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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: Many contemporary retellings of Little Red Riding Hood, the best-known of all fairy tales, are by major, award-winning authors and illustrators, but all too often they remain completely unknown in the anglophone world. This paper examines retellings from numerous countries to show why or why not they cross international borders.

Resumen: Cognate translation is neither a simple nor a straightforward matter. Given the risk that a word that appears to be a true cognate may actually be a false cognate, and given the sometimes fuzzy boundary between true and false cognates, translators and translation students have been shown to "play it safe" by casting around for noncognate translations for true cognates, rather than choose the obvious cognate translation. Here we ask whether translation students avoid cognate translations even when the target-language cognate is both accurate and appropriate and whether this phenomenon is related to fear of false friends. The findings indicate that translation students do seek out noncognate translations and that performance on true cognates correlates with performance on false cognates.

Resumen: A book such as Alice in Wonderland, written for a girl, but nowadays understandable only by adults, the translation of proper nouns can reveal the audience for which translators have addressed their works. This article looks at the translation of proper nouns. These cultural traits are first names, historical references, place names and names of languages: should these be changed to facilitate comprehension by children? This study is then used to evaluate some aspects of theories proposed by Shavit and Oittinen concerning adaptation and translation.

Resumen: Technical difficulties associated with dubbing, together with the collaborative nature of the dubbing process, explain why traditionally the linguistic challenges of dubbing translation for specific audiences such as children have not been studied very closely. As new developments in sound recording improve the technical quality of dubbing, it is time for the remaining textual translation issues to be addressed in more detail. Due to the many common characteristics of different text types aimed at children, dubbers of children’s audiovisual material can learn a considerable amount from the translators of other texts, such as books and comics aimed at children, about the particular challenges posed by this target audience.

Resumen: Este estudio indaga en la forma en que se construye, discursivamente y en un contexto comercial, la noción del voluntariado de traducción. En concreto nos centramos aquí en el caso de Coursera, uno de los mayores proveedores de cursos abiertos, masivos y en línea del mundo. La movilización de traductores voluntarios a partir de 2014 por parte de Coursera, una empresa con fines de lucro, se convirtió en una cuestión no exenta de polémica. Utilizando el marco del análisis crítico del discurso (ACD) y basándose en la noción de «trabajo digital», este artículo muestra cómo Coursera describe el voluntariado en tanto que misión iniciada por el estudiante y mediante la que se favorece la construcción identitaria de la comunidad. Esto contrasta con el punto de vista de muchos sectores críticos que lo retratan como un modelo de negocio mundial, con estrategias para la obtención de beneficios, la explotación laboral y la degradación de la profesión. Nuestro estudio sostiene que el hecho de que Coursera ponga en primer plano una lógica moral y haga uso de discursos filantrópicos difumina la frontera entre los contextos con y sin ánimo de lucro, lo cual fomenta el que se naturalice la traducción sin compensación financiera en el contexto de una empresa comercial.

Resumen: The authors have conducted a study aiming at determining the unit of translation (UT), a subject of debate for more than forty years. The article consists of a review of relevant literature, a redefinition of the UT, an examination of sampled translated texts, excerpts and sentences of over 23,000 pages, including the Bible and Soul Mountain, translated from the Nobel Prize-winning novel of the Chinese author, Gao Xingjian, and an international survey. The contrastive analysis of these ST and TT materials shows that translations are done sentence by sentence within context and thus identifies the sentence in context as the UT. This identification is further confirmed by an international survey of 66 professional translators and translation editors. By verifying the UT, this study indicates that for a UT-related theory to be testable, the translation theorist should no longer ignore or sideline the sentence from its context.

