Journal articles on the topic 'Italian fiction, translations into english'

Mongols have a long and rich tradition of translating literary works from many different countries into Mongolian. Specifically, thousands of literary works from over 100 different countries written in dozens of different languages have been translated into Mongolian. Among these, a large number of Italian literary works have been translated into Mongolian from Russian, English, and Romanian. As for the literary genres of these works, they primarily consist of poetry, prose, and plays (including screenplays). Specifically: 1) Poetry: poems (58 works), songs (1), long poems (3); 2) Prose: folktales (33), authored tales (36), short stories (40), traditional jokes (3), novellas (5), framed stories (1), novels (5); 3) Plays (2), and screenplays (1). In addition, works of non-fiction, including stylized biographical sketches, reminiscences, as well as a political philosophical treatise, have been published. Literary works are generally divided into one of the following two different categories depending on whether they have a specific author or not: a) oral folklore; and b) written literature. The following tasks need to be undertaken to properly study Italian literary works which have been translated into Mongolian and published in Mongolia: A complete bibliography of Italian literary works translated into Mongolian must be compiled, All of the Italian originals must be located and correctly identified, The Russian, English, and Romanian intermediate translations must also be found and carefully consulted, If a work has been translated multiple times by a single translator, the multiple translations must be compared with each other and studied, If a work has been translated multiple times by different translators, the multiple translations must likewise be compared with each other and studied, The Italian originals of poems, songs, tales, and short stories which have been translated into Mongolian should be located and juxtaposed with their translations and published in book format for teaching and research purposes.

The present study explores the role of multimodality in the intralingual and interlingual mediation of a small parallel English-Italian corpus of non-fictional picturebooks on geography addressed to children of different age groups. It proposes aqualitative analysis that builds on preceding research on travel guidebooks for children (Cappelli and Masi, 2019), and integrates different approaches, viz. Painter et al. (2013), Moya-Guijarro (2014), and Goga (2020). The intralingual investigation showed that verbal and visual strategies were co-deployed differently depending on the age of the target readership, while the analysis of the Italian translations confirmed the main findings of previous research, e.g. the preference for a less direct verbal address, a more formal style, a higher degree of specification in the lexical choices, along with other linguistic strategies and trends that inevitably altered the word-image configuration of the original source texts. The ultimate goal of the article is indeed to contribute to the development of an intersemiotic analytical framework to raise awareness of subtleties in these and similar types of ever more popular and highly multimodal non-fiction for children, to be applied in pedagogy and in pre-translational text analysis.

The research is presented in the form close to a fundamentally annotated bibliography demonstrating how European literary experience was advanced in the first quarter of the 19th c. in Russia at the time when contemporary Russian literature was being shaped. Six parts are devoted successively to French, German, English, Italian, Spanish, and classical literatures. The major aspects of research are outlined in an extensive foreword (E. Dmitrieva, M. Koreneva). Highlights include: Comparative analysis of the international contacts of Russian literature; a new interest in the novel, the genre that manifested a new literary taste; publishing and the audience in Russia compared to other European cultures; the birth of literary criticism on the margins of rhetoric; the evolution of a literary taste where gallomania was being substituted by anglo- and germanophilia; the change in the forms of contacts from imitation to stylization in accordance with the formula suggested by Konstantin Batyushkov ‘The stranger’s treasure is mine.’

This article presents the results of a reader response study of Joseph Conrad’s Heart of Darkness and two of its Italian translations. Specifically, data from an online questionnaire are used to test whether English and Italian readers respond differently to the potential racist implications of the fictional representation of the African natives. Whereas one translator removes completely all occurrences of nigger( s) and negro, the other adds additional uses of the slurs which are not present in the original. We explore with empirical methods whether these translational alterations have an effect on the readers’ perception of dehumanisation, discrimination and racism in the text, comparing responses to each translation with responses to the original. Our findings not only show evidence of significant differences in the responses between one translation and the original but also suggest that other linguistic and extra-linguistic factors could be influencing readers’ response. With this article, we aim to contribute to the under-researched application of reader response approaches to translation studies.

Following its translation into more than thirty languages, Roberto Saviano’s non-fiction novel Gomorrah [Gomorra], has unveiled to a vast number of readers across the globe the endless saga of Naples’ crime syndicate, the Camorra (from which the book’s title derives its bitter play on words). Literary critics and reviewers in the UK and in the U.S. have widely acclaimed Saviano’s talent in depicting the corruption plaguing Naples’ gloomy and degraded hinterland, although the sociocultural context portrayed in Gomorrah is naturally distant from the repertoire of the target culture: the text is widely populated by culture-bound concepts and implicit meanings, which further complicates the translation process. Through a contrastive analysis of the Italian and English versions of the exposé, this study explores the strategies employed in translating the voices and deeds of Naples’ mobsters, as well as the socioeconomic setting of the Camorra. With reference to types of non-equivalence between the two language versions, this article investigates to what extent the English translation contributes to the identity-building process of the Camorra as a separate and far more deadly criminal organization vis-à-vis the Sicilian Mafia.

Abstract: This essay represents the first scholarly assessment of the complete works of the Elizabethan poet and translator Richard Linche (fl. 1596–1601). Linche was interested in classical mythology, sonnet writing, and prose translation. He was also concerned with the burning literary questions of the 1590s and early seventeenth century. This article analyzes Linche’s sonnet sequence Diella (1596) and his love poem The Love of Dom Diego and Gynevra (1596), highlighting Linche’s use of ancient mythology as an ideal vehicle for exploring personal passion in contemporary poetry. It then turns to Linche’s English translation of the Italian mythographer Vincenzo Cartari, The Fountaine of Ancient Fiction (1599) , to illustrate how Linche deals with mythology as an inspiration for literature. Linche identifies myth as an appealing source for contemporary writing while displaying discomfort with some of its sexual content. Finally, this article discusses Linche’s An Historical Treatise of the Travels of Noah into Europe (1601), placing the work in the larger picture of his literary career and suggesting that it was a euhemeristic response to his earlier explorations of myth. In contrast to Linche’s earlier works, The Travels offers a de-personalized and desexualized approach to myth. By providing the first detailed critical assessment of Richard Linche’s oeuvre, this essay reveals an Elizabethan writer who was interested in what inspires fiction, particularly in the complicated moral issues surrounding the sensuality of classical mythology and the role of eroticism in contemporary poetry.

Between the late 1980s and early 1990s, interest in the cyberpunk genre peaked in the Western world, perhaps most evidently when Terminator 2: Judgment Day became the highest-grossing film of 1991. It has been argued that the translation of Katsuhiro Ōtomo’s manga Akira into several European languages at just that time (into English beginning in 1988, into French, Italian, and Spanish beginning in 1990, and into German beginning in 1991) was no coincidence. In hindsight, cyberpunk tropes are easily identified in Akira to the extent that it is nowadays widely regarded as a classic cyberpunk comic. But has this always been the case? When Akira was first published in America and Europe, did readers see it as part of a wave of cyberpunk fiction? Did they draw the connections to previous works of the cyberpunk genre across different media that today seem obvious? In this paper, magazine reviews of Akira in English and German from the time when it first came out in these languages will be analysed in order to gauge the past readers’ genre awareness. The attribution of the cyberpunk label to Akira competed with others such as the post-apocalyptic, or science fiction in general. Alternatively, Akira was sometimes regarded as an exceptional, novel work that transcended genre boundaries. In contrast, reviewers of the Akira anime adaptation, which was released at roughly the same time as the manga in the West (1989 in Germany and the United States), more readily drew comparisons to other cyberpunk films such as Blade Runner.

