Wednesday, August 17, 2011
Translator and Writer Piotr Rawicz
As Franklin writes, Piotr Rawicz was born in 1919 in Lviv and was imprisoned in Auschwitz (although he was Jewish, he managed to hide that fact, and he was put in Auschwitz as a Ukrainian). He committed suicide in 1982. In between World War 2 and his death, he had a variety of jobs, including as a translator. Franklin writes, “After settling in Paris in 1947, he earned degrees in Sanskrit and Hindi; in addition to those languages, he also spoke Ukrainian, Russian, Polish, German, French, English, Yiddish, and Hebrew.” Besides being a linguist, he was a novelist, and Franklin calls his novel Blood from the Sky “one of the most original works of fiction ever written about the Holocaust.”
I’d never heard of Piotr Rawicz until I read Ms. Franklin’s excellent book. I was fascinated and saddened to read about him and his life.
Friday, August 12, 2011
The Point of Rescue
But first a little background. Ms. Hannah, who is known as both a poet and crime novelist, has kindly agreed to come talk to my MA students in literary translation in the autumn. There are a couple of reasons why she’ll be an interesting guest lecturer. One is that her work has been widely translated, so she can talk about translation from the perspective of an author who might get contacted by her translators. The class she is coming to speak to spends a few weeks looking at the translation of crime fiction, so it will be exciting for them to meet a talented mystery writer. Also, she has worked on translations herself. Although not a translator, she has had texts literally translated and then she has written versions of them. So Ms. Hannah should have plenty of useful insight for my students. The same day she meets them, I have also co-arranged an evening about the translation of detective fiction at Norwich’s lovely independent bookstore, The Book Hive, and Ms. Hannah will be appearing there to discuss her work being adapting for TV. But I’ll tell you more about that event as it gets closer (in December).
So to prepare for her visit, I wanted to read her work. I thought The Point of Rescue was well written and engaging and it had plenty of surprising twists. One of the most exciting twists even hinged on translation, but I won’t say more about that, so I don’t spoil it for you. I would recommend this novel, especially if you’re looking for a fast, entertaining read with a somewhat poetic style.
Sunday, August 07, 2011
Certificate in Localization
The University of Washington Professional & Continuing Education is offering a Certificate program in Localization which provides an overview of and practical experience with this rapidly growing field through a 3-course, 9-month program. The courses are offered in the evening and can be taken in the classroom as well as online. They provide a strong foundation in terms of concepts and tools, engineering practices, and project management. Students gain valuable practical experience, hear from guest speakers working in the industry, research and use current translation & localization tools, as well as delve into both the engineering and the project management side. The classroom section is a traditional offering while the online section uses AdobeConnect to allow online students to hear the instructor live, see the instructor’s presentation, and interact with the class via chat. Online sessions are also recorded.
General program areas include linguistics & translation, business norms & cultural issues, user-interface design, formatting, project workflow & roles and an overview of the technology & tools. In addition, the program includes guest speakers and a panel of practitioners some of whom graduated from the program to talk about their career and what is needed to get a job in the field. Specific consideration is given to topics such as alphabets & scripts, character encoding, text processing, graphical representation of text, spelling variants for different countries where the same language is spoken, cultural appropriateness, language translations, symbols, aesthetics, local content as well as customs considerations.
Past students have come from diverse backgrounds, including foreign language learners, translators, software testers, technical writers, linguistics, software developers, project managers, and localization engineers.
The program has an advisory board which includes UW faculty & staff, as well as industry representatives from Microsoft, Lionbridge, Adobe, Getty Images, Google, MultiLingual Magazine, Adaquest, and several others. Students who complete all three courses receive a Certificate from UW Professional & Continuing Education. From a career perspective we can also attest to the fact that students who enrolled in the program received both internships & jobs soon after completing the program. These positions included companies such as Microsoft, Real Networks, Amazon.com, SDL, Big Fish, Nintendo, Übermind, and Moravia.
Applications are now being accepted for the program starting October 5, 2011. Additional program details and course descriptions can be found here:
http://www.pce.uw.edu/prog.aspx?id=6040
Tuesday, August 02, 2011
No to Peanuts
Monday, July 25, 2011
FIT Conference
I’ll be giving a talk on translating thrillers (and of course I’ll discuss Stieg Larsson’s Girl with the Dragon Tattoo trilogy) – detective fiction is quite different from my previous work on children’s literature, and I’ve been having fun doing the research.
