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Vacancies in this network: Translators, Revisers, Editors, etc.
En este tutorial le explicamos cómo traducir su sitio web utilizando uno de los servicios de traducción profesional, con conexión a WPML, y alcanzar una excelente SEO (Optimización del motor de búsqueda, por su sigla en inglés) en varios idiomas. Traducir un sitio web y lograr una buena SEO, en todos los idiomas, puede ser …
La traducción del póster de 'Wonder Woman' que intercambia la palabra 'Wonder' por 'Belleza' crea polémica en las redes sociales, acusando de machismo a la traducción.
Una delegación se ha reunido con representantes del British Council para celebrar el 400 aniversario de la muerte del célebre escritor
¿Cómo empezó su pasión por la novela negra?Empezó en los años finales de la carrera en la universidad, de lleno en Raymond Chandler y Dashiell Hammett, lo
Se anuncia la lista de traductores que optan al premio Read Russia
Ska Studios ha confirmado que la traducción al español de Salt and Sanctuary está acabada y será añadida al juego mediante un parche.
O Presidente da República de Cabo Verde, Jorge Carlos Fonseca, anunciou hoje a sua recandidatura quando falta uma semana para o fim do prazo de ...
Guilherme da Silva Braga, tradutor de Karl Ove Knausgård, revela como foi traduzir a obra e comenta alguns desafios da profissão
Quer Conhecer A Áustria? Hoje Iniciamos Um Especial De Roteiros Por Lá E A Primeira Parada, Claro, É A Capital Viena. Vale O Clique!
Frederico Lourenço, o tradutor, e Francisco José Viegas, o editor, apresentaram o projecto que tem uma intenção histórica e linguística.
Uma nova tradução da Bíblia Grega, "Septuaginta", de autoria de Frederico Lourenço, vai ser publicada em setembro, pela Quetzal, foi hoje divulgado.
A Quetzal irá lançar a partir de setembro uma tradução da Bíblia Grega, feita por Frederico Lourenço, com mais sete livros do que a edição canónica. O projeto foi apresentado esta quarta-feira.
Aroldis Chapman never seems to say the right things. The hard-throwing closer, who was traded from the New York Yankees to the Chicago Cubs on Monday, started the 2016 season with a 30-game suspension for allegedly choking his girlfriend and firing eight gunshots in an October 2015 incident.
PAMELA OLUBUNMI SMITH, a Professor of English, Humanities and Women’s Studies at the University of Nebraska at Omaha spoke with GBENRO ADESINA about the works of PROFESSOR AKINWUMI ISOLA, Yoruba culture and other issues on education
Congratulations on the public presentation of your recent book. How do you feel?
I feel very great and elated. I had wanted to do this for a long time to honour our Alagba Professor Akinwumi Isola because I would not have been an intellectual and the academic person that I have become if I didn’t get inspiration from his works. If he didn’t do the writings he did, I wouldn’t have had the chance of translating his books. This is his third works that I have translated. I was excited while preparing for the book launch. During the preparation, I joined forces with his wife. I see my publications as my “children”. I call them book-births. It is like having a fifth child.
Though, as a parent, you are not supposed to say that one of your five children is your favourite but this is my favourite book-child. In a way, maybe there is an improvement from the previous ones that I did as early as 2000, 2003, 2005, 2010 and now 2016. I am happy that Isola is very happy. I am also happy to get commendations from my colleagues. Most of those that were here for the book presentation are from my group, the Fagunwa Study Group. I didn’t know that any of them was in Nigeria.
But I am not surprised they are here because Bookcraft had postponed plans to launch a volume of 34 of the essays that we had written three years ago to commemorate the 50th anniversary of Fagunwa’s death. I had simply mailed to let them know that my book had been published and that I was on my way to Nigeria to launch it. I added that anyone who is in Nigeria should join me for the event. I was surprised when they responded that they were in Nigeria and would be there. Five out of the seven were in Nigeria and they came for the book presentation. Is that not amazing?
It took you like how many years?
