Su búsqueda retornó 4 resultados.

Resumen: Babel is a scholarly journal designed primarily for translators, interpreters and terminologists (T&I), yet of interest also for nonspecialist concerned with current issues and events in the field. The scope of Babel is intentional and embraces a multitude of disciplines built on the following pillars: T&I theory, practice, pedagogy, technology, history, sociology, and terminology management. Another important segment of this journal includes articles on the development and evolution of the T&I professions: new disciplines, growth, recognition, Codes of Ethics, protection, and prospects. The creation of Babel was proposed on the initiative of Pierre-François Caillé, founding president of the Fédération Internationale des Traducteurs (FIT) and approved by the first FIT Congress of 1954 in Paris. Babel continues to be published for FIT and each issue contains a section dedicated to THE LIFE OF FIT. Articles for Babel are normally published in English or French but we also accept articles in Arabic, Chinese, German, Italian, Russian and Spanish.

Resumen: The following is a study of a set of various linguistic items, from the so-called discourse particles to whole clauses, which perform the pragmatic function of compromising. We discuss them here under the common heading "hedge". A revision of the literature on English hedges precedes what appear to be their semantic and pragmatic equivalents in Spanish, as illustrated by their distribution in the translation into Spanish of Julian Barnes' novel Talking It Over (Hablando del Asunto) and the English and Spanish editions of the Mediterranean Magazine, which are the reference points for the whole discussion. The formal divergences in the translation of hedges reflected in Hablando del Asunto converge upon the difficulty of rendering compromising attitudes, on the part of the speaker, by linguistic means which differ in the two languages. Whilst there is usually formal equivalence between English and Spanish as far as clause-terminal tags and disclaimers are concerned, the difficulties seem to be that the latter possesses a wider range of semantically equivalent verbs whereas the former resorts mainly to modal expressions and detensifying adverbs. Following Hübler's (1981) distinction between internal and external gradators, we envisage the differences in the distribution of hedges as being in strict correlation with a greater flexibility in the Spanish syntactic structure. The fact that the Spanish version lacks hedging devices present in the original leads us to consider the role of pragmatics in translation in order to account for vagueness as a linguistic phenomenon that reflects compromising attitudes on the part of the speaker which should be conveyed into the target language, if not by semantically equivalent phrases, at least by pragmatically equivalent means.

Resumen: By examining German translations of Cechovs dramas the article looks at how the diverse system of using names of the Russian language can be interpreted into German. The Russian names and name-variations (e.g. Olecka for Ol'ga) are considered as sociolinguistic and cultural specifics, informing in a very subtle manner about the kind of relationship between the persons. Based on the fact that in German no forms can be constructed which are equivalent in all areas to the Russian ones the above-mentioned translations are examined for strategies of interpreting strangeness. The scientific categories 'equivalence' and 'adequacy' are obtaining a new quality against this background and have to be redefined. Looking at the various translations, dated from 1902 up to 1988, we could find out that at the beginning of our century the translators didn't consider the different name-systems as a problem of cultural difference, since they renamed all persons by German nameforms (Elena -> Helene) and omitted the Russian namevariations at all. But at the middle of this century a new conception of translation seemed to take place: Russian nameforms are no more replaced by German ones and the longer the more even the Russian namevariations found their way into German translations. An astonishing historical change in the perception of strangeness could be observed.

Resumen: The present article investigates the concept of naturalness in literary translation. The aim of the investigation is to delineate an integrated approach to 'natural' translation, the essence of which lies in creating a compromise between accurate rendition and literary reproduction. Such a compromise entails attaining an artistic verbal smoothness which transcends the level of ordinary language. To this end, natural translation calls for a utilization of the target language's resources that will make the translation read like an authentic target language (TL) work, while preserving the content intact. The article thus identifies naturalness as the achievement of authentic TL style, and unnaturalness as the hybrid language of literal rendition, i.e. translationese that may be unacceptable or unintelligible. It detects the actualization of an authentic style of Arabic rendition on several levels: lexical, sentential, cohesive and idiomatic. On the lexical level, naturalness is delimited in terms of proper choice of appropriate vocabulary. On the sentential level, well-formedness is posited as the feature of naturalness which outlines a rhetorically natural sentence, besides other concomitant features. On the cohesive level, the features of a natural target text are based on the use of cohesive devices to a greater or lesser degree than the source text in general and on the propriety of their use in particular instances. At the idiomatic level, we mention idioms and proverbs but concentrate, with examples, on collocations.