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News from African Languages > University of Pretoria

News from African Languages > University of Pretoria | Metaglossia: The Translation World | Scoop.it

On Wednesday 12 April, the University awarded an honorary doctorate to Professor Pieter Groenewald, former Head of the Department of African Languages.

Professor Groenewald served on various HSRC committees and also acted as an examiner of applications for study bursaries and awards for attending congresses overseas. From 1973 to 1976, he acted as an advisor for radio and TV (Sotho Service) at the SABC and also acted as an adjudicator of radio and TV programmes (Sotho Service). JL van Schaik and the JMB also used Professor Groenewald's services as an advisor. He has been a member of the Sepedi Language Board since 1976 and also serves on various committees of the Board.

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News about translation, interpreting, intercultural communication, terminology and lexicography - as it happens
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UN Careers - jobs in this network (Translators, Revisers, Editors, etc.)

UN Careers -  jobs in this network (Translators, Revisers, Editors, etc.) | Metaglossia: The Translation World | Scoop.it

Vacancies in this network: Translators, Revisers, Editors, etc.

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Lewisboro Library holds fiction writing workshop | Lewisboro Ledger

Lewisboro Library holds fiction writing workshop | Lewisboro Ledger | Metaglossia: The Translation World | Scoop.it
The popular “Fiction Writing Workshop” for adults begins Tuesday, Sept. 23, and meets every Tuesday evening from 7 to 8:30 through Oct. 21.
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Registration

Registration | Metaglossia: The Translation World | Scoop.it

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Creating a termbase - the data model, data categories and what to include | SDL

Creating a termbase - the data model, data categories and what to include | SDL | Metaglossia: The Translation World | Scoop.it
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The fundamentals of terminology management - basic concepts and methods | SDL

The fundamentals of terminology management - basic concepts and methods | SDL | Metaglossia: The Translation World | Scoop.it
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Writing Using Third Person Limited Point of View: I hope I chose wisely.

Writing Using Third Person Limited Point of View: I hope I chose wisely. | Metaglossia: The Translation World | Scoop.it
I'm in the home stretch of writing my fourth novel. I'm excited about the possibilities that this novel has. It's unique and interesting, and, believe it or not, it's my first novel ever that I at ...
Charles Tiayon's insight:

This is very much a novel about one character’s journey in a country with a corrupt government. When I started writing it, I knew I didn’t want to write in the first person. I, the writer’s voice from the ethereal writing realm above my character’s head, did know that I wanted to be close to this character and follow his story, and so I decided to go with the third person limited point of view.

Third person limited is unique. It only allows the writer into the head of the main character, but everyone else is only viewed through the character’s eyes. It’s a great way to follow along on the journey with someone because you can go deep within himself, but it doesn’t allow you to know what’s going on behind closed doors in the other room. Therefore, the reactions, emotions, movements, actions of the other characters must tell the story of what has already happened elsewhere. It’s a very interesting dynamic. But it does leave a lot to the imagination.

Example. We have the country’s dictator, Antoine, as an aloof figure we hear about and only see from a distance. If I was writing in third person omnipresence, I would cut to scenes inside the presidential palace where Antoine is plotting and scheming his responses to what’s happening in his country. There was a lot of gripping dialogue and intrigue that I left on the table because of my choice of narration style.

So I do hope that my readers will buy into what I’m trying to do!

I felt, however, that the consistent focus on the main character and his trials and circumstances would tell the story in a singular, linear way that will be both gripping and powerful.

I hope I am correct. I’m currently working on the book’s final chapter and then the first draft will be finished. At that point I’ll be ready to share it with my first reader for feedback.

Exciting, indeed!

I’ve really enjoyed writing in third person limited.

So now I have one first person, two third person omniscient, and one third person limited under my belt. What should I try for novel five?

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Se a Justiça deixar, Brasil vai ganhar duas traduções do maior romance cubano, Paradiso, de Lezama Lima - Jornal Opção

Se a Justiça deixar, Brasil vai ganhar duas traduções do maior romance cubano, Paradiso, de Lezama Lima - Jornal Opção | Metaglossia: The Translation World | Scoop.it
“Paradiso”, romance de Lezama Lima, é o “Grande Sertão: Veredas” de Cuba, uma obra-prima universal A Alemanha tem uma tradução respeitada de “Grande Sertão
Charles Tiayon's insight:

A Alemanha tem uma tradução respeitada de “Grande Sertão: Veredas”, romance de Guimarães Rosa. O escritor mineiro, que sabia alemão — foi cônsul em Ham­bur­go —, dialogou com o tradutor e aprovou seu trabalho. Mas uma editora encomendou outra tradução (para 2015), que está sendo feita por Berthold Zilly, professor universitário na Alemanha. Zilly está dando aulas em Florianópolis, mas sobretudo está se inteirando das coisas do Brasil, do uso da língua no cotidiano e não formalmente, para traduzir Guima­rães Rosa com menos imprecisão. A complicada teia que envolve erudito e coloquial na sua prosa às vezes confunde até leitores brasileiros, mesmo especialistas. Zilly quer capturar a riqueza linguística e a língua viva, oralizada.

O romance “Ulysses”, de James Joyce, recebeu três traduções no Brasil, grandes empreendimentos culturais de Antônio Houaiss, o pioneiro, de Bernardina Pinheiro (tida como autora da versão mais pedestre, o que não significa baixa qualidade) e, a mais recente, de Caetano Galindo. Uma tradução melhora a outra e torna o livro mais legível.

Agora, o Brasil terá duas traduções de “Paradiso”, de Lezama Li­ma (1910-1976), o Guimarães Ro­sa cu­bano. Havia a tradução de Josely Vi­anna Baptista, de excelente qualidade, publicada pela Editora Bra­siliense. Porém, sondada pela Es­tação Liberdade, Josely Vianna de­cidiu retraduzir o livro, resgatando ainda mais a sua relevância literária.

Porém, a Editora Martins garante ter os direitos autorais da obra no Brasil, adquirida do Es­tado cubano (que, por sinal, não costuma pagar direitos autorais para escritores estrangeiros) e está ameaçando processar a Estação Liberdade para impedir a circulação da tradução de Josely Vianna. A Martins encomendou sua própria tradução à poeta Olga Savary.

A briga judicial pode retirar pelo menos uma tradução do mercado — talvez até as duas. Para os leitores, o que importa mesmo é ter duas edições que possam ser comparadas. Li a primeira tradução feita por Josely Vianna. É de uma excelência rara. O leitor certamente fica com a impressão de que Lezama Lima, um artífice da palavra, escrevia em português, não em espanhol, tal a perícia da tradutora.

É provável que a Justiça decida pela circulação da tradução da Martins, a de Olga Savary, o que será uma infelicidade para o leitor — dada a alta qualidade do trabalho tradutório de Josely Vianna.

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Genealogy: Shedding light on archaic terminology

Genealogy: Shedding light on archaic terminology | Metaglossia: The Translation World | Scoop.it
Causes of death on death records are often a confusing issue to genealogists because of the archaic terminology used to describe an illness or medical condition. Websites located at www.antiquusmorbus.com and www.archaicmedicalterms.com aim to eradic
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Education Minister Yves Bolduc talks schools, budgets and language laws

Education Minister Yves Bolduc talks schools, budgets and language laws | Metaglossia: The Translation World | Scoop.it
Yves Bolduc says he is committed to the survival and continued high standards of English education in the province.
Charles Tiayon's insight:

Yves Bolduc says he is committed to the survival and continued high standards of English education in the province.

And even though the system yields excellent results - despite chronically struggling for money and enrollment - he is not about to change language laws to expand the pool of eligible students.

"Maybe there are French parents who would like to send their children to English schools, but at the moment there is a limit on what we can do," he says.

He says Quebecers are demanding more English language instruction, which he considers key to success on the world stage.

"To learn English... It's not a question of whether we want to do it. We have to do it," he says.

He adds that a campaign promise to expand English instruction in French schools will be honoured.

But English schools will see their budgets drop this year. That's not only due to the ministry's cuts, but also because their enrolment will continue to decline for years to come. Especially hard hit in the long-term will be the English Montreal School Board, which will see its numbers drop to about 18,000 by 2027-28. In 2002 it had around 25,000 students.

