Translating the Exiled Self: Reflections on Translation and Censorship*
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This List Is Meant for Reference Only – All Credits Below Should Be
LIST OF ACCEPTABLE CREDITS --- TELEVISION & DIGITAL MEDIA CATEGORIES This list is meant for reference only – all credits below should be considered eligible, unless otherwise specified in the 2018 Canadian Screen Awards TV and Digital Media Rules & Regulations booklet Appeals will be considered by the Awards Director for any credits not listed here. The production company may submit a letter stating why they feel the entrant should be included, as well as an explanation of their role in the production; this letter should be addressed to Louis Calabro, Director, Awards & Special Events. Please Note: Not all categories are listed in this document. Program Categories (not including DDDigitalDigital MMMedia,Media, NNNewsNews and SSSports)Sports) Executive Producer Executive Producer For (broadcaster) Co-Executive Producer Producer or Produced by Supervising Producer Series Producer Senior Producer (for informational / doc / talk shows / sports / “analytical” programming) Commissioning Editor (for informational / doc / talk shows / sports / “analytical” programming) Senior Executive Producer (for in house documentaries and broadcaster produced shows only) Episode Producer Content Producer For Best Factual Program or Series (1026) – Director or Producer eligible Note: For all Doc PROGRAM categories (Not Series) – “Director” is eligible Digital Media, News, Sports and Research Categories Any credit may enter, unless otherwise stated in Rules & Regulations booklet Directing (2001 ––– 2013) Only 2 entrants for this category. Any additional names -
How to Find Your Readers As a Fiction Writer
How to find Your readers as a fiction writer a 4-step workbook to walk4 you through finding your readership online Many fiction writers believe that they don’t need a platform. And while it’s true that literary agents and editors don’t expect aspiring novelists to have platforms, it’s just as true that writers must know how to find their readers if they want long-term success. Unfortunately, a lack of familiarity with the online landscape and a discomfort with putting creative work out there can cripple even the most promising book launch. This workbook will show you how to start putting your work in front of potential readers now, so that you can earn the trust and goodwill of the readership your work deserves. Building an author platform will allow you to: Sell more copies of existing books with less effort Launch a new book (or other content) successfully Get to know your readers so you can serve them better Avoid burnout so that book marketing is sustainable and rewarding Make a living as a full-time writer step 1: you Writing anything--whether it’s a novel or a tweet--starts with you. A platform will be meaningless drudgery if it doesn’t revolve around topics you love to talk about and read about. So here’s a chance to visualize yourself just as clearly as you would your next main character. This charac- ter sketch will help you pull up all the words that define you and lay them out visually, so you can inspect them as a whole. -
Cultural Dislocation Through Translation
Intercultural Communication Studies XIV: 4 2005 Said Faiq CULTURAL DISLOCATION THROUGH TRANSLATION Said Faiq American University of Sharjah Introduction Translation, in its academic, professional and anthropological meanings, remains one of the main means through which texts of one culture are made available in another. It should, in theory, be the site of a potentially fruitful clash of different cultures and particularly vital in the case of translation from those supposedly weaker and subordinate cultures into dominant ones, as in the case of translation from Arabic into English and French, for example (cf. Faiq, 2004). This notion of translating not only covers the traditional definition of translation, transfer of texts from one language to another, but also, and more importantly, texts written in one language but which originate in or concern cultures other than that of the language in which they are written. Over the last two decades or so, many translation scholars have stressed that translation, by necessity, involves manipulation and subversion of linguistic and cultural traditions, particularly those emanating from the so- called third world. Of course, within translation studies this shift of focus, from issues of fidelity and equivalence still shocks traditionalists who persist in their belief in value-free translation, as well as in the fact that translation cannot but refer to the transfer of texts from one language to another, rather than subsuming representation of others without any actual transfer of texts. This is more ideologically relevant particularly to post-colonial contexts. Referring to Venuti’s (1995) notions of transparency, invisibility and fluency, Susan Bassnett (1998) appropriately argues that such a translation project always favours the target readers, so much so that the source text, its culture and readers become insignificant. -
