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Journal articles on the topic 'Voice translator'
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1
Greenall, Annjo K. "Translators’ voices in Norwegian retranslations of Bob Dylan’s songs." Target. International Journal of Translation Studies 27, no. 1 (February 9, 2015): 40–57. http://dx.doi.org/10.1075/target.27.1.02gre.
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This paper tackles several questions relating to the issue of the translator’s voice in retranslation: how do others’ voices (including other (re)translations) interact with the translator’s voice in the production of a translation? How does the intersubjectively constituted voice of the translator manifest itself in paratexts, in the translated text and, in the case of singer-translators, in the translator’s physical, performing voice? The case discussed is that of Bob Dylan in (re)translation into Norwegian, and it is concluded that different singer-translators involve others in the process in various ways and to varying degrees; that there are great subjective differences in how and to what extent they take other (re)translations of Dylan into account; and that they choose different strategies for displaying their voices in paratexts, texts and performances, differences that can be explained by reference to the singer-translator’s role and status on the cultural scene.
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Ekberg, Laura. "Ventriloquism and translation: The translator’s voice in Caribbean literature." Journal of Interdisciplinary Voice Studies 6, no. 1 (April 1, 2021): 39–54. http://dx.doi.org/10.1386/jivs_00036_1.
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This article explores the concepts of voice and ventriloquism in translation through examining Finnish translations of Anglophone Caribbean novels. Four novels and their Finnish translations are discussed with focus on the translation of proverbs and references to Caribbean oral tradition. The translator’s own voice and the voices of other agents participating in the translation process become manifest both in the translation itself and in contextual materials related to the translation. The literary translator can be seen to act as the mouthpiece for a multitude of agents in addition to the author of the original work. The concept of ventriloquism can help shed light on the complex ways in which different voices can interact within the translation process and the ways in which translators must make choices on which voices to give precedence in the translated text.
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Kenny, Dorothy, and Marion Winters. "Machine translation, ethics and the literary translator’s voice." Fair MT 9, no. 1 (August 17, 2020): 123–49. http://dx.doi.org/10.1075/ts.00024.ken.
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Abstract Recent work in translation studies has established the literary translator’s voice as an ethical concern, but there has been little empirical research so far into how the translator’s voice is affected in workflows involving machine translation. In this article, we investigate how the use of neural machine translation influences the textual voice (Alvstad et al. 2017) of renowned translator from English into German, Hans-Christian Oeser. Based on an experiment in which Oeser post-edits an excerpt from a novel he had previously translated, we show how his textual voice is somewhat diminished in his post-edited work compared to its stronger manifestation in his translation work. At the same time Oeser’s contextual voice (ibid.) remains strong in his comments on the text he produces in post-editing mode. The article is offered as a methodological intervention and represents an initial attempt to design studies in literary machine translation that put the focus on human translators, allowing their voices to be heard more clearly than has previously been the case.
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Mossop, Brian. "The Missing Style Problem and the Translation of French Erotica into English." Meta 62, no. 2 (September 11, 2017): 333–49. http://dx.doi.org/10.7202/1041027ar.
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In most synonym sets, there is a neutral item that does not belong to any particular style (poor is neutral whereas impecunious and broke are not). In writings about sex, French has a neutral style but English does not. The English translations of two French autobiographies detailing the authors’ sex lives are presented and some of the translators’ strategies are discussed. These two cases are seen against the general background of style options available to translators. A translator’s approach to style can be theorized by comparison to the source text (use an equivalent style, use a different existing style, create a new style, use a default ‘translating style’) or by considering how the translator ‘voices’ the translation (use the voice of the source writer, the imagined future readers, the translator, or some other voice).
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Kim, Kyu-Seok. "A Method to Improve the Accuracy of Voice Translation by Adding Intentional Spaces." Korean Society of Technical Education and Training 25, no. 3 (September 30, 2020): 93–98. http://dx.doi.org/10.29279/kostet.2020.25.3.93.
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Real-time voice translation systems receive a speaker s voice and translate their speech into another language. However, the meaning of a whole Korean sentence can be unintentionally changed because Korean words and syllables can be merged or divided by spaces. Therefore, the spaces between the speaker s sentences are occasionally not identified by the speech recognition system, so the translated sentences are sometimes incorrect. This paper presents a methodology to enhance the accuracy of voice translation by adding intentional spaces. An Android application was implemented using Google speech recognizer for Android and Google translator for the Web. The Google speech recognizer app for Android receives the speaker s voice sentences in Korean and shows the text results. Next, the proposed Android application adds spaces when the speaker speaks the dedicated word for the space. Finally, the modified Korean sentences are translated into English by Google translator for the Web. Using this method can enhance interpretation accuracy for translation systems.
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Darwish, Ali, and Pilar Orero. "Rhetorical dissonance of unsynchronized voices." Babel. Revue internationale de la traduction / International Journal of Translation 60, no. 2 (December 31, 2014): 129–44. http://dx.doi.org/10.1075/babel.60.2.01dar.
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Voice-over as an audiovisual translation modality has traditionally been described for its rendering of the truth or its faithfulness. The manipulation and deviation from the original text through translation has already been the object of study in documentaries. This paper looks at the translation of TV news through voice-over. Technical and content infidelities are rendering the broadcast actualities into sexed up copies of the original, which for all intents and purposes are in sheer contravention of what translation is for as a faithful reproduction of the original and of objective and factual news reporting. The effects of the translator’s visibility in news voice-over is re-examined and the physical presence of the translator/voice talent is analyzed. This paper argues that the visibility of the translator in this instance pushes the boundaries of mediation beyond mere technicalities towards a sociopolitical sphere of reasoning and rationality by editorial policy makers. The paper also argues that synchronicity of voice-overs stemming from the rhetorical features of the voice-over styles of delivery and the idiosyncrasies of the voices creates dissonance and renders the original message with a degree of infelicities that undermine the long-celebrated standards of objectivity and neutrality. Consequently, this paper underscores the invisibility of the translator in this mode of translation mediation.