He says the cuts are short-term and Quebec's education system will emerge stronger.

"We have to work together to get through the next two years, because it's going to be a bit difficult," he says. "But afterwards, I think we'll be in a good position."

Bolduc argues that changes are necessary and overdue changes are coming.

"We are using computers in schools, and we are putting a lot of money towards children who have difficulties," he says.

But many school boards - especially English school boards - say they are going to run a deficit this year, and areas they may cut back on are special needs and classroom digitization.

Board executives say the cuts will affect student services no matter what. 

Bolduc says there isn't much he can do to change that now.

"Everyone can have the education in the language that they want, but we have to respect the law in Quebec," he says.

Hear the full conversation here: 

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The world according to Google

The world according to Google | Metaglossia: The Translation World | Scoop.it
Our lives are being mapped by the internet. But is it wise to let the likes of Google decide what becomes our culture’s collective memory? By Lauren Laverne
Charles Tiayon's insight:

Google is debating the right to forget. Not the right of the individual to forget, of course (they don’t have the technology for that, at least not yet). Google is debating the right of the individual to ask to be forgotten by it – the vast commercial entity that now acts as our culture’s entire collective memory.

Earlier this year, a ruling by the European Court of Justice allowed people to ask Google to remove information about them from its search index. So far, 90,000 individuals have applied for data to be deleted – everything from embarrassing photographs to information about criminal trials. Google opposes the ruling and is running seven public meetings about how best to balance the individual’s right to be forgotten with the public’s right to information (you can apply to attend, if you like, atgoogle.com/advisorycouncil). I have to be honest, I’m probably not going to go. I’m too busy coming to terms with the fact that I live in a culture which has delegated the task of mapping the limits of our collective knowledge to an entirely unaccountable commercial entity. I don’t remember a single meeting about that decision, never mind seven.

I mean, I know it’s free. And it is terribly convenient. Plus it’s bloody fast if you’ve got a good signal. But still. Because, despite what most search engines (apparently there are others) will tell you, “external memory” isn’t just something that you add to your computer. It has a long and profound history. The first examples we have were drawn on the walls of the Chauvet-Pont-d’Arc cave 30,000 years ago: bison, horses, lions, panthers and hyenas all immortalised, each one representing more than an animal.

They also reveal the deep-rooted nature of “symbolic capacity”. This ability, some anthropologists argue, is the significant development in human history. When we evolved symbolic capacity, it allowed us to create “external memory stores” such as art, ritual, and eventually the written word. It allowed us to invent culture, the prism through which every individual’s behaviour and experience is refracted. Eventually it helped us to build the internet – the place into which we appear to be pouring our culture for safekeeping.

 

But whose? Our hopes, our dreams, our memories, heavily filtered photographs of what we had for lunch… who keeps the keys to our past? Whose finger is hovering over “delete”? It’s not just about Google, either. As Mark Zuckerberg would say, it’s complicated.

My view is that we should consider the vessel itself – not just debate what we’re adding to or removing from it (nobody questions search engine optimisation, and isn’t that the approximate process in reverse?). If we are putting all our eggs in one or two vast online baskets, shouldn’t we, the public, share a grip on the handle?

In 1942 George Orwell observed false propaganda about the Spanish Civil War passing into history, unquestioned, as fact. “This kind of thing is frightening to me,” he wrote in an essay, “because it often gives me the feeling that the very concept of objective truth is fading out of the world… I know it is the fashion to say that most of recorded history is for the most part inaccurate and biased, but what is peculiar to our own age is the abandonment of the idea that history could be truthfully written… Nazi theory indeed specifically denies that such a thing as ‘the truth’ exists… the implied objective of this line of thought is a nightmare world in which the Leader, or some other ruling clique, controls not only the future but the past… This prospect frightens me much more than bombs, and after our experiences of the past few years, that is not a frivolous statement.” Until next week, I’ll bid you a Shakespearean “Farewell. Thou canst not teach me to forget.”

Follow Lauren on Twitter @LaurenLaverne

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English speaking programme underway at MGI

English speaking programme underway at MGI | Metaglossia: The Translation World | Scoop.it
A 10-day long interactive programme on English speaking was inaugurated under the aegis of the Communication Skills Department of the Mahakal Group of Institutes.
Charles Tiayon's insight:

Ujjain : A 10-day long interactive programme on English speaking was inaugurated under the aegis of the Communication Skills Department of the Mahakal Group of Institutes.

Group Vice chairman, Aditya Vashistha and MIT director Dr Vivek Bansod inaugurated the workshop. Soft skill is an important ingredient for success in every walk of life. Most of us have spent at least 16 years in school focussing mainly on building our Hard skills ( technical skills) and a little on our soft skills (people skills ). To succeed in both personal and professional life, should not we spend more time to proactively master the soft skills? Gone are the days where people were selected for job based on their hard skills. In the current scenario of global competition, soft skill is one aspect which every employer looks in for.

Dr Meenal Rathore informed that the Objective of the workshop is to have smooth transition from aspiring students to successful managers/entrepreneurs by enhancing their communication skills in the first place. The focus will be on Speaking skills, writing skills, Listening skills, Presentation skills, Group discussion and Personal interview. Each session will be conducted in an informal way and students are engaged in participative learning thus actively involving them in training. HoD Dr Navin Mehta, Dr Madhvi Verma, Prof Gautam Chaterjee, Prof Divya Shrivastava and Prof Rahul Chakrakar will be guiding the students through the interactive workshop.

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Resume Writing Workshop

Resume Writing Workshop | Metaglossia: The Translation World | Scoop.it

Learn the basics of resume writing in this 30-minute workshop. You will receive sample resumes and resume tips that are useful for any job search. This is your opportunity to learn how to get your resume noticed.

Charles Tiayon's insight:

Learn the basics of resume writing in this 30-minute workshop. You will receive sample resumes and resume tips that are useful for any job search. This is your opportunity to learn how to get your resume noticed.

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The Kill Zone: Bring Some Magic to Your Writing

The Kill Zone: Bring Some Magic to Your Writing | Metaglossia: The Translation World | Scoop.it

My uncle Bruce was a bartender for many years up in Santa Barbara. Like most of the Bells, who came from (or were chased out of) Ireland in the 1700s, he has the gift of gab. He started doing close-up magic right at the bar. This proved exceedingly popular and before long he started billing himself as "Bruce the Baffling, Magician and Social Chemist."

When I was I high school Uncle Bruce gave me a bunch of his tricks and I started getting into magic myself. That continued on through college. I loved it. I loved producing oohs and ahhs in people doing close-up. There's nothing quite like a great card or coin trick, or the cups and balls classic, performed right under the noses of people a few feet away.
I got good enough that I was able to perform at the famous Magic Castle in Hollywood. Not for the adults at night (you really have to be great for that gig) but for the kids on Sunday afternoon. I billed myself as "Jim Bell, Master of the Amazing." (Please hold your applause).
The best part about this was that I got to hang out at the Castle and sit around with some of the most famous magicians of the day. It's a crime their names are not as well known as performers in other wings of entertainment. But for people who know the magic world, names like Charlie Miller and Francis Carlisle are as familiar as John Steinbeck and F. Scott Fitzgerald are to writers. 
And if the most famous writer of the mid-20th century was Ernest Hemingway, then magic's analogue was a man named Dai Vernon (1894 - 1992).
Charles Tiayon's insight:

My uncle Bruce was a bartender for many years up in Santa Barbara. Like most of the Bells, who came from (or were chased out of) Ireland in the 1700s, he has the gift of gab. He started doing close-up magic right at the bar. This proved exceedingly popular and before long he started billing himself as "Bruce the Baffling, Magician and Social Chemist."

