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Resumen: This paper aims to analyze the commonly debated issue of translator's style in translation studies from the perspective of the relevance theory and show that the issue of the translator' s style can be satisfactorily explained under the relevance-theoretic framework. According to relevance theory, human cognition is relevance-oriented, and that as a result, someone who knows an individual's cognitive environment can infer which assumptions he is actually likely to entertain. Hence, the style is the product of the balance between the original writer's communicative intentions on the one hand and the target reader's cognitive environment on the other, the translator's preferences and abilities being the fulcrum. The translator's style best embodies his purpose and understanding of translation, his understanding of the reader's cognitive environment, his preference and abilities. And the style is a comprehensive embodiment of the translator's subjectivity. Such aspects of translation as unidiomatic translation and multi-translation also can find convincing explanations from a re1evance-theoretic perspective: unidiomatic expressions serve to draw the reader's additional mental efforts to a better understanding of the original work since human knowledge is open-ended, and multi-translation is both reasonable and necessary because the readers tend to read the versions compatible to their preferences and capabilities. As for poetry translation, the translator's primary task is to create a certain impression. The translator's style on the final analysis is supposed to assume the optimal re1evance balancing between the translator's understanding of the target reader's cognitive environment and the translator's own preference and ability. In condusion,'style is the relationship'.

Resumen: This paper investigates subtitle translation from a multi-modal approach. Approaching subtitle translation from a multi-modal perspective is an attempt to consider subtitle translation as intersemiotic translation. It suggests that subtitle translation involves more than the spoken mode, but also involves other semiotic modes, such as the mode of sound effects, the mode of moving images, the mode of music and the written mode. In doing this, this paper takes an approach in which the multiplicity of modes in film is represented in the subtitle translation. From a theoretical point of view, it assumes that all modes are given equally serious attention. From this perspective, this paper focuses on two interrelated areas: (1) how the concept of mode works in the translating process; that is, how the translator makes use of the specialized

Resumen: Multi-word units (henceforth MWUs) have two important characteristics: firstly, they are pervasive in the English language. Secondly, these units that contribute to the nativelike quality of the native speakers' discourse. This paper will seek to define these units and identify their place in the native speaker's cornmunicative competence. As the majority of translators are foreign learners rather than true bilinguals, they will need to acquire MWUs in order to approximate nativelike competence in English and add idiomaticity and naturalness to their discourse. One (partial) solution the paper proposes is the compilation of an Arabic- English dictionary of English MWUs.

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 airn of this article is to identify the translation strategies involved in the adaptation of Shakespeare's pentameter into Catalan. The paper compares Shakespeare's pentameter (which is characterised by flexibility, naturalness and evolution over time) with the adaptation made by Catalan translators: the most usual line, the decasyllable (sually containing a masculine caesura on the 4th syllable) is felt to be too rigid and monotonous by some translators, and is regarded as too short to accommodate the meaning ofShakespeares péntametric line. In order to overcome these limitations, some translators use two techniqoes: polimetry and alternative line breaks. These practices have some advantages: they promote metrical variety and, in the case of polimetry, they allow the translator to lengthen the line; the result is verse that, in terms of flexibility, variety and naturalness, resembles Shakespeare's much more than verse made up exclusively of traditional 4+6 decasyllables. Yet, polimetry and the combination of caesured and uncaesured lines have some disadvantages: if practised in excess, these translation procedures inhibit the perception of rhythm and, in the case of polimetry, ignore the metrical evolution that exists between Shakespeare's early and his middle and late plays.