This guest column comprises both a review of the English translation of Carlo Ginzburg’s book Threads and Traces: True False Fictive (2012) and some general comments on the merits and demerits of microhistory as a genre poised between historical writing and fiction. The column is published in the context of two others regarding this latter topic — one by Natalie Zemon Davis, the author of the microhistorical classic The Return of Martin Guerre, and one by Colin Rich-mond. Davis’s column is a response to Keith Thomas’s having drawn approving attention to the following remark of J. H. Elliott’s: “Something is amiss when the name of Martin Guerre threatens to become better known than that of Martin Luther.” In the present piece, Thomas writes of Ginzburg, a founder of Italian microhistory, that he is more a “European intellectual” than a “mere historian,” the difference being that the former is less interested in history per se than in fields such as anthropology, philosophy, and literary theory. Thomas’s column expresses doubt about the intellectual restlessness of historians like Ginzburg and about the preparation of microhistorians to write constantly on topics new to them, but it claims as well that Ginzburg’s “combination of erudition and piercing intelligence is irresistible.”

This study explores translation and transmediality by examining the adaptation of Charlie Chan’s literary and cinematic portrayal in English and Italian. As a Chinese American fictional detective created by E.D. Biggers in the 1920s (often accused of stereotyping the minority he represents), Charlie Chan navigates various cultural contexts, providing a rich ground for intermedial comparisons. By employing an intercultural and intermedial approach to Translation Studies, this research sets out to understand how linguistic variation is represented across languages and media. The analysis intertwines multiple levels of translation, as it investigates the passages from English source to Italian target version of both novel and film (interlingual translation), as well as the novel-film adaptation as a form of rewriting (and therefore of medium translation). In particular, the focus will be on how Chan’s language variation, with specific attention to those traits that are supposed to delineate his fictional ‘Chineseness’, may have changed across these multiple translational passages. The findings of this research reveal that the different versions preserve and adapt to various extents Chan’s portrayal, and that both different languages and media contribute to a nuanced understanding of the complexities in the (stereotyped) representation of the image of minority characters.

Recent research in audiovisual translation has focussed on the language of both original and translated dialogue, revealing different degrees of alignment between fictional dialogue and spontaneous conversation. In this context, demonstratives deserve special attention as they are major means to highlight segments of the current discourse and extra-linguistic reality in speech and may play a significant role in cinematic language as well. Furthermore, demonstratives are an area of dissimilarity between languages, with their translation being potentially subject to interference from the source to the target text. Through a quantitative corpus-based approach, this study explores to what extent demonstratives occur in the language of Italian dubbing, how similar in this respect dubbed dialogue is to Italian spoken language and what translation operations may account for the observed translation outcomes. Drawing on a small English-Italian parallel corpus of film dialogue, all English demonstrative pronouns have been coded for syntactic role, pragmatic function and translation operation. Results show that demonstratives occur to a lesser extent in dubbed film language vis-à-vis both Italian conversation and the source English dialogues. These findings are discussed in terms of the cross-linguistic contrast between Italian and English as well as the convergence of dubbed dialogue towards the model of original Italian film language.

This article compares phraseological tendencies in translated vs. non-translated English through functionally classified 3-word sequences. The study builds on previous research that compared 3-grams in fiction texts originally written in English with fiction texts translated from Norwegian. The current investigation adds English translations from two additional languages – German and Swedish – with the aim of establishing to what extent the tendencies noted for English translations from Norwegian extend to English translations from other languages. Thus the study contributes to the discussion of translation universals and translation as a third code. At the level of 3-gram functions, it has been uncovered that English originals and translations share similar functional characteristics in eight of the fourteen categories identified. Of the remaining six, four show statistically significant differences between originals and translations, regardless of source language. Based on a more qualitative study of four specific 3-grams from two of these categories, it is concluded, in line with the previous studies, that the most likely explanations are source language(s) shining through and the (potentially universal) tendency for translators to use a smaller and more fixed set of expressions in their translations.

The article examines the poetry and fiction by Mykola Vingranovskyj in English translations. Attention is paid to the chronological sequence of translations, the figures of translators and the works selected for translation, their equivalence to the original. The first translation of M. Vingranovskyj's fiction (the short story "White Flowers") appeared with the assistance of Yu. Lutsky in Canada and aimed at popularizing Ukrainian literature among students. The short story opens the extremely lyrical world of Mykola Vingranovskyj, where the story revolves not around the event, but around the feelings, which brings the short story closer to poetry. The novella was included to the anthology (Modern Ukrainian Short Stories, 1973) as the example of the prose of the sixties (shistdesyatnyky), which departed from socialist-realist ideological canons and turned to the emotional and expressive potential of artistic language. The translation of Yuri and Moira Lutsky is marked by the desire to convey as fully as possible the author's individual style, including figurative metaphor, to create a text equivalent to the original in communicative orientation. The collection Summer Evening (1987), translated by Anatoliy Bilenko, was published after M. Vingranovskyj was awarded the Taras Shevchenko National Prize of Ukraine (1984). The collection includes stories for children's audiences, conveying children's perception of the world: Chest, Shaggi, The Gosling, Good Night, What Makes the World Spin, Summer Evening. A. Bilenko's translations are notable for the adequacy of the reproduction of artistic and stylistic features of the original, semantic equivalence. Some translated poems, which emphasize the civic component (Sistine Madonna, To My Sea, On the Golden Table, The First Lullaby, Star Prelude) were included to the anthology of Ukrainian poetry (Anthology of Soviet Ukrainian Poetry, 1982), and Russian translators were involved in translating the poems (Dorian Rottenberg, Michael McGreg), which significantly reduced the artistic value of poetry. During the times of independent Ukraine, competitions for translations to the writer's anniversaries were initiated. However, translated works have not been published in collections and anthologies. Active work on translations of M. Vingranovskyj's works is still ahead.

Summary In Lithuanian public and academic discourse, discussions about the influence of English have received considerable attention. Much has been written on the English borrowings in Lithuanian or various translation strategies applied at word, phrase or syntactic levels of language, whereas there have been only few attempts to investigate how Lithuanian translated from English differs from original language. This is why we found it interesting to investigate lexical an morphological features of translated Lithuanian applying the methods of corpus liguistics. For research purposes, we used a morphologically annotated comparable 4 mln. word corpus of original and translated fiction and popular science literature ORVELIT. It has been found that translations deviate in certain ways from original Lithuanian. Translated Lithuanian has: a lower lexical density, higher proportion of function words, shorter sentences, and higher proportion of list heads; translated fiction has a lower lexical variability and smaller proportion of low frequency words, whereas in popular science translations, these differences are less evident. Keyword analysis has shown content differences in originals and translations and the overuse of personal and possessive pronouns in popular science translations. The distribution of content and function words differs in originals and translations and in different registers. Translated Lithuanian has: more verbs (especially finite forms and adverbial participles), but less nouns and adjectives; fiction translations have less and popular science more adverbs than originals; there are more pronouns and prepositions in both popular science and fiction translations; depending on the register, there are higher or lower numbers of conjunctions, particles and interjections. Some of the differences may be explained by the English language interference as: the overuse of the optional 1st person pronoun in subject position, the overuse of optional preposition “su” with instrumental case, or the overuse of optional link verb in the complex predicate. In other words, the English influence is seen in transferring certain features obligatory for analytical language where omission would be a more natural choice in original Lithuanian. These findings in most cases agree with the previous research on translationese of other languages. It is hoped that the identified tendencies to over- or under-use certain lexical and morphological features as a result of English language interference might appear to be useful when editing and translating.