When I was I high school Uncle Bruce gave me a bunch of his tricks and I started getting into magic myself. That continued on through college. I loved it. I loved producing oohs and ahhs in people doing close-up. There's nothing quite like a great card or coin trick, or the cups and balls classic, performed right under the noses of people a few feet away.
I got good enough that I was able to perform at the famous Magic Castle in Hollywood. Not for the adults at night (you really have to be great for that gig) but for the kids on Sunday afternoon. I billed myself as "Jim Bell, Master of the Amazing." (Please hold your applause).
The best part about this was that I got to hang out at the Castle and sit around with some of the most famous magicians of the day. It's a crime their names are not as well known as performers in other wings of entertainment. But for people who know the magic world, names like Charlie Miller and Francis Carlisle are as familiar as John Steinbeck and F. Scott Fitzgerald are to writers. 
And if the most famous writer of the mid-20th century was Ernest Hemingway, then magic's analogue was a man named Dai Vernon (1894 - 1992).
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The business case for terminology management in a corporate translation environment | SDL

The business case for terminology management in a corporate translation environment | SDL | Metaglossia: The Translation World | Scoop.it
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Excavating your Emotions in your Writing

Excavating your Emotions in your Writing | Metaglossia: The Translation World | Scoop.it
I recently read an article on....What will be the 100 most important objects of the next 100 years? For some reason it made me wonder what someone would make of my life should I or rather the remai...
Charles Tiayon's insight:

I recently read an article on….What will be the 100 most important objects of the next 100 years? For some reason it made me wonder what someone would make of my life should I or rather the remains of my house be excavated in 100 years time. What would these futuristic people make of me? Of how I lived?

They certainly would know nothing of my hopes or my dreams. My grief. My happiness. My despair. My contentment with the little things in life. The beauty I found in nature.

How I worried over my children as I watched them grow and reach adulthood. How I hoped they would find their happiness within themselves as strong and fulfilled adults. How I looked at my bank balance or rather my mortgage and wanted to tear out my hair!

They wouldn’t hear the laughter shared within these walls; or the tears. They wouldn’t know the friends who had filled my life with their love and support. Or the four-legged members of my family with their mischief and companionship.

All that would be left would be a shell. And probably a broken shell at that.

Perhaps remnants of my books would remain and they would shake their heads over the wide variety of my taste in reading. Perhaps they’d stare at the numbers of broken crockery and attempt to piece together my collection of china teacups and saucers. There certainly won’t be an insane shoe collection for my shoe shopping is always kept to the bare minimum. And…what would they think of my love of crime shows and mysteries?

Would they unearth on what will be then, antiquated USB sticks, my notes on unfinished stories, the countless reams of research I’ve saved and filed away – just in case. What will they make of these stories? Will they hear my voice within those words? What if in each book I write and finish, I can capture just a little bit of myself and preserve it for all time?

I never thought before that when I write a story perhaps I’m revealing – me. But when I sat down and considered what I’ve already written I’ve come to the conclusion; yes I do.

In Legend Beyond the Stars I knowingly explored the lengths a race would go to survive; even at the cost of others’ lives. But in that book, the next one, Star Pirate’s Justice and also in my next release, When Stars Collide, I also explored the effects on the survivors. How they reacted at the time. How they coped. How their past shaped their actions in the future. Whether they grew stronger from their experiences or whether it scarred them so badly they gave into despair or the hunger for revenge.

I guess I like probing at the darkness within a person’s soul, seeing what makes them tick, examining the twists and turns of personality. But in all of my books, there is one common thread; my main characters find either happiness or peace.

And they all learn to hope.

So tell me – what would the people of the future learn about your past? What would you like people to learn or take from your stories?

 

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"¿Cuántas palabras traduces al día?" | Traducir&Co

"¿Cuántas palabras traduces al día?" | Traducir&Co | Metaglossia: The Translation World | Scoop.it

El número de palabras que un traductor profesional traduce al día varía en función de muchos factores que, a menudo, no se tienen en cuenta cuando uno se aventura a realizar una estimación. Para responder a esta pregunta, a mí me gusta hablar de las palabras "netas" (las que quedan listas para entregar), no las "brutas" (las traducidas pero no revisadas). Es decir, que si afirmas hacer 3000, puedas entregar el proyecto al cliente en ocho horas (o lo que dure tu jornada) y garantizar un buen resultado, no que ya has hecho 3000 y "solo" falte pasarle el corrector (luego hablaré de por qué esas comillas). En mi opinión, los principales factores que determinan el número de palabras que uno puede traducir al día son los siguientes:

  • El nivel de dificultad del texto. No es lo mismo un texto médico especializado lleno de cifras, acrónimos y términos específicos que un texto corrido que prácticamente se puede ir traduciendo mientras se lee o con el que tienes mucha pericia. El proceso de documentación suele ser lo que más retrasa el proceso de traducción. De hecho, aunque tengamos en nuestra barra de herramientas enlaces directos a la RAE, el DPD, WR, IATE, Linguee o Google Books, casi siempre acabas buscando más...


  • El par de idiomas. Ya sabemos todos que "lo suyo" es hacer traducciones directas de tu lengua B o C (como yo las inversas no las contemplo, no entro en opinar sobre el ritmo de palabras que se alcanza en ese supuesto). Se suele tardar más en traducir de la lengua C por una razón muy sencilla:no solemos manejar la referencia ni la documentación con tanta soltura como en nuestra primera lengua (diccionarios, webs, glosarios, etc.) y hay que releer más veces el original para asegurarnos de haberlo entendido.


  • La herramienta utilizada. Desde luego que traducir directamente en Word no es lo mismo que usar una herramienta TAO que te propague las traducciones, te muestre resultados de la memoria o incluso te autocomplete las palabras (como AutoSuggest).


  • Tu nivel de concentración. Creo que, junto al nivel de dificultad del texto, la concentración es el factor más importante a la hora de estimar una cantidad de palabras traducidas al día. Cuando es máxima, a menudo las palabras parecen escribirse solas y te vienen los términos a la mente con una rapidez pasmosa.


  • Los procesos posteriores a la traducción. El paso posterior a la traducción suele ser largo y, a menudo, tedioso. El proceso que se sigue para garantizar la calidad es tan importante como la traducción en sí; si el resultado es pésimo, de nada sirve las palabras que hayas traducido. Estos son algunos de los pasos posteriores a la traducción: 
    • Autorrevisar.
    • Pasar el corrector de Word (básico pero fundamental).
    • Pasar los programas de control de calidad pertinentes para garantizar la coherencia, comprobar dobles espacios y la correspondencia de las cifras, etc.
    • Comprobar las etiquetas (y los espacios previos y posteriores).
    • Asegurarse de que se ha seguido la guía de estilo específica del cliente o se han utilizado los términos que pedía.
    • Asegurarse de que se ha sido coherente con el trato tú/usted.
    • Volver a pasar el corrector de Word. Sí, otra vez. Después de todos los cambios y comprobaciones que quizá hayas hecho, merece la pena dedicar unos minutos más a asegurarte de que no hay errores básicos. Pocas cosas hay que den tanta rabia como encontrar errores que se detectan con el corrector...


A esto habría que sumarle posibles problemas que se tengan con el ordenador o el programa. Con reiniciar, que tarde en guardar el archivo por lo que ocupa, etc., ya estamos dedicando más tiempo del previsto. En definitiva, resulta muy difícil especificar cuántas palabras se traducen al día y, sobre todo, hay que tener en cuenta que los recuentos de palabras distinguen entre fuzzies, 100 %, no matches, etc. Si nos limitamos a mirar cuánto hemos traducido sin fijarnos en nada más, podemos hacernos una idea muy equivocada.

En cualquier caso, el número de palabras que cada uno puede traducir al día es un asunto delicado y personal en el que muchos prefieren ser cautos y otros... no tanto. Lo importante es que cada uno tenga la conciencia tranquila, sepa que está entregando un trabajo profesional y, sobre todo, que te vuelvan a llamar. Mientras eso se cumpla, lo demás importa poco. Como dijo Ivars Barzdevicstraductor de Dragon Ball, el año pasado en el Mangafest de Sevilla, "traduce como si cada proyecto fuera el proyecto de tu vida" :-).

