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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: Dentro del campo teórico de estudios de la cultura, la semiótica ha conformado un importante polo interdisciplinar por los aportes que puede brindar a los estudios de traducción. La Escuela de Tartu, y principalmente su actual director Peter Torop, se ha abocado a la problemática de la traducción haciendo hincapíe en lo que podría denominarse "clave culturológica". Para ello, Torop ha acuñado el concepto de "traducción total" (2001), que implica una ampliación de orden epistemológico, teórico y metodológico de los problemas y fenómenos que son objeto de la traductología. Un sinónimo, si se quiere, de traducción total, sería el de "traducción intersemiótica": una especie de suma de varios niveles de complejidad a considerar en el proceso de traducción. Ejemplo de estos niveles lo constituye la diferencia entre los lenguajes de una cultura: no es lo mismo pensar en afrontar un texto literario con su traducción lingüística (los dos se codifican en lenguas naturales), que pensar en traducir textos que tienen codificaciones diferentes, como texto literario y textos fílmico, espectacular, comics, etc. La traducción total comprende entonces, la posibilidad de traducción de todos los textos de una cultura según varios tipos y niveles de semiosis.

Resumen: A variety of translation issues are addressed, including: cultural differences, register and dialect, grammatical differences, genre, technical, scientific and legal texts, journalistic and informative texts, literary and dramatic texts. Each chapter includes suggestions for classroom discussion and a set of practical exercises designed to explore issues and consolidate skills.

Resumen: Traditional notions surrounding translation have for many centuries defined the translator's idea of his own task as limited, mechanical, and devoid of any creativity, creativity being a characteristic of the author, not the translator. This issue is particularly at stake in the case of poetry translation, where the transporting of the combination of sound and meaning to another language becomes the one great challenge. In this article, an analysis is made of the way three Brazilian translators of Shakespeare's Sonnets explain and deal with their own translation choices. These choices are often dictated by a negotiation process based on loss and compensation.

Resumen: In Chinese-English translation the equivalents for noun or verb modifiers are more than often subject to redeployment in the target language. According to the principle that a modifier is supposed to be syntactically located in the immediacy of the modified toward which it is semantically oriented, the displacement of a modifier from where it should be syntactically located is incurred because of pragmatic motivations. However, in the context of Chinese-English translation, the modified can exert more drawing force on the modifier. As a result, the originally displaced modifier, now in a position identical to that of its English equivalent, returns to the modified, the noun or the verb, toward which it is semantically oriented. Or the modifier will resume the syntactic position as close to its modified noun or verb as possible. A conclusive analysis claims that the drawing gravity from the modified in C-E translation results from the translator's heightened semantic concerns, although some pragmatic effects can be produced as expected or unexpected.

Resumen: The paper investigates lexical repetition in Arabic original literary texts and English translations. The empirical base material consists of a three-part autobiography (al-Ayyam, by Taha Hussein) and its translation (The Days). The method involves a mapping of the target text (TT) onto the source text (ST) so as to see how instances of lexical repetition are rendered into the translations and what are the strategies and norms involved in determining certain translation choices. Three types of lexical repetition are studied: lexical-item repetition, lexical-doublet repetition and phrase repetition. Lexical repetition serves two major functions, namely textual and rhetorical. The textual function concerns the potential of repetition for organising the text and rendering it cohesive, while the rhetorical foregrounds a mental image or invokes emotions in emotive language. It is observed that the translation of the autobiography's second part is characterised mainly by the absence of lexical repetition, contrary to the translations of the first and third parts. Thus, the target text misrepresents the original author as passing through three stages of textual, stylistic development. As to the translation strategies, the findings suggest that the translators vary the ST by using different patterns of reference. Rhetorical repetition is backgrounded by at least one translator who replaces it with pervasive variation. It is argued that the ambivalence of their approaches leads to a misrepresentation of the original text (and perhaps the author) as rather uneven.The strategies for translating lexical repetition highlight the translators' individual attitudes towards the ST's norms and their adherence to the linguistic and cultural norms prevalent in the TL environment. On the whole, there is a variation in the degree of bias towards the norms of either SL or TL. In terms of Toury's norms model, it may be safe to claim that the general trend of translational norms seems to lean more towards the acceptability pole than the adequacy pole, i.e., a TL-oriented strategy is opted for.

Resumen: This article reports on a comparative study of written translation and sight translation, drawing on experimental data combining keystroke logging, eye-tracking and quality ratings of spoken and written output produced by professional translators and interpreters. Major differences in output rate were observed when comparing oral and written modalities. Evaluation of the translation products showed that the lower output rate in the written condition was not justified by significantly higher quality in the written products. Observations from the combination of data sources point to fundamental behavioural differences between interpreters and translators. Overall, working in the oral modality seems to have a lot to offer in terms of saving time and effort without compromising the output quality, and there seems to be a case for increasing the role of oral translation in translator training, incorporating it as a deliberate practice activity.

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: 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: Esta es la crónica de una jornada de trabajo junto al Equipo de Servicios de Traducción e Interpretación (ESTI) de Cuba, un organismo estatal que desde 1973 se ocupa de las traducciones oficiales. En estas líneas se intenta reflejar una forma mancomunada de ejercer la profesión basada en la interacción entre los distintos actores que intervienen en un proceso de traducción. Esta nota se inscribe en el marco de las actividades de la Comisión de Relaciones Internacionales del CTPCBA.

Resumen: Adaptation, as both a method and a textual category, has been a perennial favorite with text mediators who call themselves translators, appearing especially prominently in intersemiotic rather than interlingual translation. The present paper examines the concepts and practices of adaptation, drawing particular attention to examples from both the West and the Far East. Just as a preference for adaptive methods in translation can be seen in certain periods of Western literary history (e.g. seventeenth- and eighteenth-century France), there were times when adaptations were hailed in China, Japan and Korea. In the course of the discussion, reference will be made to (1) the modernist adaptations undertaken by Western writers through much of the twentieth century; (2) the sequences of novelistic adaptations spawned in Korea and Japan by Chinese classical novels; and (3) the adaptations of European novels by the prodigious twentieth-century Chinese translator Lin Shu. It will be shown that there is a need for translation scholars to question the theoretical validity of the dichotomy between the two modes of "translation" and "adaptation," as well as an urgency to reconsider the supposed "inferior" status of adaptations.