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The complex nuances of interpreting generate a continuous demand for detailed curricula to enhance instruction. The latest addition to the Interpreter Education series New Approaches to Interpreter Education expands the tools available to instructors with seven new, vital chapters on new curricula and creative teaching methods. Series editor Cynthia B. Roy, Associate Professor in the Department of Interpretation at Gallaudet University in Washington, DC, called upon the expertise of nine other renowned interpreter educators to create this incisive collection. David Sawyer begins the volume with the foreword in which he emphasizes the importance of integrating theory and practice in order to improve the quality of interpreter education. Risa Shaw, Steven D. Collins, and Melanie Metzger follow with a description of the process for establishing a bachelor of arts program in interpreting at Gallaudet University distinct from the already existent masters program. that outlines the positive results from the use of a discourse-oriented curriculum for educating interpreters. In the second chapter, Claudia Angelelli outlines the bottom-line principles for teaching effective health-care interpreting, postulating a model that depends upon the development of skills in six critical areas: cognitive-processing, interpersonal, linguistics, professional, setting-specific, and sociocultural. Helen Slatyer delineates the use of an action research methodology in the third chapter to establish a curriculum for teaching ad hoc interpreters of languages used by small population segments in Australia. In the fourth chapter, Jemina Napier blends three techniques for instructing signed language interpreters in Australia: synthesizing sign and spoken language interpreting curricula; integrating various interpreting concepts into a theoretical framework; and combining online and face-to-face instruction. David Sawyer adopts a holistic perspective in his chapter on training interpreters in less frequently taught language combinations, to offer models and methods for interpreters in areas such as the Middle East, Africa, and Asia. Doug Bowen-Bailey describes how to apply theories of discourse-based interpreter education in specific contexts by producing customized videos. Finally, Mary Mooney addresses issues of ethnicity, cultural awareness, and intercultural communication skills among interpreters, interpreter educators, and interpreter education programs in the sign language community, to enhance competency for working within these diverse communities. All of these innovative concepts for creating curricula for interpreter training combine to ensure New Approaches to Interpreter Education as the state-of-the-art standard in this intricate discipline.
The Nuremberg Trial
Perspectives on Translation and Interpretation in Cameroon is the first volume of a book series of the Advanced School of Translators and Interpreters (ASTI) of the University of Buea. It opens a window into the wide dynamic and interesting area of translation and interpretation in a multilingual Cameroon that had on the eve of independence and unification opted for official bilingualism in French and English. The book comprises contributions from scholars of translation in the broad area of translation, comprising: the concept of translation and its pedagogy, the history of translation and, the state of the art of translation as a discipline, profession and practice. The book also focuses on acquisition of translation competences through training, and chronicles the history of translation in Cameroon through the contributions of both Cameroonian and European actors from the German through the French and English colonial periods to the postcolonial present in their minutia. Rich, original and comprehensive, the book is a timely and invaluable contribution to the growing community of translators and interpreters in Africa and globally.
In interpreting, professionals must be able to convey to their clients the rhythm, stress, and length of phrases used by the communicating parties to indicate their respective emotional states. Such subtleties, which can signal sarcasm and irony or whether a statement is a question or a command, are defined in linguistics as prosody. Brenda Nicodemus’s new volume, the fifth in the Studies in Interpretation series, discusses the prosodic features of spoken and signed languages, and reports the findings of her groundbreaking research on prosodic markers in ASL interpretation. In her study, Nicodemus videotaped five highly skilled interpreters as they interpreted a spoken English lecture into ASL. Fifty Deaf individuals viewed the videotaped interpretations and indicated perceived boundaries in the interpreted discourse. These identified points were then examined for the presence of prosodic markers that might be responsible for the perception of a boundary. Prosodic Markers and Utterance Boundaries reports on the characteristics of the ASL markers, including their frequency, number, duration, and timing. Among other findings, the results show that interpreters produce an average of seven prosodic markers at each boundary point. The markers are produced both sequentially and simultaneously and under conditions of highly precise timing. Further, the results suggest that the type of prosodic markers used by interpreters are both systematic and stylistic.