Charles Tiayon's insight:

El número de palabras que un traductor profesional traduce al día varía en función de muchos factores que, a menudo, no se tienen en cuenta cuando uno se aventura a realizar una estimación. Para responder a esta pregunta, a mí me gusta hablar de las palabras "netas" (las que quedan listas para entregar), no las "brutas" (las traducidas pero no revisadas). Es decir, que si afirmas hacer 3000, puedas entregar el proyecto al cliente en ocho horas (o lo que dure tu jornada) y garantizar un buen resultado, no que ya has hecho 3000 y "solo" falte pasarle el corrector (luego hablaré de por qué esas comillas). En mi opinión, los principales factores que determinan el número de palabras que uno puede traducir al día son los siguientes:

  • El nivel de dificultad del texto. No es lo mismo un texto médico especializado lleno de cifras, acrónimos y términos específicos que un texto corrido que prácticamente se puede ir traduciendo mientras se lee o con el que tienes mucha pericia. El proceso de documentación suele ser lo que más retrasa el proceso de traducción. De hecho, aunque tengamos en nuestra barra de herramientas enlaces directos a la RAE, el DPD, WR, IATE, Linguee o Google Books, casi siempre acabas buscando más...


  • El par de idiomas. Ya sabemos todos que "lo suyo" es hacer traducciones directas de tu lengua B o C (como yo las inversas no las contemplo, no entro en opinar sobre el ritmo de palabras que se alcanza en ese supuesto). Se suele tardar más en traducir de la lengua C por una razón muy sencilla:no solemos manejar la referencia ni la documentación con tanta soltura como en nuestra primera lengua (diccionarios, webs, glosarios, etc.) y hay que releer más veces el original para asegurarnos de haberlo entendido.


  • La herramienta utilizada. Desde luego que traducir directamente en Word no es lo mismo que usar una herramienta TAO que te propague las traducciones, te muestre resultados de la memoria o incluso te autocomplete las palabras (como AutoSuggest).


  • Tu nivel de concentración. Creo que, junto al nivel de dificultad del texto, la concentración es el factor más importante a la hora de estimar una cantidad de palabras traducidas al día. Cuando es máxima, a menudo las palabras parecen escribirse solas y te vienen los términos a la mente con una rapidez pasmosa.


  • Los procesos posteriores a la traducción. El paso posterior a la traducción suele ser largo y, a menudo, tedioso. El proceso que se sigue para garantizar la calidad es tan importante como la traducción en sí; si el resultado es pésimo, de nada sirve las palabras que hayas traducido. Estos son algunos de los pasos posteriores a la traducción: 
    • Autorrevisar.
    • Pasar el corrector de Word (básico pero fundamental).
    • Pasar los programas de control de calidad pertinentes para garantizar la coherencia, comprobar dobles espacios y la correspondencia de las cifras, etc.
    • Comprobar las etiquetas (y los espacios previos y posteriores).
    • Asegurarse de que se ha seguido la guía de estilo específica del cliente o se han utilizado los términos que pedía.
    • Asegurarse de que se ha sido coherente con el trato tú/usted.
    • Volver a pasar el corrector de Word. Sí, otra vez. Después de todos los cambios y comprobaciones que quizá hayas hecho, merece la pena dedicar unos minutos más a asegurarte de que no hay errores básicos. Pocas cosas hay que den tanta rabia como encontrar errores que se detectan con el corrector...


A esto habría que sumarle posibles problemas que se tengan con el ordenador o el programa. Con reiniciar, que tarde en guardar el archivo por lo que ocupa, etc., ya estamos dedicando más tiempo del previsto. En definitiva, resulta muy difícil especificar cuántas palabras se traducen al día y, sobre todo, hay que tener en cuenta que los recuentos de palabras distinguen entre fuzzies, 100 %, no matches, etc. Si nos limitamos a mirar cuánto hemos traducido sin fijarnos en nada más, podemos hacernos una idea muy equivocada.

En cualquier caso, el número de palabras que cada uno puede traducir al día es un asunto delicado y personal en el que muchos prefieren ser cautos y otros... no tanto. Lo importante es que cada uno tenga la conciencia tranquila, sepa que está entregando un trabajo profesional y, sobre todo, que te vuelvan a llamar. Mientras eso se cumpla, lo demás importa poco. Como dijo Ivars Barzdevicstraductor de Dragon Ball, el año pasado en el Mangafest de Sevilla, "traduce como si cada proyecto fuera el proyecto de tu vida" :-).

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50 teams to take part in ESO public speaking competition - Oman

Muscat, As many as 50 teams from 30 colleges and universities will take part in the third edition of Inter-College Environmental Public Speaking Competition (ICPSC) on October 28 and 29. Twenty-two teams participated in 2013 while ten took part in the inaugural year.
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qTerm | Kilgray Translation Technologies

Although the memoQ server has a built-in terminology module, it has a fixed entry structure and you can only reach it from a memoQ client.

qTerm is a full-fledged browser-based terminology management system that connects directly to the memoQ server. Using qTerm, companies and organizations can turn their terminology into a corporate asset that facilitates internal and external communication, increases brand awareness, improves the quality of technical communication and cuts the costs of misunderstanding.

qTerm allows companies and institutions to provide a single point of access to any terminology in the organization, and allows their translation providers to have immediate access to the most up-to-date terminology. This way the organization that creates terminology is the organization that controls the terminology and its multilingual aspects.

Using qTerm, language service providers can differentiate themselves from the competition by providing managed terminology services to their customers and allowing expert and customer reviewers to contribute to terminology without installing or licensing a translation tool.

You probably need qTerm if:

  • You would like to centralize terminology management and you would like to extend the use of corporate terminology to people who are not involved in translation.
  • You would like to provide access to terminology for people who cannot or don't want to install memoQ.
  • The structure of your business or field of activity requires you to store specific information - such as the name of the department creating the term, reference to your product line, etc. - together with your terms.

With qTerm, everybody in the organization can access your term bases through Internet Explorer 8+, Firefox 4+, and Chrome (experimental). Terms can have a customizable entry structure, you can store custom information.

Charles Tiayon's insight:

Although the memoQ server has a built-in terminology module, it has a fixed entry structure and you can only reach it from a memoQ client.

qTerm is a full-fledged browser-based terminology management system that connects directly to the memoQ server. Using qTerm, companies and organizations can turn their terminology into a corporate asset that facilitates internal and external communication, increases brand awareness, improves the quality of technical communication and cuts the costs of misunderstanding.

qTerm allows companies and institutions to provide a single point of access to any terminology in the organization, and allows their translation providers to have immediate access to the most up-to-date terminology. This way the organization that creates terminology is the organization that controls the terminology and its multilingual aspects.

Using qTerm, language service providers can differentiate themselves from the competition by providing managed terminology services to their customers and allowing expert and customer reviewers to contribute to terminology without installing or licensing a translation tool.

You probably need qTerm if:

  • You would like to centralize terminology management and you would like to extend the use of corporate terminology to people who are not involved in translation.
  • You would like to provide access to terminology for people who cannot or don't want to install memoQ.
  • The structure of your business or field of activity requires you to store specific information - such as the name of the department creating the term, reference to your product line, etc. - together with your terms.

With qTerm, everybody in the organization can access your term bases through Internet Explorer 8+, Firefox 4+, and Chrome (experimental). Terms can have a customizable entry structure, you can store custom information.

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Keyboard apps make typing a breeze in iOS 8

Keyboard apps make typing a breeze in iOS 8 | Metaglossia: The Translation World | Scoop.it
SAN FRANCISCO — Swipe it, type it, set a shortcut, grab a dictionary perfect for texting from your favorite sporting event: Typing on new Apple gadgets gets a lot easier with iOS 8.

In addition to Apple's own QuickType keyboard, popular Android keyboard apps are muscling their way in to the App Store.

SwiftKey, Swype and Fleksy are among the most well-known of the mainstay keyboards long beloved by Android phone owners. They're all available in Apple's App Store now, for owners of the new iPhone 6 and 6 Plus and anyone who has upgraded to the new iOS 8 mobile operating system. We've also gotten a look at Adaptxt, perhaps not as well-known but with appealing features of its own. It's coming soon.

Apple's updated keyboard for iOS 8 adds predictive typing and a few other things, but it still feels pretty basic compared with the power of the third-party apps, especially with no support for swipe-typing. (If you haven't tried it, swipe typing is where you place your finger on the first letter in a word and then literally glide it across the pertinent letters on the keypad to create the word.)

