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We're speaking the council's language

We're speaking the council's language | The translation studies portal | Scoop.it
A TRANSLATION and interpreting business that sees Hull as an "international gateway" has landed a major contract in the region.AA Global Language Services Ltd has secured a significant...
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L’identité de l’Europe, c’est la traduction

L’identité de l’Europe, c’est la traduction | The translation studies portal | Scoop.it
Au XIXe et au XXe siècle, il existait une langue profondément européenne, une langue qui traversait les frontières, de la Russie à la France, marquée par le sens de l'exil, de l'oppression, mais aussi porteuse d'un espoir d'émancipation, le yiddish, estim
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A l’heure où l’Union européenne (UE) prend conscience des résultats des élections, marquées par l’abstention et la montée des partis d’extrême droite, essayons de nous dégager de l’horizon des peurs et du ressentiment pourenvisager l’avenir. Sur une longue période, nous savons qu’une union politiqueeuropéenne ne sera acceptable qu’à condition de voir émerger un dêmoseuropéen : une nation par-delà les nations. L’UE a besoin d’un peuple, sans quoi il ne restera de la démocratie que le kratos, le pouvoir. C’est cette absence de peuple, de nation européenne, qui conduit au triomphe des souverainistes et des populistes, à ce mouvement massif de reterritorialisation identitaire. Or c’est cette absence, désormais, qu’il faut convoquerétablir et penser : rendre à la présence le peuple européen absent.

Quiconque croit au projet européen pour le XXIe siècle doit se poser la question de la langue et de son articulation avec l’idée de « nation européenne ». Quelle serait donc la langue d’une telle nation par-delà les nations ? Nous savons, à l’issue des révolutions et des guerres du XIXe et du XXe siècle, que la nation est un monstre à deux têtes : émancipatrice, comme ce fut le cas en 1848 à travers l’Europe, elle est souvent hideuse, se repliant sur elle-même, sur ses particularismes. Le repli est à l’œuvre dans l’Europe contemporaine, à l’échelle des Etats et de l’UE comme ensemble clos, comme forteresse. Il n’y a donc pas le « retour des nations » d’un côté et le projet européen de l’autre. Ils marchent ensemble comme ce monstre à deux têtes. Mais c’est l’Europe dans son ensemble, depuis la guerre en ex-Yougoslavie, qui se dirige vers la droite et l’extrême droite. A vous l’identité ! disent les traités européens aux Etats (le retour aux nationalismes fermés, clos), et à nous les flux, la dérégulation et la concurrence (le compromis libéral et sécuritaire de l’UE) !

CONTRER CETTE GRANDE VAGUE DE HONTE

C’est afin de contrer cette vision rétrécie de l’« être européen » que nous devonsappeler à l’émergence d’une « nation européenne » pour l’avenir : une conception ouverte de la nation dans un espace multilingue tel que l’Europe, où plusieurs récits de l’histoire et de l’exil se croisent, une nation tournée vers les savoirs, l’éducation, la connaissance, libérée de ses peurs de l’autre, portant un horizon d’émancipation et une redéfinition du lien de citoyenneté, tient dans un mot : traduction. Ce mot est une clé pour une pensée nouvelle de la citoyenneté écologique et politique, pour une conception d’un lien social étendu, qui autorise les identités multiples. Et notre rêve est que cette nation nouvelle se mette en marche pour contrer cette grande vague de honte, pour donner un souffle, une imagination, au projet européen.

Nous vivons encore, hélas, à l’intérieur de vieux cadres de pensée, où l’appartenance à une nation est considérée comme une chose donnée découlant d’une langue maternelle, d’une conception partagée des valeurs, de l’histoire, de laculture, et d’une certaine représentation du territoire, des frontières. Mais ces mythes ne coïncident plus avec la réalité. Nous habitons désormais des espaces multilingues, plurinationaux. Nous existons dans des « entre-lieux », entre un pays et un autre, entre une ville d’adoption et une ville de naissance. Et il naît de cette situation une nécessité de repenser un lien d’appartenance en accord avec la réalité de nos vies diffractées.

« CITOYEN-TRADUCTEUR »

Définir le citoyen européen au XXIe siècle comme « citoyen-traducteur » permet d’articuler des loyautés multiples : être de sa ville, de sa région, de son pays et d’un espace plus vaste, lui-même défini comme espace où la « traduction » est la langue commune. Penser l’appartenance comme un effort pour traduire l’autre et se traduire pour l’autre, ou pour soi-même se tenir, là où la vie et la culture nous mettent, entre les langues, les genres, les rites, les fidélités et les affranchissements.

Au XIXe et au XXe siècle, il existait une langue profondément européenne, une langue qui traversait les frontières, de la Russie à la France, marquée par le sens de l’exil, de l’oppression, mais aussi porteuse d’un espoir d’émancipation. La langue yiddish a été détruite, mais cette langue hante encore l’espace européen. C’est à partir de sa destruction que nous pouvons comprendre cette citoyenneté de la traduction à inventerRepenser l’Europe à partir des « entre »-mondes, autour du seul tryptique qui prépare l’avenir : traduction, migration, hybridation.Autoriser le multiple pour l’avenir, penser les attachements et les loyautés plurielles, voilà le sens de cette langue des langues.

Il y a deux façons de se figurer le citoyen européen à venir comme « citoyen-traducteur » ou « transcitoyen ». Dans les rêves les plus fous des techniciens de l’UE se révèle une vision d’un être-flux, découlant des technologies américaines : un type relié à une intelligence artificielle qui traduira pour lui. Mais en projetant un tel horizon technologique, l’UE ignore la question de la nation et son articulation affective en la réduisant à une technique, une procédure. Ce fut l’erreur des pères fondateurs. Le dêmos ne naît pas d’agencements institutionnels habités par des citoyens rationnels.

Il s’agit de prendre acte de cette opposition entre une Europe désirée, émotionnelle – celle des mondes, des langues, des exils, des migrations, des morts –, et l’Europe de l’« Euroland », devenue froide machine réactionnaire. C’est à partir de cette rupture que nous nous proposons de travailler à une poétique des « entre », un affect partagé, pour bouleverser les cadres anciens de l’UE.

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Why Should You Invest In Professional Translation Service? - OneWorld Language Solutions

Why Should You Invest In Professional Translation Service? - OneWorld Language Solutions | The translation studies portal | Scoop.it
In this global business world, marketing and communication are very important to a business strategy. These tools allow companies to promote their products and services, to stand out from competitors, to keep good relationships with their customers, and even to reach out to new prospects. As the business world is becoming more and more global, …
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Charles Tiayon's curator insight, May 7, 8:17 PM


In this global business world, marketing and communication are very important to a business strategy. These tools allow companies to promote their products and services, to stand out from competitors, to keep good relationships with their customers, and even to reach out to new prospects. As the business world is becoming more and more global, the need to internationalize your marketing and communication is greater than ever to make your company grow. Translation services help you to reach out to international customers, a wider audience, and even prestigious overseas clients.

To reach out to foreign markets and customers it’s crucial to communicate in the language of the targeted client. A low-quality translation will give a bad impression of your company, while a good translation can make a huge difference in how potential clients see your business.

That is why having professional translators doing the job is really important. They are native speakers of the target language and will provide a high-quality job, taking grammar rules and colloquial phrases into account to make the content flow naturally.

You may need translation services in various types of material: articles, legal documents, websites, brochures, catalogs, videos and much more.

An accurate translation of all of these documents is critical to establish good communication with your customers and prospects. A good translation will facilitate an overseas business partnership or help expand market reach and sell to global consumers.

What we do:

At OneWorld Language Solutions, we have access to a huge pool of qualified translators, specializing in different languages and specific language pairs, who can provide you high-quality translations in many fields: marketing, law, general, engineering, health, technology and many more.

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IATIS Yearbook 201 Human Issues in Translation Technolog Series Editor: Prof Jenny William

IATIS Yearbook 2015
Human Issues in Translation Technology
Series Editor: Prof Jenny Williams

The IATIS Yearbook is a full-length, refereed volume containing a thematically coherent collection of essays and overseen by an expert editor. Each volume focuses on an area that is of interest to a large part of the translation studies community and aims to accommodate a wide range of perspectives and approaches. It is published under the auspices of the International Association for Translation and Intercultural Studies. For information on previous IATIS Yearbooks, click here.

The 2015 IATIS Yearbook will focus on Human Issues in Translation Technology. It will be edited by Dorothy Kenny of Dublin City University, and is scheduled to be published by Routledge.

Call for Abstracts

Contemporary translation is a highly technologized, networked activity. The last two decades have seen translation memory tools become standard, and Statistical Machine Translation in particular is now being integrated into many translation workflows. At the same time, translators have greater access to external digital and human resources than ever before: they can draw on vast online corpora and terminological holdings in the course of their work, and they can collaborate with remote colleagues or complete strangers on shared tasks. Text reuse and recycling have become commonplace, as has the collaborative production of translations by professionals and non-professionals alike.

These developments have raised a number of questions about how we view translation and translators, and how translators view themselves. The ongoing evolution of translation also means that we need new ways of understanding the cognitive processes involved in translation, a more expansive ethics of translation, and constant reappraisal of how and what we teach translators. Changing parameters in the production of translated texts demand that we investigate the effects of such changes on the reception of translated texts.