Five years to have it published. The first I did was Efunsetan Aniwura, Iyalode Ibadan and OluOmo (Tinuubu), and it took me about 10 years to publish. It is not that original draft. It is the 15million different drafts that come after the initial translation of the text. The nature of translation is that you can’t translate today and publish next week. Even if this is what you do for a living, it is not possible. And many times, I find myself letting it sit for about six months. You get sort of fresh eyes. You go back to it and look at the original manuscript and sometimes say, “Oh! My God; what was I thinking?” That is the nature of translation. The next time you pick it up, that word you have been struggling with sometimes comes, “voila!”
Between writing a book and translating, which one is more difficult?
Alagba Isola will tell you the answer to that is ‘translation.’ It is much easier to write a book afresh than translating a book. In translation, you have to worry about so many things. It is already somebody’s idea which must not be distorted in any way. So, getting into the mind of the writer is quite difficult. He could mean this or that. I am lucky that he (Isola) is still alive, and I can ask him questions; and I did many times. As soon as I get into town, I come here to see him, to see what he is up to and say hello to him. He will always ask, “Bawo niise? Se e sin ba ise lo?” (How is your work progressing?) I could be here with him for the next three hours,figuratively, sitting at his feet, but I am sitting across from him, asking him one or two questions or mostly asking him to read key passages from the original book to me so that I can “pick his voice” and put it in my head. He will read it.
Then we switch. I will say let me read to you how I have translated that same passage. And 99.9 times, he will say “oun naani”, (you got it right)! He never gets irritated. He will say ‘it is good enough. Don’t change it.’ He is always very accommodating. He is my mentor. He is very generous. He gives. He is not too full of himself. He doesn’t make life difficult for those of us who want to translate his works. For instance, he will say, “don’t bother looking for me to sign anything, just go do it.” That is the level of trust he has placed in me and my abilities.
Pamela Olubunmi Smith
Why did it take five or 10 years to publish?
It has to do with the economics and politics of the publishing industry. It happens when you don’t find a publisher. You have to go through that. Almost always, a publisher will want to impose on you, asking you to change one thing or the other and if care is not taken, you can mess up the meaning of the original text. Rather than the editor telling you that he doesn’t understand something in your manuscript, s/he will be suggesting that you change this or that and you don’t lose the soul of your work. You don’t know anything about what I am writing. Many people will let go because they want to publish, and it may end up that it is not what you want that comes out. It could have been three (years) because University Press Plc here sat on the manuscript for two years. The editor was here. Hopefully, by next week, there will be a contractfor a Nigeria/Africa edition.
Why the choice of “Ogun Omode”?
Well, I have already done Efunsetan, and OluOmo Tinuubu. I have always wanted to translate Ogun Omode.
Since when did you know Akinwumi?
I met him in America in unusual circumstances. What happened was that African Literature Association, ALA, had invited him to America for a programme. But ALA likes to buy bargain flight tickets, which they did for him. The ticket did not get to him on time. He had waited and waited. He kept telling them that he had gotten his visa and they should send the ticket but the ALA was telling him to be patient and that his ticket was on the way. But the deadline of what he had been invited for was coming close. Then he thought he should buy the ticket, come and be reimbursed. That was exactly what he did, but things didn’t work that way.
He arrived. In the meantime, the ticket arrived in Nigeria but he had left. He arrived at the airport and found his way to wherever we were, — a three hour-drive, 300 miles away — not a bus, but a $500 cab ride. The woman driver was not leaving. He didn’t know, but he hired a cab instead of a limousine. That was when Folabo Ajayi started arranging how to raise the money. We found enough money and paid this woman. That night, here was a poor and tired Isola. Frankly speaking, he looked spent. He looked stunned. Two years later, the ALA asked me to be in charge of translation issues and bring whoever I wanted to the USA. That was how I submitted Isola’s name. In the meantime, in those two years, I visited Nigeria and started reading his books. Everybody kept talking about Efunsetan’s author. I looked into the author and decided, ‘alright, I could do this for women’s studies.’ I did Efunsetan Aniwura, Iyalode Ibadan and OluOmo (Tinuubu) for Women Studies resource. In between them, I did “Omo Olokun Esin,” translated as The Freedom Fight.