Angela Carter's Translational Poetics
In translating Charles Perrault's seventeenth-century Histoires ou contes du temps passé, avec des Moralités into English, Angela Carter worked to modernize the language and message of the tales before rewriting many of them for her own famous collection of fairy tales for adults, The Bloody Chamber, published two years later. In Reading, Translating, Rewriting: Angela Carter's Translational Poetics, author Martine Hennard Dutheil de la Rochère delves into Carter's The Fairy Tales of Charles Perrault (1977) to illustrate that this translation project had a significant impact on Carter's own writing practice. Hennard combines close analyses of both texts with an attention to Carter's active role in the translation and composition process to explore this previously unstudied aspect of Carter's work. She further uncovers the role of female fairy-tale writers and folktales associated with the Grimms' Kinder- und Hausmärchen in the rewriting process, unlocking new doors to The Bloody Chamber. Hennard begins by considering the editorial evolution of The Fairy Tales of Charles Perrault from 1977 to the present day, as Perrault's tales have been rediscovered and repurposed. In the chapters that follow, she examines specific linkages between Carter's Perrault translation and The Bloody Chamber, including targeted analysis of the stories of Red Riding Hood, Bluebeard, Puss-in-Boots, Beauty and the Beast, Sleeping Beauty, and Cinderella. Hennard demonstrates how, even before The Bloody Chamber, Carter intervened in the fairy-tale debate of the late 1970s by reclaiming Perrault for feminist readers when she discovered that the morals of his worldly tales lent themselves to her own materialist and feminist goals. Hennard argues that The Bloody Chamber can therefore be seen as the continuation of and counterpoint to The Fairy Tales of Charles Perrault, as it explores the potential of the familiar stories for alternative retellings. While the critical consensus reads into Carter an imperative to subvert classic fairy tales, the book shows that Carter valued in Perrault a practical educator as well as a proto-folklorist and went on to respond to more hidden aspects of his texts in her rewritings. Reading, Translating, Rewriting is informative reading for students and teachers of fairy-tale studies and translation studies.
Word Sonnets - Sonnets d'un mot
Ricochet is a bilingual collection of word sonnets by one of the chief innovators of the form, Seymour Mayne. It includes three sequences of pithy and evocative poems that encapsulate moments of sharp perception while also drawing attention to instants of humour that suddenly appear in daily life.
Concise and visual in effect, word sonnets are fourteen line poems, with one word per line. Frequently allusive and imagistic, they can also be irreverent and playful. While informed by other short poetry forms such as the Haiku, Mayne’s word sonnets are deeply influenced by the Talmudic tradition of maxims, proverbs and images that instruct and inform everyday life.
Presented with an excellent translation of the poems into French, Ricochet is a unique volume that showcases this innovative new form. The collection also includes a short preface by the poet and an introductory essay by the translator on the challenges of translating word sonnets.
Ricochet est un recueil bilingue de sonnets d’un mot écrits par l’un des principaux innovateurs de cette forme poétique, Seymour Mayne. On y trouve trois séries de poèmes piquants et évocateurs, qui recèlent des moments de perception aiguë, tout en attirant l’attention sur des instants d’humour surgissant tout à coup dans la vie quotidienne.
Les sonnets d’un mot sont des poèmes de quatorze lignes, concis, ayant un mot par ligne, et à l’effet visuel certain. Souvent elliptiques et imagés, ils s’avèrent aussi parfois irrévérencieux et taquins. Bien qu’inspirés par d’autres formes de courts poèmes, comme le haïku, les sonnets de Seymour Mayne sont profondément liés à la tradition talmudique des maximes, proverbes et images qui éclairent la vie quotidienne.
Présentant une excellente traduction des poèmes en français, Ricochet est un livre unique qui met en valeur cette nouvelle forme littéraire. L’ouvrage comprend également une courte préface du poète et une introduction de la traductrice sur les défis que comporte la traduction de sonnets d’un mot.
India in Translation and Other Tales of Possession
Can the subaltern joke? Christi A. Merrill answers by invoking riddling, oral-based fictions from Hindi, Rajasthani, Sanskrit, and Urdu that dare to laugh at what traditions often keep hidden-whether spouse abuse, ethnic violence, or the uncertain legacies of a divinely wrought sex change. Herself a skilled translator, Merrill uses these examples to investigate the expectation that translated work should allow the non-English-speaking subaltern to speak directly to the English-speaking reader. She plays with the trope of speaking to argue against treating a translated text as property, as a singular material object to be carried across(as trans-latus implies.) She refigures translation as a performative telling in turn,from the Hindi word anuvad, to explain how a text might be multiply possessed. She thereby challenges the distinction between originaland derivative,fundamental to nationalist and literary discourse, humoring our melancholic fixation on what is lost. Instead, she offers strategies for playing along with the subversive wit found in translated texts. Sly jokes and spirited double entendres, she suggests, require equally spirited double hearings.The playful lessons offered by these narratives provide insight into the networks of transnational relations connecting us across a sea of differences. Generations of multilingual audiences in India have been navigating this Ocean of the Stream of Storiessince before the 11th century, arriving at a fluid sense of commonality across languages. Salman Rushdie is not the first to pose crucial questions of belonging by telling a version of this narrative: the work of non-English-language writers like Vijay Dan Detha, whose tales are at the core of this book, asks what responsibilities we have to make the rights and wrongs of these fictions come alive age after age.
A Poetics of Translation
The translation of poetry has always fascinated the theorists, as the chances of "replicating" in another language the one-off resonance of music, imagery, and truth values of a poem are vanishingly small. Translation is often envisaged as a matter of mapping over into the target language the surface features or semiotic structures of the source poem. Little wonder, then, that the vast majority of translations fail to be poetry in their own right. These essays focus on the poetically viable translation - the derived poem that, while resonating with the original, really is a poem. They proceed from a writerly perspective, eschewing both the theoretical overkill that spawns mice out of mountains and the ideological misappropriation that uses poetry as a way to push agendas. The emphasis throughout is on process and the poem-to-come.