Translation Studies researchers from Humanities and Social Sciences backgrounds have addressed these and other questions from many perspectives, using different methodologies. Observational work-place and experimental research has attempted to capture and interpret data on how translators interact with tools and resources. Ethnographic methods have been used to allow translators to ‘speak for themselves’ in constructing a picture of the sociotechnical context in which they work. Corpus-based research has looked at how translation and translators are represented in key texts by significant stakeholders. Usability studies have sought to investigate what effects – if any – new modes of translation production have on users of translation. Philosophical work has questioned how digital technologies in particular are causing us to shift our understanding of what translation is.

The 2015 IATIS yearbook seeks to explore the rich variety of ways in which current Humanities and Social Science scholarship is dealing with the complex relationships between technology, translation, and the people who create and use translations. Papers addressing any of the areas mentioned above, using any appropriate methodology or theoretical framework, are welcome. While it is anticipated that many papers will deal with contemporary digital technologies, historical approaches to translation technology will also be welcome. Other (non-exhaustive) areas of possible interest include:

· Collaborative translation platforms for professional or non-professional translators
· TM and MT and their effects on the linguistic make-up of texts
· TM and MT and their effects on the cognitive, collaborative or social processes of translation
· the role of (free on-line) MT in foreign language learning
· the role of MT in translator training
· MT and the translation profession
· lingua francas, pivot languages, and MT
· human-computer interaction, language and translation
· the role of language/translation technologies in constructing linguistic landscapes
· the ethics of machine translation

We are now calling for 500-word abstracts for papers addressing the theme of the yearbook.

The deadline for receipt of abstracts is 01 August 2014.

Abstracts should be sent by email to: dorothy.kenny@dcu.ie with ‘IATIS Yearbook’ in the subject line.

Authors whose abstracts have been accepted will be notified by 31 August 2014, and asked to submit a paper of approx. 7,000 words by 30 November 2014.

Anticipated key dates follow:

Call for Abstracts: 07 May 2014
Deadline for receipt of abstracts: 01 August 2014
Acceptance of abstracts and invitation to submit full paper: 31 August 2014
Full papers to be submitted by: 30 November 2014
Feedback from peer reviewers to be received by authors: 31 January 2014
Authors to submit final version by: 28 February 2015
Publication: late 2015

The language of publication will be English, and authors whose papers have been accepted will be asked to follow the Routledge style guide.

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Charles Tiayon's curator insight, May 7, 7:58 PM

IATIS Yearbook 2015
Human Issues in Translation Technology
Series Editor: Prof Jenny Williams

The IATIS Yearbook is a full-length, refereed volume containing a thematically coherent collection of essays and overseen by an expert editor. Each volume focuses on an area that is of interest to a large part of the translation studies community and aims to accommodate a wide range of perspectives and approaches. It is published under the auspices of the International Association for Translation and Intercultural Studies. For information on previous IATIS Yearbooks, click here.

The 2015 IATIS Yearbook will focus on Human Issues in Translation Technology. It will be edited by Dorothy Kenny of Dublin City University, and is scheduled to be published by Routledge.

Call for Abstracts

Contemporary translation is a highly technologized, networked activity. The last two decades have seen translation memory tools become standard, and Statistical Machine Translation in particular is now being integrated into many translation workflows. At the same time, translators have greater access to external digital and human resources than ever before: they can draw on vast online corpora and terminological holdings in the course of their work, and they can collaborate with remote colleagues or complete strangers on shared tasks. Text reuse and recycling have become commonplace, as has the collaborative production of translations by professionals and non-professionals alike.

These developments have raised a number of questions about how we view translation and translators, and how translators view themselves. The ongoing evolution of translation also means that we need new ways of understanding the cognitive processes involved in translation, a more expansive ethics of translation, and constant reappraisal of how and what we teach translators. Changing parameters in the production of translated texts demand that we investigate the effects of such changes on the reception of translated texts.

Translation Studies researchers from Humanities and Social Sciences backgrounds have addressed these and other questions from many perspectives, using different methodologies. Observational work-place and experimental research has attempted to capture and interpret data on how translators interact with tools and resources. Ethnographic methods have been used to allow translators to ‘speak for themselves’ in constructing a picture of the sociotechnical context in which they work. Corpus-based research has looked at how translation and translators are represented in key texts by significant stakeholders. Usability studies have sought to investigate what effects – if any – new modes of translation production have on users of translation. Philosophical work has questioned how digital technologies in particular are causing us to shift our understanding of what translation is.

The 2015 IATIS yearbook seeks to explore the rich variety of ways in which current Humanities and Social Science scholarship is dealing with the complex relationships between technology, translation, and the people who create and use translations. Papers addressing any of the areas mentioned above, using any appropriate methodology or theoretical framework, are welcome. While it is anticipated that many papers will deal with contemporary digital technologies, historical approaches to translation technology will also be welcome. Other (non-exhaustive) areas of possible interest include:

· Collaborative translation platforms for professional or non-professional translators
· TM and MT and their effects on the linguistic make-up of texts
· TM and MT and their effects on the cognitive, collaborative or social processes of translation
· the role of (free on-line) MT in foreign language learning
· the role of MT in translator training
· MT and the translation profession
· lingua francas, pivot languages, and MT
· human-computer interaction, language and translation
· the role of language/translation technologies in constructing linguistic landscapes
· the ethics of machine translation

We are now calling for 500-word abstracts for papers addressing the theme of the yearbook.

The deadline for receipt of abstracts is 01 August 2014.

Abstracts should be sent by email to: dorothy.kenny@dcu.ie with ‘IATIS Yearbook’ in the subject line.

Authors whose abstracts have been accepted will be notified by 31 August 2014, and asked to submit a paper of approx. 7,000 words by 30 November 2014.

Anticipated key dates follow:

Call for Abstracts: 07 May 2014
Deadline for receipt of abstracts: 01 August 2014
Acceptance of abstracts and invitation to submit full paper: 31 August 2014
Full papers to be submitted by: 30 November 2014
Feedback from peer reviewers to be received by authors: 31 January 2014
Authors to submit final version by: 28 February 2015
Publication: late 2015

The language of publication will be English, and authors whose papers have been accepted will be asked to follow the Routledge style guide.

Charles Tiayon's curator insight, May 7, 7:59 PM

IATIS Yearbook 2015
Human Issues in Translation Technology
Series Editor: Prof Jenny Williams

The IATIS Yearbook is a full-length, refereed volume containing a thematically coherent collection of essays and overseen by an expert editor. Each volume focuses on an area that is of interest to a large part of the translation studies community and aims to accommodate a wide range of perspectives and approaches. It is published under the auspices of the International Association for Translation and Intercultural Studies. For information on previous IATIS Yearbooks, click here.

The 2015 IATIS Yearbook will focus on Human Issues in Translation Technology. It will be edited by Dorothy Kenny of Dublin City University, and is scheduled to be published by Routledge.

Call for Abstracts

Contemporary translation is a highly technologized, networked activity. The last two decades have seen translation memory tools become standard, and Statistical Machine Translation in particular is now being integrated into many translation workflows. At the same time, translators have greater access to external digital and human resources than ever before: they can draw on vast online corpora and terminological holdings in the course of their work, and they can collaborate with remote colleagues or complete strangers on shared tasks. Text reuse and recycling have become commonplace, as has the collaborative production of translations by professionals and non-professionals alike.

These developments have raised a number of questions about how we view translation and translators, and how translators view themselves. The ongoing evolution of translation also means that we need new ways of understanding the cognitive processes involved in translation, a more expansive ethics of translation, and constant reappraisal of how and what we teach translators. Changing parameters in the production of translated texts demand that we investigate the effects of such changes on the reception of translated texts.

Translation Studies researchers from Humanities and Social Sciences backgrounds have addressed these and other questions from many perspectives, using different methodologies. Observational work-place and experimental research has attempted to capture and interpret data on how translators interact with tools and resources. Ethnographic methods have been used to allow translators to ‘speak for themselves’ in constructing a picture of the sociotechnical context in which they work. Corpus-based research has looked at how translation and translators are represented in key texts by significant stakeholders. Usability studies have sought to investigate what effects – if any – new modes of translation production have on users of translation. Philosophical work has questioned how digital technologies in particular are causing us to shift our understanding of what translation is.

The 2015 IATIS yearbook seeks to explore the rich variety of ways in which current Humanities and Social Science scholarship is dealing with the complex relationships between technology, translation, and the people who create and use translations. Papers addressing any of the areas mentioned above, using any appropriate methodology or theoretical framework, are welcome. While it is anticipated that many papers will deal with contemporary digital technologies, historical approaches to translation technology will also be welcome. Other (non-exhaustive) areas of possible interest include:

· Collaborative translation platforms for professional or non-professional translators
· TM and MT and their effects on the linguistic make-up of texts
· TM and MT and their effects on the cognitive, collaborative or social processes of translation
· the role of (free on-line) MT in foreign language learning
· the role of MT in translator training
· MT and the translation profession
· lingua francas, pivot languages, and MT
· human-computer interaction, language and translation
· the role of language/translation technologies in constructing linguistic landscapes
· the ethics of machine translation

We are now calling for 500-word abstracts for papers addressing the theme of the yearbook.