Program Overview Screenwriting Research Network
Program Overview Screenwriting Research Network 7. International Conference 17—19 October 2014 Screenwriting and Directing Audiovisual Media Keynotes by Milcho Manchevski, Jutta Brückner & Brian Winston Film University Babelsberg KONRAD WOLF, Potsdam, Germany FILMUNIVERSITÄT BABELSBERG KONRAD WOLF Conference website: www.filmuniversitaet.de/de/forschung/tagungen-symposien/tagungen/tma/detail/6706.html Thursday, 16 October 3 —5 pm Sightseeing: Potsdam Park Sanssouci www.potsdam-park-sanssouci.de/sitemap-eng.html We organized a guided tour of Sanssouci (castle and park) Thursday afternoon, October 16th, 3-5 pm. The tour is in English language with access for a group of max. 40 entrants. The fee must be shared: depending on the number of participants it could be 9,50 Euro each (40p.) up to 19 Euro (20p.) Please sign in: http://doodle.com/qyyrf69hu7yis9m8 6—9 pm Opening Reception & Get Together @ Wissenschaftsetage Potsdam (rsvp) Bildungsforum Potsdam, Am Kanal 47, 14467 Potsdam (4th floor) > www.wis-potsdam.de/en Friday, 17 October 9 am Registration (entrance hall, first floor) 10 am Welcome by PROFESSOR DR. SUSANNE STÜRMER, PRESIDENT OF FILM UNIVERSITY BABELSBERG KONRAD WOLF, PROFESSOR DR. KERSTIN STUTTERHEIM, CONFERENCE HOST AND KIRSI RINNE, CHAIR SRN 10:30 am Keynote by MILCHO MANCHEVSKI: WHY I LIKE WRITING AND HATE DIRECTING: NOTES OF A RECOVERING WRITER-DIRECTOR (Writer/Director, Scholar, Macedonia/USA) 11:30 am Coffee Break 11:45 am—1:15 pm Panel 1: WRITER–DIRECTOR’S SCREENPLAYS Ian W. Macdonald (University of Leeds, UK) SCREENWRITING AND SUBJECTIVITY Carmen Sofia Brenes (University of Los Andes, Chile) THE POETIC DENSITY OF THE STORY AS KEY ISSUE IN THE FILM NEGOTIATION BETWEEN WRITER, DIRECTOR AND PRODUCER Temenuga Trifonova (York University, Canada) THE WRITER’S SCREENPLAY AND THE WRITER/DIRECTOR’S SCREENPLAY: A COMPARATIVE ANALYSIS Jarmo Lampela (Aalto University Helsinki, Finland) ENSEMBLE AS A SCRENWRITER – THEATRE GOES MOVIES Panel 2: AUTEUR–FILM Gabriel M. -
Gerd Brantenberg's Egalias Døtre in Translation
Lexis Journal in English Lexicology 17 | 2021 Humor, creativity and lexical creation Laughing at “normality”: Gerd Brantenberg’s Egalias døtre in translation Luise von Flotow, Ida Hove Solberg and Enora Lessinger Electronic version URL: https://journals.openedition.org/lexis/5429 DOI: 10.4000/lexis.5429 ISSN: 1951-6215 Publisher Université Jean Moulin - Lyon 3 Electronic reference Luise von Flotow, Ida Hove Solberg and Enora Lessinger, “Laughing at “normality”: Gerd Brantenberg’s Egalias døtre in translation”, Lexis [Online], 17 | 2021, Online since 15 August 2021, connection on 20 August 2021. URL: http://journals.openedition.org/lexis/5429 ; DOI: https://doi.org/10.4000/lexis.5429 This text was automatically generated on 20 August 2021. Lexis is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Laughing at “normality”: Gerd Brantenberg’s Egalias døtre in translation 1 Laughing at “normality”: Gerd Brantenberg’s Egalias døtre in translation Luise von Flotow, Ida Hove Solberg and Enora Lessinger Introduction1 1 Introduced to feminist wordplay and neologism in the books I read as I was nursing small children in the late 1970s, I remember laughing till the tears came: Mary Daly’s Gyn/Ecology. The Metaethics of Radical Feminism (1978) was my first exposure to the daringly creative and inventive subversion of conventional language or “malespeak” a subversion she deploys provocatively in the preface and introduction to this book. Her work and other contemporary writers’ disruption of mainstream “malestream” language that had arrogantly placed “man” in first position as the representative of the human race and denigrated women, girls, and female pre-occupations were absolutely hilarious. -
Post-Editing in Practice – Process, Product and Networks