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Sztorc, Weronika. "The Translator in the Spotlight." Między Oryginałem a Przekładem 26, no. 47 (March 13, 2020): 17–38. http://dx.doi.org/10.12797/moap.26.2020.47.01.
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It is often said that the translator ought to remain in the shadow of the author and limit themselves to enabling successful and undisturbed communication between author and reader. The translator is not allowed to add their own voice to a literary work. However, it turns out they actually do. The aim of the article is to examine unconventional footnotes where the translator overtly speaks with their own voice. First, a few examples of literary works making interesting use of footnotes are presented. The similarities among the translators’ footnotes are highlighted, with a special focus on the issue of the translator’s power. Then, particular categories of translators’ footnotes are discussed, wherein translators express their opinions, show their emotional involvement or share stories from their private lives. It turns out that the footnote becomes a unique channel of direct communication between the translator and the reader, sometimes even involving competition with the author. A question is asked as to what may possibly encourage translators to assert their presence in the text in this way.
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O’Sullivan, Emer. "Narratology meets Translation Studies, or, The Voice of the Translator in Children’s Literature." Meta 48, no. 1-2 (September 24, 2003): 197–207. http://dx.doi.org/10.7202/006967ar.
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Abstract When critics identify ‘manipulations’ in translations, these are often described and analysed in terms of the differing norms governing the source and the target languages, cultures and literatures. This article focuses on the agent of the translation, the translator, and her/his presence in the translated text. It presents a theoretical and analytical tool, a communicative model of translation, using the category of the implied translator, the creator of a new text for readers of the target text. This model links the theoretical fields of narratology and translation studies and helps to identify the agent of ‘change’ and the level of communication in which the most significant modifications take place. It is a model applicable to all translated narrated literature but, as examples illustrate, due to the asymmetrical communication in and around children’s literature, the implied translator as he/she becomes visible or audible as the narrator of the translation, is particularly tangible in translated children’s literature.
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Wang, Tiansi. "On the translator’s voice from the paratextual perspective–exemplified by Goldblatt’s English translation of Red Sorghum and Massage." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 19, no. 1 (June 11, 2021): 65–82. http://dx.doi.org/10.1075/forum.20018.wan.
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Abstract The paper explores the translator’s voice from the paratextual perspective combined with a descriptive case study of Goldblatt’s English translation of Red Sorghum: A Novel of China and Massage. In the multidisciplinary and trans-disciplinary integrated analytical framework of narrative stylistics and socio-translation studies, the author argues that the translator’s voice could be studied at two levels, i.e. narrative voice in the target text as well as peritext and situational voice in the translation process. Paratexts could be employed to endorse the existence of narrative voice. Besides, paratexts serve to shed light on the implied multiplicity of situational voice and probe into the pivotal parts of the translator therein. The article aims to strengthen the bonds between paratexts and the translator’s voice, enrich the theory on the translator’s voice and further feed vigor into the field of translation studies. Meanwhile, the study deduces implications for enhancing the international communication of Chinese literature.
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Xu Yun, Susan. "The translators’ positioning in an institutional setting." Babel. Revue internationale de la traduction / International Journal of Translation 61, no. 1 (August 20, 2015): 93–109. http://dx.doi.org/10.1075/babel.61.1.06xu.
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Translators in Singapore face the dilemma of serving the needs of a heterogeneous population in this multi-racial and multilingual city-state and have often become the “scapegoat” in the event of a controversy arising from the translation. A case in point is the heated debate triggered by a newspaper article in the Straits Times, translated from a Chinese article in Lianhe Zaobao. Drawing on two sociological notions, that is, erasure and indexing of social identity, this paper sets out to investigate whether the translator who worked in an institutional setting positioned himself in favour of an institutionally-aligned culture and ideology in order to strengthen the institutional voice. It will first review the key concepts, namely, institutional power, ideology and positioning, and their relevance to the Singapore context, and then scrutinize the source text and its two translated versions in an effort to detect any traces of cultural and ideological shifts that lead to the controversy. The paper reveals that the translator working in an institutional setting in Singapore does align himself with the authority and the erasure of translators paradoxically jeopardizes the author’s social identity and ideological positioning.
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Tahiri, Lindita. "Lost in Translation: Narrative Perspective Silenced by the Voice of the Translator." Respectus Philologicus, no. 38(43) (October 19, 2020): 202–13. http://dx.doi.org/10.15388/respectus.2020.38.43.68.
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This study compares passages from four novels by the renowned Albanian author Ismail Kadare with their English translations: Prilli i thyer (Broken April, 1990 [1980]), Kronika në gur (Chronicle in Stone, 2007 [1971]), Vajza e Agamemnonit (The Daughter of Agamemnon, 2006 [2003]) and Pallati i ëndrrave (The Palace of Dreams, 2011 [1999]). It uses the linguistic analysis of style in the source and the target languages aiming to identify the modification of narrative perspectives during the translation process. The stylistic comparison of the original with translated versions demonstrates the shift from the internal perspective to the narratorial perspective of narration, which may be the result of the translator’s inclination to explain. In Kadare’s novels which have been translated from French, the tendency to make a clear borderline between narrative voices is evident. The translator’s lack of ability to pick out stylistic features indicating the internal perspective of the character impacts the mental representation produced by the reader of the translated text. The shift from the character’s to the narrator’s perspective influences not only the reader’s attitude towards the culture narrated in the text but also the way how the identity of the narrator is construted. Consequently, the imposed narratorial voice in the translated Kadare’s novels gives a different impression from the non-intrusive narration that the author managed to create in the communist regime.
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Nicholson, Nancy Schweda. "Translation and Interpretation." Annual Review of Applied Linguistics 15 (March 1995): 42–62. http://dx.doi.org/10.1017/s0267190500002609.