The deadline for receipt of abstracts is 01 August 2014.

Abstracts should be sent by email to: dorothy.kenny@dcu.ie with ‘IATIS Yearbook’ in the subject line.

Authors whose abstracts have been accepted will be notified by 31 August 2014, and asked to submit a paper of approx. 7,000 words by 30 November 2014.

Anticipated key dates follow:

Call for Abstracts: 07 May 2014
Deadline for receipt of abstracts: 01 August 2014
Acceptance of abstracts and invitation to submit full paper: 31 August 2014
Full papers to be submitted by: 30 November 2014
Feedback from peer reviewers to be received by authors: 31 January 2014
Authors to submit final version by: 28 February 2015
Publication: late 2015

The language of publication will be English, and authors whose papers have been accepted will be asked to follow the Routledge style guide.

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Une autre façon de voyager et d'apprendre les langues

Une autre façon de voyager et d'apprendre les langues | The translation studies portal | Scoop.it
Vatan. Spécialisée dans les séjours linguistiques en immersion, l’agence d’Olivier Bonsard est la 68 e de France à décrocher le label qualité de l’Unosel.
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Language algorithm that translates into sales - Independent.ie

Language algorithm that translates into sales - Independent.ie | The translation studies portal | Scoop.it
 So you have a start-up. You have the backing, the people and a few customers. Now what? For many, export is the name of the game. But to do that, you may need your service to be availab
Charles Tiayon's insight:

What KantanMT does is to use advanced prediction mathematics to analyse, say, a technical manual and use it to predict an accurate translation for another in the same genre. For companies producing the same kinds of products, it's a very useful tool. Typically it's best used for technical, medical or academic content," said Mr O'Dowd. "This is because this kind of content is written in a structured, repetitive way.

"Because our system is a self-learning algorithm, it gets to know the structures well."

But it doesn't work for any kind of corporate text.

"Marketing text is very difficult because it tends to be emotive and unstructured," he said.

The system isn't foolproof: an 80pc accuracy rate still requires someone to bring it to 100pc. But the point is to reduce the cost of translation: a 20pc shortfall is a lot cheaper to perfect than 100pc from scratch.

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Le dico des élections municipales - France 3 Picardie

Le dico des élections municipales - France 3 Picardie | The translation studies portal | Scoop.it
Panachage, triangulaire, intercommunalité…Autant de mots entendus à longueur de campagne électorale et pas forcément limpides. Voici donc un petit dico ludique des élections municipales. [nb : le dictionnaire sera enrichi au fur et à mesure]
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La Casa del Traductor dispondrá de nueva sede en una residencia

La Casa del Traductor dispondrá de nueva sede en una residencia | The translation studies portal | Scoop.it
El Ayuntamiento de Tarazona ha iniciado los trámites para ceder parte del uso de la residencia de El Cinto al Consorcio de la Casa del Traductor ...
Charles Tiayon's insight:

El Ayuntamiento de Tarazona ha iniciado los trámites para ceder parte del uso de la residencia de El Cinto al Consorcio de la Casa del Traductor para que ubique su sede en este inmueble.

La cesión garantiza la continuidad de las labores de traducción y, además, "revitalizará el barrio de El Cinto, ubicado en pleno casco histórico de la ciudad", según apuntaron fuentes del consistorio.

La residencia es propiedad del ayuntamiento y está calificada como bien patrimonial. Dispone de una superficie construida de 1.794,92 metros cuadrados y tiene cinco plantas.

Además, el consistorio de la localidad también ha iniciado la regularización de la cesión de uso de parte de este espacio a la asociación de vecinos de La Magdalena, que utiliza desde hace años varias de sus estancias como sede.

De esta forma, el consistorio turiasonense da savia nueva al antiguo edificio, situado en el casco de la ciudad, y anima la vida en su zona de influencia.

Por lo demás, la Casa del Traductor es una institución de gran prestigio y que posee una gran vinculación con Tarazona a través de su ya dilatada existencia.

La cesión de la residencia de El Cinto desempeñará un importante papel en el resurgimiento de la institución cultural, que realiza un cúmulo de actividades a lo largo del año, todas ellas en relación con las labores de traducción.

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Corpus linguistics in a MOOC – the future of education? | Macmillan

Corpus linguistics in a MOOC – the future of education? | Macmillan | The translation studies portal | Scoop.it
Today’s guest post comes from Tony McEnery, Professor of Linguistics and English Language at Lancaster University, and a leading figure in the world of corpus
Charles Tiayon's insight:

If somebody had told me that, when I agreed to do a massive open online course (MOOC) for corpus linguistics, I would be crowd-sourcing word meanings from thousands of enthusiastic students in places as far-flung as the British Antarctic Territory and the Pitcairn Islands, I doubt I would have believed it. But that is precisely what happened recently on the course I am running on the FutureLearn platform. Two weeks ago thousands of students checked their intuitions about the meaning of words against corpus evidence and were just as surprised by the results as the lexicographers in pioneering corpus-based dictionary building projects were thirty years ago. The students’ intuitions were typically pretty similar, and the points that the data gave them were, fairly uniformly, surprising to them. The interest – and surprise – for the students was immediate and a joy to behold. In the following week we crowd-sourced analyses of stories about refugees and asylum seekers from around the world. When comparing their results to those presented to them from a corpus-based study I had done, in which the British press represented these groups negatively, an interesting result came in. Many of the negative representations you can see in the British press are present in whole or part in the press around the world. That includes non-English-language news reporting too.

In teaching corpus linguistics to classes over the years I have always stood by a simple truth – when you explore data with students, while you have the capacity to surprise them with what you have found in a corpus, students are also empowered to do just the same to you. With a MOOC the same is true, but the scale shifts. I can surprise and inform thousands of students with insights into the role corpora have to play in lexicography and how partial intuited meanings can be. At the same time, they can turn around and, almost with one voice, tell me that what I thought was true of the language of British newspapers is true in many contexts and many languages worldwide. The scale of such an endeavour is breathtaking. We have been running training classes, free of charge, in corpus linguistics at Lancaster University each year for some time now. In the first week of the MOOC we had taught as many students in one week as we would have if we ran our summer school for 100 years. In terms of getting the idea of the corpus approach to language ‘out there’ our MOOC has been a massive success – and the students like it, which, I must concede is a relief! So much effort and thought went into it that it is really gratifying to see so many people get so much out of it.

Are MOOCs the future of education? Well, in my opinion, yes and no. Yes – we must use them. For some students this is their best shot at getting some instruction from people who are too far away and too expensive to access for face-to-face education. For others, it is a way of dipping their toe in the water – they can find out the rudiments of a subject to see if they want to invest more time in studying it. But then also no – MOOCs must live with, and complement, face-to-face teaching, in my view. The responsiveness and immediacy of face-to-face teaching cannot be readily provided via a MOOC. If nothing else, the scale of the enterprise defies any credible and sustained attempt at building a rapport with individual students, which is, in my experience, a key motivator for students and staff alike. As we move forward we must blend MOOC and face-to-face education, to the benefit of all. Anyway – I must stop writing now. I have to prepare for the next crowd-sourced bit of research the students will do: looking at the ways in which people in different parts of the world talk about disabled people. I am bound to find out something new!

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Report on Teaching African American Literature and Culture | READ ...

Report on Teaching African American Literature and Culture | READ ... | The translation studies portal | Scoop.it
One outcome of this was to wonder about whether those who study African American literature are missing an important transnational dimension by their lack of engagement with African languages and contexts.
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Somaliland:Common ground for Somali Diaspora Intellectuals and the local Traditional Leaders  | Somalilandpress.com | Somali News Online from Somaliland – Somalia and Horn of Africa

Somaliland:Common ground for Somali Diaspora Intellectuals and the local Traditional Leaders  | Somalilandpress.com | Somali News Online from Somaliland – Somalia and Horn of Africa | The translation studies portal | Scoop.it
There is a Somali Saying “Yaaq Yaambo Ma Goyso” describing the strength, endurance, and resilience of a Baobab (Yaaq) tree. Baobab tree is very difficult to kill, they can be burnt, or stripped of their bark, and they will just form new bark and carry on growing. Somalia itself can at best be described as a Baobab Tree in terms of its resilience, because of its long history and rich culture. But the Yaaq or Baobab tree despite its longevity and
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Looking Back at 2013: The Year in Arabic Literature (in Translation ...