The present paper comparatively analyzes English translations of Urdu fiction by Umer Memon and Saeed Naqvi to identify translational stylistic features. The data for this paper consists of two corpora; the first corpus comprises Memon’s translations (TR1) and the second corpus consists of Naqvi’s translations (TR2). To validate the results, the paper takes Corpus of Canons of Western Literature (CCWL) as a reference corpus. Open class lexis is taken as a stylistic marker. All the three corpora are tagged through Stanford tagger (Toutanova, 2003), and the frequencies of open class lexis are acquired by using AntConc (3.4.4). It is found that TR1 and TR2 show almost the same stylistic qualities on the use of proper nouns, lexical verbs, past tense, comparative and superlative adjectives, and comparative and superlative adverbs. However, the variance occurs in the use of count nouns and proper plural nouns. This paper will contribute to better understand the stylistic features of English translations of Urdu fiction and the trending modes of English translation itself.

The purpose of the article is to establish correlations between the presence or absence of cultural specificity of a source-text simile and its replacement with a target-text simile based on a different cognitive model. The paper rests on D.Tartt’s and M. Atwood’s novels and their translations.Methods. The research employs structural-semantic translation analysis, which allows identifying translation transformations, and cognitive translation analysis, which allows constructing cognitive propositional models of the source-text and target-text fiction similes and reveal if they are culturally specific. A simile is defined as an explicit conceptual metaphor, after G. Lakoff and M.Johnson. Cognitive propositional model of the simile is “A is like B”, where “A” and “B” are the target and source domains/concepts respectively. The research addresses the concepts of translation procedure, translation transformation and translation strategy. A translation procedure is conceived as a process of solving a translation problem, a translation transformation – as converting a text unit from one language to another and a translation strategy – as a translator’s general plan of action. Translation transformations are studied as specific linguistic instantiations of translation procedures.Results. The study differentiates between idiomatic, non-idiomatic and allusive conventional similes. It has been revealed that replacement of English fiction simile mappings applies to idiomatic, non-idiomatic and allusive similes and is embodied in the Ukrainian language by culturally specific idiomatic similes.Conclusions. Replacement of fiction simile mappings is carried out by means of lexical-grammatical transformation of holistic substitution, which serves the strategy of domestication. The domestication strategy is compulsory if the translator is limited in making decisions by linguistic and cultural specificity of the English simile, as in the case of idiomatic similes, and it is optional in the case of non-idiomatic or allusive similes that are devoid of linguacultural specificity.Key words: allusive simile, cognitive translation analysis, idiomatic simile, non-idiomatic simile, translation procedure, translation strategy. Мета статті полягає у встановленні кореляцій між наявністю/відсутністю культурної специфіки порівняння тексту оригі-налу і використанням перекладачем процедури його заміни на порівняння, що базується на іншій когнітивній моделі. Робота виконана на матеріалі романів Д.Тартт та М. Етвуд та їхніх українських перекладів.Методи. У дослідженні використано структурно-семантичний перекладацький аналіз, що дозволяє виявити способи і трансформації перекладу і когнітивний перекладацький аналіз, що лежить в основі побудови когнітивних пропозиціональ-них моделей художніх порівнянь в оригіналі і перекладі, і дозволяє встановити, чи є вони культурно специфічними. Порівняння розглядається як експліцитна концептуальна метафора за Дж.Лакоффом та М.Джонсоном, когнітивна пропозиціональна модель якого має такий вигляд: «А є як Б», де «А» є доменом цілі, а «Б» – доменом джерела. У дослідженні визначаються поняття перекладацької процедури, способів/трансформацій перекладу та стратегій перекладу. Перекладацька процедура роз-глядається як процес вирішення перекладацької проблеми, способи/трансформації перекладу – як перетворення текстової одиниці з однієї мови на іншу, а стратегія перекладу – як загальний план дій перекладача. Способи/трансформації перекладу вивчаються як специфічне мовне втілення перекладацькоїпроцедури.Результати. У ході дослідження були розмежовані ідіоматичні, неідіоматичні та алюзивні конвенціональні порівняння. Визначено, що перекладацька заміна когнітивних моделей англомовних художніх порівнянь поширюється на ідіоматичні, неідіоматичні та алюзивні порівняння і втілюється в українській мові культурно специфічними ідіоматичними порівняннями.Висновки. Заміна когнітивних моделей порівнянь здійснюється за допомогою лексико-граматичної трансформації цілісної заміни, яка реалізує стратегію одомашнення. Стратегія одомашнення є примусовою, якщо перекладач є обмеженим у прийнятті рішень лінгвокультурною специфікою англомовного порівняння, як у випадку з ідіоматичними порівняннями, або факультативною, як у випадку з неідіоматичними або алюзивними порівняннями, які не є лінгвокультурно маркованими. Ключові слова: алюзивне порівняння, ідіоматичне порівняння, когнітивний перекладацький аналіз, неідіоматичне порівняння, перекладацька процедура, стратегія перекладу.

The article is devoted to the analysis of translations of the medieval Latin sequence Victimae Paschalis into English, Italian and Russian. The texts selected on theological and popularization sites served as the material for the study. They were written during the 20th century and belong to different cultural traditions. The relevance of the study is due to the fact that in our time religious literature is considered as part of the global literary process. In particular, Christian medieval Latin hymnography is considered as part of the corpus of medieval poetic texts. The presence of modern translations into folk languages testifies to the interest in society in this genre. The tasks were to analyze translations and identify translation techniques and tactics, to explore the translation vocabulary, to consider the cultural component of the translations, to explore the texts in question from the point of view of the translators' worldview. The analysis showed that sequence translations reflect different worldview systems and goals, which determined different translation strategies in the given languages.

AbstractThe present article focuses on English-Italian language contact. In detail, we will show that supposedly recent borrowings such as leggings (GRADIT: 2004) or steward (1928) can already be observed in 19th-century Italian translations of English travel literature.

Elizabeth Mayhew Edmonds (1823-1907) played a significant role in the mediation of Modern Greek literature and culture in late nineteenth-century Britain, with her translations forming a vital aspect of her activity as a cultural broker. Focusing on Edmond’s transmission of late nineteenth-century Greek prose fiction, the article discusses her translation practices in the contemporary contexts of the publishing domain and the marketplace as well as of her effort to acquire authority in the literary field. Albeit impressive for a woman who was an autodidact in Modern Greek, the narrow scope of Edmonds’ translations offered a limited image of the developments in Modern Greek fiction. Her correspondence with John Gennadius and Thomas Fisher Unwin sheds light on her sense of superiority regarding male Greek authors such as Drosines and Xenopoulos, whose texts she rendered into English. Against this background, the article seeks to explain her translating choices and examines how a self-conscious translator such as Edmonds tried to shape the reception of Greek fiction in Victorian England by portraying it in terms of an ethnographic study of cultural survivals. Finally, through a parallel reading of the original texts and her somewhat mundane renderings, the article seeks to illuminate her translating craft: although worthy for their contribution to the promotion of Modern Greek literature in Great Britain, Edmond’s translations suffered from her inability to recreate the density of the original texts.

