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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: 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: 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: Yasmina Reza’s “Art” has been widely acclaimed ever since it opened in Paris in 1994: the different productions which have followed the French original in more than 40 countries have enjoyed equal success. This success, both among audiences and critics, may be attributed to the play’s universal themes, to the tone and richness of its dialogue and to the good acting most productions have displayed. But the fact that the play has been appreciated in so many different countries and languages inevitably implies that translation is also at the centre of its success. This paper analyses two translations of “Art” – Christopher Hampton’s English text and Josep M. Flotats’s version into Spanish –, which, despite having a similar aim, i.e., making the play function on stage, have followed different translation strategies to make it work in their different target contexts.

Resumen: This article takes under consideration a notorious problem area for Greek < > Italian and Spanish <> Greek translators, caused by the gap of standardized international academic terminology, a situation that creates incongruity: 1) between the Italian and the Greek terms and 2) between the Spanish and the Greek terms, as Greek institutional academic terms have potential Italian and Spanish equivalents with a similar core but different edges.

Resumen: Le présent article fait état d'un inventaire des propriétés transformationnelles unaires pensé pour le codage des prédicats dans un dictionnaire électronique conçu principalement pour la traduction automatique espagnol-français. Le travail a un caractère éminemment métalexicographique et appliqué. Il ne contient pas de nouveautés théoriques puisque toutes les transformations présentées sont bien connues. Son but est de fournir à un linguiste informaticien travaillant en contexte multilingue une vue d'ensemble de cette partie de la description linguistique. En amont des propriétés transformationnelles, nous traitons les alternances de traits syntactico-sémantiques pour une position argumentale donnée, les alternances de prépositions, les interprétations non agentives et les diathèses spéciales. Comme transformations unaires, nous présentons : l'insertion de déterminants nominaux, l'insertion de partie appropriée, les insertions d'un argument, les pronominalisations, l'effacement d'un argument, les permutations d'arguments (sous-divisées en : permutations proprement dites, détachements, extrapositions et extractions), les changements de diathèse (la passive pleine, la passive indirecte, le réfléchi, la passive impersonnelle et différents types de restructurations : les restructurations N0 - (Prép) N1, les restructurations N0 - Prép N2 et les restructurations (Prép) N1 - Prép N2). Finalement, nous abordons les variantes syntaxiques des verbes support. Les propriétés retenues sont illustrées moyennant des exemples en français et en espagnol.

Resumen: Drawing on a corpus of eight translations of Lewis Carroll's Alice in Wonderland into five languages (German, French, Spanish, Brazilian Portuguese, Italian), the paper discusses the forms and functions of proper names in children's books and some aspects of their translation. In Alice in Wonderland, we find three basic types of proper names: names explicitly referring to the real world of author and original addressees (e.g., Alice, her cat Dinah, historical figures like William the Conqueror), names implicitly referring to the real world of author and original addressees (e.g., Elsie, Lacie and Tillie, referring to the three Liddell sisters Lorina Charlotte, Alice and Edith Mathilda), and names referring to fictitious characters. An important function of proper names in fiction is to indicate in which culture the plot is set. It will be shown that the eight translators use various strategies to deal with proper names and that these strategies entail different communicative effects for the respective audiences.

Resumen: The present article examines the Spanish dubbing language from the point of view of its naturalness. The premise is that dubbing language is best analyzed by comparing it to the register it imitates, as long as its peculiar features are taken into consideration. This study is divided into two parts: firstly, a description of the features that make dubbing dialogue different from real dialogue, focusing on those arising from the source text; secondly, a comparative analysis of dubbed and real dialogue. In the latter, a corpus of spontaneous conversations will be used as a yardstick for natural dialogue and the main strategies used in colloquial conversation will provide the linguistic units to be analyzed: intensifiers and discourse markers. The main unidiomatic features detected are the use of anglicisms, especially at the pragmatic level, and a certain shift in tone that may cause a variation in the relation among the participants in the dubbed text. Finally, the notion of suspension of linguistic disbelief is put forward as a possible explanation for the perpetuation of unnatural features in dubbing language.