Looking Back at 2013: The Year in Arabic Literature (in Translation ... | The translation studies portal | Scoop.it
As translator Chip Rossetti said, Linz was “an inveterate champion of Egyptian and Arab authors.” The photo Margaret Obank shared on Banipal. Mark Linz. Ibrahim Farghali won the senior Sawiris novel prize for his Sons of ...
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La construction européenne, chacun pour soi | Revue de presse | DW.DE | 19.12.2013

La construction européenne, chacun pour soi | Revue de presse | DW.DE | 19.12.2013 | The translation studies portal | Scoop.it
Alors qu'un nouveau sommet s'ouvre à Bruxelles, les journaux reviennent sur la politique européenne de la chancelière Angela Merkel, évoquée lors de son premier discours devant les députés après son investiture.
Charles Tiayon's insight:

La Frankfurter Rundschau souligne que cela ne pose aucun problème à Angela Merkel de critiquer d’une part les doutes de la Commission européenne quant à la politique énergétique allemande, et d’exiger d’autre part plus de compétence pour cette même Commission quand il s’agit de faire des réformes structurelles ailleurs. Quand l’Allemagne dispense un grand nombre de ses entreprises de payer les taxes servant à financer les énergies renouvelables, c’est une affaire nationale. Mais quand la Grèce ou l’Espagne mettent en doute le bienfondé de programmes d’austérité trop rigides, alors là c’est une affaire européenne.

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Curation as a New Translation: Diane Arbus 1971-1956 at Fraenkel Gallery

Curation as a New Translation: Diane Arbus 1971-1956 at Fraenkel Gallery | The translation studies portal | Scoop.it
Curation as a New Translation: Diane Arbus 1971-1956 at Fraenkel Gallery - The Huffington Post
Charles Tiayon's insight:

I am not cruel, only truthful--- 
The eye of a little god, four-cornered. 
Mirror, Sylvia Plath

Diane Arbus famously brought a dispassionate but probing voyeurism to the marginalized and pariah of our society. Her treatments of the denizens of the mainstream are no less discomfiting. In "Diane Arbus 1971-1956," Fraenkel Gallery has assembled 60 photographs of the late artist and grouped them according to themes strained from Arbus's notebooks and letters. Images appear in reverse chronological order in groups under "The Mysteries that Bring People Together," "Interiors: The Meanings of Rooms," "People Being Somebody," "Recognition," and "Winners and Losers," headings chosen and curated by Jeffrey Fraenkel.

The categories are hardly beyond questioning. In the coyly-titled Two friends at home, N.Y.C. 1965, what is apparently a lesbian couple stand in their bedroom. One, in a skirt, pointy glasses, and a feminine updo, rests her arm around her lover's shoulders. The other, in pants and a man's shirt and slicked-back, cropped hair, looks at the camera, with her hands in her pockets. The image would make sense under "The Mysteries that bring people together." It could reasonably fall under "People Being Somebody" -- after all, one could deduce from the women's costume and toilette that they self-identify as "femme" and "butch." Depending on one's views on love and its pitfalls, and the fact that one woman looks hard into her lover's face, while her lover in turn looks away -- it could even reasonably be included as a witty addition to "Winners and Losers." But Fraenkel has placed the image with "Interiors: the meanings of rooms." This compels one to examine the room the lovers are placed in with a mind to divining its significance, and possibly to give it more interpretive weight than if one were simply considering all elements of the picture equally. And so the eye falls on the crumpled bed, admittedly bestowed importance if not primacy by the photographer by its large and central place in the composition, and the fact that aside from the windows, it is the brightest thing in the frame. It is also the scene of their perceived crime, for even in a progressive city like New York, in the years preceding Stonewall there were still laws limiting the rights of LGBT people, as well as widespread casual harassment and prejudice. The "meaning" of their room is different from that of other couples' rooms: it is not only the seat of intimacy but a hideout from the nosy hostility of a benighted era. Thus Fraenkel's categorization draws historical and social context into the picture, steering us to consider it through an interpretive lens determined not by Arbus or by our own proclivities, but by Fraenkel himself. One can resent the imposition or be grateful for it -- indeed, there are worse people than Jeffrey Fraenkel to be guiding one's examination of photographs. His exhibit from earlier this year, "The Unphotographable," demanded (and rewarded) a rigorous intellectual engagement with the pieces, the unphotographability of which was in many cases due to the fact that the subject was an idea rather than a visible object -- the moment of death, a dream, the passage of time, the enormity of an event like 9/11. But while in that show, it was understood that many of the artists had been grappling with that subject -- how to photograph something that isn't "so readily seen" -- the themes of this show were not chosen by the artist but by the gallerist showing her work, themes that he gleaned from her notebooks and correspondence and that he determined to have special importance, and then grouped the images according to his own interpretations of them. It is a muscular, even manipulative, curatorial conceit, and one that invites skepticism. However persuasive are Fraenkel's extrapolations, they necessarily say more about Fraenkel himself than they do about Diane Arbus. However one might wish to achieve some hermetic communion with her work, one ends up examining it under the considerable influence of his subjective take on it.

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JournalDuMali.com: "L'Afrique conditionnera l'avenir du monde" (Cheick Hamidou kane)

JournalDuMali.com: "L'Afrique conditionnera l'avenir du monde" (Cheick Hamidou kane) | The translation studies portal | Scoop.it
L'auteur de l'Aventure Ambigüe(1961), reste un témoin privilégié de l'histoire avec grand H. Et pour lui, cette dernière ne saura se faire sans l'Afrique. Entretien

"Je ne suis un écrivain qu'à titre accessoire", avez-vous déclaré lors d'une interview. Vous avez pourtant écrit deux romans, dont l'un, L'Aventure ambiguë, a eu la renommée et les retentissements que l'on sait, alors qu'entendez-vous par là ?

J'ai usé de l'écriture pour porter témoignage de mon histoire. Après avoir écrit L'Aventure ambiguë, qui est dans une certaine mesure mon autobiographie et l'histoire de mon ethnie peule, je me suis rendu compte qu'elle concernait aussi beaucoup d'autres ethnies. Partout où je vais dans le monde, on me dit : "ce que vous avez écrit nous concerne aussi". Ce livre est le témoignage de la vie d'un colonisé africain pendant les trente dernières années de la colonisation. Tous ceux qui ont vécu dans les anciennes colonies de la France, d'Angleterre, d'Espagne ou du Portugal, se reconnaissent dans cette histoire. C'est le passage d'une société traditionnelle, africaine, noire, colonisée, à la rencontre du colonisateur.

J'ai d'abord écrit ce témoignage sous la forme d'un journal alors que j'étais étudiant en France Je l'ai ensuite transformé en récit. Je n'étais pas écrivain. Ensuite j'ai été engagé dans une carrière de cadre africain, et ce, les trente premières années de l'Indépendance. La colonisation était finie. Désormais nous étions au pied du mur, nous qui avions été les colonisés nous devions à présent diriger et gouverner. Les Gardiens du Temple porte témoignage des trente premières années de l'Indépendance. Ces deux livres rendent compte de mon vécu et il se trouve que mon vécu est un vécu historique.


Vous attendiez-vous au succès, toujours actuel, de L'Aventure ambiguë?

Jusqu'à présent je continue d'être étonné par la notoriété de ces livres, surtout de L'Aventure ambiguë; il y a eu des livres, des thèses dessus. Il est inscrit dans les programmes francophones, il a été traduit dans une trentaine de langues. Il est inscrit au programme dans les universités. J'aime à raconter que depuis une dizaine d'années il est étudié par les Mormons. J'ai été invité dans leur université à plusieurs reprises. À chaque fois je suis surpris par le retentissement que ce livre a chez ces jeunes Américains blancs ou noirs qui me disent : "vous nous avez appris, dans une certaine mesure, comment on peut être moderne et vivre sa foi religieuse sans beaucoup de contradictions".

Justement, la façon dont vos livres parlent encore aujourd'hui à tous tient peut-être aussi à la galerie de portraits que vous dressez dans les deux romans. On a l'impression que chaque personnage incarne une relation particulière entre Afrique et Occident. Auriez-vous envie de compléter cette galerie aujourd'hui ? Quelle(s) figure(s) mériterai(en)t un tel portrait selon vous ?

Je crois que les jeunesses aujourd'hui, aussi bien en Afrique qu'en Amérique et en Europe, ont majoritairement dépassé les préjugés de couleurs ou d'ordre religieux qui ont paralysé le monde. La jeunesse américaine a élu un président noir, les héros de cette jeunesse européenne sont noirs, jaunes ou blancs selon qu'ils sont de grands artistes, de grands footballeurs… Un monde nouveau apparaît, créé par la jeunesse et les nouvelles technologies de l'information et de la communication, un monde devenu un village planétaire. Le monde ne peut plus continuer d'être ce qu'il était jusque-là c'est-à-dire le fils des œuvres de l'Occident. L'Occident est allé à la découverte du reste du monde, l'a façonné à son avantage. C'est fini. Cet Occident premier, quasiment unique, qui a fourni son modèle comme un modèle universel de référence, est passé au troisième rang. Et l'Afrique qui était le dernier de la classe émerge progressivement. Le monde entier se tourne vers l'Afrique ; l'Afrique conditionnera l'avenir du monde, à la différence du rôle qu'on lui a fait jouer jusque-là.

Est-ce que c'est de cette façon qu'il faut entendre la dernière phrase des Gardiens du Temple qui annonce "le rendez-vous de l'Afrique avec elle-même" ?