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On 13 June 2016, Walker Books presented imaginative adventure story 'The Book of Pearl' at Free Word Centre. Missed it? Catch up with an audio recording
We welcomed internationally acclaimed author of The Book of Pearl,Timothée de Fombelle, who was in conversation with his translators Sarah Ardizzone and Sam Gordon to discuss his journey in creating the story, and theirs in bringing it to life in English. This event was chaired by Joy Court.
You can read an extract from The Book of Pearl by clicking here.
Speakers at this event included:
Sarah Ardizzone is one of the most sought-after translators working today. She is twice recipient of the Marsh Award for Children’s Literature in Translation, for Eye of the Wolf by Daniel Pennac (2005) and Toby Alone by Timothée de Fombelle (2009). Sarah appears regularly on the book festival circuit and curates programmes around translation for all ages – includingTranslation Nation and Translators in Schools.
Joy Court is the Chair of the CILIP Carnegie & Kate Greenaway Children’s Book Awards Working Party. Self-confessed ‘reading addict’, Joy chairs the Working Party that manages the awards and the accompanying shadowing scheme. She is an active member of CILIP’s Youth Libraries Group, she created the Coventry Inspiration Book Awards, has twice been a Carnegie & Kate Greenaway judge, until recently was Head of the Schools Library and Resource Service in Coventry and is currently Reviews Editor of The School Librarian journal. She also edited Read to Succeed, a title by Facet Publishing that covers strategies to engage children and young people in reading for pleasure.
Timothée de Fombelle is a much-admired French playwright, as well as the author of award-winning fiction. His first series, Toby Alone and Toby Alone and the Secrets of the Tree has been printed in 27 languages and has won numerous awards, including France’s prestigious Prix Sorcières and the Marsh Award. Timothée’s adventure series, Vango, Book One: Between Sky and Earth and Vango, Book Two: A Prince Without a Kingdomreceived huge critical acclaim, and Book One was granted an English Pen award for translation. Timothée also contributed to the acclaimed collection The Great War: an Anthology of Stories Inspired by Objects from the First World War.
Sam Gordon is a London-based translator of Arab Jazz by Karim Miské, which won a 2014 English PEN award and was shortlisted for a CWA International Dagger in 2015. Sam also translatedCaptain Rosalie, a short story by Timothée de Fombelle, which appeared in the Walker Books anthology The Great War: Stories Inspired by Objects from the First World War.
This event was part of Wanderlust: Great Literature from Around the World, a monthly event series at Free Word. Join us on the second Monday of each month to celebrate the best fiction in translation.
We record each Wanderlust so that if you can’t make an event, you can catch up and enjoy the conversation via an online audio recording. These recordings are available on our SoundCloud and also on our blog within a week or two of the live event at Free Word Centre.
Classical Music news, listen to classical music online with music reviews and new releases, and the great composers from the world of music with BBC Music Magazine.
Lost in translation: The peculiar case of a popular French author
Arthur B. Evans notes that literary scholars agree that Verne's early English translations "often bear little resemblance" to their originals.
IANS| Sunday, July 24, 2016 - 10:14
By Vikas Datta
English speakers have long had an advantage for there are few classics from other literary traditions which are not available in the language. Translations of Homer, Rumi, Cervantes, Goethe, Pushkin, Dumas, Tolstoy, Kafka, and many others are so prevalent that it is easy to forget that these originally come from different languages. But translators may not always do a good job - one 19th century French author has suffered much at their hands.
With his "Vingt Mille Lieues sous les mers" ("Twenty Thousand Leagues Under the Sea" for us), "Le Tour du monde en quatre-vingts jours" ("Around the World in Eighty Days"), "Voyage au centre de la Terre" ("Journey to the Centre of the Earth"), "De la Terre a la Lune" ("From the Earth to the Moon"), Jules Gabriel Verne (1828-1905) is one of the world's most familiar -- and most translated -- authors.
An inspiration to a galaxy of aviation and rocket scientists, astronomers, astronauts/cosmonauts and explorers, Verne is deemed a father of science fiction with his "fantastic" tales of exploration and credited with "inventing" submarines, helicopters, space flight as well as many other discoveries including computers (his "compteurs" is even close to the name).