Here's a thumbnail guide to four add-on keyboard options for iOS 8:

• SwiftKey. Free. I've been using SwiftKey on my Nexus 5 Android phone and have come to love the way it gets to know my most-typed contacts, other proper names and frequently typed words . Swipe-typing is a dream, and shortcuts for punctuation are intuitive and work well. Choose a color theme, enlarge the keyboard's letters/number keys. With SwiftKey Cloud, you can let the app sync your preferences across all your devices.

In iOS 8, you get a handful of language choices including French, Spanish, Italian and Portuguese. At launch, anyway, there were just two choices in color themes.

• Swype. 99 cents. Swype, from Nuance Communications, was a trail-blazer in gesture typing. You can quickly enter symbols, punctuation and capital letters with gestures, and add custom words to its dictionary. As with others, you can select among word predictions as you type from right above the keyboard.

At launch, you can choose among five themes and five languages.

• Fleksy. 99 cents. At launch, Fleksy really popped as the most colorful and visually customizable of the bunch available in the App Store. There were a dozen color themes and "large," "original" and "small" font sizes. As with others, you can personalize it to your own writing style by allowing the app access to a social media or e-mail account.

In iOS 8 now, Fleksy supports more than two dozen languages. It also has a quirky social component that lets you earn "badges" for downloading languages among other things. If you're into emoji, there are more than 800 built in to the app.

• Adaptxt. Free. This is a cool keyboard for anyone who needs access to multiple languages. When it lands in the App Store it will offer 80-plus languages and specialized dictionaries, including ones for the legal, health and financial fields. In the Android version, there are even special dictionaries for things like baseball and tennis. The company says there will be 40 in all. I've been using this one on my Android phone as well, and it's a solid option.


For all of the apps, to set them up after downloading you must head to Settings/General/Keyboards/Add New Keyboard to get started. Press and hold the Globe key on your main keyboard choose a particular keyboard if you have more than one installed.

With prices at 99 cents or free, it should be easy to see which one is the best fit for you.

Follow Nancy Blair on Twitter: @nansanfran.
Charles Tiayon's insight:

SAN FRANCISCO — Swipe it, type it, set a shortcut, grab a dictionary perfect for texting from your favorite sporting event: Typing on new Apple gadgets gets a lot easier with iOS 8.

In addition to Apple's own QuickType keyboard, popular Android keyboard apps are muscling their way in to the App Store.

SwiftKey, Swype and Fleksy are among the most well-known of the mainstay keyboards long beloved by Android phone owners. They're all available in Apple's App Store now, for owners of the new iPhone 6 and 6 Plus and anyone who has upgraded to the new iOS 8 mobile operating system. We've also gotten a look at Adaptxt, perhaps not as well-known but with appealing features of its own. It's coming soon.

Apple's updated keyboard for iOS 8 adds predictive typing and a few other things, but it still feels pretty basic compared with the power of the third-party apps, especially with no support for swipe-typing. (If you haven't tried it, swipe typing is where you place your finger on the first letter in a word and then literally glide it across the pertinent letters on the keypad to create the word.)

Here's a thumbnail guide to four add-on keyboard options for iOS 8:

• SwiftKey. Free. I've been using SwiftKey on my Nexus 5 Android phone and have come to love the way it gets to know my most-typed contacts, other proper names and frequently typed words . Swipe-typing is a dream, and shortcuts for punctuation are intuitive and work well. Choose a color theme, enlarge the keyboard's letters/number keys. With SwiftKey Cloud, you can let the app sync your preferences across all your devices.

In iOS 8, you get a handful of language choices including French, Spanish, Italian and Portuguese. At launch, anyway, there were just two choices in color themes.

• Swype. 99 cents. Swype, from Nuance Communications, was a trail-blazer in gesture typing. You can quickly enter symbols, punctuation and capital letters with gestures, and add custom words to its dictionary. As with others, you can select among word predictions as you type from right above the keyboard.

At launch, you can choose among five themes and five languages.

• Fleksy. 99 cents. At launch, Fleksy really popped as the most colorful and visually customizable of the bunch available in the App Store. There were a dozen color themes and "large," "original" and "small" font sizes. As with others, you can personalize it to your own writing style by allowing the app access to a social media or e-mail account.

In iOS 8 now, Fleksy supports more than two dozen languages. It also has a quirky social component that lets you earn "badges" for downloading languages among other things. If you're into emoji, there are more than 800 built in to the app.

• Adaptxt. Free. This is a cool keyboard for anyone who needs access to multiple languages. When it lands in the App Store it will offer 80-plus languages and specialized dictionaries, including ones for the legal, health and financial fields. In the Android version, there are even special dictionaries for things like baseball and tennis. The company says there will be 40 in all. I've been using this one on my Android phone as well, and it's a solid option.

For all of the apps, to set them up after downloading you must head to Settings/General/Keyboards/Add New Keyboard to get started. Press and hold the Globe key on your main keyboard choose a particular keyboard if you have more than one installed.

With prices at 99 cents or free, it should be easy to see which one is the best fit for you.

Follow Nancy Blair on Twitter: @nansanfran.

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EDUCATION: Are you afraid of speaking in public?

EDUCATION: Are you afraid of speaking in public? | Metaglossia: The Translation World | Scoop.it
This isn't one of my best columns, but some reader may be looking for exactly what I have to say and if that's true, for that one person, this could be the best column I have ever written.

I never have vomited before I had to speak in public, but I came very close very often, especially when I was...
Charles Tiayon's insight:


This isn't one of my best columns, but some reader may be looking for exactly what I have to say and if that's true, for that one person, this could be the best column I have ever written.

I never have vomited before I had to speak in public, but I came very close very often, especially when I was in high school and college and for many years after. I wasn't voted the quietest person in my class without good reason. I just never said anything. Why? Speaking in public was worse than going to my dentist, who, by the way, didn't give any painkiller unless you pleaded with him. "Oh, Doc, I know I am a boy and I should be able to withstand a little pain but just this once could you put me out of my misery?"

I wish someone many years ago would have given me some help on taking the fear out of public speaking. It would have saved me many sleepless nights.

Here are three things you can do to lessen the fear of public speaking while at the same time improve your skill. If you do these three things, you will be a better speaker and have less fear in doing it. That's a promise.

• First, speak as often as possible.

• Second, speak whenever you get a chance.

• Third, speak at every opportunity. Get the hint?

It's difficult to improve your own public speaking skills by watching other people speak or by just hoping you get better. You can pick up some tips and learn some do's and don'ts, but the best way to get better is for you to get up and speak and do it as often as you can. The more often you do it, the less fear you will have.

Learning to speak in public is like learning how to change a tire, how to use your iPhone or how to clean a sunfish. The more you do it, the better you will get. It's impossible for someone to practice something over and over again and not get better. Practice also reduces your level of anxiety.

I often practice my speaking in the shower or while I am driving or sitting at my desk. I mentally rehearse my speeches and even write down key points. But, the best way for me to improve is to get in front of an audience.

Should you worry about losing your audience? Not too many speakers get standing ovations and I never have seen an audience leave speakers standing alone with their hands in the fig leaf or reverse fig leaf positions.

What is the worst thing that can happen to you? You won't faint. The audience won't throw tomatoes. You aren't going to vomit. Unless you are running for president, you don't have to worry about getting their votes. If you are running for office, you need to get out there and speak and ask people how you are doing at speaking in public.

What if you make a mistake? Join the thousands of speakers who make mistakes every day. Do you know why they make mistakes? Many don't receive any feedback on how well or not well they are doing. Most just don't know they are making any mistakes. A few just don't care.

How do you know you are getting better? It is good to have an occasional evaluation of your speaking. I recommend the same for teachers who make presentations every day.

The best way to be evaluated is to tell your listeners what you want them to look for and ask them to comment on how well you did. "Hey, everyone, how did I do as a speaker today? Write down some things I am doing well and some things I can work on."

It could be that you talk too fast, that your presentations are too long, that they are humorless and boring or that you use too many "ok's or um's or ah's" or that you don't look at your listeners. There are many things you can do to improve your ability to "wow" your listeners. Without feedback you don't know for certain how well you do or don't do.

What about reading about public speaking? This is good. We can learn from books. We can pick up some do's and don'ts.

The Boy Scouts of America manual has hundreds of things Boy Scouts can do to earn a Merit Badge. Reading alone won't get them the Merit Badge, they have to do it or make it. Public speaking is a learn by doing skill, you have to practice it and then practice some more.

