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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: 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: 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: 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: 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: 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: 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: El volumen reúne siete artículos elaborados por reconocidos traductólogos provenientes de tres universidades de España, Alemania y Suiza. El planteamiento innovador consiste en el marco teórico y metodológico común que adoptan estos estudios, o sea, la exploración de los rasgos orales de los textos de partida (escritos en alemán, español e inglés) y la plasmación de la oralidad en función de las convenciones lingüísticas, textuales y culturales vigentes en la cultura de llegada. Los estudios investigan tanto textos literarios escritos por clásicos de la literatura (por ejemplo, una novela de Jane Austen) como la literatura contemporánea (Ingeborg Bachmann y Jurek Becker), hasta los grandes éxitos de la novela de intriga de Dan Brown y Carlos Ruiz Zafón. El enfoque también es aplicado a la sátira política de Michael Moore. Como lenguas de llegada se estudian el alemán, catalán, español, francés, inglés, italiano y portugués. El objetivo radica en comprobar la validez del marco metodológico común para toda traducción que tenga que afrontar la oralidad como uno de los elementos fundamentales del texto.

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: "With reference to translations of Dante's Divine Comedy in Spanish, French, Latin, English, German, and Chinese, as well as translations of Shakespeare's Macbeth in Italian, this paper discusses musicality as the most recalcitrant of all features in a source-language text, and attempts to show how, depending on factors to be examined in detail, intrafamily translation, that is, translation between languages of the same family, can capture the original music with varying degrees of success".

Resumen: En el número de septiembre de nuestra revista, publicamos la primera parte de este texto magistral de Christiane Nord, donde analiza ejemplos citados en manuales universitarios para establecer sus funciones. Aquí concluye este extenso y exhaustivo artículo, que abunda en ejemplos que hacen más comprensibles las distintas terminologías analizadas.

Resumen: En este texto magistral, Christiane Nord analiza ejemplos citados en manuales universitarios para establecer sus funciones y sostiene que "los ejemplos funcionan mejor si se refieren a un objeto o fenómeno conocido". Toma como caso de análisis el libro fundamental del funcionalismo traductológico, Grundlegung einer allgemeinen Translationstheorie, publicado por Katharina Reiss y Hans J. Vermeer en 1984. El objetivo es analizar "las estrategias que las traductoras emplearon para procurar que los ejemplos funcionaran para los destinatarios de las traducciones ". En este número de la Revista CTPCBA, publicamos la primera parte de este extenso y exhaustivo artículo, y en la edición de diciembre publicaremos la parte restante.

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: Do yo use gender-inclusive language in your translations? Should you? Judy and Dagmar Jenner explore the shifting norms in this area.

Resumen: Sarah Appleby reports on joining a UKTI-supported market visit to Germany alongside a delegation from the Midlands.

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: "En los albores del siglo XXI estamos asistiendo a un desarrollo sin precedentes de la ingeniería lingüística, y, más concreatamente, de las nuevas tecnologías y sus aplicaciones para el comercio internaciona, el acceso global a la información y a la comunicación en sentido amplio. Esta circunstancia ha incidido muy positicamente en las políticas científicas europeas, cuyas líneas de investigación actuales se orienta, precisamente, hacia el desarrollo de recursos lingüísticos multilingües y aplicaciones de ingeniería lingüística. En este capítulo vamos a describir brevemente las características de un proyecto realizado en esa dirección, denominado 'Diseño de un tipologizador textual para la traducción automática de textos jurídicos (español/inglés/alemán/italiano/árabe)', que ha sido financiado por la Dirección General de Investigación Científica y Técnica del Ministerio de Educación y Ciencia (ref.:PB98-1399, investigador principal: G Corpas Pastor).

Resumen: La obra presenta entradas de nombres propios en español y, en la mayoría de los casos, con su correspondiente equivalente en los cuatro idiomas. Ofrece además, nombres del santoral, nombres alemanes (masculinos y femeninos), nombres INGLÉSes y nombres italianos.

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: Susan Bassnett explores the challenge of translating novels with sections written in different languages and assesses how language can shape character and plot.

Resumen: Susan Bassnett reflects on what the origins of words can tell us about evolution of language, and how this knowledge can inform our translation.

Resumen: En esta comunicación nos proponemos establecer algunas consideraciones sobre la viabilidad y el posible interés de la traducción de artículos de prensa como ejercicio introductorio a la traducción económica. Analizaremos algunos problemas específicos que plantea la traducción de dichos artículos y veremos algunas ventajas que el aprovechamiento de estos ejercicios introductorios puede aportar a la hora de cubrir las necesidades, de diversa índole, del estudiante que se inicia en la traducción de textos económicos. Finalmente ilustraremos con ejemplos los puntos anteriores.

Resumen: Este artículo presenta el conjunto de las traducciones francesas, inglesas y alemanas de los poemas de Pizarnik e investiga la naturaleza exacta, las causas y amplitud real del boom pizarnikiano en el hemisferio norte, sobre todo en los países de habla francesa, inglesa y alemana.