Resumen: Le grand cycle romanesque de Honoré d’Urfé L’Astrée, oeuvre majeure du genre pastoral en France, a connu d’innombrables adaptations. Une version abrégée intitulée La Nouvelle Astrée, anonyme ou attribuée à l’abbé de Choisy, a été publiée à Paris en 1712, pour être traduite en russe dès 1789. Si La Nouvelle Astrée n’a pas su transmettre le message complexe de son prestigieux modèle, miroir des aspirations de la noblesse, est-ce que la version russe de ce petit roman a pu en saisir le noyau et comment, à l’appui de quels choix traductologiques ? Notre expérience de sa première traduction en tchèque (parue en 2017) par la méthode de lecture herméneutique et une comparaison systématique du texte russe en cyrillique avec l’original français nous a permis de confirmer l’hypothèse du choix d’une stratégie traductologique spécifique. Le recours aux simplifications, aux explications et aux omissions des expressions considérées comme gênantes semble répondre à l’intention d’adapter le texte à des buts éducatifs, afin de le rendre plus accessible au public plus francophile que francophone. Les altérités en ce qui a trait aux signifiants et aux signifiés se voient atténuer sinon effacer, ce qui entraîne, dans les domaines notamment du lexique de la stylistique, d’importantes modifications.

Resumen: This article is in part a review of the literary qualities of the narrative tales written by the Swedish children's author Astrid Lindgren and in part a comparative reading of the Swedish Mio, min Mio (Mio, my son) and its Danish translation from 1955. It will be shown how the Danish version has been adapted from the Swedish and how as a result the Danish version of the narrative does not have the same literary quality as the original.

Resumen: This is a study of a frequently occurring but seldom studied phenomenon: that of proposed translations, rejections and disruptions in translators’ work. The study is based on the correspondence of 64 translators in the archive of the Werner Söderström (WSOY) publishing house in Finland between the 1880s and the 1940s. It deals with around 180 translator suggestions and an almost equal number of rejections discovered in translator–publisher correspondence. The research draws on actor-network theory and its focus is on emergent processes and controversies, exploring the events and decisions as they unfold in the archived interaction between translators and publishers. The large number of rejections, the various kinds of disrupted processes in the making of translations and the contingency of the translation event are set in high relief. Studying the way translations come into being – or do not come into being, as is often the case – shifts the focus from translations as products to the translation event: disruptions and impasses, it will be shown, constitute a significant share of translators’ and editors’ work and are crucial in understanding the translation process.

Resumen: In this paper it is asserted that, despite recent movements in continental translation theory (see Wilss 1982 : 59, for an admirable summary of the situation), the essential orientation of translation theory, in the English-speaking world in particular, is still towards the evaluation of translation as product (i.e. as the translated text) and, by means of such evaluation, towards the discovery or creation of a set of normative maxims for the production of the ideal translation.What is proposed is a shift of focus away from the translation as an artifact - a product - towards translating as process i. e. an investigation of the psycholinguistic mechanisms of decoding and encoding in the context of bi- rather than monolingual information exchange. The paper concludes with some tentative hints at parts of the decoding elements of a model of translating which, it is hoped, will help to orient translators and teachers towards the means by which texts are transferred from language to language and from speech community to speech community ; a process which is universally recognized as a sine qua non for the improvement of international relations in a sadly divided world.

Resumen: Culture-bound elements, such as proper names and food items, not only place the story of a book in a specific culture and period of time, but also imply certain values and create an ambience. These elements also have an effect on how the reader identifies with the story and characters. Thus, it is important to find the most appropriate strategy to translate such elements. This paper considers the Finnish translation (1949) of Kenneth Grahame's The Wind in the Willows (1908), a multi-layered and allusive children's book set in Edwardian England, and some other children's tales translated into Finnish around the same era. The translation of The Wind in the Willows dates back to a period of time when British culture was not yet well known in Finland. The paper argues that certain inconsistencies in the translation of culture-bound elements in the book make it difficult for target text readers to understand its layers of meaning and to identify with the characters. Similar inconsistencies in the translation of culture-bound elements are found in other Finnish translations of children's books from the same period. The findings may be explained by a limited knowledge of foreign cultures in post-war Finland.