Tout à fait. Joseph Ki-Zerbo a dit que l'histoire de l'Afrique était caractérisée par trois dépossessions : l'Afrique a été dépossédée de son initiative politique (nous n'avons plus eu de rois et d'empereurs depuis l'arrivée de l'Occident européen), de son identité culturelle (aucun de nos pays n'a comme langue officielle une langue africaine, sauf peut-être quelques rares pays comme le Rwanda), de son espace, car les 55 pays d'Afrique sont 55 anciennes colonies, celles que les Européens ont découpé lors du congrès de Berlin. Il est temps de restituer à cette Afrique son espace géopolitique. Dans le passé, il y avait les royaumes, les empires du Ghana, du Mali… Il est temps que l'Afrique retrouve son identité.

Et vous pensez que la période que nous vivons est celle de ce changement-là ?

Oui, c'est en tout cas vers cela qu'il faut aller, vers l'intégration, les États-Unis d'Afrique. Nous n'avons pas pu faire comme les Américains qui sont passés de la situation de dépendance coloniale à celle de la fédération. Nous, nous avons raté cette occasion. Si l'Indépendance est survenue à la même période dans quasiment tous les pays d'Afrique, elle s'est faite en ordre dispersé. On a bien créé cinq régions, il faut à présent les doter de pouvoir, qu'elles puissent gérer l'économie et les finances du continent. Aujourd'hui, par exemple, les pays francophones d'Afrique ont pour monnaie le franc CFA dont la signification était "Colonies Françaises d'Afrique", transformé en "Communauté Financière Africaine". Mais c'est la même monnaie qui ne sert pas toujours les intérêts des Africains. Il faudrait

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Charles Tiayon's curator insight, May 7, 1:36 AM
L'auteur de l'Aventure Ambigüe(1961), reste un témoin privilégié de l'histoire avec grand H. Et pour lui, cette dernière ne saura se faire sans l'Afrique. Entretien

"Je ne suis un écrivain qu'à titre accessoire", avez-vous déclaré lors d'une interview. Vous avez pourtant écrit deux romans, dont l'un, L'Aventure ambiguë, a eu la renommée et les retentissements que l'on sait, alors qu'entendez-vous par là ?

J'ai usé de l'écriture pour porter témoignage de mon histoire. Après avoir écrit L'Aventure ambiguë, qui est dans une certaine mesure mon autobiographie et l'histoire de mon ethnie peule, je me suis rendu compte qu'elle concernait aussi beaucoup d'autres ethnies. Partout où je vais dans le monde, on me dit : "ce que vous avez écrit nous concerne aussi". Ce livre est le témoignage de la vie d'un colonisé africain pendant les trente dernières années de la colonisation. Tous ceux qui ont vécu dans les anciennes colonies de la France, d'Angleterre, d'Espagne ou du Portugal, se reconnaissent dans cette histoire. C'est le passage d'une société traditionnelle, africaine, noire, colonisée, à la rencontre du colonisateur.

J'ai d'abord écrit ce témoignage sous la forme d'un journal alors que j'étais étudiant en France Je l'ai ensuite transformé en récit. Je n'étais pas écrivain. Ensuite j'ai été engagé dans une carrière de cadre africain, et ce, les trente premières années de l'Indépendance. La colonisation était finie. Désormais nous étions au pied du mur, nous qui avions été les colonisés nous devions à présent diriger et gouverner. Les Gardiens du Temple porte témoignage des trente premières années de l'Indépendance. Ces deux livres rendent compte de mon vécu et il se trouve que mon vécu est un vécu historique.


Vous attendiez-vous au succès, toujours actuel, de L'Aventure ambiguë?

Jusqu'à présent je continue d'être étonné par la notoriété de ces livres, surtout de L'Aventure ambiguë; il y a eu des livres, des thèses dessus. Il est inscrit dans les programmes francophones, il a été traduit dans une trentaine de langues. Il est inscrit au programme dans les universités. J'aime à raconter que depuis une dizaine d'années il est étudié par les Mormons. J'ai été invité dans leur université à plusieurs reprises. À chaque fois je suis surpris par le retentissement que ce livre a chez ces jeunes Américains blancs ou noirs qui me disent : "vous nous avez appris, dans une certaine mesure, comment on peut être moderne et vivre sa foi religieuse sans beaucoup de contradictions".

Justement, la façon dont vos livres parlent encore aujourd'hui à tous tient peut-être aussi à la galerie de portraits que vous dressez dans les deux romans. On a l'impression que chaque personnage incarne une relation particulière entre Afrique et Occident. Auriez-vous envie de compléter cette galerie aujourd'hui ? Quelle(s) figure(s) mériterai(en)t un tel portrait selon vous ?

Je crois que les jeunesses aujourd'hui, aussi bien en Afrique qu'en Amérique et en Europe, ont majoritairement dépassé les préjugés de couleurs ou d'ordre religieux qui ont paralysé le monde. La jeunesse américaine a élu un président noir, les héros de cette jeunesse européenne sont noirs, jaunes ou blancs selon qu'ils sont de grands artistes, de grands footballeurs… Un monde nouveau apparaît, créé par la jeunesse et les nouvelles technologies de l'information et de la communication, un monde devenu un village planétaire. Le monde ne peut plus continuer d'être ce qu'il était jusque-là c'est-à-dire le fils des œuvres de l'Occident. L'Occident est allé à la découverte du reste du monde, l'a façonné à son avantage. C'est fini. Cet Occident premier, quasiment unique, qui a fourni son modèle comme un modèle universel de référence, est passé au troisième rang. Et l'Afrique qui était le dernier de la classe émerge progressivement. Le monde entier se tourne vers l'Afrique ; l'Afrique conditionnera l'avenir du monde, à la différence du rôle qu'on lui a fait jouer jusque-là.

Est-ce que c'est de cette façon qu'il faut entendre la dernière phrase des Gardiens du Temple qui annonce "le rendez-vous de l'Afrique avec elle-même" ?

Tout à fait. Joseph Ki-Zerbo a dit que l'histoire de l'Afrique était caractérisée par trois dépossessions : l'Afrique a été dépossédée de son initiative politique (nous n'avons plus eu de rois et d'empereurs depuis l'arrivée de l'Occident européen), de son identité culturelle (aucun de nos pays n'a comme langue officielle une langue africaine, sauf peut-être quelques rares pays comme le Rwanda), de son espace, car les 55 pays d'Afrique sont 55 anciennes colonies, celles que les Européens ont découpé lors du congrès de Berlin. Il est temps de restituer à cette Afrique son espace géopolitique. Dans le passé, il y avait les royaumes, les empires du Ghana, du Mali… Il est temps que l'Afrique retrouve son identité.

Et vous pensez que la période que nous vivons est celle de ce changement-là ?

Oui, c'est en tout cas vers cela qu'il faut aller, vers l'intégration, les États-Unis d'Afrique. Nous n'avons pas pu faire comme les Américains qui sont passés de la situation de dépendance coloniale à celle de la fédération. Nous, nous avons raté cette occasion. Si l'Indépendance est survenue à la même période dans quasiment tous les pays d'Afrique, elle s'est faite en ordre dispersé. On a bien créé cinq régions, il faut à présent les doter de pouvoir, qu'elles puissent gérer l'économie et les finances du continent. Aujourd'hui, par exemple, les pays francophones d'Afrique ont pour monnaie le franc CFA dont la signification était "Colonies Françaises d'Afrique", transformé en "Communauté Financière Africaine". Mais c'est la même monnaie qui ne sert pas toujours les intérêts des Africains. Il faudrait

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Le compte Twitter de One Hour Translation traduit les tweets de Justin Timberlake

Le compte Twitter de One Hour Translation traduit les tweets de Justin Timberlake | The translation studies portal | Scoop.it
Les tweets de Justin Timberlake sont maintenant disponibles en Français (@OHT_JustinFR) grâce aux services de One Hour Translation L’agence de traduction humaine la plus rapide du monde, One Hour Translation, a créé une nouvelle capacité Twitter qui permettra de traduire tout les tweets de Justin...
Charles Tiayon's insight:

L’agence de traduction humaine la plus rapide du monde, One Hour Translation, a créé une nouvelle capacité Twitter qui permettra de traduire tout les tweets de Justin Timberlake en français (@OHT_JustinFR). Cette nouvelle capacité va permettre à la star américaine d'atteindre un public plus large à travers le monde. 

Justin Timberlake étant une star au rayonnement international, bon nombre de ses fans ne parlent pas anglais. Cependant, cette nouvelle capacité Twitter devrait séduire les fans francophones en les tenant informés sur ses dernières observations et conversations avec d'autres célébrités publiées Twitter. 

La capacité Twitter traduira tous les tweets de Justin sur son compte @jtimberlake, qui compte plus de 31,7 millions de fans. 
Les traductions de Twitter seront réalisées par des traducteurs humains travaillant pour One Hour Translation, qui peut s'appuyer sur une base de 15 000 traducteurs professionnels, et seront disponibles en quasi temps réel. Si cette capacité s'avère populaire, d'autres comptes Twitter de célébrités seront traduits à leur tour dans d'autres langues. 