The purpose of this article is to analyse the fictional language of homosexuals as portrayed on the screen, as well as the way in which Italian translators and dubbing adapters have dealt with gayspeak. It means to explore whether the words of the gay lexicon in the English and the Italian languages cover similar semantic areas and whether any lack of balance between the two languages in this particular field may create problems for the translator. On the other hand, various examples from dubbed films and TV programmes will help to investigate whether some of the features of gayspeak are substantially altered in the Italian adaptations and whether these modifications are due to constraints determined by the vocabulary used to define the idiolect of this speech community or, rather, to overt and covert constraints imposed by a culture, the Italian, which has opened up to homosexual themes much more slowly than the Anglosaxon world.

This study examined the translation style of David Hawkes and the Yangs (Yang Xianyi and Gladys Yang) in their English translations of Hongloumeng, a Chinese Great Classic, by considering the hybrid register nature of fiction. The activity index, a measure from quanti-tative linguistics that calculates the ratio of verb occurrences to the sum of verb and adjec-tive occurrences, was used to analyze the active-descriptive equilibrium patterns across the two Hongloumeng translations and the two sub-registers of fiction. Our analysis is based on a corpus that separates fictional narration and dialogues from the first 80 chapters of the two Hongloumeng translations. The study found that, overall, dialogues tend to be more active than narration and Hawkes’ translation was characterized by a greater level of activity com-pared to the Yangs’ version. Subsequent analysis revealed that Hawkes' translation dis-played a higher level of activity in fictional dialogues while demonstrating a more descrip-tive approach in fictional narration. The results suggest that Hawkes’ translation adheres more closely to the typical stylistic conventions of fiction writing in English. The stylistic differences between the two translations of Hongloumeng are believed to be a result of a combination of factors, including the translators’ language and cultural backgrounds and their choice of translation strategies and approaches, which may have contributed to the var-iations in the final translated products.

Everything has been changing all the time in our world. It concerns language and literature as well. New traditions are being formed, and old ones die. Literary activity (creativity) could not avoid such changes: flexible natural form (shape) came instead of classical writing, instead of classical writing, great and sentimental, inherent to French literature. Bokacho`s Style and perfectionism in language mean following the rules of language standard, starting from XIII century and finishing XVIII. Padre Grande was criticized too for glorification of Toskana literary language and humiliation of local dialects. Outstanding personality of Dzhuzeppe Parini appears in early period of defining his positions, ignoring linguistic polemics, avoiding different extremes and exaggerations. Parini demonstrates society in ironic style, old such as “batrachomyomachia” – ironic “Illiada”, Moskeida” – Orlando`s statements: epical forms reflect plebeian picture of the world. Irony – is a kind of obsolete society, which didn`t understand its decline. Obsolete does its best to pretend modern, the more proud is the style, the poorer it is. This is the essence of Parini`s conception incarnated in his literary work “Giorno”(Day) which is based on irony, deep and sad. There are no doubts, that after the research and discuss about Parini, after publications of the translation in Spanish, not only ceased, but gained great interest of literary researches. It is clear, that some mistakes in translations were done, but we are not judges. The most important is basic content which is presented in the introduction of A. Prieto. Analyzing translator`s mistakes from Italian language of original text into Spanish we have to focus on key phrase of Maris Isabel Honsales-Fernandes, that Spanish has not a lot in common with Italian. It is evident especially in translation of lexical units, where the translator did mistakes, that demonstrates not appropriate level of Italian language knowledge. We can call this phenomenon “amici falsi del traduttore”, ignorance of particular lexis and meaning that lexical unit can have in both languages. This ignorance led to misunderstanding even to ugliness and curvature of original text. The translator Marselo Arroyita-Chauresi, who is a poet himself, is much more to be desired. He has tried to follow the text of original in some cases. But he was not successful in his attempts. You can just imagine Spanish translation to be translated into language of original even being of 200 years old, which we could receive. Not a proper level of the Italian language and misunderstanding of some words, which in Spanish and Italian sound the same way. Translator`s work – hard labour which needs flawless knowledge of the language of original not to loose while translating artistic value or even to deface author`s concept. It just verifies common known truth: not to ignore even the slightest peculiarities of the text of original. The translator has to know lexis and a grammar perfectly, be able to use translator`s transformations in order to avoid such phenomena as failed translation and misrepresentation of the content of the text, especially if it is a poetry.

The paper presents a comparative study of non-finite -ing forms with the aim of justifying their classification into gerunds and present participles. The empirical part focuses on -ing forms functioning as adverbials in contemporary English fiction and their corresponding Czech translations. The study is based on a manually excerpted corpus of works of contemporary English fiction and their translations into Czech. The results have shown present participles are more frequent than gerunds when functioning as adverbials, suggesting functional differences even in the area where they theoretically share a common function. As far as the translations into Czech are concerned, significant differences have been noticed between the two -ing forms, present participles being most commonly translated by means of clauses in a coordinate relation while for gerunds a way of translation which would so significantly prevail has not been identified, but nouns or verbal nouns have been the most common counterparts.

This article presents the comparative analysis of two different Russian translations of English fiction text. The research deals with linguoculturemes. The author gives a variety of definitions of the term linguocultureme, comparing this concept´s studies. The author offers to consider not only Russian-speaking but also foreign theoretical practices on a subject of basic linguoculturological concepts. Thus, through the synthesis of domestic and Spanish-language works the basic definition of a linguocultureme is offered. The four-component classification of the linguoculturemes helps to present the diversity of these components in the space of the English fiction text. The material of the research is Russian variants of translation of the English story “Peter Pan”. The purpose of this article is to compare the translations of the fiction text observing the rate of linguoculturemes in the text and classifying them, showing the variety of translation strategies. The results confirm the thesis about linguocultureme as a “zero-unit” which is a source of a translation problem. Comparative study of two Russian-language translations and its pragmatical analysis also confirms the thesis about the influence of the potential addressee of the text on the choice of language units during the translation. The attempt to study the translation as a part of the cross-cultural communication as well as the presence of the original material make this study relevant.