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: For archival scientists, the archive is both a source of research objects and an object of research. The current issue of Meta adopts this perspective to explore archives as repositories of the evidence of translation and as sites that shape our understanding of the translation process, the translation profession, and the lives of translators. Over the past decades, translation research has grown in complexity and relevance through a series of encounters with other disciplines, such as sociology, anthropology, linguistics, cognitive sciences, history, and intercultural studies (Gambier 2006: 31). The archive enriches this dialogue, firstly, by offering an invaluable trove of primary sources for such inquiry, and secondly, by presenting a new vector through which to measure, critique, and conceptualize translation practice, its function and status in societies past and present. Researchers comb the archive for materials most relevant to their own investigation, yet a single source lends itself to a variety of readings: a translation draft of a poem, for example, will stimulate a literary scholar to decode its variations and intertextual references, a sociologist will use it when sketching out the translator’s habitus and professional milieu, the cognitive scientist may detect the operation of memory and environment, a linguist its stylistic patterns or socio-linguistic phenomena, and so on.

Resumen: This paper deals with translated Canadian multicultural literature written for children and its reception in an intercultural education context in Spanish schools. In the first part of the paper I will introduce intercultural education. In the second part, I will examine the role of the translator working in a multicultural environment where texts are written in one language (English) in one country (Canada), then translated into another language (Spanish) and published in Spain. I will also look at the reception of these translations as well as the strategies translators should use to maintain the otherness of the original texts.

Resumen: Within translation studies, existing research on website translation and localization has tended to focus on technical, sociological, commercial and linguistic issues related to the websites of corporations or not-for-profit organizations. Less attention has been given to issues that arise when national, regional or local governments make their websites available in another language, either in whole or in part. To help address this gap, this article studies the Toronto.ca municipal website to discuss whether, how and why the City of Toronto offers translated information online. Drawing on data from the 2016 Canadian census and the city’s translation policy documents, this article compares the city’s linguistic profile with the kinds of information available on the city’s website in languages other than English. The final section uses De Schutter’s (De Schutter 2017) framework to study the City of Toronto’s translation policies from a translation justice perspective, arguing that the policies largely focus on instrumental interests, with limited emphasis on identity interests, as evidenced by the Toronto.ca translation data. Some possible future research directions are also discussed.

Resumen: The translation of song lyrics shares in the difficulties of constrained translation, as well as in the impossibilities of poetic translation. In Gilberto Gil's adaptation of the song "I just called to say I love you" by Stevie Wonder, two translation procedures stand out: (1) to take broad semantic fields as translation units, and (2) to opt for cultural adaptation in terms of the translation's poles of domesticating/foreignizing. The way Gil faces up to the challenges of the translation of the song is consistent with Haroldo de Campos ideas on transcreation.

Resumen: “Planting and payoff” is a narrative technique in cinema where future plot events are foreshadowed by means of a verbal or visual hint that later acquires greater significance in hindsight. This article examines the use of this technique in British director Edgar Wright’s Cornetto trilogy (Shaun of the Dead, Hot Fuzz and The World’s End) in order to discover if these plants and payoffs are accessible to a Spanish speaking audience in the subtitled and dubbed DVD versions. Edgar Wright is known for his extensive use of verbal-visual foreshadowing and there are multiple Internet forums, film websites and vlogs by film students and fans that discuss the secrets waiting to be found by observant viewers. Using Chaume’s (2004a, 2012) list of signifying codes, this article attempts to isolate relevant frames of certain shots and, by breaking down the verbal and nonverbal information coded in each shot, it examines whether this foreshadowing is communicated in the subtitled and dubbed versions of these films. In doing so, it explores how information is shared between the different components of film language and the importance of taking into consideration the role of nonverbal codes in audiovisual translation.