Commentant la nouvelle capacité Twitter, David Shaw, vice-président du développement des affaires pour One Hour Translation a déclaré : « Même si elles comptent déjà des millions de followers sur Twitter, les célébrités peuvent atteindre davantage de fans en rendant leurs tweets disponibles dans la langue maternelle de ceux qui ne peuvent pas lire l'anglais. La nouvelle capacité Twitter démontrera que communiquer avec les gens dans une langue qu'ils maîtrisent renforce l'engagement et améliore la compréhension. » 

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Charles Tiayon's curator insight, May 7, 8:16 PM
L’agence de traduction humaine la plus rapide du monde, One Hour Translation, a créé une nouvelle capacité Twitter qui permettra de traduire tout les tweets de Justin Timberlake en français (@OHT_JustinFR). Cette nouvelle capacité va permettre à la star américaine d'atteindre un public plus large à travers le monde. Justin Timberlake étant une star au rayonnement international, bon nombre de ses fans ne parlent pas anglais. Cependant, cette nouvelle capacité Twitter devrait séduire les fans francophones en les tenant informés sur ses dernières observations et conversations avec d'autres célébrités publiées Twitter. La capacité Twitter traduira tous les tweets de Justin sur son compte @jtimberlake, qui compte plus de 31,7 millions de fans. Les traductions de Twitter seront réalisées par des traducteurs humains travaillant pour One Hour Translation, qui peut s'appuyer sur une base de 15 000 traducteurs professionnels, et seront disponibles en quasi temps réel. Si cette capacité s'avère populaire, d'autres comptes Twitter de célébrités seront traduits à leur tour dans d'autres langues. Commentant la nouvelle capacité Twitter, David Shaw, vice-président du développement des affaires pour One Hour Translation a déclaré : « Même si elles comptent déjà des millions de followers sur Twitter, les célébrités peuvent atteindre davantage de fans en rendant leurs tweets disponibles dans la langue maternelle de ceux qui ne peuvent pas lire l'anglais. La nouvelle capacité Twitter démontrera que communiquer avec les gens dans une langue qu'ils maîtrisent renforce l'engagement et améliore la compréhension. »
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Literature's Invisible Art | NEA

Literature's Invisible Art | NEA | The translation studies portal | Scoop.it

Translation is an invisible art: the better it is, the less you notice it. At the art form’s pinnacle, a text reads so naturally that one might not even realize it is a translation at all. Few people, for example, stop to think that well-known phrases such as “all for one and one for all,” “ye who enter, abandon all hope,” and “All happy families are alike; each unhappy family is unhappy in its own way” were originally written in a language other than English (they appear in The Three MusketeersInferno, and Anna Karenina, respectively). These lines, and the works they are from, have become as much a part of American culture as the culture of their mother tongue.

Yet even with translation’s clear importance to cultural life, American translations are exceedingly few. According to the University of Rochester’s Three Percent website, only three percent or so of all books published in the U.S. each year are works of translation. When calculating only literary fiction and poetry, this figure dwindles to 0.7 percent, or 517 titles in 2013. Even this paltry amount requires hours of painstaking, time-intensive, and frequently thankless work, overlaid by the anxiety of choosing the correct word, the right tone, and the proper syntax.


Translator/writer Nancy Naomi Carlson. Photo by Rachel Carlson


Nancy Naomi Carlson is no stranger to these labors of language. She has translated works of poetry by René Char and Suzanne Dracius from French into English, and also serves as the translation editor for the Blue Lyra Review. Her latest project, supported by a 2014 NEA Translation Fellowship, is the translation of Abdourahman Waberi’s first collection of poetry. Like his novels, which include Passage of Tears and In the United States of Africa, the poems in The Nomads, My Brothers, Go Out to Drink from the Big Dipper draw on Waberi’s experience as a youth in Djibouti, and later, as something of a self-imposed exile based in France.  The collection, published in French in 2000 and reissued in 2013, will be published in English by Seagull Books next spring.

Like Carlson’s past projects, the translation process for The Nomads follows an arduous path. For all her translations, she works with two French-English dictionaries, an English-English dictionary, two online French-English dictionaries, two online French-French dictionaries, and a thesaurus. Her initial drafts include all possible word choices, which she narrows down according to the original verse’s style and meaning. Dracius, for example, writes lengthy poems with flowery language and frequent Greco-Roman references; Carlson chose similarly sumptuous English parallels. On the other hand, “Abdou’s work is miniature—just like the Republic of Djibouti,” Carlson said. “He says a lot with a few lines and very simple words.” In accordance, her Waberi translations are written in succinct, unadorned English.

Many poetry translators stop here: conveying the tone and content of a poem is enough. But for Carlson, who studied music and is a poet herself, sound is almost as significant as content. “Without even trying, [French] is so rich in sound,” she said, noting that this quality is amplified by a poet’s pen. “How can you ignore that?”

For each poem, Carlson creates what she calls “sound maps,” color-coded charts that track alliteration, assonance, and syllabic stresses in the original verse. She replicates these rhythms and sound patterns as best she can, attempting to preserve the poem’s musicality. Of course, certain linguistic limitations are unavoidable, which Carlson negotiates with a bit of creative license. “You can’t get the exact sound for a line in French,” she said. “Many of the sounds—the nasals—don’t exist in English, so I couldn’t possibly do that. But if I can maybe get another sound pattern going, and maybe it happens to be on this line instead of that line, if it’s infused in there, then I’ve done my job.”

Eventually, these words, sounds, and meanings are stitched seamlessly together, ideally creating a text that is at once accurate and beautiful. And yet, “There’s always going to be a flaw,” said Carlson. No matter how long you might work at it, “It’s always going to be imperfect.” She invoked a quote by Russian poet Yevgeny Yevtushenko: “Translation is like a woman. If it is beautiful, it is not faithful. If it is faithful, it is most certainly not beautiful.”


Djiboutian author Abdourahman Waberi. Photo by Paolo Montanaro


Regardless, perfection—or at least its close relative— is always the goal. For her Waberi translations, Carlson had a unique advantage in this pursuit: the author himself. When she first contacted Waberi about translating his work, Carlson was unaware that he was a visiting professor at the George Washington University, just a few subway stops south of where she herself teaches at the University of the District of Columbia. As a result of the serendipitous proximity, the two developed a close collaboration as the work progressed. Carlson consulted Waberi on word choice and narrative intention—especially helpful given his occasional use of Somali—and Waberi offered suggestions while trying not to overstep his role.

“It’s a question of humility,” he said, when asked how it felt to watch his work translated into a language he speaks fluently. When one of his novels was translated into Serbian, he said it was easy to let go; since he doesn’t speak the language, he remains blissfully ignorant of whether the translation was up to snuff. His English translations, he thinks, are no different. “Why should I intervene? Because I speak some English?” he asked. “[The translator] is doing his or her job, and I’ve done mine.”

Given the pair’s intimate working relationship, Carlson also had a comprehensive primer on Waberi’s native culture, which she believes is essential for literary translations. “As a counselor, my job is to empathize and walk in someone else’s shoes,” said Carlson, who has a PhD in counselor education and has worked in school counseling since 1978. “If you can’t [do that], I think it’s impossible to translate. I don’t feel that people can look at the French, especially in poetry with all the nuances and the lyricism, without understanding where that’s coming from, without understanding the sparseness of Djibouti. The sparseness of Abdou’s poetry represents a sparseness of the desert, the nomadic life, the few belongings, not burdening yourself down with things and traveling light in the world.”

Beyond her conversations with Waberi, Carlson made it a point to learn about Djibouti’s history, political system, and culture, just as she did with Martinique, where Dracius is from. “I have two PhDs because I love to learn,” she said. “I feel like I’m in another course, as I translate, of World 101.”

It’s a feeling she hopes readers will share as they read Waberi’s work. “From my point of view, it’s fascinating for an American audience to get a bird’s eye view into Djibouti,” she said. “Many of them have never heard of Djibouti, let alone know where it is, what the political scene is right now, what the landscape is like. I’m hoping others will go, ‘Oh my goodness, how different, how exotic, how sad, how exciting.’”

And perhaps, even, “how familiar.” Although international readers might not have direct knowledge of Djibouti, Waberi said his work is more about a shared emotional state than a particular place; the country name, he said, could be swapped with almost any other. “I’m writing from a human condition of displacement,” he said. “That is the great experience of this century, how people moved and have this experience of displacement worldwide.”

- See more at: http://arts.gov/NEARTS/2014v1-opening-world-international-art/invisible-art-translation#sthash.3WSkC98b.dpuf

Charles Tiayon's insight:

Translation is an invisible art: the better it is, the less you notice it. At the art form’s pinnacle, a text reads so naturally that one might not even realize it is a translation at all. Few people, for example, stop to think that well-known phrases such as “all for one and one for all,” “ye who enter, abandon all hope,” and “All happy families are alike; each unhappy family is unhappy in its own way” were originally written in a language other than English (they appear in The Three MusketeersInferno, and Anna Karenina, respectively). These lines, and the works they are from, have become as much a part of American culture as the culture of their mother tongue.

Yet even with translation’s clear importance to cultural life, American translations are exceedingly few. According to the University of Rochester’s Three Percent website, only three percent or so of all books published in the U.S. each year are works of translation. When calculating only literary fiction and poetry, this figure dwindles to 0.7 percent, or 517 titles in 2013. Even this paltry amount requires hours of painstaking, time-intensive, and frequently thankless work, overlaid by the anxiety of choosing the correct word, the right tone, and the proper syntax.