I have been speaking in public for many years, and I wish I could say that every time I do speak either in front of my students or an audience, I do an outstanding job. I don't. I still bomb sometimes but not as often as I did when I first started speaking in public. Do I fear speaking in public? I do get an emotional high, but I don't fear it. No one has ever thrown tomatoes.

Do I still practice? As often as I can. Do I still read about public speaking? I could do more of this. Do I still get evaluated? Yes, by my students and by my colleagues in Bemidji Area Toastmasters, which meets weekly.

If you are really serious about improving your ability to speak in public, join Bemidji Area Toastmasters. You will, and I say this will all sincerity, improve your skills and reduce your fear — guaranteed.

Remember if you are looking for ways to become a better public speaker, speak as often as you can. If someone is looking for a volunteer to make a presentation, give an announcement or chair a meeting, do it. And then do it again, and again and again.

Good luck. I'm pulling for you.

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Letter of the Week: Man up with the original meaning

Letter of the Week: Man up with the original meaning | Metaglossia: The Translation World | Scoop.it
I am appalled to hear how history repeats itself.
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As I follow the news, I am appalled to hear how history repeats itself. My memories of O.J. Simpson flash back as I watch the egos of these “men,” hitting their women and whipping children! And the terrible punishment they are given “you can't go out and play this Sunday!” However; their $600,000-plus weekly salary will continue throughout the legal process.

Webster’s Dictionary defines Man as “having fortitude,” meaning moral strength, one of the cardinal virtues. Perhaps when handing out many football scholarships they should include a dictionary!

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Melissa Harden: Google update fails small businesses

Melissa Harden: Google update fails small businesses | Metaglossia: The Translation World | Scoop.it
Pigeon, Google's algorithm update, makes being found more difficult for small businesses.
Charles Tiayon's insight:

This summer Google introduced an update to its algorithm aimed at improving local search results.

Referred to as Pigeon, it has arguably failed.

Instead, Pigeon makes being found more difficult for the very entities Google says it is trying to help most — small businesses.

Search results — recognized as the beloved red and blue pins in a search results page — were once ranked by locations closest to a person's whereabouts at the time of a search.

The new algorithm update determines rankings by looking at more information than just proximity — factors such as a business's website search engine optimization (SEO). This update sounds perfectly fine in theory, but in reality, bigger brands and directory sites like Yelp, YellowPages, Angie's List, Manata, FindLaw and TripAdvisor have become huge local search winners because they focus thousands of marketing dollars on their websites and SEO.

Before the Pigeon update, small businesses could compete with bigger brands in local searches. The new update has left small businesses with less organic traffic and users with less satisfying results. With Internet-based directories winning, businesses must once again return to the yellow pages as a source of customer referrals.

Here are five tips to regain your lost local search traffic:

• Research which directory sites show up for your general keywords.

• Claim and optimize your listing on the directory sites. Many are free and well worth your time investment.

• If a directory isn't free, determine if advertising or membership subscriptions are worth a financial investment to generate more local traffic.

• Optimize your listing with geographic setting, categories and tagging capabilities.

• Improve your listing presence with reviews. The more reviews you receive, the better chance you have to rank in local search results.

MELISSA HARDEN is online marketing director at Blue Compass Interactive. She is an expert on search engine optimization, content marketing and social media marketing for businesses.

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Coming to terms with terminology: Seeking ‘gray literature’ on landscapes

Coming to terms with terminology: Seeking ‘gray literature’ on landscapes | Metaglossia: The Translation World | Scoop.it
The term “landscape” has become commonplace in the global discourse on sustainable development and management of land and other natural resources, but the scientific community has yet to agree on a single definition for “landscape approaches,” probably for good reason. At the recent conference on Landscapes for People, Food and Nature organized by EcoAgriculture Partners and the World Agroforestry Centre in Nairobi, Kenya, participants learned there were no fewer than 78 different terms that all
Charles Tiayon's insight:

NAIROBI, Kenya — What on Earth does “integrated landscape management” mean?

If you ask 78 different scientists, you just might get 78 different answers, participants at a recent land-use conference found.

Consensus on definitions is a hallmark of science. When there is no consensus, though, things can get unwieldy — especially where science meets policy.

So it goes for the “landscape approach” to sustainable development, a framework that encompasses the full spectrum of land uses and actors for land use and management.

Right now there is a great deal of confusion surrounding what [a landscape approach] represents and why we need it

The term “landscape” has become commonplace in the global discourse on sustainable development and management of land and other natural resources, but the scientific community has yet to agree on a single definition for “landscape approaches,”probably for good reason. At the recent conference on Landscapes for People, Food and Nature organized by EcoAgriculture Partners and the World Agroforestry Centrein Nairobi, Kenya, participants learned there were no fewer than 78 different terms that allude to integrated landscape management.

In recent years, the research community has spent a great deal of time and intellectual energy trying to narrow down the terminology around the terms “landscapes” to conjure a universally accepted definition for landscapes and landscape management. The knowledge that a plethora of terms is of little use when dealing with multiple stakeholders has led to recent efforts within the research community to provide a more cohesive framework for the landscape approach.

When the Center for International Forestry Research (CIFOR) and partners published a paper outlining 10 principles that distill the landscape approach down to its essential elements, it didn’t advance to the next stage of what that means on the ground.

MAPPING IT OUT

At the time the paper was published, there was a great deal of interest from the media: The question they wanted the authors to answer was where the landscape approach had been applied successfully, so they could see the results. The problem? There were few places where it had been explicitly applied.

The thorny issue of terminology around landscapes threatens to derail the discussion and distract from the actual value and scope of the approach. To resolve this, CIFOR scientists are now undertaking a systematic mapping exercise in an effort to refine just what the landscape approach represents in practice, but avoiding strict definition, due to the plethora of implementation strategies.

“We will be using evidence-based research in the form of systematic mapping,” CIFOR researcher James Reed said. “This is a methodology developed in the medical sciences and more recently adopted by the natural and social sciences.” The aim, Reed said, is to synthesize the currently fragmented evidence base related to landscape approaches and understand what the “approach” actually represents.

Using pre-determined criteria, the team will screen the literature for relevance and quality to develop two maps — one with conceptual frameworks for landscape approaches produced by various institutions, and a second interactive one to show where and how landscape approaches are being or have been implemented.

According to Liz Deakin, a CIFOR post-doctoral fellow also working on the review, it is “hugely important” to clarify what the landscape approach means on the ground. “Right now there is a great deal of confusion surrounding what it represents and why we need it,” she said.

The mapping process will draw on peer-reviewed literature from multiple sources, but it will also seek out non-peer-reviewed documents of relevance such as dissertation theses, field notes, policy briefs and other “gray literature.”

The systematic map, which is to be completed and presented at the upcoming Global Landscapes Forum in Lima, Peru, in December 2014, should help move the discourse on landscapes beyond definitions and fuzzy thinking so researchers can concentrate on applying and further refining landscape approaches, which — unlike the alternatives — offer entry points for negotiation among competing land users.

To contribute gray literature to the systematic review, please contact James Reed (j.reed@cgiar.org) or Liz Deakin (l.deakin@cgiar.org). 

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Being a sport about covering sports

Being a sport about covering sports | Metaglossia: The Translation World | Scoop.it
If you had asked me a decade ago if I would ever write sports, the answer would have been a resounding no. When I graduated UW-Whitewater in spring 2005, I left the school without ever taking a sports journalism class (actually, I didn’t take a government reporting class either). My reasoning behind this was my focus on feature writing.
Charles Tiayon's insight:

If you had asked me a decade ago if I would ever write sports, the answer would have been a resounding no. When I graduated UW-Whitewater in spring 2005, I left the school without ever taking a sports journalism class (actually, I didn’t take a government reporting class either). My reasoning behind this was my focus on feature writing.

I spent eight years of my journalism career escaping sports reporting. During my first year at the Thistle there was a bump along the way where I did report sports and it was a rough patch. I felt bad for the players and parents because I knew the writing was not at the caliber it should have been.

