The speaker will reveal, on the basis of authentic data examples from asylum interviews and legal judgments, how the co-construction of meaning, evidence and identities may amplify the asylum applicant’s vulnerability of voice.
Dr Yunfei Bai reconstructs a series of interreligious conversations that took place in 1945 at Mount Gongga between two Western journalists, George Henry Johnston (1912–1970) and James Cobb Burke (1915–1964), and various members of the Sino-Tibetan Buddhist community based at Mount Gongga. This encounter during the republican period may serve as a historical precedent for rethinking the protracted contacts between Tibetan Buddhism and other epistemological traditions in the present day.
No one could have foreseen the far-reaching and devastating effects of the COVID-19 pandemic on international gatherings and the interpreting profession in early 2020. Suddenly, multilingual online meetings were the only way for international organizations to continue their work, and RSI became the principal source of work for thousands of interpreters.
Professor Olsen will introduce to you In this online seminar the recent history and development of remote simultaneous interpretation (RSI) and more.
In this talk I will discuss my recently published monograph, Ethics and Aesthetics of Translation (UCL Press, 2018). Ethics and Aesthetics of Translation engages with translation, in both theory and practice, as part of an interrogation of ethical as well as political thought in the work of three bilingual European authors: Bernardo Atxaga, Milan Kundera and Jorge Semprún.
The old Italian adage “traduttore, traditore” does no justice to the valuable work of translators, especially literary translators. Rendering a literary text into another language is no easy task, and although there is general consensus that literature -particularly poetry- is best read in the original language, there are instances in which translations are necessary.
This talk will look at literary illustration as intersemiotic translation, as the “interpretation of verbal signs by means of signs of nonverbal sign systems” (Roman Jakobson). Using as examples illustrations of Lewis Carroll’s Alice in Wonderland, it will ask, amongst other things, how beyond representing scenes and characters, illustrators have “translated” into their own sign system literary elements which have no immediate visual equivalent, such as the verbal nonsense games that characterise Carroll’s novel.
Tibetan director and fiction writer Pema Tseden’s films and fictions from The Silent Holy Stones 《靜靜的嘛呢石》to Tharlo 《塔洛》are acclaimed by scholars and critics to be rare moments which individuate Tibetan characters, rather than conceiving of the Tibetan people en masse as the ethnic and cultural Other of China.
This highly illustrated talk explores food in performance and food as performing art; the performative in cookery, its staging in the kitchen and at the table; exploring piquant analogies and correlations; the theatricality of food and food as a model for theatre, multisensory, processual and communal.
This seminar will focus on a central argument on the task of the translator as a diplomat, by drawing upon my ongoing experience as the series editor and chief translator of the Intellect China Library, a book series that publishes English translation of the latest Chinese scholarship of art and culture.
How can minority writers within China assert their own linguistic individualism whilst also writing in Chinese? Ethnic minority works which deal with local culture, including customs, rituals and traditional legends, can generally be divided into two groups: writing in standard Chinese, and works that are composed in native scripts.
As the demand for professional translation and related services grows in our ever more interconnected world, universities are coming under pressure from different quarters to respond effectively. In this seminar, I shall outline a systematic approach to curricular design to take into account not only the requirements of the language service industry and the market, but also those of other essential stakeholders, in an attempt to offer a roadmap for localized and contextualized curricular design.
During the early Qing dynasty (17-18th century), the Jesuit Figurists, including Joachim Bouvet, Jean-François Foucquet, and Joseph de Prémare, espoused the view that symbols, figures, numbers, terms, and Chinese characters embedded in the Chinese classics proved that the Chinese people had believed in the God of Christianity since antiquity.
Minority Translation Studies (MTS), the study of translation to and from minority languages, evolved out of Descriptive Translation Studies (DTS) in the 1980s, but nobody has proposed Moribund Translation Studies, the study of translation to and from moribund languages, i.e., languages with few native speakers, especially young native speakers.
Internet and big data have put the spur on the development of today’s world at an unprecedented pace. The translation industry which traditionally relied mostly on the production of individual translators is now gradually being replaced by the well-organized modern translation teams operating under the present day production logistics.
The decision made by WWII Allied powers (the United States, the Soviet Union, Britain and France) to prosecute expeditiously Nazi suspected criminals required the use of a simultaneous interpreting system which had been patented by IBM after successful trials at the International Labour Office in Geneva in the late 1920s.
Since he was first introduced to Chinese readers in 1856, in a book titled《大英國誌》(The History of England), Shakespeare has gained more and more popularity in the Chinese speaking world, until he becomes a household name. That popularity is achieved thanks to translation and transformation of his works in various forms.
Disciplinary discourses at the interface between translation studies and activism have been traditionally dominated by ‘structuralist’ perspectives (Pérez-González 2010). Activist translation has therefore tended to be conceptualised as a set of counter-hegemonic practices of mediation invariably associated with written texts, and undertaken by aggrieved constituencies clustered around essentialist categories of identity politics.