Perhaps I’ll see some of BNW’s readers there!
Wednesday, July 20, 2011
Job at UEA
Thursday, June 30, 2011
Taking a Break
Saturday, June 25, 2011
La Rassegna del traduttore
Monday, June 20, 2011
Reading at The Book Hive
The MA students in literary translation at the University of East Anglia, where I teach, will be reading from their translations. This is a chance to hear books/authors that have not yet been translated to English. And there’ll be drinks as well, which always appeals to literary crowds.
Hope to see some of you there.
Wednesday, June 15, 2011
Linguaphiles Unite
I would imagine that a number of us linguaphiles long to learn as many languages as we can, even if we can’t or don’t learn them all fluently.
So what languages do you know and what’s on your languages-to-learn list? And why?
As for me, I started out with Latin (okay, technically I started with English, my native language), which I think is a great place to begin because it’s the basis of the Romance languages and has had a big influence on English as well. I moved on to Spanish and then Swedish. Swedish became my first love, linguistically speaking, and it’s still the language I work most with now, as a researcher and a translator. I’ve also worked a bit with Norwegian and Danish. In the past few years, I’ve taken classes or studied on my own Portuguese, Italian, and Finnish. And I’ve got Japanese, Polish, and German textbooks at home that I’ve scarcely touched yet. So I can’t claim to be all that good at most of those languages, though I’ve enjoyed my exposure to them. I often feel that I ought to try to learn some French and I’m fascinated by and drawn to Faroese and Icelandic. But I seem rather stuck in Europe for the most part, so at some point, I’d like to take a class that would move me to another continent in terms of my language skills. Any suggestions?
You might want to check out this list of difficult languages. Do you agree? Are those some of the hardest ones out there?
I’m lucky to be able to work with language and literature. Hurray for linguaphiles!
Friday, June 10, 2011
Selma Lagerlöf 2011: Text, Translation, Film
Sunday, June 05, 2011
World Literature Weekend
Tuesday, May 31, 2011
Tuesday, May 24, 2011
Saturday, May 21, 2011
A Few Articles/Websites
The first website has a list of TED talks on language.
Then here is an article about the history of language, using mathematical modelling and analyzing the number of phonemes a language has.
You might enjoy the Macmillan dictionary blog.
Here’s a short piece on how far 100 words of English would get you.
And finally, here is a blog post on what it means to do an MA in children’s literature.
Monday, May 16, 2011
The Winner of the Give-Away
Tuesday, May 10, 2011
Give-Away of The Pun Also Rises by John Pollack
To win a copy of the book, post a comment here with your favorite pun. Make sure you include your name and location too. You have five days to post; the winner will be chosen randomly and announced on 16 May. So get thee to a punnery!
Thursday, May 05, 2011
The Pun Also Rises by John Pollack
As he explains, no one is certain where the word comes from but it seems possible that it is from the word pundit, which means “a learned Hindu versed in Sanskrit” (5), and Sanskrit is a complex language that has many puns in it. Another suggested etymology is that it comes from the Latin punctilio, which means “fine point” (9). Besides the issue of etymology, it is also hard to clearly define what a pun is. It’s not exactly the same as wordplay; rather “a pun transforms one thing into another by relating them through sound or, in the case of visual puns, sight. A play on words only works if the two things it relates are already intrinsically connected, either by etymology or function.” (9)
From the word itself, Pollack moves into detailed discussions of brain research, how we hear sound/language, and how the evolution of human bodies primed us for the ability to crack jokes. Evolution made people walk upright and then because of the change in gait, which caused a concomitant change in hip size, there were lower birthrates. All this “required compensatory survival skills to make up the difference. Among those that emerged, most likely about 150,000 years ago in East Africa, were the interrelated capacities for language and for abstract thinking.” This eventually also led to a sense of humor, which obviously also helps in difficult times, as Pollack points out. (49)
But puns have had their ups and downs throughout our history. At one point, it was thought to be the sign of intelligence to use puns, and there were even pun duels (such as there were sword fights), whereas at other times, it was argued that puns were inappropriate and that they shouldn’t be part of intellectual discourse. Another point of contention has been whether they are appropriate for children (this is, incidentally, something that has been part of my research). But as Pollack writes: “it’s this very wordplay that exposes children to the mechanics of semantics, long before they every tackle grammar in a classroom. Studies also indicate that children’s facility with language has a major impact on their ability to excel in other subjects, too, including math and science. Playing with language helps them discover similarities, differences and patterns, as well as how to make bold conceptual leaps” (105).