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With increasing frequency, the distinction between “translation” (written product) and “interpretation” (oral product) is being recognized by those outside the profession. Interpreters especially are heartened when they see “Voice of Interpreter” flash on the screen during a newscast instead of “Voice of Translator.” Many scholars and practitioners (the terms are not mutually exclusive), however, choose the generic “translation” to include both oral and written product, some referring more specifically to “interpretation” as “oral translation” and to “simultaneous interpretation” as “simultaneous translation.”
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Jones, Francis R. "Poetry translators and regional vernacular voice." Target. International Journal of Translation Studies 26, no. 1 (March 7, 2014): 32–62. http://dx.doi.org/10.1075/target.26.1.02jon.
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This study investigates how poetry translators tackle source regional voice within their wider approach to poetic text. It analyses eleven translators’ ‘outputs’ of Scots and English translations from Giuseppe Belli’s 19th-century regionallanguage sonnets, which are set in working-class Rome. Each output was coded for voice (space, community, tenor marking), text-world space, and poetic form (rhyme, rhythm), then analysed quantitatively and qualitatively; translator interviews and translators’ written commentaries provided extra data. Translators ranged along a spectrum (apparently genre-specific) between two extremes: (1) ‘relocalising’ voice into target regional language/dialect with similar workingclass and informal features to Belli’s originals, whilst relocalising place and person names to target-country analogies, and recreating rhyme and rhythm; (2) translating into standard (supra-regional, literary/educated, neutral-toformal) English, whilst preserving Belli’s Roman setting, but replacing rhyme and rhythm by free verse. This reflects a spectrum between two priorities: (1) creatively conveying poetic texture; (2) replicating surface semantics.
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Miller, Elizabeth Gamble. "The Translator' Sensitivity to the Poet' Voice." Translation Review 51-52, no. 1 (September 1996): 10–15. http://dx.doi.org/10.1080/07374836.1996.10523689.
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Wu, Yinran. "Exploring Translators’ Impact on Translated Narratives: A Model of Re-Focalization." MANUSYA 20, no. 3 (2017): 23–44. http://dx.doi.org/10.1163/26659077-02003002.
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The paper sets out to propose a model for analyzing how translators exert their impact on their translations by altering the lens from which characters and events are perceived. Built upon Rimmon-Kenan’s framework (i.e. perceptual, psychological and ideological facets of focalization), an analytical model is developed to examine re-focalization as reflected between the source and target narratives—how one facet of focalization is altered into another and/or what changes are made within the same facet. The model is applied to a case analysis of the Chinese translation of Peter Hessler’s China story River Town: Two Years on the Yangtze. The findings from the textual analysis suggest that Li Xueshun, the translator, assumes an insider position in the sense that he aligns the focalizer’s perception of the history of China since 1949 with that of the Chinese people and foregrounds the inner qualities of the focalized (including the peasants and other common townspeople) by adopting the Chinese socialist lens. The model provides an alternative way to interrogate translators’ relationships with their own translations. While most previous research has tended to trace the translator’s voice through stylistic features, the proposed model allows one to explore how the translators influence the original ways of ‘seeing’ by introducing into the translated narrative a different focalizer.
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Li, Lan. "The Commentary Translation of China’s International Publicity Documentaries — A Case Study of A Bite of China I." Theory and Practice in Language Studies 8, no. 1 (January 1, 2018): 164. http://dx.doi.org/10.17507/tpls.0801.20.
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As a particular kind of audio-visual programs, Chinese Documentaries for international publicity, which aims at spreading China’s voice and facilitating the understanding of China, have played a significant role in cultural communication. Compared with other translation activities, its translation has some unique features. This paper takes China’s culinary culture documentary A Bite of China I as case, through descriptive method, it comes to the following conclusions: in order to achieve better communication through publicity documentaries, the translator should bear in mind the transferring means, purpose, and target audiences. Firstly, such translation can be included in the field of Audio-visual Translation, so the synchronization between image and sound is the first concern; secondly, In order to show the real China and transmit Chinese culture to the fullest extent possible, the translators had better be source-language centered and translate those cultural specific words literally. Thirdly, to form a coherent and cohesive text, the appropriate transformation of thematic progression is an effective way to achieve the naturalness and acceptability of the target language text.
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Katainen, V. Louise. "The Translator' Voice: An Interview with Martha King." Translation Review 44-45, no. 1 (March 1994): 24–30. http://dx.doi.org/10.1080/07374836.1994.10523620.
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Koskinen, Kaisa, and Outi Paloposki. "Anxieties of influence." Target. International Journal of Translation Studies 27, no. 1 (February 9, 2015): 25–39. http://dx.doi.org/10.1075/target.27.1.01kos.
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A defining feature of retranslation is that a previous translation exists, and this earlier text has a first translator. In this article we argue that the figure of the first translator exerts an influence in the retranslation process, and all retranslators are forced to develop a stance towards the predecessor. Taking Harold Bloom’s notion of anxiety of influence in poetry as a starting point, we look at two cases of retranslation that share the same famous first translator, Pentti Saarikoski, analysing how and where the voice of this first translation can be heard in the retranslations. According to Bloom’s taxonomy, there are six modes available to poets. Applying the same taxonomy to our two retranslators, we find that they have resorted to different modes. What remains constant is that the figure of the first translator is an unavoidable function of the retranslation process and needs to be taken into account both by the retranslator and by researchers studying retranslations.
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Vale de Gato, Margarida. "Lolita’s Love Affair with the English Language: Heterolingualism and Voice in Translation." Meta 63, no. 2 (December 18, 2018): 322–41. http://dx.doi.org/10.7202/1055142ar.