"Voyages extraordinaires" ("The Extraordinary Voyages"), on which his reputation is built, comprise 54 novels published between 1863 and 1905, and when he died, he left more incomplete manuscripts. His son Michel would subsequently publish them over the next two decades, though adapting or even rewriting some of them. One book, written in 1863 but locked away in a safe and forgotten after his publisher deemed it too fantastic and pessimistic, was finally published in 1994.
But leave alone, for some other time, the question of how far it is correct to consider him a seer of scientific progress, or a progenitor of science fiction, it is more fitting to deal with how Verne's popularity and prodigious output paradoxically saw his reputation as an author suffer - both in his own land and the world outside.
While in his own land, many contemporary critics held his commercial popularity meant he was only a mere genre-based storyteller than a serious author (though this would soon change), Verne, in the English-speaking world, was only deemed a writer for children and a naive proponent of science and technology - for which translators and publishers were solely responsible.
US academician Arthur B. Evans notes that literary scholars agree that Verne's early English translations were "extremely shoddy" and "often bear little resemblance" to their originals.
"In a rush to bring his most popular (and profitable) stories to market, British and American translators repeatedly watered them down and abridged them by chopping out most of the science and the longer descriptive passages (often 20 to 40 per cent of the original); they committed thousands of basic translating errors, mistakes that an average high-school student of French would have managed correctly; they censored Verne's texts by either removing or diluting references that might be construed as anti-British or anti-American; and, in several instances, they totally rewrote Verne's narratives to suit their own tastes (changing the names of the characters, adding new scenes, deleting others, relabeling the chapters, and so on)," he says in "Jules Verne's English Translations", journal 'Science Fiction Studies' , 2005.
Two examples are telling.
Take Verne's playful use of Newtonian laws for a lovelorn woman: "These scientists appeared worthy of her admiration and fully justified a woman's feeling attracted to them proportionally to their mass and in inverse ratio to the square of their distance. And indeed J.T. Maston was corpulent enough to exercise on her an irresistible attraction...." , disappears in one American translation: ".. these wise people seemed to her worthy of all admiration and support. She felt herself drawn strongly towards them. And J.T. Maston was exactly that kind of man and one she adored...."
In "The Mysterious Island", where we learn the truth about Captain Nemo and his Indian origins, Evans translates the original as: "The British yoke had weighed perhaps too heavily on the Hindu population. Prince Dakkar became the spokesman for the malcontents. He instilled in them all the hatred that he felt for the foreigners...."
However one English translation goes: "Instigated by princes equally ambitious and less sagacious and more unscrupulous than he was, the people of India were persuaded that they might successfully rise against their English rulers who had brought them out of a state of anarchy and constant warfare and misery, and had established peace and prosperity in their country. Their ignorance and gross superstition made them the facile tools of their designing chiefs.."
It is such translations that we have read, and are also available online, that form our views of Verne, while obscuring his universalism and ambivalence about progress and technology. Corrective action is under way but many are even not aware anything was wrong.
(Vikas Datta is an Associate Editor at IANS. The views expressed are personal. He can be contacted at firstname.lastname@example.org )
A hero and beloved clown of semi-literates: A rebuttal to Manu Joseph’s post on Rajinikanth
Manu Joseph writes a stinging, whiplash of a take on Rajinikanth the phenomena, as eloquently and evocatively as only he can and with a self appointed sense of intellectual hubris that only he can afford
Monday, July 25, 2016 - 17:02
Journalist Manu Joseph’s Facebook post calling Tamil superstar Rajinikanth, “the hero of semi-literates” and a “beloved clown” who “has no talent” has, as expected, outraged fans and film lovers. A Hyderabad-based marketing branding professional, Rajesh Balasubramanian’s line-by-line rebuttal trashes the senior journalist’s argument. Incidentally, Rajesh is no fan of the superstar.
Read Rajesh's full post here:
Manu Joseph writes a stinging, whiplash of a take on Rajinikanth the phenomena, as eloquently and evocatively as only he can and with a self appointed sense of intellectual hubris that only he can afford.
Now, let me try and articulate my take to his take, bit by bit. Am sorry for using the word Rajinikanth and Manu Joseph excessively in this note. I tried my best to limit it with pronouns but just couldn’t.