The Journal of Specialised Translation Issue 31 – January 2019 Introduction: Post-editing in practice – Process, product and networks Lucas Nunes Vieira, University of Bristol Elisa Alonso, Universidad Pablo de Olavide, Seville Lindsay Bywood, University of Westminster, London ABSTRACT The potential benefits of integrating machine translation into human translation workflows are now widely recognised. In many sectors of the translation industry, translators’ throughput is improved with the use of machine translation as a tool in the translating process. Post-editing of machine translation is also a service in its own right, with specific guidelines and, more recently, an international standard. We introduce this special issue by providing a brief overview of post-editing as a practice, service and research topic. Contributions to the issue are then presented. The issue moves from a magnified perspective of translators’ work to important aspects of translation products, translators’ attitudes and translator training. It has four themes: the post-editing process; reception of post-edited products; attitudes and perceptions; and competence, training and education. KEYWORDS Post-editing, machine translation, computer-assisted translation, CAT, MT, MTPE, PEMT, translation technology, translator education, human-computer interaction. Machine translation (MT) quality has improved considerably in previous years. Recent MT improvements are largely due to the rise of neural MT, a relatively new approach to MT development based on artificial neural networks (Bahdanau et al. 2014). Neural MT has significantly advanced MT research, but it too has weaknesses (Castilho et al. 2017). In professional contexts where translations are public-facing products, therefore, MT usually requires human post-editing. This was the case decades ago when MT systems first appeared, and it is still the case now. -
Solar Decathlon Website: English to Chinese Translation a Major Qualifying Project Report (Professional Writing)
Solar Decathlon Website: English to Chinese Translation A Major Qualifying Project Report (Professional Writing) Submitted to the Faculty of WORCESTER POLYTECHNIC INSTITUTE In partial fulfillment of the requirements for the Degree of Bachelor of Science Submitted By Yunqiu Sun 05/30/13 Advisors: Professor Lorraine Higgins Professor Jennifer Rudolph P a g e | 2 Abstract WPI is part of a team competing in Solar Decathlon China. For its Communications Contest, our team is generating a website, brochure, and signage to engage the audience in learning about the house we designed, “Solatrium”, and get inspired from our Solar Decathlon experience. This MQP incorporates an English to Chinese translation of the website, brochure, signage, video walkthrough, and dinner menu. It also provides information on the house design, the target audience for the Chinese website, and experts’ advice on translation. I compared my actual translation challenges and strategies to those proposed by literature. I conclude translation is not just about literal translation or reproducing sources into another language. It is also about making persuasive and culturally appropriate adaptations to attract the audience through their interests. This project reflects language and cultural differences through the experience of translation. P a g e | 3 Acknowledgements I would like to acknowledge the support of Professor Lorraine Higgins and Professor Jennifer Rudolph who provided helpful comments and encouragement throughout this project, and Professor Xin Xin who proofread -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Applying Translation Quality Standards to a Certification Procedure for U.S
Applying Translation Quality Standards to a Certification Procedure for U.S. Language Service Providers Jason Hall University of Denver, University College Capstone Project for Master of Liberal Studies November 15, 2011 Cris Silva, M.A. Capstone Advisor Alison Nishi, M.A. Academic Director Upon the Recommendation of the Department James Davis, Ph.D. Dean Hall -ii Abstract Many translation quality standards have been implemented to regulate the provision and procurement of language services. However, in the absence of a standardized procedure to certify U.S. language service providers (LSPs), the industry lacks consensus with regard to requirements, procedures, and expectations. This project establishes the need for such a procedure and proposes an LSP Certification Procedure based on existing quality standards. Through a review and analysis of existing translation quality standards, an interview with a key stakeholder, and the presentation of an LSP Certification Procedure, this project concludes that the U.S. language services industry requires a procedure to certify LSPs and that such a procedure may be designed and implemented based on existing standards. Hall -iii Table of Contents Abstract ............................................................................................. ii Table of Contents ................................................................................ iii Introduction ....................................................................................... 1 Problem Statement .................................................................... -
The Best of Both Worlds: from Volunteer Subtitling to Professional Subtitling