Translator/writer Nancy Naomi Carlson. Photo by Rachel Carlson


Nancy Naomi Carlson is no stranger to these labors of language. She has translated works of poetry by René Char and Suzanne Dracius from French into English, and also serves as the translation editor for the Blue Lyra Review. Her latest project, supported by a 2014 NEA Translation Fellowship, is the translation of Abdourahman Waberi’s first collection of poetry. Like his novels, which include Passage of Tears and In the United States of Africa, the poems in The Nomads, My Brothers, Go Out to Drink from the Big Dipper draw on Waberi’s experience as a youth in Djibouti, and later, as something of a self-imposed exile based in France.  The collection, published in French in 2000 and reissued in 2013, will be published in English by Seagull Books next spring.

Like Carlson’s past projects, the translation process for The Nomads follows an arduous path. For all her translations, she works with two French-English dictionaries, an English-English dictionary, two online French-English dictionaries, two online French-French dictionaries, and a thesaurus. Her initial drafts include all possible word choices, which she narrows down according to the original verse’s style and meaning. Dracius, for example, writes lengthy poems with flowery language and frequent Greco-Roman references; Carlson chose similarly sumptuous English parallels. On the other hand, “Abdou’s work is miniature—just like the Republic of Djibouti,” Carlson said. “He says a lot with a few lines and very simple words.” In accordance, her Waberi translations are written in succinct, unadorned English.

Many poetry translators stop here: conveying the tone and content of a poem is enough. But for Carlson, who studied music and is a poet herself, sound is almost as significant as content. “Without even trying, [French] is so rich in sound,” she said, noting that this quality is amplified by a poet’s pen. “How can you ignore that?”

For each poem, Carlson creates what she calls “sound maps,” color-coded charts that track alliteration, assonance, and syllabic stresses in the original verse. She replicates these rhythms and sound patterns as best she can, attempting to preserve the poem’s musicality. Of course, certain linguistic limitations are unavoidable, which Carlson negotiates with a bit of creative license. “You can’t get the exact sound for a line in French,” she said. “Many of the sounds—the nasals—don’t exist in English, so I couldn’t possibly do that. But if I can maybe get another sound pattern going, and maybe it happens to be on this line instead of that line, if it’s infused in there, then I’ve done my job.”

Eventually, these words, sounds, and meanings are stitched seamlessly together, ideally creating a text that is at once accurate and beautiful. And yet, “There’s always going to be a flaw,” said Carlson. No matter how long you might work at it, “It’s always going to be imperfect.” She invoked a quote by Russian poet Yevgeny Yevtushenko: “Translation is like a woman. If it is beautiful, it is not faithful. If it is faithful, it is most certainly not beautiful.”


Djiboutian author Abdourahman Waberi. Photo by Paolo Montanaro


Regardless, perfection—or at least its close relative— is always the goal. For her Waberi translations, Carlson had a unique advantage in this pursuit: the author himself. When she first contacted Waberi about translating his work, Carlson was unaware that he was a visiting professor at the George Washington University, just a few subway stops south of where she herself teaches at the University of the District of Columbia. As a result of the serendipitous proximity, the two developed a close collaboration as the work progressed. Carlson consulted Waberi on word choice and narrative intention—especially helpful given his occasional use of Somali—and Waberi offered suggestions while trying not to overstep his role.

“It’s a question of humility,” he said, when asked how it felt to watch his work translated into a language he speaks fluently. When one of his novels was translated into Serbian, he said it was easy to let go; since he doesn’t speak the language, he remains blissfully ignorant of whether the translation was up to snuff. His English translations, he thinks, are no different. “Why should I intervene? Because I speak some English?” he asked. “[The translator] is doing his or her job, and I’ve done mine.”

Given the pair’s intimate working relationship, Carlson also had a comprehensive primer on Waberi’s native culture, which she believes is essential for literary translations. “As a counselor, my job is to empathize and walk in someone else’s shoes,” said Carlson, who has a PhD in counselor education and has worked in school counseling since 1978. “If you can’t [do that], I think it’s impossible to translate. I don’t feel that people can look at the French, especially in poetry with all the nuances and the lyricism, without understanding where that’s coming from, without understanding the sparseness of Djibouti. The sparseness of Abdou’s poetry represents a sparseness of the desert, the nomadic life, the few belongings, not burdening yourself down with things and traveling light in the world.”

Beyond her conversations with Waberi, Carlson made it a point to learn about Djibouti’s history, political system, and culture, just as she did with Martinique, where Dracius is from. “I have two PhDs because I love to learn,” she said. “I feel like I’m in another course, as I translate, of World 101.”

It’s a feeling she hopes readers will share as they read Waberi’s work. “From my point of view, it’s fascinating for an American audience to get a bird’s eye view into Djibouti,” she said. “Many of them have never heard of Djibouti, let alone know where it is, what the political scene is right now, what the landscape is like. I’m hoping others will go, ‘Oh my goodness, how different, how exotic, how sad, how exciting.’”

And perhaps, even, “how familiar.” Although international readers might not have direct knowledge of Djibouti, Waberi said his work is more about a shared emotional state than a particular place; the country name, he said, could be swapped with almost any other. “I’m writing from a human condition of displacement,” he said. “That is the great experience of this century, how people moved and have this experience of displacement worldwide.”

- See more at: http://arts.gov/NEARTS/2014v1-opening-world-international-art/invisible-art-translation#sthash.3WSkC98b.dpuf

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La traduction des propos de Kerry frôle l’incident diplomatique - Actualité - El Watan

La traduction des propos de Kerry frôle l’incident diplomatique - Actualité - El Watan | The translation studies portal | Scoop.it

Hier, John Kerry se serait réjoui de la «transparence» du processus électoral.Des propos prononcés lors de l’ouverture de la deuxième session du dialogue stratégique algéro-américain à Alger et rapportés par l’APS. «Nous nous réjouissons de voir le processus de l’élection présidentielle (du 17 avril) se dérouler dans la transparence, aurait déclaré le secrétaire d’Etat américain. L’Algérie est un pays qui veille à l’épanouissement de son peuple et de sa société civile.» Problème ? John Kerry n’a pas exactement dit ça. Dans le texte mis en ligne par le département d’Etat, les propos qui lui sont attribués arrivent en fin de discours.En anglais, les mots prononcés sont les suivants : «Lastly, you have an election coming up here in Algeria two weeks from now. We look forward to elections that are transparent and in line with international standards, and the United States will work with the president that the people of Algeria choose in order to bring about the future that Algeria and its neighbors deserve. And that is a future where citizens can enjoy the free exercise of their civil, political, and human rights.»El Watan2014 a contacté un traducteur assermenté, lequel confirme l’erreur d’interprétation de l’APS. Selon ce professionnel, les propos de John Kerry doivent être retranscrits comme suit : «Vous avez une élection ici en Algérie dans deux semaines. Nous espérons des élections transparentes et conformes aux standards internationaux. Et les Etats-Unis travailleront avec le Président que le peuple d’Algérie choisit, afin de concrétiser le futur que l’Algérie et ses voisins méritent. Un futur où les citoyens peuvent jouir du libre exercice de leurs droits civiques, politiques et humains.»Une erreur du traducteur de John Kerry ?La traduction retenue par l’AFP, une autre agence, est proche de cette dernière version. «Nous attendons des élections transparentes et conformes aux standards internationaux, écrit l’agence française. Les USA travailleront avec le président que le peuple algérien choisira, pour dessiner l’avenir que l’Algérie et ses voisins méritent. Un avenir où les citoyens peuvent exercer librement leurs droits civiques, politiques et humains.»Autrement dit : l’agence de presse officielle algérienne, APS, a mal retranscrit le discours du secrétaire d’Etat américain, déclenchant une bronca chez les opposants à Abdelaziz. Selon nos informations, le service traduction de l’APS n’a pas été sollicité pour cette traduction.

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Charles Tiayon's curator insight, April 4, 7:02 AM

Hier, John Kerry se serait réjoui de la «transparence» du processus électoral.Des propos prononcés lors de l’ouverture de la deuxième session du dialogue stratégique algéro-américain à Alger et rapportés par l’APS. «Nous nous réjouissons de voir le processus de l’élection présidentielle (du 17 avril) se dérouler dans la transparence, aurait déclaré le secrétaire d’Etat américain. L’Algérie est un pays qui veille à l’épanouissement de son peuple et de sa société civile.» Problème ? John Kerry n’a pas exactement dit ça. Dans le texte mis en ligne par le département d’Etat, les propos qui lui sont attribués arrivent en fin de discours.En anglais, les mots prononcés sont les suivants : «Lastly, you have an election coming up here in Algeria two weeks from now. We look forward to elections that are transparent and in line with international standards, and the United States will work with the president that the people of Algeria choose in order to bring about the future that Algeria and its neighbors deserve. And that is a future where citizens can enjoy the free exercise of their civil, political, and human rights.»El Watan2014 a contacté un traducteur assermenté, lequel confirme l’erreur d’interprétation de l’APS. Selon ce professionnel, les propos de John Kerry doivent être retranscrits comme suit : «Vous avez une élection ici en Algérie dans deux semaines. Nous espérons des élections transparentes et conformes aux standards internationaux. Et les Etats-Unis travailleront avec le Président que le peuple d’Algérie choisit, afin de concrétiser le futur que l’Algérie et ses voisins méritent. Un futur où les citoyens peuvent jouir du libre exercice de leurs droits civiques, politiques et humains.»Une erreur du traducteur de John Kerry ?La traduction retenue par l’AFP, une autre agence, est proche de cette dernière version. «Nous attendons des élections transparentes et conformes aux standards internationaux, écrit l’agence française. Les USA travailleront avec le président que le peuple algérien choisira, pour dessiner l’avenir que l’Algérie et ses voisins méritent. Un avenir où les citoyens peuvent exercer librement leurs droits civiques, politiques et humains.»Autrement dit : l’agence de presse officielle algérienne, APS, a mal retranscrit le discours du secrétaire d’Etat américain, déclenchant une bronca chez les opposants à Abdelaziz. Selon nos informations, le service traduction de l’APS n’a pas été sollicité pour cette traduction.