'There is no reason why Rajinikanth exists', says Manu Joseph.
-- He is right. Just as there is no reason why Coca Cola exists either. Just as there is no reason why Haldiram's Moong Dal exists. Just as there is no reason why Ramesh Sippy’s Sholay exists. Just as there is no reason why Pokemon go exists. The truth is that they do and that we need to live with it. We have every right to turn down the offer that is thrown at us. There is no point cursing the drink while sipping it. Its a stupid waste of time. It is the consumers who create legends and not the other way around. If you dont want to consume something, just dont.
I've been trying to warn Rajini for a long time -- don't take them seriously, you're not pan-anything, you're the hero of semi-literates, says Manu Joseph
-- I still remember being riveted to a Norman Mailer novel, when I had to close the damn book and rush to the theater. The reason was to watch Rajnikanth's Baasha. I didn’t feel anything amiss then. I dont feel anything amiss now. I dont think my desire to watch a Rajini film was reeking of reverse intellectualism or phony rationalism. I wanted to watch his movie on screen, thats all. It was the same pair of eyes that watched Rajini’s ‘Baasha' that night, It was the same pair of eyes that read ‘The Fall’ by Albert Camus, the week after and it was the same pair of eyes that had watched ‘The Full Metal Jacket’ by Kubrick a month before. There was nothing beguiling or hypocritical in any of these three unique experiences. That the mind wrenching monologues of Jean-Baptiste Clamence have stayed imprinted far longer than the harebrained dialogues of Manik Baashha is another story. It just means, the mind filters what it thinks is revolutionary and discards the rest. This doesn’t take anything away from that month in my life, when three philosophically incongruous products were consumed by me with relative ease and without much anguish.
'The fake urbane fans of Rajinikanth have finally completely destroyed him’, says Manu Joseph
-- Apart from the literary finesse in that sentence there is nothing much to it. I dont think anybody has destroyed anybody. I believe, Rajinikanth does what he feels is right just as most of us do what we think is right. I believe Rajinikanth to be a reasonably intelligent man and has enough working neurons to make personal and career decisions. I am sure he cannot mathematically explain the inertial frame of reference of Enstein. Just as Manu Joseph will also not be able to and just as most of us will not be able to. Which means we (Rajinikanth, Manu Joseph and most of us) are not the highly advanced, precociously intelligent people who deal with matters that matter to none. So while this select few are trying to interpret the language of the gods and signals from the universe, we the rest of us ( incl Manu Joseph) deploy our naturally provided or consciously honed material or skill, which the world consumes and with which we trade our existence; Rajinikanth with his cigarette tossing and tailor-made dialogues, Manu with his awe-inspiring language and captivating columns and I with my ability to insert squares and circles in MS powerpoint.
'He is the very end of analysis’ , says Manu Joseph.
-- I think there are too many of them whose journey begins where the road to analysis ends; From Arnold Schwarzenegger to Deepak Chopra to McDonald’s burgers. According to me, he is an analysis waiting to happen. There must be something affirming and real in the product called Rajinikanth that simply works. We need to find out, what that is. He is a product that is consumed far more than others and has has gone on to attain an impossible, incomprehensible cult hood that doesn’t render itself well to critical enquiry nor fit into rational boundaries. It is spooky, no doubt.
'He has no talent...When he puts his right elbow on his left palm and the left elbow on the right palm, he demands that everyone accepts it as dance. And his ability to toss a cigarette in the air and grab it with his mouth is attainable even to my mother’, says Manu Joseph.
-- He is right here. But there are enough examples and instances of talentless people and things become ultra successful and achieving inexplicable iconolatry. But we need to understand that when it comes to contemporary commercial art forms like movies, we are generally a tasteless and talentless people. We are quite addicted to lack of talent. We ooze talentlessness through every creative pore available. Making talentless people into nebulous icons is the evening hobby of our nation anyway. We are so bereft of talent availability, that we even anointed Aamir Khan as the passionate crusader and intellectual custodian of good films. To me he is an above average actor who tries too hard and a below average intellectual who tries too hard. But yes, he tries too hard and I’ll give that to him. His desperate effort to appear above par is felt even by his shadow that follows him and sometimes by the stool that he sits on. Therefore Manu Joseph's attempt at contrasting Rajinikanth's axiomatic mediocrity with Aamir Khan's ostensible superiority is a bad idea. Its like choosing between the American Onion and Spanish Tomato flavours of Lays. Both are pathetic calories.
