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Resumen: Der vorliegende Beitrag über Golo Mann ist ein Auszug aus dem ersten, «statistischen» Teil einer umfangreichen Untersuchung mit dem Arbeitstitel «Aufnahme und Wirkung des literarischen, publizistischen und wissenschaftlichen Werks der Familie Mann in Spanien. Eine Fallstudie zur Rezeption deutschsprachiger Literatur des 20.Jahrhunderts».

Resumen: Das Übersetzen ist eine besondere Anwendung der menschlichen Sprachfähigkeit. Und gleichwie bei der normalen Erforschung der Sprache kann man auch beim Übersetzen prozeßorientiert oder produktorientiert vorgehen. Die normalerweise getrennte Prozeße des Sprachverstehens und der Sprachproduktion sind beim Übersetzen verbunden und sie verteilen sich auf zwei Sprachen.

Resumen: Translating picture books is a many-splendored thing: it includes not only the relationship between the verbal and the visual (images and other elements) but also issues like reading aloud and child images. In the following, while mainly concentrating on the visual, I will deal with the other questions as well, as they all interact and influence each other. My starting point is translating as rewriting for target-language audiences - we always need to ask the crucial question: "For whom?" Hence, while writing children's books is writing for children, translating children's literature is translating for children. (See Hunt 1990:1, 60-64 and Oittinen 2000.) The reasons why I take such a special interest in translating picture books are twofold: cultural and national as well as individual. In Finland, we translate a lot: 70-80

Resumen: Judith Hayward asks Anthea Bell about translating books reviewed in "New books" in german, and how much clout the journal really has in the world of publishing.

Resumen: "Wer für Erwachsene schreibt, schreibt für die Zeit, wer für die Kinder schreibt, für die Ewigkeit («Quién escribe para los mayores, escribe para su época, quién escribe para los niños, para la posteridad»). Con estas palabras de Hans-Christian Andersen quiero empezar mi trabajo para llamar la atención al lector sobre una parcela a veces olvidada y no por eso menos importante dentro de la Literatura, la Literatura infantil y juvenil, me refiero naturalmente a la escrita en lengua alemana".

Resumen: Skeletons were unearthed recently in a medieval town in Bohemia, with evidence pointing to a ritual vampire burial. The Austrian Broadcasting Corporation planned a coproduction of this find with the Smithsonian and the History Channel. After shooting began, the producers decided to film key scenes in English and German instead of dubbing them. Translations were done on the fly while the crew waited to shoot. This presentation will discuss the rare case of a contemporary film shot in two languages on location and the difficulties encountered. The movie won a Cine Golden Eagle Award fror historical documentaries in the USA.

Resumen: Stephanie Lovett reports on a major project in the US focusing on translations of Alice in Wonderland, including a three-volume book, exhibition and conference.

Resumen: In der vorliegenden Arbeit soll der Versuch unternommen werden, die deutsche Übersetzung der Biografía de un cimarrón des Cubaners Miguel Barnet (La Habana, 1940) kritisch zu werten, und zwar in dopperlter Hinsicht: zum einen im allgemeinen Kontext der Rezeption lateinamerikanischer Literatur im deutschsprachigen Raum in der Zeit der 60er Jahre und zum anderen im Sinne einer Kritik der konkreten Übersetzungsleistung.

