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Resumen: This paper investigates the possibility of translating, into English, Antara's iFakhr/i (self-exaltation), as a prominent theme in his renowned iMu'allaqa/i. The theoretical framework rests on the supposition that a literary work in general and pre-Islamic poetry in particular must be examined within its socio-cultural, spatio-temporal context as a total meaningful structure which entails the semantics and pragmatics of the text. Examining this theme in three selected translations, the analysis shows that the source text has proved that iFakhr/i (self-exaltation), as a conventional constituent of Antara's iMu'allaqa/i, presents a remarkable degree of sophistication which poses serious translation challenges. The discussion also reveals that, owing to the daunting complexity of incongruence and distance between the cultures of the two languages, the translations have only managed to maintain the textual import, but have not satisfactorily captured the socio-cultural denominations and implications, a perceptible translation erroneousness, which impeded straddling the required semantic effect and the required reader's response in the target language version. The paper draws the conclusion that the socio-cultural, spatio-temporal context can provide a broader frame of reference for analyzing, interpreting and translating the original Mu'allaqa in a completely new, contemporary setting of transmission and reception.

Resumen: The main aim of this article is to critically analyse and systematise the debate concerning non-professional subtitling of TV series and movies in some non-English-speaking countries. Most of the studies on fansubbing deal with a specific problem, and they are based on various theoretical frameworks. This paper attempts to merge them into one coherent framework that can serve as a basis for subsequent research. The article addresses the issue of non-professional translation as a solution to the lack of official translations, but also as an alternative strategy for translating the texts of popular culture. The paper is divided into four parts. The first defines the phenomenon of fansubbing. The second shows how professional and non-professional translations differ. The following two parts, based on different national case studies, answer the questions: who are fansubbers, and what are their motivations?

Resumen: The reading of scientific articles reveals that references to non-scientific cultural elements are numerous in this type of texts, particularly in those published in scientific magazines. Indeed, the integration of new knowedge into existing one is only possible if the reader is able to relate new elements to his or her cultural background or daily experiences: comparisons, examples and metaphors play an important role in this process. Although some of these elements can be automatically transferred when translating into another language, others would hardly be "interpretable" by the reader of the translation, and the translator has to apply mechanisms of adaptation. In this article, my intention is to examine the different mechanisms of adaptation used in a corpus of texts published in American magazines and translated into French, to analyse.the characteristics of the segments which have been adapted and to identify the criteria that might guide the translator in bis or her choices.

Resumen: In Spain, as in the rest of the non-Anglophone Western world, English-language film titles have become texts (or paratexts) of great cultural importance. The titles of the films that one may encounter in Western cinema can be considered, on the one hand ephemeral, elusive, and inconsequential. However, on the other hand, despite their clear irrelevance, film titles are considered to be the genuine contemporary cultural texts, for their continued presence in the media and for their evocative nature: an important marketing tool. Moreover, the result of what happens when film titles are translated into other languages and cultures has always intrigued the audience: this is perhaps indicative of the vast universe of translation studies. The differences between languages are palpable, not only from a linguistic point of view but also from a pragmatic, historical or cultural standpoint. In this paper, we deal with the translation of Quentin Tarantino's film titles into a number of European languages, including Spanish, Catalan, French and German. Quentin Tarantino's films are controversial, self-reflexive and have acquired a significant recognition within popular culture. Most of the typologies employed so far have revolved around the notion of 'fidelity" in the translation of film titles, and involving such strategies as literal translation, transposition, addition, etc. We wish to propose here another avenue for investigation: that of film-title translation as a complex (and globalised) rewriting phenomenon that benefits the commercial and ideological interests of the film industry.

Resumen: Language varies depending not only on the individual speaker but also on the specific situation in which speakers find themselves. This means that the language used in a given social environment may be perfectly translatable into a different language, but the society to which this other language belongs may not recognise the situation described by the first language. This article presents some examples of cultural values which cannot be translated literally (or which, if translated literally, will convey a message not intended in the original language/culture) and reaches the condusion that, as a result of all this, there cannot be a simple answer to whether language can translate society. In some cases, it will be perfectly possible; in others, the translator will have to adopt a technique which reflects the society he or she is translating for, rather than the society described in the original text.

Resumen: Apart from referring to a geographical or physical border, the notion of frontera has also become a metaphorical or psychological construct which represents any situation of contrast, such as belonging to two different national, cultural or linguistic communities. Latino writers in the United States live and write on the frontera. The coming together of two cultures forges a new hybrid identity which fights against essentialism and homogenization. This hybrid identity is reflected in these writers' language, a border tongue constantly switching from English to Spanish. Sandra Cisneros is one of those Latina writers who resort to code-switching as an identity hallmark. By introducing Spanish words, phrases or syntactic constructions into her English texts, Cisneros tries to evoke the feeling of inhabiting two worlds which can be conflicting and complementary at the same time. Departing from the notion of frontera, several translations of Cisneros's works are analysed, paying special attention to those aspects related to identity and language. Particularly, I focus on the Mexican Spanish, Galician and Catalan versions of The House on Mango Street, the translation of Woman Hollering Creek into Mexican Spanish, the Catalan versions of several short stories from Woman Hollering Creek and the Galician translation of Loose Woman. In all the analysed versions, the translators use strategies which reflect the border identity present in the source text, such as the resource to code-switching and typographical markers or the use of calques and other borrowings, dialectalisms, and non-standard vocabulary, pronunciation and grammar.

Resumen: This article provides evidence for the applicability of free translation to legal texts, based on an examination of actual cases of Japanese-to-English translation of agreements and contracts in which problems arise from literal translation. The data analysis shows that pitfalls associated with literal translation are attributable to not only the difficulty of finding terminological equivalents that inevitably arises from the differences in the Japanese and American legal and cultural systems, but also to the importance of preserving the spirit of mutual trust and cooperation that is found in Japanese business transactions. It is also postulated that general linguistic and interpretive problems inherent in Japanese-to-English translation of nontechnical texts, including redundancy, ambiguity, propensity for nonspecific statements, and the lack of linguistic clues (e.g., indicators of number), have fundamental, but not well understood, implications for legal translation. The conclusions indicate the need for an integrated approach to legal translation practice that uses both literal and free translations, taking into full account the linguistic, cultural, and legal factors at work in the translation process.

Resumen: 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.

Resumen: If a literary translator wishes to produce a rewarding and successful translation, his main focus should be not only on content but also on the stylistic manipulation of the text. This paper considers how overlooking the writer's stylistic varieties affects the quality of translation, rendering the story questionable. Problems related to translating the present tense within a past narrative and reported speech, drawn from Leech and Short (1981, 2004), will be discussed. The textual illustrations will be taken from Mohammed Abdul-Wali's representative collection They Die Strangers (1966) in English (2001), which was published by the Center for Middle Eastern Studies at the University of Texas at Austin. The argument is potentially helpful to the study of stylistics and translation studies as a whole.