plays in terms of time? In contrast, the play‐within‐a‐play presented in Rosencrantz and Guildenstern Are Dead, titled “The Murder of Gonzago,” represents the story even prior to the opening scene of Hamlet and has an omniscient quality, presenting elements of both Hamlet and Rosencrantz and Guildenstern Are Dead. Though this play‐within‐a‐play represents the longest view of the overlapping stories, it is presented in the shortest amount of time. “The Murder of Gonzago” plays with the limitations of time and space and the acknowledgment of their presentation in theatrical terms. Throughout the paper I will determine the overlapping nature of times within the plays, how they are structured around one another, and what this symbolises for both the spaces of each play and the characters within.  

Augmented Reality and Experiences

2019 ◽  
pp. 66-93 ◽  
Author(s):  
Prabha Selvaraj ◽  
Sumathi Doraikannan ◽  
Anantha Raman Rathinam ◽  
Balachandrudu K. E.
Keyword(s):  
Augmented Reality ◽  
Real World ◽  
New Technology ◽  
Handheld Devices ◽  
The Real ◽  
The World ◽  
Extensive Range ◽  
Different Types ◽  
Medicine Education

Today technology evolves in two different directions. The first one is to create a new technology for our requirement and solve the problem, and the second one is to do it with the existing technology. This chapter will discuss in detail augmented reality and its use in the real world and also its application domains like medicine, education, health, gaming, tourism, film and entertainment, architecture, and development. Many think that AR is only for smartphones, but there are different ways to enhance the insight of the world. Augmented realities can be presented on an extensive range of displays, monitors, screens, handheld devices, or glasses. This chapter will provide the information about the key components of AR devices. This chapter gives a view on different types of AR and also projects how the technology can be adapted for multiple purposes based on the required type of view.

Inception and the Arts

Inception ◽  
2019 ◽  
pp. 95-98
Author(s):  
David Carter
Keyword(s):  
Real World ◽  
Visual Simulation ◽  
Francis Bacon ◽  
The Real ◽  
The Arts ◽  
The World ◽  
Indirect Reference

This chapter looks at the specific artistic references in Christopher Nolan's Inception (2010). One artist is referred to by indirect reference and visual simulation of some of his works, and another is paid homage to by the inclusion of one of his works in a scene. The artists in question are M.C. Escher and Francis Bacon. The Dutch artist Maurits Cornelis Escher, famous for his works featuring constructions which would be impossible in the real world, is not directly named in the film, but he is referred to indirectly by the mention of a phenomenon which he utilised in his work: the so-called 'Penrose Steps'. Meanwhile, in a sequence in which Cobb is talking to Mal, there is a painting visible on the wall of the room, Bacon's Study for a head of George Dyer, 1967. Nolan clearly shares some perspectives on the world with Bacon: a fascination with distorted reality, a sense of horror as in a nightmare, and, in some cases, the real world being actually torn apart.

The Road Map

2020 ◽  
pp. 39-65
Author(s):  
Emma Gee
Keyword(s):  
Real World ◽  
Real Space ◽  
Imaginary World ◽  
Spatial Expression ◽  
The Real ◽  
The Road ◽  
Road Map ◽  
The World

This chapter studies the underworld journey of Virgil, Aeneid 6. It examines a series of possible models for afterlife space in Aen. 6. In particular it looks at the underworld journey of Aen. 6 in the light of ancient geographical traditions. We learn that a point-by-point idiom of representing space was much more widespread than you might imagine in antiquity. It’s found across many different genres, involving real and imagined space: geography, poetry, and art. The author argues that idioms of spatial expression are constant across representations of imagined and real space and across image and text. It is possible for Virgil to use the components of a “real” geography to construct his imaginary world. The afterlife is modeled on our concept of the “real” world, but in turn the “reality” we model it on is in large part a construct of the human artistic imagination, of our propenstiy for simplification and schematization. Like a map, the afterlife landscape allows us to simplify and schematize our environment, because it imposes no limits: it is imaginary. The afterlife landscape, in Virgil and elsewhere, acts as a fulcrum between real and imaginary space. There is no strict dichotomy between real and imagined space; instead there is a continuity between the “imagined” space of Virgil’s underworld, and the space of geographical accounts; between the world of the soul and the “real” world.

The Deluge

Mirror Worlds ◽  
1991 ◽  
Author(s):  
David Gelernter
Keyword(s):  
Data Processing ◽  
Real World ◽  
Data Gathering ◽  
Middle Region ◽  
Raw Data ◽  
The Real ◽  
External Data ◽  
The World ◽  
Initial Question ◽  
The Subject

we’ve installed the foundation piles and are ready to start building Mirror worlds. In this chapter we discuss (so to speak) the basement, in the next chapter we get to the attic, and the chapter after that fills in the middle region and glues the whole thing together. The basement we are about to describe is filled with lots of a certain kind of ensemble program. This kind of program, called a Trellis, makes the connection between external data and internal mirror-reality. The Trellis is, accordingly, a key player in the Mirror world cast. It’s also a good example of ensemble programming in general, and, I’ll argue, a highly significant gadget in itself. The hulking problem with which the Trellis does battle on the Mirror world’s behalf is a problem that the real world, too, will be confronting directly and in person very soon. Floods of data are pounding down all around us in torrents. How will we cope? what will we do with all this stuff? when the encroaching electronification of the world pushes the downpour rate higher by a thousand or a million times or more, what will we do then? Concretely: I’m talking about realtime data processing. The subject in this chapter is fresh data straight from the sensor. we’d like to analyze this fresh data in “realtime”—to achieve some understanding of data values as they emerge. Raw data pours into a Mirror world and gets refined by a data distillery in the basement. The processed, refined, one-hundredpercent pure stuff gets stored upstairs in the attic, where it ferments slowly into history. (In the next chapter we move upstairs.) Trellis programs are the topic here: how they are put together, how they work. But there’s an initial question that’s too important to ignore. we need to take a brief trip outside into the deluge, to establish what this stuff is and where it’s coming from. Data-gathering instruments are generally electronic. They are sensors in the field, dedicated to the non-stop, automatic gathering of measurements; or they are full-blown infomachines, waiting for people to sit down, log on and enter data by hand.

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