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This article is a first-person account of the translation ofLolitainto Portuguese dealing primarily with the question of how to treat English as a source language that should be replaced by the translating language. The novel foregrounds the narrator’s stridency as a non-“native illusionist” (Nabokov 1955/1991: 317), along with a heterolingual bend, presenting remarkable challenges for translation: how to represent the geopolitics of linguistic hybridity in the TT and how to maintain the ambiguity of alignments between (implied) reader(s), author(s) and competing instances of narratorial authority, including the “fictional translator” (Klinger 2015: 16).Selective non-translationis suggested as an option for addressing linguistic hybridity through which, in this context, the “differential voice(s)” (Hermans 2007; Suchet: 2013) might foreground linguistic (and hence cultural/ideological) difference and deviation. The adherence to a strategy of “overt translation” (House 2001) is not intended to break the “translator’s pact” (Alvstad: 2014); it refuses, however, the convention of transparency as one of its tenets. It also shifts the focus from phonocentric authority to a polyphonous palimpsest and an archaeology of language(s) – not an entrenched foreignization, but an availability for “other-languagedness” (Bakhtin: 1981).
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Elega, Adeola Abdulateef, and Bahire Efe Özad. "Technologies and Second Language: Nigerian Students’ Adaptive Strategies to Cope With Language Barrier in Northern Cyprus." Journal of International Students 7, no. 3 (July 1, 2017): 486–98. http://dx.doi.org/10.32674/jis.v7i3.205.
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This study sought to investigate how Nigerian students in Northern Cyprus cope with language barrier and increase interactions with people of the host community beyond the classroom via utilizing technological adaptive strategies. In order to complete this study, a descriptive design based on a survey conducted among 238 Nigerian students studying in a North Cyprus university was used. Result shows that mobile translation apps such as Google Translate, iVoice translator pro and iTranslate voice mobile were frequently used by Nigerian students more than other technological adaptive strategies. We also found that male students use ICT to cope with language barrier more than the females, and that social media was widely used, second to the translation assistant apps.
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Norton, Roy. "Sir Tobie Matthew's Flaming Hart: Translating St Teresa for the English Catholic Exiles." Translation and Literature 27, no. 1 (March 2018): 1–24. http://dx.doi.org/10.3366/tal.2018.0319.
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This article examines The Flaming Hart (1642), the English translation of St Teresa of Ávila's Vida, produced by Sir Tobie Matthew at the behest of the Antwerp English Carmelites. A brief discussion of the translation's influence is followed by an analysis that demonstrates how Matthew's tendencies as translator subtly but decisively distort Teresa's distinctive autobiographical voice. Compared to the Spanish original, the English Teresa sounds more self-assured and belligerent; her voice is confessionalized and formalized. It is suggested that this distortion can be linked to the historical circumstances from which the translation emerged. Upon the outbreak of the civil war, Matthew wanted his englished Teresa to inspire hope and confidence in his community of English Catholic exiles.
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Taivalkoski-Shilov, Kristiina. "Friday in Finnish." Target. International Journal of Translation Studies 27, no. 1 (February 9, 2015): 58–74. http://dx.doi.org/10.1075/target.27.1.03tai.
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This article is based on a case study of intra- and extratextual voices in six different Finnish retranslations of Daniel Defoe’s Robinson Crusoe. Voice is understood here as the set of textual cues characterizing a subjective or collective identity in a text. The author focuses on what is special about voice in retranslation and how intratextual (a character’s voice) and extratextual voices (translators’ and publishers’ voices) might be related in retranslation. The analysis indicates that a character’s voice as a whole can reflect the retranslator’s voice and the purpose of his/her translation. In addition, translators’ voices can recirculate in retranslation, but they do not necessarily do so if the purpose of the translation, the translator’s choice of source texts, or translation ethics prevents this.
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Simanjuntak, Herlina Lindaria. "The Translation of English Passive Voice into Indonesian." TEKNOSASTIK 17, no. 1 (April 6, 2019): 40. http://dx.doi.org/10.33365/ts.v17i1.231.
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English and Indonesian have different grammatical patterns and cultural values. That is why, many problems that students studying translation subject have to face. One of them is how to translate English Passive Voice into Indonesian. That is the reason the writer aims to do the research. The research is to describe the translation of English passive voice into Indonesian by analyzing two novels, which are Kristan Higgins’ Waiting on You and its translation Nina Andiana’s Penantian Terpanjang. This research uses qualitative method. The writer collected, identified, the data concerning with the translation of English passive voice. The results of the research shows that there are two categories of translating English passive voice into Indonesian, namely English passive voice can be translated both into Indonesian passive voice and English passive voice can be translated into Indonesian active voice. English passive voice is translated into Indonesian passive voice by using prefixes di- and ter-, meanwhile English passive voice is translated into Indonesian active voice by using prefixes me-, men-, and ber-. From forty one data which are identified there are 32 data (78.04%) of English passive voices translated into Indonesian passive voices and 9 data (21.96%) of English passive voices translated into Indonesian active voices.
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Schulte, Rainer. "The Voice of the Translator: An Interview with Breon Mitchell." Translation Review 83, no. 1 (September 2012): 21–28. http://dx.doi.org/10.1080/07374836.2012.703108.
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Stalling, Jonathan. "The Voice of the Translator: An Interview with Howard Goldblatt." Translation Review 88, no. 1 (January 2, 2014): 1–12. http://dx.doi.org/10.1080/07374836.2014.887808.
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Schulte, Rainer. "The Voice of the Translator: An Interview with Roy Howat." Translation Review 91, no. 1 (January 2, 2015): 1–15. http://dx.doi.org/10.1080/07374836.2015.1052320.
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Munday, Jeremy. "The Creative Voice of the Translator of Latin American Literature." Romance Studies 27, no. 4 (November 2009): 246–58. http://dx.doi.org/10.1179/026399009x12523296128795.
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Spooner, Ruth Anna, Rachel Sutton-Spence, Miriam Nathan Lerner, and Kenny Lerner. "Invisible no more." Signed Language Interpreting and Translation 13, no. 1 (March 2, 2018): 110–29. http://dx.doi.org/10.1075/tis.00007.spo.