Last year I found myself covering girls’ swimming. And it scared me. People in the journalism field will tell you many readers will check out the sports stories first. I was able to get some advice from a former colleague who is a sports reporter. He told me to tell a story – write about how things unfolded. And if I couldn’t think of any specific questions just ask the coach and players how they thought they performed.

As the season unfolded, I found myself taking a weekly trip to the pool to talk with coach Nick Weiss. I started to interview the swimmers and I followed an historic season.

When the boys’ season started, I went through the process again. Weekly visits to the pool to talk with Nick and the swimmers. Then to the state tournament.

At the end of the boys’ season I told Nick I was retiring from writing sports. I had covered two state tournament meets, something not every reporter gets the chance to do, and followed outstanding seasons for the boys and girls. It had been fun, but I figured I needed to take some time away from sports.

My retirement was short lived when I found myself picking up boys’ tennis and golf near the end of their seasons. But then I thought, “This is it. No more sports writing.”

Of course, it’s always after you tell someone you’re retiring from a beat that you find yourself crossing his or her path again. I was at the pool several times taking pictures of events or interviewing a Shark. My days at the Angie O’Donnell Aquatic Center were not over.

In the middle of July it was time to start thinking about whom would write what sport. After letting one freelancer choose what he wanted to take, I knew I wanted to spend another season covering the swim team. Truth be told, I kind of missed my weekly trips to the pool. I missed the enthusiasm from the students who always impress me with their dedication to the sport. Additionally, I missed how writing sports would break up my week a bit.

At the end of August I was back at the pool, asking questions about the upcoming season. And thus started another season of weekly visits.

In journalism, people find it comforting to have consistency in a reporter covering a specific beat for a period of time. You get to know the coaches or board members or police chief. And in the case of sports, you get to know the team. I’ve learned which swimmers swim what events and how some of the athletes get a bit nervous when I interview them.

Attending the state tournament has also given me the chance to chat with other reporters from Hometown News and former co-workers.

Eventually I will retire from sports writing. But until then, I’m going to have fun with it.

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Emmanuel Carrère: the most important French writer you've never heard of

Emmanuel Carrère: the most important French writer you've never heard of | Metaglossia: The Translation World | Scoop.it
As his latest 'non-fiction novel', Limonov, comes out in English, he discusses his extreme personal candour and why he likes to court danger. Interview by Robert McCrum
Charles Tiayon's insight:
As his latest 'non-fiction novel', Limonov, comes out in English, the acclaimed and bestselling author discusses his extreme personal candour and why he likes to court danger
Emmanuel Carrere: ‘Yes, maybe I’m more explicit than some.’ Photograph: Ed Alcock/MYOP

Relaxing cross-legged in his Paris apartment, with his crew cut, bare feet, and black fatigues, sun-tanned Emmanuel Carrère could be a guerrilla commander at a ceasefire, or a colonel in the French Foreign Legion enjoying some metropolitan R&R. In fact, he's the best kind of writer, not just a bestseller but a man who is not afraid to leave the comfort zone of his desk, go out into the world, take risks, and get his shoes dirty. According to the Paris Review, "There are few great writers in France today, and Emmanuel Carrère is one of them."

And yet, perhaps because he conducts himself less like a grand homme de lettres, and more like a journalist and film-maker, with discretion, modesty and good humour, Carrère's reputation has never progressed very far in the Anglo-Saxon world. Today, he is probably the most important French writer you've never heard of.

In part, this is to do with the range of his curiosity, his penchant for exploring many different genres, and the sheer variety of his life so far. He was born in 1957. After military service in Indonesia, he became a film critic for Télérama. While also writing screenplays for cinema and television, he has written several volumes of highly admired avant-gardefiction.

Carrère's breakthrough occurred in 1986 with The Moustache, a bestselling novella hailed by John Updike in the New Yorker as "stunning". Thereafter, he wrote a novel about a compulsive gambler (Hors d'atteinte?) and then a paedophile murder (Class Trip).

In 1993 he published I Am Alive and You Are Dead, a strange and obsessive inquiry into the life of Philip K Dick, the cult sci-fi writer whose work inspired movies including Blade Runner and Total Recall. Dick devoted his life to the unanswerable question, "What is real?". Similarly, Carrère seems happiest to work at what Graham Greene called "the dangerous edge of things."

The gap between the banality of everyday life and the wild wastes of his imagination is what fascinates Carrère. In his most recent book, Limonov, he writes: "I live in a calm country on the decline. Born into a bourgeois family in Paris's Sixteenth Arrondissement, I became a bourgeois bohemian in the Tenth. The son of a senior executive and an eminent historian, I write books and screenplays and my wife is a journalist. My parents have a holiday house on the île de Ré – more or less the French equivalent of Martha's Vineyard." Despite, or possibly because of, this inheritance, Carrère's imagination is anything but tranquil, or bourgeois.

First of all, he writes as if his parents are dead. In A Russian Novel, he portrayed his White Russian grandfather's wartime service in the Wehrmacht, for which he was executed as a collaborator, in stark defiance of his mother, the formidable Hélène Carrère d'Encausse, secretary-general of the Académie française. Her son, although awed by her achievements and celebrity, seems to relish the creative challenge presented by her example. "When I began to write," he says, "it was not so easy for me."

Elsewhere, he spares none of his family circle in print, including himself. Throughout his work, Carrère has pushed personal candour to the limit, exposing his worst self to public scrutiny. In the same novel, excruciatingly, he repeats the true story of the pornographic letter to his girlfriend he published in Le Monde.

It's no exaggeration to say that Carrère's life seems to be conducted, by accident or design, in extremis. For example, in 2004, he and his girlfriend took a Christmas holiday in Sri Lanka and were caught up in the tsunami.Other Lives But Mine, another bestseller, not only described their harrowing escape, but also grimly anatomised the death from cancer of his girlfriend's sister.

As if to elucidate his addiction to displays of the tormented self, he says: "I have had psychoanalysis for about 12 years in three different stages, with three different analysts. In France, there is a tendency to say that psychoanalysis does not work and that it is… " he searches for the word in a rare betrayal of his otherwise excellent English "fakery… quackery… crooked. But I feel grateful. Psychoanalysis has helped me as a man and as a writer."

Psychotherapy, he says, has contributed to his career as a novelist working at the dangerous edge. "For 15 years, I was a fiction writer. Then there was a moment when I wrote The Adversary [the true story of a serial killer] and I stopped writing fiction and began to write 'non-fiction novels'. I tried to write about the world and about myself, describing reality through my own experience. Yes, maybe I'm more explicit than some."

The writers Carrère admires are those like Montaigne, famous for declaring "I am myself the matter of my book", and Laurence Sterne, author of Tristram Shandy, who mash up art and reality and break literary conventions. "I like very much that kind of writer," he says. "A man whose mind is liberated and not caged in a genre, free from censorship."

In the manner of Truman Capote, whose quest for an ordinary mid-western murder story eventually became the classic "non -fiction novel" In Cold Blood, Carrère has waited, with the patience of a deer hunter, for the true story that would not only illuminate aspects of his own life, but also exemplify the puzzle of the post-cold war west.

In 2006, investigating the dark side of Putin's Russia, in the aftermath ofjournalist Anna Politkovskaya's killing, he found it in Moscow in the wrecked, transgressive figure of Eduard Limonov, the dissident nazbol, as Russians call members of the far-right National Bolshevik Party.

Eduard Limonov as a young punk rebel, 1980. Photograph: Sophie Bassouls/Sygma/Corbis

Limonov was tailor-made for Carrère's imaginative gifts. Born in second world war Ukraine, this dangerous, romantic rebel, "a cross between a sailor on leave and a rock star", had been a young punk in his native Kharkov, an avant-garde poet and idol of the Soviet underground in the Brezhnev era, and then an alcoholic down-and-out, before heading to America in the spring of 1974, coincidentally at the same moment as Alexander Solzhenitsyn.

As a refugee in 70s Manhattan, contemporary with the poet Joseph Brodsky, Limonov took a cheap room in the squalid Winslow hotel, living on cabbage soup, and writing about his life with the simple, raw energy of a Russian Jack London. While Limonov was making a minor literary name for himself, he also became a multi-millionaire's valet and published a sensational fictionalised memoir, His Butler's Story, with the Grove Press. About this chapter in an extraordinary career, Carrère says: "What interests Limonov is to be famous. The dream he has of himself is as the hero of a novel. He is not so proud of being a writer. He just wants to be a hero."