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: The expression of modal meanings is an area of great complexity in the relationship between form and function in a single language and cross-linguistically. Modal adverbs in particular are considered to be problematic from a contrastive perspective due to their multifunctionality in English (Aijmer 2005). This paper is a corpus-based study of the expression of epistemic possibility by means of three common modal adverbs in English (certainly, probably, possibly) and the translational options chosen in Spanish for expressing those meanings. The aim is to identify trends in the translations of these epistemic adverbs that contribute to a better understanding of the various semantic functions that native speakers attribute to these units. The analysis shows that the omission of modal adverbs in the translations may be considered as an indicator of the degree of grammaticalization attained by these adverbs in English. The results provide useful information not only in the field of translator training and practice, but also in descriptive linguistics.

Resumen: Children’s literature in the Arab World is impregnated with morality, didactics and a heavy ideological bias, in spite of some attempts for change. Translating for children is, in its turn, governed by the same rules that govern writing for them.Translation is not only a lexical but also a cultural transfer. Adopting some protective cultural measures, while translating for children, becomes inevitable especially if the source and target cultures have little in common. The Arabian Nights is the first book for children in the Arab world, though not initially meant for them, to be translated into many languages and has become part of international Children’s Classics.

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: La notion de langue-culture est intégrée à la réflexion traductologique depuis plus de vingt ans. Ainsi est-il admis que toute étude des productions langagières interlinguistiques comporte une dimension interculturelle. Le présent développement propose une exploration des objets intraduisibles du fait de leur ancrage dans une culture donnée, et suggère des procédures de résolution. L'opération traduisante relève alors de la négociation. Le traducteur, intermédiateur dans la chaîne de communication interlinguistique, recherche un compromis et met en oeuvre une stratégie de négociation allant de l'emprunt à l'adaptation, voire la transposition. Or, l'exploitation d'exemples extraits de discours authentiques montre que les objets considérés intraduisibles et qui, par conséquent, peuvent être transférés non traduits dans la langue d'arrivée - emprunts et xénismes - constituent en réalité des traductions en raison du glissement sémantique qui accompagne systématiquement leur réception et leur intégration dans la culture d'accueil.

Resumen: L'humour est un phénomène universel, présent dans toutes les cultures, les langues et les civilisations, et très difficile à traduire. Lorsque la traduction d'un élément humoristique doit, de plus, se faire dans un texte audiovisuel, la difficulté augmente considérablement, en raison des caractéristiques et des restrictions inhérentes à ce type de support qui est subordonné aux limitations temporelles et spatiales des scènes et des dialogues. Dans le présent article, nous analysons l'humour dans trois films français illustrant les catégories de la comédie ou du drame, ainsi que dans leur adaptation en espagnol. Nous analysons différentes situations dans lesquelles apparaissent des éléments humoristiques, ainsi que les moyens utilisés pour les transmettre. Nous nous demandons si la version doublée reproduit cet humour de façon intégrale. Bien que notre analyse se limite à deux langues, la méthode utilisée devrait pouvoir s'appliquer à de nombreuses autres.

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: En 1969, Philippe Jaccottet traduit pour la revue Aquila le poème Dunja de Giuseppe Ungaretti. L’étude tente de relever la singularité de cette traduction, en jetant de la lumière sur la génétique de sa rédaction : autrement dit, de pénétrer le côté invisible du processus traductif auquel collaborent l’auteur et le traducteur. À partir de la clarification terminologique de la notion de transparence, elle s’applique à élucider les stratégies du traducteur, en mettant en relief la dialectique de l’hermétique et de l’herméneutique. La juxtaposition des versions jaccottiennes du poème, élaborées au cours du « work in progress », renseigne sur les étapes de la traduction transparente, à commencer par le travail sur le lexique qui concerne la recherche d’équivalence. Elle révèle en outre les hésitations et les doutes d’un traducteur averti, conscient de l’impossibilité de comprendre l’énoncé poétique, en négligeant ses aspects affectif, imaginal et prosodique. Pour aboutir à la conclusion qu’il s’agit bien d’une traduction « relevante », résultat d’un travail minutieux sur les potentialités de la langue cible, qui n’hésite pas à transgresser les normes grammaticales de celle-ci afin de préserver l’étrangeté du texte source.