Resumen: The article takes a look at the translation of children's literature intended for reading aloud. The pragmatic (or theoretical) point of departure is a 'narrative contract' between the child (audience) and the reader as in the oral tradition of yesteryear. It is therefore argued that, at least initially, children's literature for reading aloud was a continuation of the narrative tradition in the extended family adapted to the conditions and mores of the nuclear family. The nuclear family was a 19th century innovation promoted by the new middle classes, and they best carried on the narrative tradition by means of stories such as those of the brothers Grimm in Germany and Hans Christian Andersen in Denmark. Referring to an informal questionnaire among Translation Studies scholars covering eleven countries, it is concluded that the tradition of reading aloud for children is alive and well. This leads to a model for the translational situation for read-aloud literature that calls for guiding principles in the exploration of differences between 'originals' and 'translations.' Having introduced such layers, viz. the structural, the linguistic, the content and intentional ones, a paratextual and chronological layer are also called for, because of the ubiquity of modern co-prints and the need to introduce diachronic perspectives. The article discusses decision-makers in the process of translation, such as publishers and the like, and also briefly views questions of translational traditions before it discusses translations of the Grimm Tales into English and Danish, to conclude that there are two different schools of 'respectable translators,' one targeting stories for reading aloud and another for silent reading, even though the translators may not be aware of this. The final part takes up questions concerning the translation of names, rhymes, and a highly complex text which is discussed in depth. The conclusion is that translation for reading aloud is an art requiring great competence of translators. It also ought to attract more attention from Translation Studies scholars because it questions fundamentals in translation work that are also found in other types of translation.

Resumen: Generally speaking, the message of a poem is conveyed on three levels: the semantic, the syntactic, and the phonological. How translatable each of these levels is to the translator depends on how much cognation there is between source and target language: the more cognation there is, the more translatable each of these levels. Thus, in respect of all three levels, translation between languages of the same family, such as English and French, both of which belong to the Indo-European family, is easier than translation between languages of different families, such as English and Chinese, which belong respectively to the Indo-European and the Sino-Tibetan family. If a further distinction is to be made, one may say that, in translation between Chinese and European languages, the semantic level is less challenging than both the syntactic and the phonological level, since syntactic and phonological features are language-bound, and do not lend themselves readily to translation, whereas language pairs generally have corresponding words and phrases on the semantic level to express similar ideas or to describe similar objects, events, perceptions, and feelings. As an image owes its existence largely to its semantic content, the imagery of a poem is easier to translate than its phonological features. Be that as it may, there is yet another difference: the difference between the imagery of non-dramatic poetry and the imagery of poetic drama when it comes to translation. With reference to Hamlet and its versions in Chinese and in European languages, this paper discusses this difference and the challenges which the translator has to face when translating the imagery of poetic drama from one language into another; it also shows how translating Shakespeare's imagery from English into Chinese is more formidable than translating it from English into other European languages.

Resumen: This article discusses the translator's approach to the task of translating. In an initial descriptive analysis of several German translations of an Italian novel a tendency towards linguistic simplification and over-explicitation in view of easy reading can be detected. Switching the perspective to the translator's own dynamic view of text production, the necessary expert reading and hermeneutic understanding, as well as the coordination problem of various rhetoric criteria of writing are being discussed. Based on the translator's social responsibility we may conclude that translators should be aware of the problems arising and reflect consciously on their formulation decisions regarding coherence, style and ideology.

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: In this paper I will examine how the fairytales written by Zachris Topelius, the famous 19th century Finnish storyteller, were translated into Finnish and into English at different times. The fairytales contain Topelius' personal ideals of upbringing, biblical and religious as well as moral and educational elements, for instance. The authors of the more recent translations have considered it necessary to modify the source texts so that they would be more accessible to today's children than the earlier Finnish translations. In my analysis, I focus on the translational choices made by the translators.

Resumen: Este artigo discute uma experiência pessoal de tradução do artigo The Translator in Fiction de Strümper-Krobb (2003). Minha tradução baseia-se na teoria funcionalista de Nord (2001), brevemente discutida no artigo Loyalty Revisited: Bible Translation as a Case in Point. Segundo Nord, temos dois tipos de tradução: a tradução documento e a tradução instrumento. Concentro-me na tradução instrumento, pois, de acordo com a autora "em determinados tipos de interação translatória, esperase que o tradutor convença os participantes de que estão se comunicando diretamente, baseados em algum tipo de elementos compartilhados" (Nord: 2001: 187). Nord enfatiza que o papel do tradutor é o do mediador que torna a comunicação possível apesar do hiato cultural. A autora esclarece que, como qualquer outra interação comunicativa, a tradução visa construir um propósito comunicativo. Sua abordagem funcionalista considera a tradução uma interação comunicativa entre indivíduos.