Purpose The purpose of this paper is to examine translation in the context of International Financial Reporting Standards (IFRS) by taking the example of the English term “impairment” in IAS 36, and following it into 19 translations. The paper then examines the terms used for impairment in English translations of annual reports provided by firms. Consideration is given to the best approach for translating regulations and whether that is also suitable for the translation of annual reports. Design/methodology/approach The two empirical parts of the paper involve: first, identifying the terms for impairment used in 19 official translations of IAS 36, and second, examining English-language translations of reports provided by 393 listed firms from 11 major countries. Findings Nearly all the terms used for “impairment” in translations of IAS 36 do not convey the message of damage to assets. In annual reports translated into English, many terms are misleading in that they do not mention impairment, peaking at 39 per cent in German and Italian reports in one year. Research limitations/implications Researchers should note that the information related to impairment in international databases is likely to contain errors, and the authors recommend that data should be hand-collected and then carefully checked by experts. The authors make suggestions for further research. Practical implications Translators of regulations should aim to convey the messages of the source documents, but translators of annual reports should not look only at the reports but also consult the terminology in the original regulations. The authors also suggest implications for regulators and analysts. Originality/value The paper innovates by separately considering regulations and annual reports. The authors examine a key accounting term systematically into a wide range of official translations. The core section of the paper is a new field of research: an empirical study of the translations of firms’ financial statements.

Abstract This article aims to answer the following questions: what is the distribution of dual pronouns in original and translated Lithuanian fiction texts; what English language patterns are rendered by Lithuanian dual pronouns; and how Lithuanian dual pronouns are translated into English. In line with the unique items hypothesis, it is hypothesized that dual pronouns, as a characteristic feature of the Lithuanian language, should be less frequent in translations, as English texts do not have an obvious translation stimulus. Corpus based methods were used for data extraction and analysis. Firstly, from the morphologically annotated ORVELIT corpus, all occurrences of pronouns in original and translated fiction were identified, and all dual forms were extracted. Parallel concordances of dual pronoun translations were obtained from the Lithuanian-English Corpus of Prose LECOP and the Parallel Corpus (English-Lithuanian translation direction) using the ParaConc software (Barlow, 2009). The most frequent forms of personal pronouns were chosen for further analysis: mudu, judu and jiedu. It has been found that differently from initial prediction, Lithuanian translations have similar or slightly higher numbers of dual pronouns in comparison to original Lithuanian texts. The data from English-to-Lithuanian translations shows several patterns rendered by dual pronouns, for example, when English plural personal pronouns describe two referents or when a combination of a personal pronoun and another referent is used with the conjunction and. When translating duals from Lithuanian into English, translators choose English plural forms of pronouns or use the formula ‘pronoun + referent/referent + pronoun’. To compensate for the loss of information about the number of referents or their proximity, translators use the number two. In original English texts, unlike in translated English texts, this usage was not frequent or common.

This is a presentation of fourteen English verse translations which have never previously been printed, transcribed from a range of extant manuscripts. The translators are mainly little-known figures. Italian authors translated include Dante, Petrarch, Tasso, Guarini, Metastasio, and Manfredi. The selection is intended to suggest how further archival research might make more visible the extensive history of amateur translation of classic and contemporary Italian poetry in English, and how far from routine its products can be.

The following article takes into consideration two cases of early modern female ‘monstrosity’ drawn from the Italian collection of Novelle published by Matteo Bandello in 1554. The events recount the stories of two mothers who, seized by ‘unnatural’ folly, kill in cold blood their own offspring. The article tackles the conflicting concepts of normality and malady, putting this ambiguous opposition in relation with the consequent translations of the Novelle in French and in English. The shifts that appear in the translations reveal a deep preoccupation with definitions of malady, be they physical or cultural. Through a close analysis of the original Italian text and its English rendition written by Geoffrey Fenton in 1567, this article sheds light on the troubled relationship of English translators with ‘Italianated’ thus ‘degenerate’ customs, and on their authorial and textual strategies to pre-empt the infectious potential of their Italian sources.

This article illustrates an intermodal study on simultaneous interpreting and translation from Italian into English based primarily on the European Parliament Interpreting Corpus (EPIC) and official translations from the European Parliament. In line with Gideon Toury’s posited law of interference, the hypothesis that drives the present study is that interpreters and translators working into English from Italian may underrepresent the ’s-genitive as a result of the syntactic asymmetry between English (which alternates between ’s and of) and Italian (which only has one type of prepositional phrase consisting of di + noun). The results of this study indicate that ’s-genitives occur with lower frequency in interpreted English than in non-mediated English, thus revealing a particular form of syntactic interference. The same tendency, however, is not found in translations from Italian into English. This difference is explained by recourse to Englund Dimitrova’s (2005) findings on translation expertise and to the literal translation hypothesis (Chesterman 2011) and by suggesting that simultaneous interpreting tends to adhere to the source-language syntax more closely than translation, thus displaying similarities with translation drafts. The results also point to the theoretical and methodological limitations of the théorie du sens developed by the Paris School of Interpreters and Translators.

This study investigates acronyms in English originals and their translations into German and Swedish, comparing forms, functions and distributions across the languages. The material was collected from the Linnaeus English-German-Swedish corpus (LEGS) consisting of original and translated popular non-fiction. From a structural point of view, acronyms most often occur as independent noun heads (When IBM introduced […]) or as premodifiers in a noun phrase (PGP encryption). Due to morphosyntactic differences, English acronym premodifiers often merge into hyphenated compounds in German translations (UN-Klimakonvention), but less frequently so in Swedish. The study also discusses explicitation practices when introducing source-culture specific acronyms in the translations. German translators explain and elaborate more than Swedish translators and they do so in the German language. Swedish translators, however, use English to a greater extent, suggesting that Swedish readers are expected to have better knowledge of English than German readers.

Objective: The objective of this study was to produce a cross-cultural adaptation in Italian of the Agitated Behavior Scale (ABS), originally developed in English, as the first of two stages that also include cross-cultural validation and allow a clinical scale to be used in the proper setting such as rehabilitation units. Methods: In order to adapt the ABS scale to a different cultural environment, five consecutive steps were performed: (1) forward translations (n = 8), (2) synthesis of the 8 forward translations to obtain a first shared italian version (ABS_I_trial), (3) back translations (n = 3), (4) creation of an expert committee to evaluate forward and back translations and finally (5) the cognitive debriefing. Results: After the five steps, including forward translations and back translations, the process of committee verification and judgement and the evaluative step of cognitive debriefing, high comprehensibility of all items was found, resulting in an Italian translation version of ABS suitable for application in a clinical setting. Conclusion: ABS translation was produced by means of a standardized procedure aimed at minimizing cross-cultural gaps. The expert committee evaluated the version produced as highly understandable in Italian. Further steps, such as the subsequent validation of its psychometric properties, are needed to employ this translation in a clinical setting.

The present paper compares translations from Russian into Finnish, Swedish, and English of a work of political non-fiction, Всякремлевскаярать: КраткаяисториясовременнойРоссии(lit. All the Kremlin men: A short history of contemporary Russia) by Mikhail Zygar (2016a) and investigates the use of information change as a translation strategy. Information change covers addition and omission of non-inferable content, used either separately or sequentially (i.e. addition following omission resulting in substitution). De Metsenaere’s and Vandepitte’s (2017) notions of addition and omission are applied. The study shows that the translations into Finnish and Swedish exhibit similarly infrequent use of information changing strategies while the English translation appears more liberal in their use. Possible reasons for the additions, omissions, substitutions, and their effects are discussed, as is the potential impact of the English translations on translation norms

Abstract Following Enkvist's method for establishing style markers, one 'positive' and one 'negative' marker of modern Arabic-Hebrew prose translations are constituted through a comparison of the translations with their respective original texts. A complementary intra-language study of original Hebrew prose fiction, which revealed the same style markers, shows that the findings are not translation-specific, but rather a language-bound phenomenon. Although the findings for Hebrew translations from English and German concerning the 'negative' style marker do not concur with the findings in the translations from Arabic, they nonetheless indirectly support the conclusion that it is language-bound.