One of the major misconceptions about puns is that they have to be funny. In fact, as Pollack explores in his work, puns can be used to make people think about language and meaning, or to refer to taboo issues (“the more rigid a society becomes, the greater its reliance on subtexts, especially puns, to address sensitive or taboo topics.” (140)), or to serve a range of other functions. Pollack writes: “One should remember, though, that puns are at their core defined by multiplicity of meaning, not always humor. The common expectation that puns should always be funny, or die in the attempt, is a relatively modern development.” (65)
Pollack also discusses why people have negative feelings towards puns and why some groan when they hear one. He says that “if a pun’s secondary meaning does not clearly echo or reinforce a conversation’s greater context, such wordplay can come across as deliberate and disruptive nonsense. This is likely a principal reason why many people who strongly prefer order to ambiguity often express such antipathy, even hostility, to any and all puns.” (145)
If you’re expecting a joke book, look elsewhere (although you can watch Pollack on a pun safari). If you want to learn about puns through history and how puns influence culture, this is the book for you. Still, Pollack does offer some puns, including one of my favorite jokes: “A distraught patient rushes into a psychologist’s office. ‘Doctor, doctor! I think I’m a wigwam, then I think I’m a teepee. I’m a wigwam, I’m a teepee. I’m a wigwam, I’m a teepee…’
‘Relax,’ the shrink says. ‘You’re just too tense.’” (43)
If you’re too tense, why not take a break and read this book? It’s fascinating and funny, and it proves that there’s always something new and worth learning under the pun.
And if you want to win a copy of this book, check back here for the next post!
Saturday, April 30, 2011
FAQ – References on Allusions
So here are some reading subjects on the topic of allusions/intertextuality in general and on translating cultural/political/literary/religious/other references:
Graham Allen, Intertextuality (London: Routledge, 2000).
Richard Bauman, A World of Others’ Words (Oxford: Blackwell Publishing, 2004).
Mieke K.T. Desmet, ‘Intertextuality/Intervisuality in Translation: The Jolly Postman’s Intercultural Journey from Britain to the Netherlands’, The Translation of Children’s Literature, ed. Gillian Lathey (Clevedon: Multilingual Matters, 2006).
B.J. Epstein, “Life is Just an Allusion,” in Crossing Textual Boundaries in International Children’s Literature, published by Cambridge Scholars Publishing, spring 2011
B.J. Epstein, “Manipulating the Next Generation: Translating Culture for Children,” in Papers: Explorations into Children’s Literature, vol. 20, no. 1, pp. 41-76, autumn 2010
Belén González Cascallana, “Translating Cultural Intertextuality in Children’s Literature”, in Van Coillie, Jan, and Walter P. Verschueren, eds., Children’s Literature in Translation: Challenges and Strategies (Manchester: St. Jerome, 2006), 97-110.
William Irwin, ‘Against Intertextuality’, Philosophy and Literature, vol. 28, nr. 2, (October 2004), 227-242.
Ritva Leppihalme, Notes on Culture Bumps: An Empirical Approach to the Translation of Allusions (Clevedon: Multilingual Matters, 1997).
Ulrike H. Meinhof and Jonathan Smith, eds. Intertextuality and the Media: From Genre to Everyday Life (Manchester: Manchester University Press, 2000).
Mary Orr, Intertextuality: Debates and Contexts (Cambridge: Polity, 2003).
Isabel Pascua-Febles, “Translating Cultural References: The Language of Young People in Literary Texts,” in Van Coillie, Jan, and Walter P. Verschueren, eds., Children’s Literature in Translation: Challenges and Strategies (Manchester: St. Jerome, 2006), 111-121.
Monday, April 25, 2011
Market Research and a Good Website
Wednesday, April 20, 2011
Market Research
Friday, April 15, 2011
A Few Articles on Languages
The first one is an article about Esperanto.
The second is on Hebrew and how an ancient language can be kept modern.
The last article is, sadly, about the most endangered languages.