Resumen: La traduction française de In the Night Kitchen se révèle très décevante. En confrontant cette traduction française et la traduction allemande qui lui est contemporaine, l'étude s'attache à cerner les résistances qu'offre l'album à toute traduction, le mécanisme d'aveuglement qui a présidé à la traduction française et l'écart des possibilités que donne aux traducteurs français et allemand leur langue respective. Elle s'interroge enfin sur la place qu'occupent les images dans la lecture d'un album. Lire un album, c'est lire tout à la fois des images et du texte, même si le traducteur ne rendra compte ensuite que de sa lecture à travers sa traduction du seul texte.

Resumen: El traductor y el texto pretende mostrar un camino a todos los que se inicien en el apasionante mundo de la traducción. La concepción del libro es eminentemente práctica, aunque la teoría, implícita, servirá de gúia en este recorrido introductor: po un lado, los fundamentos teóricos ayudarán a entender y explicar determinados fenómenos relacionados con los textos y la traducción de éstos y, por otro, a fijar y desarrollar un programa de actualización de la forma más eficaz y consecuente posible.

Resumen: Tanto el desarrollo de la literatura alemana, como el de la propia lengua, desde los inicios del Humanismo hasta la ilustración está marcado en su esencia por las traducciones. Para el Humanismo la traducción es el factor necesario para realizar la apertura medieval a la alteridad. Esta apertura humanista se estructura sobre una doble coordenada, cuya horizontalidad diatópica facilita la internacionalidad e interculturalidad, es decir, el contacto con las lenguas y literaturas coetáneas, y cuya diacronía supone el rescate cultural de la Antigüedad.

Resumen: La finalidad de esta ponencia es demostrar que a la hora de realizar la traducción de una obra literaria hay que transferir a la lengua destino el significado y los conceptos conservados, en lo posible, la forma y la armonía del texto original.

Resumen: Este trabajo presenta la base para iniciar el análisis textual en el marco de las investigaciones sobre filosofía alemana traducida y censura dentro del grupo de investigación TRACE. En trabajos previos se ha completado un catálogo de sus traducciones y se ha estudiado el contexto de la recepción de la filosofía alemana en España y especialmente el contexto de la recepción de la filosofía de Immanuel Kant. El presente trabajo es un paso más hacia un mejor conocimiento de la recepción y traducción de la filosofía alemana en general. La obra en concreto que se analizará, "La crítica de la razón pura", no tuvo especiales problemas con la censura, pero eso se debió en gran parte a que las obras de Kant apenas se tradujeron y editaron durante la etapa franquista. Sin embargo, los avatares de la obra principal de Kant son dignas de estudio, por su propio carácter, y porque ha tenido una historia bastante fragmentada.

Resumen: Basandose en algunos ejemplos tomados de la literatura española e hispanoamericana, el presente trabajo aborda algunos problemas de traducción en cuya solución, por mucha intuición que tenga el traductor, la investigación científica puede desempeñar un papel importante. De la gran variedad de aspectos posibles el autor ha escogido unos cuantos que demuestran que el traductor literario no puede llegar a solucionar satisfactorias si se basa solamente en la intuición, sin haber recurrido antes a un procedimiento científico de análisis de texto y documentación. Se muestran ejemplos de traducción del español al alemán

Resumen: Julio Maier, especialista en Derecho Penal argentino y alemán, declara en esta entrevista su pasión por el Derecho y por la cultura jurídica alemana. Dice que traducir textos de temática jurídica es una tarea muy ardua y que hay que propiciar el estudio de varios idiomas en la carrera de Derecho.

Resumen: "(...) Parece bastante obvio que la traducción de una obra dialectal empleando alguno de los dialectos de la lengua de llegada exige en la mayoría de los casos que el traductor realice modificaciones ambientales, geográficas o culturales. En el caso de una novela o una obra poética resultaría inadmisible semejante intromisión por parte del traductor".