Most stage performances of translated theatre “speak in” translation, as they inhabit the world of foreign plays and adopt it as a model for the people and the theatre. Other performances “speak over” translation, as they interpolate the ideas of the local people into the foreign plays, not only in Sinified adaptations but also in supposedly faithful translations.
Since the late 1990s there has been an increasing interest in the representation of Balkan culture in the literary works of authors writing in English. Scholars (Bakić-Hayden 1995, Todorova 1997, Goldsworthy 1998, Norris 1999, Hammond 2010) have shown how literary representations of the Balkans have reflected and reinforced its stereotypical construction as Europe’s “dark and untamed Other”.
The seminar will focus on how the performance of popular music, as well as its reception, can be influenced and shaped by translation and other interlingual activities. It will first offer an overview of the phenomenon by discussing music’s various forms of materiality and the accompanying forms of translation.
This seminar will report on a large, interdisciplinary research project based at the University of Manchester in the UK and funded by the Arts and Humanities Research Council. The project involves compiling large electronic corpora of ancient Greek, medieval Arabic, early Latin and Modern English to examine how central concepts in the humanities and sciences have been (re)translated into these three lingua francas, and how they have been interpreted and reinterpreted as they entered new cultural and temporal spaces.
Chinese women’s appearance on the scene of literary translation has been a long-acknowledged fact. The earliest written record of Chinese women’s translation can be traced back to 1898, and the first woman’s translation of western literature is Xue Shaowei’s (1900) rendition of the French writer Jules Gabriel Verne’s Le Tour du monde en quatre-vingts jours (Around the World in 80 Days), though via its Japanese version.
Interpreting has become a visible and attractive profession in some parts of the world, but many people know little about what it involves in its various branches above and beyond a good mastery of the working languages. Far from being ‘language converting devices’, interpreters constantly analyze incoming (source language) speeches and make decisions on what and how to formulate their target-language speeches.
Eighty four translations of modern and contemporary Chinese literature were published in Spain between 1949 and 2010. The history of this under researched corpus of translations and their reception will form the basis of the discussion in this seminar. I will try to demonstrate two interrelated arguments: the marginality of modern and contemporary Chinese literature in Spain and the mediation of the Anglophone and Francophone literary systems in the Spanish reception.
During Japan’s self-imposed isolation (1639-1859), Nagasaki was the country’s only port open for international trade: merchants from two nations, Holland and China, were granted access. While in Nagasaki, the Dutch and Chinese were each confined to their own tightly controlled districts: on Dejima Island 出島 (from 1639) and in Tōjin yashiki 唐人屋敷 (Chinese Quarter, from 1689) respectively.
Is translation indispensable or expendable? Is it a necessary evil and a constant reminder of our limitations or rather a powerful way of enlarging our understanding and experience? Is translation always benign, beneficial and positive or can it turn into a sinister, malign and ethically dubious activity?
Charges of Eurocentrism have been troubling the TS scholarly community lately, leading recently to a prominent countercharge in the pages of Translation Studies from Andrew Chesterman, who argues that science is always universalist, and that cultural relativists who accuse scholars like him of Eurocentrism are therefore simply wrong.
In the light of current translation studies scholarship, Southeast Asia is largely underresearched compared to other parts of Asia. Translation traditions in a region so diverse in politics, geographies and cultures such as this cannot easily be accommodated by established notions of literal vs free, domestication vs foreignisation, or the post-colonial pattern of appropriation, resistance and hybridity.
Joan Riviere’s article “Womanliness as a Masquerade” will form the basis of a discussion of the late Qing intellectual and noted translator Ku Hung-ming. Specifically, this paper will argue that, just as some women can be seen as performing ‘womanliness’ as a masquerade, so too we may theorize the translations of Gu Hongming as a type of masquerade, a conscious adopting of a role that draws on pre-existing norms relating to that role.
Translation is one of the core practices through which any cultural group constructs representations of another and contests representations of the self. Part of its power stems from the fact that as a genre, it tends to be understood as “merely” reporting on something that is already available in another social space, that something being an independent source text that pre-exists the translation.
This seminar will begin with a few minutes of live Tai Chi demonstration to the accompaniment of a strain of non-Chinese music, to illustrate how the flow of energy enables a ‘stigmergy’ among the faculties of a human body, both physical and spiritual, to bring about a kinaesthetic experience of articulation in a yin-yang response to the rhythm of the music.
How do text, translation and technology intersect and interact in contemporary poetics? This project attempts an answer to this question through a case study of the avant-garde Taiwanese poet Chen Li (b.1954). In Chen’s oeuvre, translation as a concept is instantiated in a number of different ways: as translingual signification where different languages encounter within a text; as the displacement of a printed book by its electronic version (media translation); and as the creative transposition (intersemiotic translation) of a poem into a musical performance complete with vocals and piano accompaniment.