Its just that, we dont need to specifically target Rajinikanth for lack of talent. Out here, Rajinikant is not an exception to non-talent. He is part of the ever growing club of super successful non-talented people. However, there is only one thing that differentiates him from the others when it comes to being non-talented. Unlike others, he endorses his talentlessness wholeheartedly and admits to it publicly. He admits to it without a shard of wanting to attain reverse glory. He believes his success to be miraculous and without reason. I think he has rationalized with his life journey far better than many of those cigar smoking, green tea drinking snobs, who still read Derrida and Jon Paul Sartre by the night to feel intellectually secure. Watch any of those videos on youtube. You will understand what I am saying. Manu Joseph cannot get celebratory pom-poms for having said that Rajinikanth has no talent. There is some one who beat him to it and his name is Rajinikanth.
'Tamil Brahmins preferred Kamal Haasan, who was more talented than a bride—he could sing, he could dance, he could laugh and cry at the same time. Naturally, they had an innate contempt for Rajnikanth, but in time discovered the fake charm of appreciating him. There was something intellectual in calibrating the folly of the dark masses and renaming it phenomenon', says Manu Joseph.
-- There is an obvious over generalizing and unauthorized representation happening here, but lets consider for a mayflyish second that its true. So to this temporarily assumed truth, my take is that there is something called an acquired taste; A product that you do not like initially, but grow to like/love over a period of time (like sushi). So, It is not called a fake charm as Manu Joseph says. It could just be newly found tastebud.
I am not a Rajini fan though I have grown up watching his films. I have enjoyed the pulsating numinous experience called Rajini the same way I enjoy the night festivities around Charminar during Ramzan. His movies are trite, tedious and boring though the cultural fever and irrational passions he generates every single time there is a release, is an unimaginable occurrence. I like watching him off screen in award functions and interviews. Out there, He seems real, reasonable, just like most of us. He does endear himself to me at some levels, but never as an actor or a star. I dont think the world has become any the culturally better, cerebrally richer or philosophically more profound because of his presence or contribution. But that I think of most people including Manu Joseph and myself. He cannot be the sole owner of the Dark Ages. There are too many pallbearers of impact less existence and non performance out there and writers are not excluded from that irrelevant assemblage, just because they can write.
This post was first published on Rajesh Balasubramanian’s Facebook page.
Note: The views expressed here are the personal opinion of the author
Teenage pain often dismissed as 'growing pains', but it can impact their lives
Worryingly, there is evidence that persistent pain symptoms in adolescence predict chronic pain problems in adulthood.
Monday, July 25, 2016 - 16:29
Image for representation - Yann/Wikimedia Commons
Christopher Williams, University of Newcastle and Steve Kamper, University of Sydney
This is part of our series on kids' health. Read the other articles in our series here.
Most of us know someone who has “a bad back”. Research tells us up to 70% of people will experience back pain at some stage during their lives. But what about when a child or teenager complains of musculoskeletal pain such as back or neck pain?
The most common type of musculoskeletal pain is spinal (back or neck pain), and many more adolescents complain of pain than is commonly recognised. Between one-third and half of all adolescents aged 13 and over report back pain about every month or more often. In fact, the prevalence of these conditions rises so sharply in early adolescence the rates approach adult levels by 18 years.
It’s becoming increasingly clear so-called non-specific “musculoskeletal conditions”, the leading causes of disability worldwide, are significant health issues in children. By non-specific conditions we mean pain that cannot be attributed to a defined and diagnosable anatomical cause. In adults, these conditions are recognised as complex disease states that have biological, psychological and socio-environmental underpinning.
Aren’t they just growing pains?
In the absence of an identifiable injury such as a sprain or fracture, we often disregard childhood and adolescent spinal and musculoskeletal pain. A common belief is that pain in kids will just go away or be forgotten when life takes over.