Abstract The aim of this article is to shed new light on the use and translation of English and Swedish questions in fiction by using a combination of parallel and comparable corpus data extracted from the bidirectional English-Swedish Parallel Corpus. In particular, the study examines questions containing a question mark (QMquestions) categorised into wh-interrogatives, polar interrogatives, alternative questions, tag questions (including those with invariant tags), declarative questions, wh-fragments and non-wh-fragments. The parallel analysis shows that most QMquestion types are more often translated congruently into English than into Swedish. The focus is on types with low mutual correspondence scores: fragments, tag questions and declarative questions. The comparable analyses concern both bilingual contrasts between the original texts and monolingual contrasts between the translation and original subcorpora in both languages. The bilingual analysis aligns with several preliminary findings in the parallel analysis, e.g. the favouring of tag questions and some types of wh-fragments in English. The monolingual analysis reveals both over- and underuse in translations and points to a strong effect of source-language influence.

Abstract Much is expected to change when a work of fiction is translated from one language and culture to another, but the intended reader is not. This paper deals with the issue of the change of the intended reader from adult to child/adolescent in translations of fiction from English into Slovene. The intended reader is most likely to change in translations of comics/cartoons, fantasy, and realistic fiction with child or animal protagonists. The reasons for the change can be both textual and extra-textual: on the one hand, books are categorized as children’s books by libraries, award boards and marketers, as well as by the publisher’s choice of translator, while, on the other hand, individual translation decisions on the microlevel can help move a book from one category to another.

The genre of boys’ love (BL) has enjoyed huge popularity since its Japanese beginnings in the 1960s, and it has taken root in popular cultures in many countries. BL arrived in China via fan translations of Japanese manga into Chinese. With the rise of online fiction platforms in China, local writers produced widely popular male–male romances that gained traction locally and abroad. The outflow of Chinese BL mirrors fan activities that led to the popularity of Japanese manga and anime in the United States. Fan translations of Chinese-to-English BL fiction are one of the most important links in introducing Chinese BL to the rest of the world. This article focuses on the cultural outflow of Chinese BL through fan translations in gloBLizing the genre. Through interviews with five teams and one individual fan translator, this article examines their roles played in the dissemination of BL web novels beyond the native Chinese-speaking world. These fan translators all resided in anglophone countries, and are diverse in their cultural and linguistic backgrounds, ages and BL interests. We interviewed fan translators that translated works from fantasy, alternative history and contemporary romance. Some of these works have been adapted into multimedia and some have not.

The article examines the titles of prose fiction of the English esthete Oscar Wilde in terms of their formal and content features, the quality of translation into Russian and typological characteristics. Particular attention is paid to the title of Wilde's only novel “The Picture of Dorian Gray”: to the choice of words, rhythm and semantics associated with the author's aesthetic position. The titles of plays by Wilde the playwright follow the English literary tradition and quite often specify the genre, as well as focus on the name, gender, and social status of the main character. Titles of stories and fairy tales have similar characteristics. Approximately one third of all the considered titles are eponymous or literal, the second third are eponymous with an additional attributive characteristic, sometimes with ironic overtones at the level of the poetics of the title, the third part are titles in the possessive form, enhancing the nominative function. Translations of titles into Russian over a century of existence and renewal have come as close as possible to the original, maintaining its simplicity and richness.

The article deals with the problem of rendering emotive units in Belles-lettres translation. The fiction text as an object of translation analysis is considered; the role of emotive units in fiction is established; the translation operations employed to render emotive units of Agatha Christie’s “The Mysterious Mr. Quin” from English into Chinese, Russian and Ukrainian languages are regarded; quantitative indicators of obtained results are justified and their linguistic interpretation is made. Key words: work of fiction, translation, emotive statements, translation operations.

Abstract This study compares the syntactic complexity between translational and non-translational English across four genres (i.e. fiction, news, general prose, and academic prose) and examines the connections between various forms and degrees of syntactic complexity measures and explicitation. Fourteen syntactic complexity indices were examined based on a one-million-word translational English corpus (COTE) and a one-million-word non-translational English corpus (i.e. FLOB), respectively. This study shows that syntactic explicitation in translations varies with the formality of discourse. The most significant complexity difference between translational vis-à-vis non-translational English is found in fiction, which is regarded as the major contributor to translational English syntactic complexity. No significant difference in syntactic complexity was observed between the two types of academic English texts. Translational English news and general prose stand between fiction and academic texts. Translational fiction and news are characterised by more phrasal complexity features such as coordinate and complex nominal phrases, and a key indicator of translational English general prose complexity is subordination. The findings of this study will help students of translation to make informed decisions on the arrangement of sentence structures when given texts of different genres.

This paper examines the role of traditional physical archives within Translation Studies research, investigating the contribution that such resources can add, providing information that otherwise would not be available in existing scholarly volumes, academic journals and digital material. The question is illustrated with the specific case of F. Scott Fitzgerald’s The Great Gatsby (1925) and its first two translations into Italian, carried out respectively in 1936 by Cesare Giardini and 1950 by Fernanda Pivano. Both translations were published by Mondadori, Italy’s largest publishing company, as part of two different series, I romanzi della palma and the later Medusa collection.Adopting a microhistory approach, the study of these translations, through the resource-rich archives of the Fondazione Arnoldo e Alberto Mondadori in Milan, can shed light on a number of issues that the text alone cannot provide: documentation, including the other books published in the same series, highlights the target audience that Mondadori were seeking to address; the paratextual elements of the books themselves are revealing of the prominence (or otherwise) of American literature in general and Fitzgerald in particular within the Italian literary polysystem at the time of their publication; in the case of the first translation, readers’ reports on the novel indicate how the censors of the Fascist regime might receive the somewhat racy themes contained in the book, while, in the case of the 1950 translation, correspondence between the publisher, literary agents and the translator herself highlight the many issues surrounding the ultimate publication of the volume.