Sunday, April 10, 2011
London Book Fair
Thursday, April 07, 2011
Readux
Saturday, April 02, 2011
An Unusual Lexicon
Monday, March 28, 2011
Footnotes
Wednesday, March 23, 2011
And Other Stories
Friday, March 18, 2011
Meta
Sunday, March 13, 2011
Ladino
Tuesday, March 08, 2011
The Times Stephen Spender Prize
Thursday, March 03, 2011
Market Research
Look at the website for The International Literary Quarterly.
Saturday, February 26, 2011
The Most Beautiful Word
Monday, February 21, 2011
Call for Papers
'It just doesn't sound right.' - Translation and Intuition
Translation is a problem with two horns: to be caught on the point of free and apparently
subconscious decision; or to be pinned by the mechanical application of theory. But perhaps
this is not a helpful dichotomy. Rather, we would like to ask where in the muddle translation
actually happens, and how balance is struck between conflicting thought processes.
'It just doesn't sound right' is both the catchphrase and bane of the practising translator. A lot
stands behind these apparently throwaway words, and we would like to invite considerations of
how they might be unpacked.
Areas of interest include, but are not restricted to:
- spirit and affect - how can poetics account for the sublime, or literature's affective
power, the hairs that stand on the back of the neck?
- intentionality - the relationship between translator and author.
- preservation of non-standard features, especially in texts written to be read as if spoken.
- critical reception of translations, and the intuitive approval of translations that read smoothly.
- what is strange about translated language, and why?
- the stuff and substance of language - can we understand or only intuit the iconicity of sound?
Submission details
Please submit your papers to norwichpapers@uea.ac.uk
Deadline: Friday April 29th, 2011
Format: Word documents or Rich Text Format (.rtf). Please follow the Harvard style of
referencing. Articles should be between 4000 and 5000 words long, written in English.
Wednesday, February 16, 2011
Lost in Translation
A Chinese hotel tells guests: “We serve you with hostiality.” A Japanese shopping bag offers this message: “Now baby. Tonight I am feeling cool and hard boiled.” In the Czech Republic, people are warned: “No smoothen the lion.” An Australian dish is “dumping soup” while an Indian restaurant includes “Aborigines” in their brinjal bhaji and a Greek dish is “chopped cow with a wire through it and bowels in sauce.” Yum.
This is a light, fun book that made me giggle. I wish people took translation more seriously but if they did, we wouldn’t have these mistakes to laugh at.
Friday, February 11, 2011
Holocaust Literature
Someone then sent me a list of the top books about the Holocaust. I’m not sure I agree with the list (I really didn’t like The Boy in the Striped Pyjamas, for example), but it is an interesting starting point. What do others think of this list? Which books on the Holocaust would you recommend?
Sunday, February 06, 2011
Top 50 Linguistics Blogs
Tuesday, February 01, 2011
Shameless Self-Promotion
On a related subject, I have a piece in the newly published anthology Queer Girls in Class.
Hope you enjoy this reading!
Wednesday, January 26, 2011
Four Ways to Manage "Foreign Words" in Fiction

Erika has graciously agreed to write a guest post for Brave New Words. Congratulations on your collection, Erika!
Four Ways to Manage "Foreign Words" in Fiction
One challenge that some English-language fiction writers face--I, for one, have encountered it numerous times while working on the short stories in my collection, Quiet Americans--is how to manage the use of non-English ("foreign") words in one's work.
Although it's not my ideal, one possibility is to append footnotes or a glossary. I was willing to add such information when one anthology editor asked me to do so for the story I had contributed. Perhaps I was persuaded, in part, because this editor seemed semi-apologetic about his request and emphasized the educational nature of his book's project. But when the same story has appeared elsewhere--including in the new collection--I have omitted the glossary.
I prefer other approaches. Here are three more that I have found helpful:
1) Characters can be translators and interpreters. In an important section of my (unpublished) novel, an interpreter listens to one character speak in French. The actual French words are, for the most part, suppressed. But the speaker's body language, facial expressions, and other details give some idea of the content. The interpreter then summarizes what has been said in English for the benefit of an American-born character who does not understand French (and, oh-so-cleverly, for the reader).