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Abstract We report here on strategies used in the art of literary translation between ASL and English through the self-reflections of three ASL-English “translators” as they grapple with the varying degrees of translator visibility that push them beyond the traditional expectations of faceless translators into becoming performers of the translated texts. During translation, their faces, hands, and/or voices embody the text, becoming an integral part of the piece, which adds layers of complexity to the ways we think about the translator’s role and the process of translation. We hope that our reflections will challenge prevailing notions about creating, performing, and translating ASL literature, as well as raise questions about recasting the role of the translator and the body in sign language translation.
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Scott, Clive. "Rhythm in translation, with two accounts of Leconte de Lisle’s ‘Midi’." Journal of European Studies 50, no. 1 (February 26, 2020): 91–105. http://dx.doi.org/10.1177/0047244119892858.
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This article explores the translation of poetic rhythm: not the rhythm of the source text, but the rhythm of the translational act itself. This re-conception of translation’s rhythmic task is enabled by a translation designed for the polyglot, rather than for the monoglot, reader. In this new understanding of translational process, rhythm not only embodies the perceptual and cognitive experience of the translating subject, it also makes more intimate the relationship between language and voice, the linguistic and the paralinguistic. Furthermore, it has as much to do with the space of translation, its distribution on the page, as with its changing temporal modes. The translator, then, does not translate the rhythm of a text so much as a text’s capacity for rhythm, and that capacity includes both espousing the perspective of a translating ‘I’ and releasing what is not linguistically manifest in the source text. These propositions are tested in two translations of Leconte de Lisle’s ‘Midi’.
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Cornelio, Dawn M. "New possibilities for translation." Translation and Translanguaging in Multilingual Contexts 3, no. 3 (October 16, 2017): 291–303. http://dx.doi.org/10.1075/ttmc.3.3.02cor.
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Abstract Pioneered by feminist ethicist and psychologist Carol Gilligan in her 1982 work In a Different Voice, care theory rests, according to philosopher Rita Manning, on four key elements: Moral Attention, Sympathetic Understanding, Relationship Awareness, and Harmony. Combined with the notion of voice present in Gilligan’s title, each of these components represents a key portion of the translator-text-author relationship, particularly when translation is seen as negotiation. In this contribution, after examining the notion of translation as negotiation as Eco describes it, I will offer an overview of the psycho-sociological theory of care, with the aim of presenting it as a framework for ethical decision-making in negotiating the act of translation. The importance of translaboration will become evident through the theories of Ricoeur and an emphasis on the cooperative nature of ethically negotiated decisions; i.e., ‘trans’ and its insistence on moving across, beyond, through; and ‘laboration’ and its insistence on the continuing and ongoing process of working.
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Goodrich, Jaime. "Translation and Genettean Hypertextuality: Catherine Magdalen Evelyn, Catherine of Bologna, and English Franciscan Textual Production, 1618–40." Renaissance and Reformation 43, no. 2 (September 28, 2020): 235–61. http://dx.doi.org/10.33137/rr.v43i2.34798.
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Drawing on the ideas of Gérard Genette, this article argues for the value of reading translations as “hypertexts,” or as works grafted onto earlier texts (“hypotexts”), on the basis of the intriguing case study of The Admirable Life of the Holy Virgin S. Catharine of Bologna (1621), translated by Catherine Magdalen Evelyn of the Gravelines Poor Clares. Little-known today despite Evelyn’s importance as the most prolific female translator of the early Stuart period, this publication sublimates the voice of the translator through its laconic paratextual materials and its misattribution of Evelyn’s work to another nun. In spite of this carefully engineered authorial opacity, the stakes of Evelyn’s translation become clearer when it is read as part of a hypertextual system of Franciscan writings published in English, French, Italian, and Portuguese over the course of the sixteenth and seventeenth centuries. An analysis of how her text is grafted onto this series of hypotexts through bibliography, intertextuality, and translation results in a detailed, albeit speculative, account of Evelyn’s motivations for reading, translating, and publishing The Admirable Life. This seemingly modest publication is thus revealed as a rich hypertext that participated in a wider European project to chronicle the history of the Franciscan order. A concluding discussion of hypertextuality in early modern England briefly gestures more broadly toward the relevance of this method for studies of Renaissance literature.
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Tehseem, Tazanfal, Rabia Faiz, Musarrat Azher, and Zahra Bokhari. "Exploring the Portrayal of Female Voice in ‘Heer Ranjha’: A Gender-Based Study." Review of Education, Administration & LAW 4, no. 1 (March 31, 2021): 155–68. http://dx.doi.org/10.47067/real.v4i1.120.
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The present study aims at explicating the theme of love in the folk tale Heer Ranjha through the discourse stylistics perspective. To do this, Fairclough (2015) model is employed with a focus on lexical choices. The metaphors used in the dialogues portraying the theme of love have been carefully selected, and further the linguistic pattern employed has been significantly discussed to highlight the embedded theme of love as a dominant human emotion in folk tales. The study also aims at providing a richer, more complex and enlightened canvas of feminist theory highlighting the role of women and power relations between the two sexes. The data comprises on twenty passages from the translation of ‘Heer Ranjha’ by Usborne (1973) where the translator claims to have translated the epilogue at full length while the rest of the poem has been condensed without omitting anything significantly important to the theme. The study throws light on the language of the folk tale, which reflects socio-cultural features such as the patriarchic family structure of the time through the language choices. The flute, a bamboo musical instrument, is a metaphor of love in a dream-like romantic sound. Finally, this paper helps to develop a better understanding of folktales in a particular socio-cultural background.
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D, Joel. "A Software based ASL Translator and ASL to Voice Emulation System." International Journal of Information Technology Infrastructure 9, no. 3 (June 25, 2020): 1–5. http://dx.doi.org/10.30534/ijiti/2020/01932020.
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McLaughlin, M. "(In)visibility: Dislocation in French and the Voice of the Translator." French Studies 62, no. 1 (January 1, 2008): 53–64. http://dx.doi.org/10.1093/fs/knm233.