1) Congreso/Congress: University of Rome "Roma Tre" (Department of Foreign Languages, Literatures and Cultures). International Conference: Terms and Terminology in the European Context, 23-24 October 2014 (Department of Foreign Languages, Literatures and Cultures, Via del Valco San Paolo, 19, Rome – ITALY). For queries regarding the congress please contact: ttec.roma3@gmail.com 2) Congreso/Congress: “XI Congreso Traducción, Texto e Interferencias” (UNIA, Baeza) Call for papers until 30 June 2014: http://www.uco.es/congresotraduccion/index.php?sec=home 3) Taller/Workshop: 4th International Workshop on Computational Terminology, CompuTerm 2014, COLING 2014 Workshop, 23rd or 24th August 2014, Dublin, Ireland, http://perso.limsi.fr/hamon/Computerm2014/ Submissions should follow the COLING 2014 instruction for authors (http://www.coling-2014.org/call-for-papers.php) and be formatted using the COLING 2014 stylefiles for latex, MS Word or LibreOffice (http://www.coling-2014.org/doc/coling2014.zip), with blind review and not exceeding 8 pages plus two extra pages for references. The PDF files will be submitted electronically at https://www.softconf.com/coling2014/WS-9/ 4) Congreso/Congress: 34th TRANSLATOR’S WEEK, 1st INTERNATIONAL TRANSLATION SYMPOSIUM (SIT), São Paulo State University (Unesp), September 22-26, 2014, São José do Rio Preto (Brazil). The official languages of the event are Portuguese, Spanish, English, Italian and French. Contact: Angélica (Comisión Organizadora), angelica@ibilce.unesp.br 5) Congreso/Congress: Cardiff University Postgraduate Conference, 27 May 14: “The Translator: Competence, Credentials, Creativity”. Keynote speaker: Professor Theo Hermans (UCL).The event is kindly supported by the University Graduate College and the European School of Languages, Politics and Translation. For queries, please contact the.translator.pg.conference@gmail.com. 6) Congreso/Congress: International Conference, 3rd T&R (Theories & Realities in Translation & wRiting) Forum. Organized by the University of Western Brittany, Brest (FRANCE), in collaboration with KU Leuven/Thomas More (Campus Antwerpen, BELGIUM), with the support of AFFUMT (Association française des formations universitaires aux métiers de la traduction) and the participation of Università Suor Orsola Benincasa (Naples, ITALY): “Traduire/écrire la science aujourd’hui - Translating/Writing Science Today” Please submit an abstract of approximately 300 words by 15 June 2014 to Jean-Yves Le Disez (jean-yves.ledisez@univ-brest.fr, Joanna Thornborrow joanna.thornborrow@univ-brest.fr and Winibert Segers (Winibert.Segers@kuleuven.be). For more information on previous events and the forthcoming conference : http://www.univ-brest.fr/TR, http://www.lessius.eu/TNR 7) Congreso/Congress: “The International Conference of Journals and Translation”, Jinan University, Guangzhou, CHINA, on 28-29 June 2014. The conference is hosted by the School of Foreign Studies, Jinan University, Guangzhou, CHINA. The official languages of the conference are English and Chinese. Contact information: Yan, Fangming（颜方明86-13751750040; Li, Zhiyu（李知宇86-13824451625. 8) Congreso/Conference: PACTE Group is organising two events on the subject of the didactics of translation. These events will be held at the Universitat Autònoma de Barcelona (SPAIN) in July 2014. SECOND INTERNATIONAL CONFERENCE ON RESEARCH INTO THE DIDACTICS OF TRANSLATION (8-9 July 2014). SECOND SPECIALIST SEMINAR ON THE DIDACTICS OF TRANSLATION (7 July 2014). Further information about the conference and the seminar: http://grupsderecerca.uab.cat/pacte/en/content/didtrad-2014 9) Simposio/Symposium: “Translation in Music” Symposium, held on 25-26 May 2014, and co-organized by the European School of Languages, Politics and Translation (Cardiff University). Please see the following website for details: www.cardiff.ac.uk/music/translationinmusic 10) Revistas/Journals: “The Journal of Intercultural Communication and Mediation”, “CULTUS Journal” www.cultusjournal.com Next Issue: Cultus7 : “Transcreation and the Professions” Call for papers (Issue 7, 2014): 9th June. Submission info at: www.cultusjournal.com Contact: David Katan, Interlinguistic Mediation/Translation and Interpretation Department of Humanities, University of the Salento (Lecce), via Taranto 35 - 73100 Lecce (ITALY), tel.+39 0832/294111. 11) Revistas/Journals: Invitation for Submissions (Vol. 3, 2014): Translation Spaces: A multidisciplinary, multimedia, and multilingual journal of translation, published annually by John Benjamins Publishing Company. Please consult our guidelines, and submit all manuscripts through the online submission and manuscript tracking site, indicating for which track and Board member the manuscript is to be addressed: (1) Translation, Globalization, and Communication Technology (Frank Austermühl); (2) Translation, Information, Culture, and Society (Gregory M. Shreve); (3) Translation, Government, Law and Policy (Michael Geist); (4) Translation, Computation, and Information (Sharon O’Brien); (5) Translation and Entertainment (Minako O’Hagan); (6) Translation, Commerce, and Economy (Keiran J. Dunne); and (7) Translation as an Object of Study (Ricardo Muñoz Martín). 12) Revistas/Journals: PR for Linguistica The editorial board of the peer reviewed journal Linguistica Antverpiensia NS-Themes in Translation Studies is happy to announce the launch of its new Open Journal format. LANS-TTS published 11 annual issues devoted to current themes in Translation Studies between 2002 and 2012, and will continue to publish annually on selected TS themes, but in open access, and can be downloaded from: ‪https://lans-tts.uantwerpen.be Its first digital issue is entitled “Research models and methods in legal translation”. It has been guest edited by Łucja Biel (University of Warsaw, POLAND) & Jan Engberg (Aarhus University, DENMARK). 13) Revistas/Journals: CALL FOR PAPERS The Yearbook of Phraseology would like to invite you to submit papers on the relationship between phraseology and translation. The Yearbook of Phraseology is published by Mouton de Gruyter (Berlin, Boston) and has already been indexed by many scientific databases. It has recently been added to the MLA International Bibliography. Our editorial board includes reknown linguists such as Dmitrij Dobrovol’kij (Moscow), Christiane Fellbaum (Princeton), Sylviane Granger (Louvain), Wolfgang Mieder (Vermont), Alison Wray (Cardiff) and others. We have also been able to rely on international experts for reviewing our submissions: Igor Mel’cuk, Doug Biber, Uli Heid, Barbara Wotjak, etc. The web page of the journal is: http://www.degruyter.com/view/serial/42771 For more information, please contact: Dr. Jean-Pierre Colson (Institut Marie Haps / Université catholique de Louvain), Yearbook of Phraseology / Editor. 14) Libros/Books: Peter Lang Oxford invites proposals for the book series: New Trends in Translation Studies (www.peterlang.com?newtrans). Series Editor: Jorge Díaz-Cintas (Director), Centre for Translation Studies (CenTraS), University College London (UK). Advisory Board: Susan Bassnett, University of Warwick, UK Lynne Bowker, University of Ottawa, Canada Frederic Chaume, Universitat Jaume I, Castellón, Spain Aline Remael, Artesis University College Antwerp, Belgium This series is based at the Centre for Translation Studies (CenTraS), University College London (www.ucl.ac.uk/centras). For more information, please contact Dr. Laurel Plapp, Commissioning Editor, Peter Lang Oxford, 52 St Giles, Oxford OX1 3LU (UK). Email: l.plapp@peterlang.com. Tel: 01865 514160. 15) Libros/Books: New book: Transfiction. Research into the realities of translation fiction, edited by Klaus Kaindl & Karlhienz Spitzl, Series: Benjamins Translation Library (BTL 110), ISSN: 0929-7316 16) Libros/Books: New book on classical Chinese literature and translation: CHAN, KELLY K.Y.: Ambivalence in poetry: Zhu Shuzhen, a classical Chinese poetess? http://www.amazon.com/Ambivalence-poetry-Shuzhen-classical-Chinese/dp/3639700791 17) Libros/Books: Nueva publicación de TRAMA: MARTÍ FERRIOL, JOSÉ LUIS: El método de traducción: doblaje y subtitulación frente a frente www.tenda.uji.es/pls/www/!GCPPA00.GCPPR0002?lg=CA&isbn=978-84-8021-940-2 18) Libros/Books: Piotr de Bończa Bukowski & Magda Heydel (Eds.), Anthology of Polish Translation Studies, published in Kraków (POLAND). For further details : http://www.wuj.pl/page,produkt,prodid,2184,strona,Polska_mysl_przekladoznawcza,katid,126.html. 19) Libros/Books: Nuevo libro: Nicolas Froeliger: Les noces de l’analogique et du numérique, París: Les Belles Lettres, 2014. 20) Libros/Books: New book on the reception of Italian Literature in Spain: CAMPS, Assumpta (2014). Traducción y recepción de la literatura italiana en España. Barcelona: Edicions UB. 21) Libros/Books: New book on the reception of Italian Literature in Spain: CAMPS, Assumpta (2014). Italia en la prensa periódica durante el franquismo. Barcelona: Edicions UB. 22) Cursos de verano/Summer Courses: EMUNI Ibn Tibbon Translation Studies Summer School, June 2014. Application is now open for the Ibn Tibbon Translation Studies Doctoral and Teacher Training Summer School, organized by University of Ljubljana (Slovenia), Boğaziçi University (Turkey), University of Turku and University of East Finland (Finland), University of Granada (Spain), and to be held at the University of Granada (Spain) in June 2014. The School is open to doctoral students, teachers of translation at the MA level, and other academics and professionals who are involved in research in Translation Studies. For more information, please visit: http://www.prevajalstvo.net/emuni-doctoral-summer-school http://tradinter.ugr.es/pages/emuni Or contact: emuni_summerschool@ugr.es 23) Cursos de verano/Summer Courses: Intensive Summer Course in Translation Technology, held by the Centre for Translation Studies at UCL, London (UK), in August 2014. This is open to professionals and teachers as well as students. Application deadline: 23rd May 2014 For more information, visit : www.ucl.ac.uk/centras/prof-courses/summer-translation/translation-tech-intensive To apply for a place, email Lindsay Bywood: lindsay.bywood.13@ucl.ac.uk 24) Cursos de verano/Summer Courses: The Nida School of Translation Studies 2014 Call for participants: The Nida School of Translation Studies ,2014 May 26 – June 6, 2014 San Pellegrino University Foundation Campus Misano Adriatico (Rimini), Italy “Translation as Interpretation” This year marks the Nida School’s eighth year of advancing research and providing specialized training in translation studies through a transdisciplinary approach that incorporates a focus on religious discourse. NSTS is seeking engaged scholars and qualified professionals looking to expand their skills, engage with peers, and explore the interface of practice and cutting edge theory. The NSTS 2014 Associate Application form may be found here: https://secure.jotform.us/mhemenway/nsts2014app. For more information on the 2014 session or to apply, go to http://nsts.fusp.it/nida-schools/nsts-2014, or contact Dr. Roy E. Ciampa at roy.ciampa@fusp.it. 25) Cursos de verano/Summer Courses: POSTCOLONIAL TRANSLATION STUDIES AND BEYOND: RESEARCHING TRANSLATION IN AFRICA - SUMMER SCHOOL FOR TRANSLATION STUDIES IN AFRICA The Departments of Linguistics and Language Practice at the University of the Free State, Afrikaans and Dutch at the University of Stellenbosch and Literature and Language at the University of Zambia, in cooperation with IATIS, are presenting the Third Summer School for Translation Studies (SSTSA) in Africa from 18 to 22 August 2014. The hosts are the University of Zambia in Lusaka. SSTSA 2014 will be followed by a regional conference hosted by IATIS at the same venue on 23 and 24 August 2014. For participants to SSTSA 2014, entry to the conference is free, provided they read a paper. For detailed information and registration forms, visit the website of the Summer School at: http://www.ufs.ac.za/SSTSA.