Resumen: Ce qui est comparable est traduisible. Tel est le postulat de base de la juritraductologie (ou science de la traductologie juridique) qui propose une méthodologie innovante de la traduction juridique d’une langue et d’un système juridique sources vers une langue et un système juridique cibles. Cette méthodologie rassemble trois étapes distinctes, mais articulées et intégrées dans un processus traductologique entier : l’étape sémasiologique, l’étape de droit comparé et l’étape onomasiologique forment les phases de recherche et raisonnement dont le but est de décrypter, comparer et recrypter les notions juridiques d’une langue et d’un système juridique sources vers une langue et un système juridique cibles. Le rôle central du droit comparé dans le processus juritraductologique permet de comprendre, caractériser et distinguer, voire opposer les deux droits concernés par la traduction. Deux jurilectes ou technolectes juridiques issus de la presse générale (to be charged, mise en examen) illustrent ce processus, détaillé et minutieux. Cette démonstration est à visée terminologique et propose différents tableaux et figures chronologiques des différents noms du justiciable en France et aux États-Unis selon le moment de l’instruction. Illustrée par des traductions entre la langue française et anglaise, cette méthodologie peut être appliquée à d’autres systèmes juridiques et à d’autres langues et ouvre une nouvelle voie vers une traduction juridique documentée dans un monde où la judiciarisation envahit de nombreuses sphères de notre société. De plus cette méthodologie permet de lever l’intraduisibilité posée par certaines notions juridiques ancrées dans un système juridique spécifique pour un pays donné, d’élargir la base de connaissances du traducteur juridique et d’identifier ce qu’est la langue de spécialité, le discours juridique et les jurilectes.

Resumen: Depuis peu, la traductologie, qui s’intéresse traditionnellement au verbal, s’est tournée vers les études sur la multimodalité, afin d’y emprunter les méthodologies et les cadres d’analyse propres à poser les bases de la recherche sur la traduction des textes multimodaux, tels que les films, les sites Internet ou les bandes dessinées. Les outils d’analyse ainsi que les concepts développés dans le champ de la multimodalité ont été importés en traductologie, avec toutefois peu de réflexion approfondie sur les principes sur lesquels sont fondés ces instruments ou sur la signification pour la traductologie de l’adoption de ces principes. En conséquence, les discussions théoriques en traduction restent avant tout concentrées sur le verbal, toutes les autres ressources sémiotiques étant réduites à un rôle contextualisant. Le présent article comble une lacune en entreprenant d’étudier ce qu’implique la multimodalité pour la traductologie. Les concepts clés d’une perspective sociosémiotique sur la communication multimodale sont réexaminés pour proposer une redéfinition de texte, de co-texte et de contexte, et pour introduire la notion de connaissance sémiotique, indispensable à l’interprétation du sens à tous les niveaux. S’ensuivent alors une discussion sur les conséquences de cette nouvelle perspective en traductologie ainsi qu’une révision de quelques-uns des concepts de base de ce domaine, à l’origine de plusieurs questions méritant, selon nous, d’être au centre de la discipline. Notre conclusion offre l’ébauche d’une nouvelle approche théorique et méthodologique intégrée.

Resumen: Dans le secteur médical plus que dans beaucoup d'autres secteurs scientifiques et techniques, les donneurs d'ouvrage exigent souvent que les traductions soient faites par des spécialistes, en l'occurrence des médecins, voire des médecins spécialistes qui si limiteraient à leurs propres spécialités ; les non-spécialistes, et a fortiori les non médecins sont jugés incapables de réaliser des traductions correctes.

Resumen: Réponses fournies par les traducteurs médicaux au questionnaire portant sur l'exercise de leur profession, leurs conditions de travail, leur formation, etc.