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Resumen: Perfection in translation was simply out of the question in the old days. The old saying on the dichotomy between the faithful and the beautiful, facetious as it might sound, actually hit the nail on the head. With the concept of loyalty hitched to a word-for-word equivalence, there was a tyranny of words. No translation could possibly be both stylisticly desirable and "faithful." The principle of equivalent effect has broken that tyranny and made it possible to pursue perfection in translation. The ultimate criterion of loyalty proper, as it is understood now, does not rely on the equivalence of words, but on the equivalence of effect. The TL text has to be stylisticly as desirable to the TL reader as the SL text to its reader, while carrying the spirit and contents as closely as possible. That which was impossible when the words were immutable has become a meaningful objective, though still very hard to achieve. The establishment of a hard-to-achieve objective may sound exacting and "prescriptive," but in fact the essence of the new approach is an emancipation of the shackled talents of the translator. One is now free to utilize all the rich potential of one's own language (the TL, usually). It is indeed a challenge to one's talent and command of linguistic resources. In order to come to a relatively satisfactory result, a fine personal taste is essential. But in all cases it takes an intensive exertion of one's capabilities, with a rigorous demand on oneself, before one can produce a work which appears effortless enough to be appreciated by one's readers, usually with an element of lenient "openmindedness."

Resumen: This paper presents a series of observations arising from the experience of translating Jibanananda Das's Bengali poetry into English. Though the emphasis is on the practice of translation the observations in question are foregrounded against the perspective of theories of translation studies. The first part of the paper demarcates the scope of the paper in theoretical terms. Several possible approaches to translations of Jibanananda Das (in terms of process, end product, and sociological connotation) are considered with a view to focusing on practical observations. In the course of this process of theoretical delimitation some sense of the linguistic and literary context within which Jibanananda worked, and which the translator must appreciate, is conveyed. The second part is guided to a large extent by Roman Jakobson's notion that the activity of translating is influenced more by what languages must convey rather than by what they can convey. Consequently, this part identifies those features of the source and target languages which pose the greatest difficulties for the translator. It is assumed throughout that the practice of literary translation is largely a decision-making process: examples from the poetry of Jibanananda Das are cited and the range of decisions facing the translator are clarified where ever necessary. Four features of the Bengali language as compared to the English language are examined at some length: neutral pronouns of Bengali as opposed to gender-specific pronouns of English; culture-specific words; sadhu and calit used in Bengali (and analogously formal and informal modes of address); and symbolic forms (or echo-type onomatopoeic words or expressives) in Bengali and English. In the third part a translator's practice with regard to the specifically poetic features, over and above the inevitable linguistic features, of texts like Jibanananda's is considered briefly.

Resumen: The article examines the importance of the reading process in translation, explaining the function of two different reading stances, aesthetic and efferent. I apply Rosenblatt's transactive reading theory to the reading process in translation, using as an example my own experience of translating a Chinese short story into English to demonstrate the complicated role that reading transaction plays in translation. According to Rosenblatt, the meaning of a text is only formed when the reader transacts with the writer by sharing their psychological, social, and language experience through reading. Hence, different purposes of reading in various stages of translation affect greatly the reading process and the interpretation of the text. I realize that when I first read the Chinese story for my personal pleasure, I was led into an aesthetic living-through experience. But in my second reading of the same story for the purpose of translation, I had to adopt a more distanced, more efferent stance in order to search for the implied tone and mood of the work. The re-reading of both the Chinese and the English texts after translation, on the other hand, requires both efferent and aesthetic stances for a linguistic as well as an artistic evaluation. I draw the conclusion that the reading/translation process is necessarily a process of negotiation between aesthetic and efferent stances. A TL text completely identical to an SL text is not producible, not only because of linguistic and cultural differences, but also because of the idiosyncratic nature of the reading transaction.

Resumen: William Faulkner's novels have been translated into Spanish on many occasions by different publishing houses, mainly in Latin America, but Spanish publishers have been commissioning new translations in recent years. Two of these relatively recent publications have been examined and compared with earlier translations for two reasons: to find the extent to which the cultural background of the translator has coloured his or her choice of linguistic options, and to determine whether there seems to be any evidence that it might be prudent for a translator to be familiar with the literary criticism published on the novel being translated. In the case of William Faulkner's The Sound and the Fury, it was found that the second translator committed some very common errors, i.e., mistakes against which all students of translation are warned. Above all, the analysis uncovered evidence of changes in point of view in connection with the delicate matter of the description of Benjy's world, as well as of a clear lack of understanding of the source language. As for As I Lay Dying, one cannot help but wonder why a new translation was commissioned and published when there was so little difference in the end result. Another question triggered by the examination was why plain carelessness in translation and proof-reading was allowed to tarnish an otherwise attractive new edition of one of Faulkner's best-known works.

Resumen: This essay examines the process of poetry translation in terms of prosodic form, showing that a methodical examination of prosody can aid the translator in creating a target text that is truer to the form - and thus to the meaning - of the original poem. No facile one-to-one prosodic correspondences are proposed, rather it is suggested that a close study of prosody in the specific context of the original poetic text can guide the translator in making more intelligent, meaningful and poetic choices. For the purpose of this study, three poems by the Spanish-Americanmoi/erm'stopoet, Delmira Agustini (Uruguay 1886-1914) are examined. The historical connotations and the implicit meaning of the specific forms used are scrutinised in depth, using as a guide T. Navarro Thomas' exhaustive historical study of Spanish-language prosody, Métrica Española. The formal nature of the three poems is analysed in relation to context and then the translations are discussed, giving special attention to the approximation to form in English. Because Agustini and Spanish-American modernismo may not be well known outside the community of Spanish-literature scholars, included as an introduction is a brief description of the modernista movement, as well as a biographical sketch of the poet. There is no claim of any easy formulas or equivalences between Spanish and English prosodies, and neither the original poems nor the translations are written in exact prosodic forms, rather there is, in the translations, an allusion to forms that have poetic resonance - an implicit musical meaning - in English-language readers.

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.