transLogos 2020 Vol 3 Issue 2 Çavuşoğlu, Ebru, pp. 83–102 © Diye Global Communications https://dx.doi.org/10.29228/transLogos.28 diye.com.tr | [email protected] The Best of Both Worlds: From Volunteer Subtitling to Professional Subtitling * Ebru ÇAVUŞOĞLU The prevailing technological feasibility has enabled the rise of the digital era and has contributed to the seemingly changing nature of translation. One of the implications of this shift has been articulated in the area of Audiovisual Translation with the emergence of online communities of volunteer subtitle translators. This paper explores the emerging phenomenon of ‘volunteer subtitling’ and tries to shed light on its role in the transition to ‘professional subtitling.’ Volunteer subtitling platforms are broad communities of practice that consist of thousands of actively involved members. Despite the increasing interest in investigating various issues regarding online volunteer translation, not much is known about the process of transition from the volunteering world into the professional one. Using the most popular Turkish subtitling platforms (Turkcealtyazi.org and Planetdp.org) as a case study, this paper will present the very first insights into this transition through an analysis of a survey with translators who started their subtitling practice as volunteers and then moved into the professional world. Based on the analysis of the respondents’ experiences, it will be argued that the volunteer praxis and the active support of the online community strategically contribute to the improvement of a wide array of translation skills and open up the door for the move into the professional world. In doing so, this paper will also shed a light on both volunteer and professional environments from various perspectives like working conditions, the translation process, types of the work, and translator motivation. -
The Retranslation Phenomenon
The Retranslation Phenomenon A Sociological Approach to the English Translations of Dickens’ Great Expectations into Arabic Shatha Abdullah Abdulrahman Al-Shaye Submitted in accordance with the requirements for the degree of PhD Centre for Translation Studies (CenTraS) University College London July 2018 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. Contents Contents ......................................................................................................................... i Figures .......................................................................................................................... ix Tables ............................................................................................................................ xi Abstract and keywords ............................................................................................. xiii Declaration ................................................................................................................. xvi Acknowledgements ................................................................................................. xviii Abbreviations .............................................................................................................. xx 1 Introduction ......................................................................................................... -
WPTP 2015: Post-Editing Technology and Practice
Machine Translation Summit XV http://www.amtaweb.org/mt-summit-xv WPTP 2015: Post-editing Technology and Practice Organizers: Sharon O’Brien (Dublin City University) Michel Simard (National Research Council Canada) Joss Moorkens (Dublin City University) WORKSHOP MT Summit XV October 30 – November 3, 2015 -- Miami, FL, USA Proceedings of 4th Workshop on Post-Editing Technology and Practice (WPTP4) Sharon O'Brien & Michel Simard, Eds. Association for Machine Translation in the Americas http://www.amtaweb.org ©2015 The Authors. These articles are licensed under a Creative Commons 3.0 license, no derivative works, attribution, CC-BY-ND. Introduction The fourth Workshop on Post-Editing Technology and Practice (WPTP4) was organised for November 3rd, 2015, in Miami, USA, as a workshop of the XVth MT Summit. This was the fourth in a series of workshops organised since 2012 (WPTP1 – San Diego 2012, WPTP2 – Nice 2013, WPTP3 – Vancouver 2014). The accepted papers for WPTP4 cover a range of topics such as the teaching of post- editing skills, measuring the cognitive effort of post-editing, and quality assessment of post-edited output. The papers were also book-ended by two invited talks by Elliott Macklovitch (Independent Consultant) and John Tinsley (Iconic Translation Machines). Elliott Macklovitch’s talk was entitled “What Translators Need to Become Happy Post- Editors” while John Tinsley’s talk was entitled “What MT Developers Are Doing to Make Post-Editors Happy”. By juxtaposing these two points of view we hoped to provide an interesting frame for attendees where the views of users and developers were represented. We sincerely thank the authors of the papers as well as our two invited speakers for sharing their research.