Resumen: "La extraordinaria riqueza de sufijos diminutivos españoles constituye una de las mayores dificultades para los traductores (...)" El objetivo del presente trabajo es analizar cuáles son los medios más usuales de los que se sirve el traductor para llevar a cabo esta transposición estilística y ver hasta qué punto consigue no alterar la expresividad del español.

Resumen: La traducción jurada es una modalidad de traducción que requiere una actuación específica, cuya descripción en el marco de la investigación traductológica permite poder aplicarla en la enseñanza/aprendizaje de la misma. La propuesta didàctica que aquí se va a ofrecer parte de una clasificación previa de los documentos por su definición y se basa en la creación de modelos de descripción del documento inicial (macroestructura), en la búsqueda de la documentación necesaria y en la observación de problemas en la microestructura. Al mismo tiempo se proponen pautas para la actuación del traductor hasta llegar al documento final

Resumen: "(...) para empezar que el hilo conductor que a nuestro juicio articula todo el texto es la crítica a la concepción instrumental del lenguaje y, en esa medida, a la teoría moderna (ilustrada) de la representación y del arte".

Resumen: Think-aloud protocols (TAPs) have often been used to study the cognitive aspect of translation. This paper shows their usefulness for investigating the linguistic aspect of translation. Examples are drawn from material collected in 40 think-aloud sessions over several years. The participants were professional translators or trainee translators. The language pairs involved are French-German and French-Swedish. The translational linguistic problems discussed fall into the following categories: a) grammatical (the interpretation of French participial clauses), b) textual (the use of connectors), c) functional (different realizations of one and the same linguistic function in French on the one hand, and in German and Swedish on the other), and d) sociolinguistic (the rendering of the formal vous into Swedish by the more formal ni or the less formal du)

Resumen: Part 1 of the study presents the theoretical framework on which the model is based, and surveys the various concepts of translation theory and text linguistics. Part 2 describes the role and scope of source-text analysis in the translation process and explains why the model is relevant to translation. Part 3 presents a detailed study of the extratextual and intratextual factors and their interaction in the text, using numerous examples from all areas of professional translation. Part 4 discusses the applications of the model to translator training, placing particular emphasis on the selection of material for translation classes, grading the difficulty of translation tasks, and translation quality assessment. The book concludes with the practical analysis of a number of texts and their translations, taking into account various text types and several languages (German, English, Spanish, French, Italian, Portuguese, and Dutch).

Resumen: Considering the example of the translation of Njegos's The Mountain Wreath into the German language, the paper analyses the translational solutions that are dictated by the principles of the subject. The translator Alois Schmaus chose to take this step in order to bring home to the modern reader a world which appears to be archaic. He made this decision for two reasons. First, the German reader is unfamiliar with the historical context that is the subject of this poem; secondly the rules of prosody in Serbian and German do not match. By choosing to carry over the Serbian epic decasyllable, Schmaus favours the Serbian poetic tradition. From the historical point of view German verse, constructed as an Alexandrine, is burdened with the context of courtly poetics. The hexameter, meanwhile, which was introduced into German literature by Klopstock and later popularised by Voss and Goethe, appears in the context of the rise of the bourgeoisie. Both verses require changes while being translated, which affect the poem's characteristics. In order to maintain authenticity, Schmaus pleads for the "Serbian trochee": iamb and dactyl, metrical feet that are closer to the German language, would have impeded the setting the diaeresis and affected the syntax. Because of this, Schmaus places a spondee at the end of every verse and sets the historical context in the tradition of martyrdom.

Resumen: Das offizielle vierjährige Universitätsstudium Übersetzen und Dolmetschen wurde in Spanien mit dem Ministerialerlaß vom 30. September 1991 iniziiert. An jedem Übersetzer- und Dolmetscherinstitut innerhalb des spanischen Territoriums ist Hin- Übersetzung im Studienplan als Pflichtfach in der einen oder anderen Form verankert.

Resumen: Este artículo trata de comentar brevemente la traducción al español y la recepción en España de uno de los primeros bestsellers europeos, el "Robinson der Jüngere" de Joachim Heinrich Campe, que en el mundo hispano se conoce como "El nuevo Robinson".