2) Brief explanations can work, especially in cases where a cultural or linguistic exchange or encounter is itself a part of the fiction. For example, my new short-story collection, Quiet Americans, features a story in which the "quiet American" narrating the piece, a U.S.-born granddaughter of German Jews who is visiting Germany, listens to a local tour guide:
Your guide--an unusually petite woman named Greta who is wearing a string of green beads and whose lined face suggests she might be in her fifties, like your parents--lets forth a stream of words in German and then she says, in English, that this is how she runs things: she will tell the group everything in German and then repeat it for the English-speakers. You smile. You've already forgotten nearly all the German you learned that summer you needed to acquire proficiency for graduate school.
Except for one word. And it's not a day of the week or a month of the year or a color or anything so simple.
It's Vergangenheitsbewältigung. It's a word that means, roughly, "coming to term with the past."
3) Trust the reader. Whether it's a single word or a longer phrase, some readers will understand what you've written. Others may actually take the time to look up something they do not understand. This is the choice I made with the title of my short story, "Lebensraum." Although I hope that readers will be familiar enough with 20th-century European history to recall the term, I realize that it's unreasonable to expect all readers to know it. Still, it's easy enough to find an adequate definition.
Managing "foreign words" in fiction remains, for me, a fascinating topic. I'm curious: As a reader, have you noticed other techniques practiced? If you're a writer, how have you negotiated this challenge? As a translator, how do you decide when a given word simply must remain in its original (if italicized) form, rather than in the target language? Please share your thoughts in comments here. Thank you in advance.
Erika Dreifus lives and writes in New York City. She is the author of Quiet Americans: Stories, which was recently released by Last Light Studio Books. Please learn more about Erika, her book, her blogs, and her newsletter for writers at www.erikadreifus.com.
Friday, January 21, 2011
Subbed vs. Dubbed: Where do you stand?
There’s a lot lost in translation: humor, depth, and sometimes even the basic meaning of words themselves. Although great translators can manage to capture the spirit of the original, it can take them years to do so. I have even heard of some translators spending days pondering the nuance of a single phrase! Because of strict deadlines, however, film translators don’t have that kind of luxury, and thus the translations aren’t as good as they could be.
A very clever joke in English, for example, might go flat when translated into Japanese. With time, a translator might be able to think of a way to make a joke work, but usually they can’t. I had this experience myself when I watched the movie “Dodgeball” in Tokyo. I must have laughed out loud several times at intervals when the crowd was silent. It was not until I had read the subtitles that I realized why. Oftentimes certain jokes weren’t translated at all, and were replaced with lame Japanese jokes that were similar in nature but failed to hit the punchline.
I was able to forgive the translators their terrible work because I knew just how difficult a job it was. A year or two back I had read a Japanese news article (Sorry, the title escapes me) about how hard it is to translate for movies. You can’t have subtitles crowding half the screen, so you’re limited to a certain amount of characters (just like twitter). When the actors are talking rapid-fire, sometimes you have to cut out part of what they’re saying from your translation just to keep up with the flow. Jokes, which often require cultural and linguistic context, often don’t stand a chance.
If you’re dubbing, however, you have a little more freedom. Although dubbing has a bad reputation in the States because the voice acting for most dubbed movies is horrendous and the words often appear out of sync with mouth movements, we must remember that the budget simply isn’t there to make dubbing better (by hiring better actors, sound technicians, etc). When done right, however, dubbing can be a good alternative to subtitles. First of all, you’re able to add more colloquial language which can be less stilted than subtitles. If you have a comedian voice actor, for example, they might be able to ad lib a joke or even use a certain voice inflections which carry a joke’s meaning much more effectively than a stale sentence would. Furthermore, although you have a time limit, you have no character limit, so you may not have to cut short dialogue in order to fit the screen.
Personally, I haven’t seen many good dubbed movies myself, although some animated movies seem to do a fair job at it. I have heard it’s possible, however. I can’t speak for myself, but a friend of mine told me that the dubbed Italian version of the first Spiderman movie was done so well it was hard to tell that they weren’t the original voices.
If I had a choice, I’d probably choose subtitles over dubbing most of the time. In some movies, however, the subtitles can be so distracting from the action that you’ll spend more time reading than actually watching--especially when you don’t know one word of the original language (I had this experience with “Crouching Tiger, Hidden Dragon”).
My guess is that most people prefer subtitles to dubbed movies. I’m wondering, however, if the vote wouldn’t turn out differently if more time and money was spent improving the quality of dubbed films. So what do you think? Subbed or Dubbed?