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Google Translate For Android Understands Handwriting Of 13 More Languages

Google Translate For Android Understands Handwriting Of 13 More Languages | The translation studies portal | Scoop.it
It does seem that Google is on an update flurry today, with us seeing how Google Wallet has been updated so that you know whatever “order” which...
Charles Tiayon's insight:

It does seem that Google is on an update flurry today, with us seeing how Google Wallet has been updated so that you know whatever “order” which you have placed is being processed as well as the status of it. Well, how about Google Translate for Android? This nifty little app has also been given a bump in the version department, where it will obviously come with its fair share of new features for the masses.

Basically, the latest version of Google Translate for Android is now able to decipher handwriting in thirteen new languages. No longer do you need to type in individual characters, as all that you need to do is to scribble what you would like to jot down, and Google will automatically recognize those. The thirteen new languages supported include Arabic, Bosnian, Cebuano, Gujarati, Hmong, Kannada, Maltese, Mongolian, Persian, Punjabi, Somali, Tamil, and Telugu.

Apart from that, there are also the mandatory bug fixes that arrive with each update, and we are presented with Improved stability as well as some crash bugs removed. While the changelog has been updated on the Play Store page to reflect the new version’s capabilities and features, it does not automatically translate to the update being introduced to your mobile device just yet, so being patient is highly recommended

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Facebook : Décider du prochain mot intégré au dictionnaire de Scrabble grâce à une page du réseau social - 1001actus

Facebook : Décider du prochain mot intégré au dictionnaire de Scrabble grâce à une page du réseau social - 1001actus | The translation studies portal | Scoop.it

A partir du 28 mars prochain vous pourrez proposer sur la page Facebook dédiée à l’événement, un mot que vous estimez devoir faire partie de la liste des mots reconnus et jouables dans Scrabble.

La page Facebook baptisée « Hasbro Game Night », permettra au propriétaire de Scrable, Hasbro, dans un premier temps de sélectionner 16 mots parmi toutes les propositions soumises pour ensuite choisir le mot qui entrera définitivement dans le dictionnaire.

Charles Tiayon's insight:

A partir du 28 mars prochain vous pourrez proposer sur la page Facebook dédiée à l’événement, un mot que vous estimez devoir faire partie de la liste des mots reconnus et jouables dans Scrabble.

La page Facebook baptisée « Hasbro Game Night », permettra au propriétaire de Scrable, Hasbro, dans un premier temps de sélectionner 16 mots parmi toutes les propositions soumises pour ensuite choisir le mot qui entrera définitivement dans le dictionnaire.

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Scrabble Updates Dictionary For The First Time In Nine Years

Scrabble Updates Dictionary For The First Time In Nine Years | The translation studies portal | Scoop.it
Imagine a world where you can play the word "selfie" or "twerk" in Scrabble. Sound absurd? Both these words are definitely a playable possibility starting later this year.
Charles Tiayon's insight:

Imagine a world where you can play the word "selfie" or "twerk" in Scrabble. Sound absurd? Both these words are definitely a playable possibility starting later this year.23P

The official Scrabble Dictionary is being updated, and according to Hasbro, the intention is to stay relevant to trends and pop culture events. The update will include thousands of new words, one of which will be voted by fans. Already there are votes for all sorts of words, many of which are kind of silly—like "hashtag," and "amazeballs." So if you're adamant about getting a certain word in Scrabble, now is your chance!P

Votes will be taken until March 28th, at which point Scrabble and Merriam-Webster will pick finalists that fans can then once again vote for. The fan-selected word will be revealed on April 10th, and the new edition of the Official Scrabble Player's dictionary will drop on August.P

As a fan of chaos, I'm looking forward to seeing what the internet votes for as a new Scrabble word. 

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‘Award Books Need to be Translated’

‘Award Books Need to be Translated’ | The translation studies portal | Scoop.it
Books that win the Central Sahitya Akademi awards have to be translated into other Indian languages, writers have said. At the annual day celebrations of the Sa...
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2014 Predictions for the African Audio- and Broadcast Sectors - AllAfric Visual a.com

2014 Predictions for the African Audio- and Broadcast Sectors - AllAfric Visual a.com | The translation studies portal | Scoop.it
2014 Predictions for the African Audio-Visual and Broadcast SectorsAllAfrica.comMore local content, co-production, content exchanges, innovative ideas, programme translation and new content distribution channels are about to take place.
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What is Technical Writing?

What is Technical Writing? | The translation studies portal | Scoop.it
Technical writers prepare documents to communicate complex and technical information more easily. Technical writing is one of the fastest-growing jobs in the United States.
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What is Technical Writing?
by Chad Brooks, BusinessNewsDaily Contributor   |   January 31, 
Credit: YURALAITS ALBERT |Shutterstock

Not all writing requires a creative touch. While most readers like to be entertained while reading, sometimes just a simple straightforward explanation is needed instead. When those situations are called upon, whether it is for a user manual or a product description for example, technical writers are used.

Instead of trying to be creative, technical writing is more about understanding. Technical writing should not be written to entertain readers. The goal of technical writing is to give the reader a better understanding of the subject being written about in clear and concise terms.

According to the Bureau of Labor Statistics, technical writers, also called technical communicators, prepare instruction manuals, journal articles and other supporting documents to communicate complex and technical information more easily. They also develop, gather and disseminate technical information among customers, designers, and manufacturers.



"Although technical writers work in a variety of industries, they are concentrated in the computer and engineering industries," the Bureau of Labor writes in their Occupational Outlook Handbook.

Dennis Jerz, an associate professor of English at Seton Hill University in Pennsylvania, said technical writing is the presentation of information that helps the reader solve a particular problem.

"While technical writers need to have good computer skills, they do not necessarily have to write about computers all their lives," Jerzwrites on his website. "Technical communicators write, design, and/or edit proposals, manuals, web pages, lab reports, newsletters, and many other kinds of professional documents."

Other examples of technical writing include assembly guides, user guides, scientific papers, medical research, brochures, employee and student handbooks and white papers.

Jerz said good technical writers are also good teachers, who have an excellent eye for detail.

"They excel at explaining difficult concepts for readers who will have no time to read twice," he writes. "They know punctuation, syntax, and style, and theycan explain these rules to authors who need to know why their drafts need to be changed."

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Arab Authors' Favorites of 2013 « Arabic Literature (in English)

Arab Authors' Favorites of 2013 « Arabic Literature (in English) | The translation studies portal | Scoop.it
Characters tell us about themselves and about Saleh, and through them we learn about the night world of Tunisia. We follow .... I like this novel, but it was difficult to accept how the writer presented the novel as a translation.
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Open Letter Books Receives $50,000 NEA Grant for Translation Projects

Open Letter Books Receives $50,000 NEA Grant for Translation Projects | The translation studies portal | Scoop.it

Open Letter Books, a nonprofit, literary translation press at the University of Rochester, has been selected to receive an Art Works grant from the National Endowment of the Arts.

The press was selected to receive a $50,000 grant—the second highest amount awarded in the Art Works literature category—from a pool of 1,528 applicants across more than a dozen artistic disciplines and fields. The grant will help support Open Letter's efforts to publish and promote translated works by emerging international authors from Argentina, Russia, Chile, Israel, Bulgaria, and France.

"This grant will allow us to further expand our mission of introducing English readers to underrepresented and as-of-yet undiscovered international authors," said Open Letter publisher Chad W. Post. "The ten titles Open Letter will be publishing in 2014 represent eight languages, and three are contemporary prose works from authors who have never before been published in English."

Charles Tiayon's insight:

Open Letter Books, a nonprofit, literary translation press at the University of Rochester, has been selected to receive an Art Works grant from the National Endowment of the Arts.

The press was selected to receive a $50,000 grant—the second highest amount awarded in the Art Works literature category—from a pool of 1,528 applicants across more than a dozen artistic disciplines and fields. The grant will help support Open Letter's efforts to publish and promote translated works by emerging international authors from Argentina, Russia, Chile, Israel, Bulgaria, and France.

"This grant will allow us to further expand our mission of introducing English readers to underrepresented and as-of-yet undiscovered international authors," said Open Letter publisher Chad W. Post. "The ten titles Open Letter will be publishing in 2014 represent eight languages, and three are contemporary prose works from authors who have never before been published in English."

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