However, for a significant proportion of adolescents, non-specific pain has extensive impacts on health and quality of life. For example, in a study in Western Australia, about 20% of 17-year-olds reported either missing school, seeking health care, taking medication, interference with normal activities, or interference with physical/sporting activities due to back pain.
Worryingly, there is evidence persistent pain symptoms in adolescence predict chronic pain problems in adulthood.
The blame for pain in kids is often directed at school bags, computer and small-screen device usage, posture, or other biomechanical targets. It is also sometimes believed (permanent) damage is being done to the spine, with lifelong consequences.
However, there is little evidence this is true. Studies show socioeconomic, lifestyle, cognitive and psychological factors are just as strongly, or even more strongly, related to pain, particularly chronic pain, as physical factors.
These societal beliefs about physical causes of pain may be not only incorrect, but detrimental if they cause worry about the spine being fragile and discourage children from physical activity.
Back pain and health
Health issues such as excess weight and obesity, diabetes, substance use and poor mental health among children are causes for concern, and the targets of national public health campaigns.
Recent evidence has shown these general risk factors for poor health and chronic disease cluster in children with spinal pain. At this point, it is not possible to say whether pain precedes poorer general health or vice-versa. Relationships between them are likely to be complex.
However, given the high rates of musculoskeletal pain across the population, and in particular in kids with other health risks, a case can be made for considering the influence of pain in the effectiveness of lifestyle-related public health campaigns. For instance, pain could be an important barrier to participation in physical activity.
Addressing health behavioural risk factors, such as inactivity, weight gain, diet and even substance use, when treating young patients with pain is likely to be important. This will be important whether these behavioural risks are (partially) responsible for the pain itself or develop in response to painful symptoms.
Unfortunately, to date we don’t really understand the complex interaction between painful events, the growing body and broader health influences, and other social or environmental influences from family, health care providers and schooling. In particular, we know very little about what brings on the initial episodes of painful conditions and whether this underpins the link with future chronic pain.
Given wide recognition that early life events are critical in shaping health as people grow older, understanding the context of common painful conditions in early life is critical to inform future health.
Overdiagnosis and overtreatment
It is important we provide effective treatment to those at risk of developing persistent pain. It is also important we don’t create medical problems out of transient aches and pains. We definitely don’t want to be sending every child who complains of back or neck pain off for diagnostic tests and intensive treatments. A problem currently is we don’t have sufficient quality evidence to enable us to decide who we should be concerned about, and who can be reassured and sent on their way.
While we don’t have good evidence about what specific treatments are effective for childhood and adolescent spinal pain, it is possible to engage the community in better conversation about what causes “non-specific” musculoskeletal conditions.
The role of social influences needs closer examination, and pain must be considered within the broader context of chronic disease and long-term health risk factors. A shift away from the narrow and outdated focus on school bags, posture and damaged spines is a must. Efforts to update the narrative around pain are as important for children as for adults.
QUÉ ES UN TORNEO DE TRADUCCIONES?
Los torneos de traducción son una idea antigua, que últimamente Chris Durban ha llevado a la práctica en diversos encuentros profesionales, con el nombre de «Translation slam, a live event in which translator compete on stage in the name of education and enterteinment».
Antes del torneo, los participantes reciben uno o varios textos cortos (de 100 a 150 palabras). Disponen de varios días para traducirlos, elaborarlos, corregirlos y hacer todo tipo de consultas. Después deben enviar su traducción a los organizadores, antes de una fecha señalada, próxima al día del torneo.
La experiencia dice que sus traducciones no serán exactamente iguales. El torneo permite conocer los diversos puntos de vista, las distintas fuentes de consulta y, quizá, los errores.
El día del torneo se proyectarán en una pantalla el segmento fuente y dos o más propuestas de traducción. En algún caso será el instructor quien proponga su traducción para compararla con la de uno de los asistentes. Podemos dividir la audiencia en dos grupos, («¿Lannisters y Starks?»), uno liderado por Mercedes y otro por Pablo.