Resumen: The translation of Inazo Nitobe's Bushido: the Soul of Japan (1905) by Millán-Astray, the founder of the Spanish Foreign Legion (1941), has been studied from the point of view of the contexts, pretexts and texts of the source text (ST) and the translated text (TT). Nitobe's context and pretext meant that his discourse was primarily one of cultural mediation, an attempt to build bridges between East and West, but also to strengthen the position of Japan. Millán-Astray's context and pretext meant that his discourse was intended to inspire the youth of Spain, but also, and this was even more important, to strengthen Franco's regime and give prestige to the Spanish Foreign Legion. The pretexts of both author and translator can be found in the paratextual elements of the ST (1905) and the TT (1941). However, both texts have been re-edited several times in different formats, without the original introductions and prologues and this raises the question of how the inclusion or omission of this information may affect the reader's interpretation of text as discourse.

Resumen: This paper describes how mediation in translation is realized by means of inclusion and exclusion of information at the selection stage and discursive deviations at the presentation stage in the process of target text production. It discusses the effect of mediation in relation to two types of the target text recipients, one is termed professional readers representing the censoring authorities and the other the intended reading public, and their respective socio-cultural backgrounds. Our argument in this paper is that an investigation of translation from the perspective of mediation helps reveal the power struggle underlying the translation process. The detailed description of the textual realization of mediation, in particular, helps create an awareness of the various ways the target text producer may take to mediate the translation process to achieve a compromise between the author's interests and the professional readers' political concerns so as to get the translation published.

Resumen: This paper consists of an analysis of the expressive secondary interjections found in the film Four Weddings and a Funeral and their equivalents in the Spanish and Catalan dubbed versions. The contrastive analysis of the interjections in the original English version compared with the Spanish and the Catalan dubbed versions shows that the strategies followed by the translators are different: literal translation is far more frequent in Spanish than in Catalan. Literal translation often implies an error that is pragmatic in nature since it derives from the misunderstanding of the pragmatic meaning that the interjection conveys.

Resumen: The unknown, precisely because it is unknown, causes suspicion and fear. What does the lawyer feel when he faces an unknown legal institution? How does the translator react in such a case? In this article we study both the reaction of the Spanish legal community and also that of translators in Spain when facing an unknown legal institution like the trust. That enables us to realise that there is a close relationship between the attitude of the legal translator when faced with a new institution like the trust and the view taken by international private law rules as well as that of the legal community in charge of applying foreign law. Furthermore, we compare the attitude of the Spanish translators and the legal community in Spain, rather conservative, with that of other countries, like Canada, which have shown to be more open minded. Finally, we put forward translation strategies based on the calque and loan of the foreign word.

Resumen: This paper describes the problems that arise in the translation of texts on - and by - the nonprofit sector from English (especially American English) into Italian. First of all, we focus on the main problems of translation, deriving from the disparity between the third sector in Italy and in the US. Secondly, we present a corpus-based project aimed at monitoring the differences between nonprofit discourse (especially fundraising letters) in Italy and the US. Lastly, we show a number of practical examples to illustrate how this type of corpus can meet the needs of translators and draw some conclusions on the importance of using monitor (i.e., continuously updated) corpora to produce successful translations in specialised fields where there are sizeable differences between source and the target cultures.

Resumen: In this article, we explore the phenomenon of deictic center shifts in literary translation, concentrating on the Spanish translation (La historia siguiente, 1992) of the Dutch novel Het volgende verhaal (1991 [The Following Story, 1993]). The empirical description focuses on lexical spatiotemporal markers and verbal tenses. We compare the source text and the target text in order to identify the translational shifts: we consider these shifts as textual traces of the translator's interpretive process of resetting the spatiotemporal coordinates of the discourse. We will argue that the deictic shifts between source and target text are related to occasional hesitations of the translator, who tends to emphasize the most salient deictic center. On a methodological level, we hope to show that a close reading of a translated text, taking into account its thematic and structural peculiarities, can contribute both to Translation and Literary Studies.

Resumen: This paper describes an empirical contextual study of the Spanish verbs that translate 'report' carried out on an extensive corpus of medical research articles. A quantitative analysis revealed significant differences between the lexical choices made by the translators and those made by native Spanish authors. The contextual analysis showed that reporting occurs in three basic settings, namely, the institutional setting, the community and patient setting, and the research setting. In the latter, research referred to the current study (i.e., the new clinical study presented in the article), to previous research by the same authors, or to other authors' published work. Within these contexts, consideration of linguistic factors such as collocation, sentence structure and specific features of the communicative situation allows the translator to make the appropriate lexical choices for the wide range of uses of the polysemous English verb 'report.'