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Hayakawa, Atsuko. "Translation as Politics: The Translation of Sadako Kurihara’s War Poems." TTR 25, no. 1 (April 30, 2013): 109–31. http://dx.doi.org/10.7202/1015349ar.
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The dynamic power shift of the world picture from a dominant hegemonic power structure to a global consciousness of hybridity accelerated by postcolonialism in the late 20th century has opened up a way to re-read history from a new perspective. The major point in the process is the recognition of both the cultural and political others which had long been made invisible and silent by the politics of power. It is in this light that translation must be addressed by scholarly discourse. This paper focuses on war poems by Sadako Kurihara both in the time of and after the censorship that occurred during the occupation. Through the lens of translation and its modalities, I would propose here, history can be re-addressed. How the narrative of translation creates an arena where an individual voice is made to be heard in the language of others is closely related with the translator’s stance in the political context. The task of the translator today is much more important than ever, not only culturally but also ethically.
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Chepiga, V. P. "Yasnov, M. (2019). The nursery of French poetry. Translations. Portraits. Encounters. Moscow: Tsentr knigi Rudomino. (In Russ.)." Voprosy literatury, no. 3 (July 29, 2020): 295–300. http://dx.doi.org/10.31425/0042-8795-2020-3-295-300.
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M. Yasnov’s book attempts to bridge the cultural gap between France and Russia. Showcasing Yasnov’s talents as a poet, writer of children’s books, translator, and commentator of French poetry collections and anthologies, the book continues the cycle of his works dedicated to French poetry and its Russian translations and interpretations. The bilingual edition of 16th–20th-cc. French poetry published in 2016 started the series and included the works of La Pléiade and La Fontaine, Baroque and Rococo poets, as well as poètes maudits and the poems of La Belle Époque. In addition to the collected poems, the book contains essays on the poets and Yasnov’s comments about the challenges of translation. In the new publication, Yasnov the translator lends a voice to French poems for children, many of which appear in press for the first time. Finally children’s literature originating in France will reveal its diversity to Russian readers.
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Farid, Sonia. "Translation as Testimony: The Politics of Cultural Representation in Daoud Hari’s The Translator and Laura Esquivel’s Malinche." International Journal on Language, Literature and Culture in Education 3, no. 2 (November 1, 2016): 91–109. http://dx.doi.org/10.1515/llce-2016-0012.
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AbstractWhen the Nahua woman known as La Malinche became the interpreter of Hernán Cortés, the conqueror of Mexico, she was not only carving her name as one of history’s most influential translators, but was also rendered one of the most enduring symbols of the cultural intricacies of translation. Malinche’s knowledge of both Spanish and Nahuatl and the way it made her instrumental in the conquerors’ success took her role from the level of linguistic mediator to that of an active agent in cultural transformation, or rather cultural erosion. Having used her linguistic abilities to help the invaders against her people, Malinche has since the conquest been labeled a traitor. Becoming Cortés’s mistress served to further confirm this idea. Yet, being arguably the bearer of the first “mestizo,” Malinche came to be perceived as the mother of the Mexican people and the progenitor of the new race. In both cases, La Malinche has till this moment been emblematic of the complexities of cultural representation.Laura Esquivel’s novel Malinche (2007) explores the heroine’s position at the crossroads between two cultures where the demarcations between the target and source languages are blurred as her allegiance is put into question. The act of translation is rendered ambivalent with the translator, being a slave to the Spaniards, lacking the free will for such a vocation, thus unable to choose sides or determine who she represents. She, however, could have played a major role in preserving the memory of her pre-Colombian world just before its eradication. Daoud Hari’s The Translator: A Tribesman’s Memory of Darfur (2008) offers a different perspective of the role of the translator. Hari, who belongs to the Zaghawa tribe in Western Sudan, acts as a mediator between his people, who are being subjected to systematic genocide by the government-backed Janjaweed militia, and the outside world. Through making the conscious decision to go back to Darfur, Hari turns his knowledge of English into the tool through which he can make the voice of his people heard, hence choosing to be their representative and taking upon himself the task of documenting their trauma.This paper tackles the nature of translation through comparing the role of the translators in both works and exploring the different levels of representation associated with the process of translation. This will be done through examining the loyalty-treason paradigm and how far it affects, positively and/or negatively, the role of the translator as the bearer of his/her people’s memory. The paper will, therefore, deal with the relation between translation and testimony and will investigate how far translation can, in this sense, complement storytelling as a means of chronicling and resistance.
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Xu, Minhui. "The Voice of a Scholar-Translator: Interview with Prof. Jeffrey C. Kinkley." Translation Review 102, no. 1 (August 28, 2018): 1–13. http://dx.doi.org/10.1080/07374836.2017.1377481.
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Widya, Widya, and Dewi Mutiara Indah Ayu. "Translation of Passive Voice Found in the Novel The Sea of Monster By Rick Riordan and its Translation By Nuraini Mastura." Lingua Cultura 9, no. 2 (November 30, 2015): 126. http://dx.doi.org/10.21512/lc.v9i2.826.
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This Present research aims at analyzing the translation of passive voice from English into Indonesian and finding out the problem occurring in translating them. The qualitative descriptive method was applied in this research. The data were gathered from the novel The Sea of Monster by Rick Riordan and its Translation by Nuraini Mastura. The analyzed data were limited, that is, simple present tense, past perfect tense, and modal auxiliary. They are analyzed by applying the semantics and grammatical approaches. The findings have shown that the problems can be either semantic and cultural aspect or grammatical system. Despite those obstacles, it is found that the translator is able to produce a good and natural translation. She can transfer message contained in SL into TL. Cultural context and translation shift are getting involved in the process of creating natural translation.
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Nakhaei, Bentolhoda. "The Impact of Power and Ideology on Edward FitzGerald’s Translation of the Rubáiyát: A Postcolonial Approach." TranscUlturAl: A Journal of Translation and Cultural Studies 11, no. 1 (August 6, 2019): 35–48. http://dx.doi.org/10.21992/tc29449.
