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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: 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: 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: 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: When critics identify 'manipulations' in translations, these are often described and analysed in terms of the differing norms governing the source and the target languages, cultures and literatures. This article focuses on the agent of the translation, the translator, and her/his presence in the translated text. It presents a theoretical and analytical tool, a communicative model of translation, using the category of the implied translator, the creator of a new text for readers of the target text. This model links the theoretical fields of narratology and translation studies and helps to identify the agent of 'change' and the level of communication in which the most significant modifications take place. It is a model applicable to all translated narrated literature but, as examples illustrate, due to the asymmetrical communication in and around children's literature, the implied translator as he/she becomes visible or audible as the narrator of the translation, is particularly tangible in translated children's literature.

Resumen: The German words in the title are taken from the first German translation of the Swedish children's book Nils Holgerssons underbara resa genom Sverige (Nils Holgersson's wonderful journey throughout Sweden, Lagerlöf 1906-1907). In this translation Nils is said to land in Germany, which is never the case in the Swedish original. Presumably, the German translator Klaiber added this extra visit to oblige the German readers with a visit of Nils to their own country. Looking at some of the German versions of Nils Holgersson, this article addresses the influence of extratextual factors, i.e., different kind of norms, on the translating and rewriting process.

Resumen: This article is descriptive in nature, presenting a student-faculty project in which participants translated a short children’s story from German into English in order to explore the cultural embeddedness of language and the hermeneutic nature of translation. By reflecting on issues surrounding the translation of children’s literature and by imitating the situation of a professional translator, project participants gained insight into the workings of language and the complexities associated with translation.

Resumen: El presente trabajo pretende estudiar los problemas específicos de traducción que plantea la llamada historieta gráfica o cómic. Para ello es necesario, en primer lugar, delimitar qué es el cómic, cuáles son sus principales características, en qué se distingue de otros géneros y dónde residen sus principales dificultades traductológicas. Será tambien preciso enmarcar el cómic en una tipología funcional de textos, en un modo de traducción, así como mencionar las características del lenguaje utilizado en la historieta gráfica.

Resumen: Toda producción intelectual o artística está ligada a los condicionamientos culturales de su época. La traducción literaria no es excepción: como actividad productora de textos, se ve afectada por los factores culturales, la visión del mundo de una determinada sociedad, los modelos textuales ofrecidos por esa sociedad, la orientación hacia textos ya aceptados y el discurso que comparten el escritor y el lector. Theo D'Haen presenta varios casos en que los condicionamientos culturales explican traducciones dispares de una misma obra clásica, como el Julio César de Sahkespeare, realizadas en diversos países y épocas. Dichos casos parecen confirmar la idea de que la escritura o la traducción no son completas sin el concurso del lector y la sanción de la sociedad para los que se escribe o traduce. Ahora bien, la traducción de textos clásicos, al realizarse sobre supuestos culturales que no suelen coincidir con los de la época del autor, corre el riesgo de desvirtuar el original si no respeta la lectura que éste exige.

Resumen: Desde un punto de vista antropológico es evidente que las culturas entre sí no son equidistantes y pueden darse relaciones asimétricas de jerarquía y dependencia; desde una perspectiva traductológica no lo es menos que el comportamiento traductor puede variar en función del binomio de lenguas y culturas implicado. Con esta ponencia se pretende analizar el trasvase bidireccional de elementos culturales entro los ámbitos culturales y lingüísticos español y alemán, a través del estudio descriptivo de un corpus mixto de películas alemanas y españoles de directores canónicos.

Resumen: The Brothers Grimm's fairy tales are among the most widely read children's stories in China. This paper first briefly outlines the journey of these German stories in the Chinese land from three stages represented respectively by early attempts starting with 1902, the first complete version by Wei Yixin published in 1934 and the most authoritative complete version by Yang Wuneng published in 1993. Focus is specially laid on Yang's version and some specific characteristics of his translations are discussed. This is followed by a brief discussion on the historic influences of Grimms' tales upon the Chinese Folklore Movement and the early Chinese writers for children. The paper finally shows the current reception of Grimms' tales in China from such two aspects as the general public and the scholarly community.