Has Limonov read Limonov, Carrère's account of his life? "Publicly, he says not," replies the writer. "Privately he says he disagrees with my version. But the book has had a great success, so Limonov does not mind."


After the American interlude, in another metamorphosis, Limonov moved back to Europe and became a louche, fashionable writer in 80s Paris, a city susceptible to the dangerous charm of the Russian émigré. Another scandalous novel, It's Me, Eddie, enjoyed a succès fou. "I knew him then," says Carrère, "but we were not friends."

Once again, Limonov's world fell to pieces. In 1989, the Soviet Union disintegrated in mayhem, euphoria and recriminations. As communism collapsed, Limonov disappeared into the Balkans. Here, to the horror of Carrère and his bien pensant circle, he ended up among the Serbs. "In our eyes," says Carrère, this was like "siding with the Nazis". A BBC documentary from this time shows Limonov bombarding the besieged city of Sarajevo under the benevolent eye of Radovan Karadzic. An important strand of Limonov is Carrère's anguished grappling with the demons of fascism from Nietzsche to Milosevic. "Limonov," observes Carrère, indulgently, "is the good incarnation of a fascist. Do not, as Pasolini says, underestimate the charm of fascism. To do that is not to understand a thing about Russia."

Still in search of existential and political coherence to his life as a post-Soviet citizen, Limonov returned to his homeland in 1994, coincidentally the same year as Solzhenitsyn. Mikhail Gorbachev had just been deposed by Boris Yeltsin. Limonov's response to the chaos in Russia was to found the National Bolshevik party, an aggressive neo-fascist movement appealing to disaffected, post-Soviet youth. Limonov's supporters occasionally popped up in news clips from the time: shaved heads, dressed in black, marching down Moscow's streets giving a half Nazi (raised arm), half Communist (balled fist) salute, and chanting "Stalin! Beria! Gulag!" The clear implication: Bring back the USSR. These, says Carrère, were Russia's "rock'n'roll years. Moscow was the centre of the world. Nowhere else are the nights so crazy, the girls so beautiful, the cheques so exorbitant." But then, out of this wild revel, like a wolf from the forest, came the cold, sinister figure of Vladimir Putin.

In 2001, Limonov was arrested, tried and imprisoned for obscure political reasons, apparently connected to arms trafficking and an attempted coup in Kazakhstan. When Carrère, who had known Limonov during his Paris heyday, encountered him again in 2006, he appeared, he says, "a little like an aged d'Artagnan", a telling clue to the direction of Carrère's interest in an extraordinary life story.

However, despite his novelist's attraction to Limonov's peculiarly Russian tale, Carrère could not reconcile the many characters locked inside the persona of Eduard Limonov (writer-hoodlum, hunted guerrilla, or post-Soviet politician). Perhaps telling his story would make sense of history? "I thought to myself," he writes, "[Limonov's] romantic, dangerous life says something. Not just about Russia, but about everything that's happened since the end of the second world war."

National-Bolshevik Party leader Eduard Limonov, arrested at an anti-Kremlin protest in Moscow, 2010. Photograph: Sergey Ponomarev/AP

More than that, this bizarre life is a vivid mirror to Carrère's own complex personality, and his hidden drives. As a writer who relishes risk, he is fascinated by a life so connected to current events. His "non-fiction novel",Limonov, has two explicit modes – part adventure story, part cultural-historical analysis. It is, he insists, "not a biography. I never tried to do what a real biographer would do. I did not check facts, or check out what he actually said".

So, finally, and most covertly, it is about Carrère's exploration of himself, his Russian heritage, and what it means to be a European after the second world war, especially since the end of the cold war. He cheerfully admits to a sense of confusion. "I spent two weeks with Limonov," remembers Carrère "and after two weeks, I did not know what to think. Could this be a long article, or a book ? Not to know what you think is quite a challenge. It could be a biography, an adventure story, a roman picaresque, after Dumas, and also a book of history, with all the tension of a novel."

Life, however, rarely comes up with neat or satisfying narratives. Limonov still opposes Putin, with great courage, and is regularly thrown in prison for his pains. "The problem," says Carrère, "is that, basically, he supports Putin. He just thinks Putin is not hard enough. Limonov still dreams of a great Russia. But honestly," he concedes, "his career is over."

In Limonov, as a writer in search of a narrative line, Carrère struggles with this diminuendo. There's a moment in 2009, in one of his conversations with the ageing rebel, when he praises his "fascinating life – a life that dared to engage with history". Limonov's bitter response cuts the writer to the quick. "A shitty life, yes." Russian history is too merciless often to make ordinary life heroic and Carrère admits: "I don't like this ending."

This seems like a good moment to ask Carrère about his own French literary career. "I live a protected life," he says. "I have a nice apartment. My kids go to good schools." A shrug. "It's OK." That, apparently is Limonov's reproach to his biographer. "He says to me, 'We are not on the same side of the barricades. You are a bourgeois. I am a revolutionary. You are the kind of guy I would like to send to the gulag.'"

So where does Carrère put himself in the pantheon of contemporary French writing ? "Honestly?" he pauses. "I am quite well known. I am next to Michel Houellebecq. I am happy to hear that Julian Barnes is a fan. It sounds immodest to say this, but for the last 10 years I have been quite successful."

In Limonov, he writes of his younger self that "My ideal was to become a great writer." Was this at all an ironic self-description ? "Oh no." Carrère becomes quite serious. "That was always my dream. And…" He drops his voice almost to a whisper. "It still is." Then he rallies himself. "You should not confess that kind of thing. But really, it's not possible to write books if you don't have that dream."

Limonov: A Novel is published by Allen Lane on 21 October. Click here to buy it for £16 inc free UK p&p

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Lorsque le contenu excède la phrase... La politique comme traduction chez Marx et au-delà - Cairn.info

Lorsque le contenu excède la phrase... La politique comme traduction chez Marx et au-delà - Cairn.info | Metaglossia: The Translation World | Scoop.it

Gérard Bensussan est professeur de philosophie à l’Université de Strasbourg et chercheur aux Archives Husserl de Paris (ENS, 45, rue d’Ulm). Membre de plusieurs centres de recherches en France et à l’étranger, il a enseigné en Allemagne, au Brésil, au Chili, aux États-Unis, au Liban et en Israël et a participé à de très nombreux colloques dans le monde entier. Ses domaines de travail et de recherche sont la philosophie allemande et ses relations à la pensée juive de langue allemande d’une part, et d’autre part à la philosophie contemporaine, française en particulier. Il a traduit Schelling, Rosenzweig, Feuerbach, Moses Hess. Il est notamment l’auteur d’un Dictionnaire critique du marxisme (Paris, Puf, avec G. Labica, 1982 ; 2e et 3e éd., 1985, 1999, « Quadrige »), de Marx le sortant(Paris, Hermann, 2007), ainsi que de plusieurs dizaines d’articles. Il a été à l’initiative de la fondation du Parlement des Philosophes de Strasbourg qu’il a présidé pendant plusieurs années.

Charles Tiayon's insight:

Gérard Bensussan est professeur de philosophie à l’Université de Strasbourg et chercheur aux Archives Husserl de Paris (ENS, 45, rue d’Ulm). Membre de plusieurs centres de recherches en France et à l’étranger, il a enseigné en Allemagne, au Brésil, au Chili, aux États-Unis, au Liban et en Israël et a participé à de très nombreux colloques dans le monde entier. Ses domaines de travail et de recherche sont la philosophie allemande et ses relations à la pensée juive de langue allemande d’une part, et d’autre part à la philosophie contemporaine, française en particulier. Il a traduit Schelling, Rosenzweig, Feuerbach, Moses Hess. Il est notamment l’auteur d’un Dictionnaire critique du marxisme (Paris, Puf, avec G. Labica, 1982 ; 2e et 3e éd., 1985, 1999, « Quadrige »), de Marx le sortant(Paris, Hermann, 2007), ainsi que de plusieurs dizaines d’articles. Il a été à l’initiative de la fondation du Parlement des Philosophes de Strasbourg qu’il a présidé pendant plusieurs années.

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