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This paper analyzes the issues raised by the change of ideology and the underlying meanings in five FitzGerald’s translations of Khayyám’s quatrains according to the theories of certain translation scholars such as André Lefevere and Antoine Berman. With regard to the fact that the British translator has given a harmonizing beauty and an epicurean flavor of his own to Khayyám’s Rubáiyát, could it be claimed that translator’s voice is louder than the author’s? From the transcreation point of view, one could wonder whether FitzGerald did maintain the intent, style, tone, and content of the Persian quatrains. Do FitzGerald’s translations evoke the same emotions and does it carry the same implications in English as Khayyám’s Rubáiyát does in Persian. In general, from a postcolonial perspective, FitzGerald’s five English translations could offer interesting and fertile ground for investigating the effects of power relationship between the colonizer and the colonized text during the Victorian age in England.
Keywords: Khayyám, quatrains, English translations, the colonizer, the colonized text.
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Hoffer, Melba. "The Veil of Esteem." Cultural Studies ↔ Critical Methodologies 12, no. 2 (March 27, 2012): 87–95. http://dx.doi.org/10.1177/1532708611435218.
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This article is the second of a three-part series entitled: The Veil of Esteem: On Seeing Oneself Being Seen. Inspired by Walter Benjamin’s “reflection through vignette” method, the author inquires into the notions and interconnections between memory and esteem. Esteem is the truth of oneself through the eyes of the other, and any truth of esteem must be told from the perspective of that other, through the spectating other. Thus, the author finds that any story of esteem is veiled. This second part, Riddle and Accident, explores unconditional love as maintained without the merit-worthy, yet it is its esteem that catalyzes it. The story is narrated not as a representation of a person or of people but the discourse through which the author has been lent her voice. The author is the translator through whom she is now speaking. The translator is the producer of the discourse that suffocates her and allows her to breathe in gasped breaths, the producer of the discourse that both takes away her voice and gives her voice. The first part of this series, Fragment/Never Thinking of Tomorrow, appears in International Review of Qualitative Research, Volume 5, Issue 1; the third part, A Loan, appears in Qualitative Inquiry, Volume 18, Issue 4.
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Hoffer, Melba. "The Veil of Esteem." International Review of Qualitative Research 5, no. 1 (May 2012): 3–27. http://dx.doi.org/10.1525/irqr.2012.5.1.3.
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This essay is the first of a three-part series entitled: The Veil of Esteem: On Seeing Oneself Being Seen. Inspired by Walter Benjamin's “reflection through vignette” method, I inquire into the notions and interconnections between memory and esteem. Esteem is the truth of oneself through the eyes of the other, and any truth of esteem must be told from the perspective of that other, through the spectating other. Thus, I find that any story of esteem is veiled. This first part, Fragment/Never Thinking of Tomorrow, interrogates the role of fiction as a necessary component of the practice of memorialization. The story is narrated not as a representation of a person or of people, but the discourse through which I have been lent her voice. I am the translator through which she is now speaking. The translator is the producer of the discourse that suffocates her and allows her to breathe in gasped breaths, the producer of the discourse that both takes away her voice and gives her voice. The second part of this series, Riddle and Accident, appears in Cultural Studies ⇔ Critical Methodologies Volume 12, Issue 2; the third part, A Loan, appears in Qualitative Inquiry Volume 18, Issue 4.
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CHMIEL, AGNIESZKA, AGNIESZKA SZARKOWSKA, DANIJEL KORŽINEK, AGNIESZKA LIJEWSKA, ŁUKASZ DUTKA, ŁUKASZ BROCKI, and KRZYSZTOF MARASEK. "Ear–voice span and pauses in intra- and interlingual respeaking: An exploratory study into temporal aspects of the respeaking process." Applied Psycholinguistics 38, no. 5 (May 9, 2017): 1201–27. http://dx.doi.org/10.1017/s0142716417000108.
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ABSTRACTRespeaking involves producing subtitles in real time to make live television programs accessible to deaf and hard of hearing viewers. In this study we investigated how the type of material to be respoken affects temporal aspects of respeaking, such as ear–voice span and pauses. Given the similarities between respeaking and interpreting (time constraints) and between interlingual respeaking and translation (interlingual processing), we also tested whether previous interpreting and translation experience leads to a smaller delay or lesser cognitive load in respeaking, as manifested by a smaller number of pauses. We tested 22 interpreters, 23 translators, and a control group of 12 bilingual controls, who performed interlingual (English to Polish) and intralingual (Polish to Polish) respeaking of five video clips with different characteristics (speech rate, number of speakers, and scriptedness). Interlingual respeaking was found to be more challenging than the intralingual one. The temporal aspects of respeaking were affected by clip type (especially in interpreters). We found no clear interpreter or translator advantage over the bilingual controls across the respeaking tasks. However, interlingual respeaking turned out to be too difficult for many bilinguals to perform at all. To the best of our knowledge, this is the first study to examine temporal aspects of respeaking as modulated by the type of materials and previous interpreting/translation experience. The results develop our understanding of temporal aspects of respeaking and are directly applicable to respeaker training.
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Kruger, Haidee. "Exploring a New Narratological Paradigm for the Analysis of Narrative Communication in Translated Children’s Literature." Meta 56, no. 4 (July 11, 2012): 812–32. http://dx.doi.org/10.7202/1011254ar.