The article deals with a letter, that doesn’t bear the name of the sender, and which is given in a work of fiction for the sake of plot development and creating suspence in particular. This kind of inserted texts so far has not been covered by either linguistic or literary scholars, which specifies the novelty in this research. The peculiarities of an anonymous letter, that bears a warning – the most frequent kind in both Russian and English literature – have been made clear. We have studied eight translations of a small-size text from the novel «Adventures of Huckleberry Finn» by Mark Twain into the Russian language, made from the late XIXth up to the early XXIst century. Such fiction text fragments are comprehensible by themselves and, therefore, ideal for comparative analysis of translations. We have determined considerable variations in translation of separate words and combinations, and relative congruity of simple sentences. The latter can either be explained by the same syntactical structure and observance of language and speech norms, or by the awareness of the previous works. Our results can be used by those, who study the rules of translaing fiction, detective and adventure fiction in particular.

This article examines cases where translators are confronted with messagesm whose meaning is obscured by a simple cipher. Russian translators had to overcome certain difficulties while translating certain passages in the works of British (Sir Arthur Conan Doyle, Agatha Christie) and American (Edgar Allan Poe, Dan Brown) fiction writers. Substitution code (―The Gold-Bug‖, ―The Adventure of the Dancing Men‖), anagrams (―The da Vinci Code‖), as well as different kinds of text steganography (―The Gloria Scott‖, ―The Four Suspects‖) can be used to encrypt the information. Each case is illustrated with two examples. The translator has to depict not only the very process of deciphering a message, but also render its cryptic nature with the means of a target language (Russian). We show, that in half of the cases it is a mere translation of the deciphered text. It is a simpler way, because there is no need to create an analogue thereof. The grand purpose, however, remains unachieved. In two instances there were multiple translations of the same text (6 of ―The Gold-Bug‖ by E.A Poe and 9 of ―The Four Suspects‖ by A. Christie). This phenomenon can be explained not only by the popularity of the stories, but by the relatively small circulation of certain editions. We have undertaken a comparative analysis of these translations and have revealed discrepancies, concerning more and less significant translation units and, in some cases minor errors.

This article examines cases where translators are confronted with messagesm whose meaning is obscured by a simple cipher. Russian translators had to overcome certain difficulties while translating certain passages in the works of British (Sir Arthur Conan Doyle, Agatha Christie) and American (Edgar Allan Poe, Dan Brown) fiction writers. Substitution code (―The Gold-Bug‖, ―The Adventure of the Dancing Men‖), anagrams (―The da Vinci Code‖), as well as different kinds of text steganography (―The Gloria Scott‖, ―The Four Suspects‖) can be used to encrypt the information. Each case is illustrated with two examples. The translator has to depict not only the very process of deciphering a message, but also render its cryptic nature with the means of a target language (Russian). We show, that in half of the cases it is a mere translation of the deciphered text. It is a simpler way, because there is no need to create an analogue thereof. The grand purpose, however, remains unachieved. In two instances there were multiple translations of the same text (6 of ―The Gold-Bug‖ by E.A Poe and 9 of ―The Four Suspects‖ by A. Christie). This phenomenon can be explained not only by the popularity of the stories, but by the relatively small circulation of certain editions. We have undertaken a comparative analysis of these translations and have revealed discrepancies, concerning more and less significant translation units and, in some cases minor errors.