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Current contributions attempting to draw together translation studies and narratology are based almost exclusively on structuralist narratology, proceeding from the assumption that changes on the micro-level of the text will result in changes to the various narrative dimensions of the text, and will lead to a different configuration of the narrative communication situation in translated texts as compared to original works. However, it is argued in this paper that this approach, firstly, results in a conceptualisation of the narrative communication situation for the translated text that is particularly unwieldy and becomes even more so when considered in the context of translated children’s literature. Secondly, this approach does not take adequate cognisance of the role (or potential role) of the reader and the context, leaving both these aspects largely outside the process of analysis. Methodologically, it also means that narratological shifts in translation are mostly identified by means of comparative analysis, which, while useful, leaves the natural reading situation (where readers do not usually have access to the source text) out of consideration. Instead, this paper presents a preliminary and exploratory investigation of an alternative narratological framework that includes the reader as a constitutive component. The framework, based on the ideas of Bortolussi and Dixon (2003), proposes a two-part, interlocked conception of narratological elements: textual features and reader constructions. It is argued that such a framework provides a simultaneously simpler and more sophisticated means of understanding narrative communication in translated children’s literature. Firstly, translations and their source texts may be analysed comparatively in terms of their textual features, which may reveal the presence of the translator. However, the second dimension of the proposed framework posits that despite the fact that translation shifts effect changes in narrative features, child and adult readers’ responses to translated children’s texts do not necessarily and by default incorporate an awareness of the presence of an additional “voice” in the text, that of the translator. At this point the framework departs from standard narratological approaches to narrative communication in translated texts in proposing the necessity of investigating reader constructions rather than textual features alone.
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Millán-Varela, Carmen. "Hearing voices: James Joyce, narrative voice and minority translation." Language and Literature: International Journal of Stylistics 13, no. 1 (February 2004): 37–54. http://dx.doi.org/10.1177/0963947004039486.
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This article explores the question of voice in translated texts, more specifically in the case of literary texts translated into a minority language. Drawing on Bakhtinian concepts, and focusing on the Galician translation of James Joyce’s ‘The Dead’, this study traces back the translators’ voice and its interaction with other voices already present in the source text. This type of qualitative study shows, I would like to argue, how texts translated into minoritized languages become an ideal arena in which to explore not only translating processes, but also issues of language, ideology and identity in the target context.
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Bruno, Cosima. "Thinking Other People's Thoughts: Brian Holton's Translations from Classical Chinese into Lowland Scots." Translation and Literature 27, no. 3 (November 2018): 306–18. http://dx.doi.org/10.3366/tal.2018.0353.
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Brian Holton (b. 1949), the only currently working translator of classical Chinese poetry into Scots, is here approached biographically, through his personal history and his career in translating and publishing. Holton's collection of his own translation materials, including drafts, proofs, scores, translations, notes, lectures, correspondence, and journalistic writings, has been made available to the author. As a voice of history, Holton's life and work constitute a subjective narrative that enters into debate, discussion, and interpretation with larger narratives, spheres of diffusion, and power relations. Hence the discussion touches on such matters as as language policy in education and national literatures, and issues of centre and periphery, foreignization and domestication.
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Schulte, Rainer. "The Voice of the Translator: An Interview with Salgado Maranhão and Alexis Levitin." Translation Review 85, no. 1 (April 2013): 1–11. http://dx.doi.org/10.1080/07374836.2013.768120.
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Blin, Lynn. "The voice of the translator and negotiating loss in Lydia Davis’s Can’t and Won’t." Etudes de stylistique anglaise, no. 11 (December 31, 2017): 35–54. http://dx.doi.org/10.4000/esa.611.
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Moyes, Lianne. "From one colonial language to another: Translating Natasha Kanapé Fontaine’s “Mes lames de tannage”." TranscUlturAl: A Journal of Translation and Cultural Studies 10, no. 1 (September 20, 2018): 64–82. http://dx.doi.org/10.21992/tc29378.
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Signed and posted to the internet on July 6, 2012 in the months following the “Printemps érable” and leading up to Idle No More, “Mes lames de tannage” is one of Natasha Kanapé Fontaine’s most important slams. In analysing my English translation of this slam, published in Canadian Literature in 2016, this essay speaks to the relationship between Indigenous literatures and European languages. It participates in a conversation about what it means to translate French-language Indigenous literature from Quebec into English. Such translation enables Indigenous writers across North America to make links with each other and foster a broader interpretive community for their writing. Given the flow of Indigenous literature and critical thought from English into French over the past decades, thanks to publishing houses in France, the recent wave of translations from French into English and the sharing of French-language work mark a significant shift in the field. At the same time, the gesture of translating into English a writer who works primarily in French but is in the process of relearning her maternal language, Innu-aimun, brings to the fore all the pitfalls of moving from one colonial language to another. The challenge for translation is not to lose sight of Kanapé Fontaine’s relationship to French and especially, the way she lends it her voice. In the slam, French is a language of contestation but also of collaboration. Drawing on what she calls a “poetics of relation to the land,” Kanapé Fontaine works toward a respectful cohabitation of the territory. In this context, my strategies of including the French alongside the English and leaving words un-translated aim to disrupt the English version, expose the mediating work of the settler-translator and turn attention to Kanapé Fontaine’s mobilization of French for a writing of decolonization.
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Pratama, Denny Yoga, and Anton Yudhana. "Lafadz Takbir's Translator as a Deaf-Based Deaf Aid." Buletin Ilmiah Sarjana Teknik Elektro 2, no. 2 (July 21, 2020): 59. http://dx.doi.org/10.12928/biste.v2i2.1607.
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Speech recognition is a technique that allows a computer system to receive input in the form of a spoken word. The words are transformed into digital signals by changing sound waves into a group of numbers and then adjusted to certain codes and matched with a pattern stored in a device. The results of the identification of spoken words can be displayed in written form and can be read by technological devices. The tool in this study was designed to be able to help people with hearing impairment so they can participate in prayer in congregation in knowing the changing movements of prayer. This tool is designed with an Arduino Nano microcontroller board as a voice processing function received from speech recogniton. The results issued by this tool in the form of vibrations that will be directly felt by the user. Presentation of success will increase if the sound around the input is not too noisy. Presentation of success in the words "Allahu Akbar" reached 82%, "Sami'allahu Liman Hamidah" reached 90% and "Assalamualaikum Warahmatullahiwabarakatuh" reached 80%.