Todo el mundo gana con esta forma de trabajar (por eso no habrá premios aquí): quien traduce en la soledad de su despacho y toma decisiones lingüísticas por sí solo, tiene esta oportunidad de hacerlo en colaboración con otros profesionales. Los ponentes ven reforzadas o debilitadas sus sugerencias. Pero también los estudiantes de traducción y hasta el público general puede opinar sobre el sonido de la traducción, su construcción y su conveniencia. Cualquier traductor puede terminar por preferir la propuesta de un «oponente».
Este acto de retroalimentación puede dar origen a nuevas y mejores soluciones lingüísticas, y a que todos veamos cómo se comportan los cerebros de nuestros compañeros cuando se enfrentan al mismo problema que nosotros.
También existe la posibilidad de presentar un texto fuente muy corto en la pantalla y dar 5-10 minutos a los asistentes para que lo traduzcan. Después se enfrentarán entre ellos con sus propuestas. O presentar un texto fuente bien buscado y su traducción de Google Translator, que deberá ser especialmente mala.
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NHS Tender for Interpretation and Translation Services 2016. NHS Translation Services Framework.
We all know that all “roads lead to Rome”, which “was not built in one day”, but what about “smoking like a Turk” or “speaking Chinese”?
Idioms. We all use them, but where do they come from? The easiest answer would be that they come from historical events and from the proximity of one country to another. The English-speaking people have a saying about the French, “don’t leave like the French” which means leaving without saying Good-bye! The Spaniards say “despedirse a la francesa“, to “leave the French way”. On the other hand, the French say the same thing about the English (“filer à l’anglaise“). The Germans blame it on the Polish, “einen polnischen Abgang machen“,“make a Polish exit” and the Poles throw it back at the English “leave in an English way”, “wyjść po angielsku”.
We Romanians had a lot to deal with the Turks, so we say, “he eats like the Turks are fighting on his mouth” (“se bat turcii la gura lui”) to describe someone who eats very quickly. In addition, when someone sits with their legs crossed, they are “Turkish sitting” (“stă turceşte”) and when someone does not understand something obvious we implore “don’t be a Turk” (“nu fi turc”). I was surprised to find that Slovenians have the same saying but about the French, Croatians about the English, Polish people about the Greeks and Greek people about the Chinese. In addition, “Θες ν’ ακούσεις κάνα τούρκικο τώρα” in Greek, “You want to hear some Turkish now?” means “do you want me to swear?”. And what about “pardon my French”? It is not that someone is excusing themselves for their level of the language? Indeed, it is also related to swearing.
Have you heard about “smoking like a Turk”? Well, if you are Romanian, Italian, Slovene, Croat, Luxembourgish, Macedonian, French or German, apparently you would use this idiom when you refer to someone smoking a lot.
To refer to something that they don’t understand in writing, the English would say “it’s all Greek to me”. At the same time the Greeks say the same thing, but referring to Chinese. As do the Portuguese, Bulgarians and Spanish, people. The Finns have a slightly different saying about the same thing, to “speak pig’s German” (“puhua siansaksaa“) – namely, when someone says something completely weird and incomprehensible.
For the Spanish people, the English are punctual, so they say “punctual as an English man”, while in Romanian, Estonian and other Baltic languages, they say the same thing, but about the Germans. When Italians describe one’s punctuality, they say “punctual like a Swiss watch” (“puntuali come un orologio svizzero“), the Poles say “to work as in a Swiss watch” (“chodzić jak w szwajcarskim zegarku“) referring also to the accuracy of a Swiss watch. The same goes for Portuguese people who say, “Certo que nem um relógio suiço“ (“right as a Swiss clock”).
“Going Dutch” means splitting the bill in half at the restaurant, and “having a French shower” means to spray on too much deodorant instead of washing oneself. This is the first time I have heard that, but it seems that it is a popular idiom. In Sweden, the idiom is “take a Turkish shower” (att ta en Turkdusch). The French people also have an idiom about showers but it’s “prendre une douche écossaise“, (“take a Scottish shower”) which describes someone experiencing a hot and cold alternate water temperature when showering.
It was an interesting journey to find and read about all these idioms. Do you know some idioms we have not mentioned?
“Naturally, publishers and booksellers alike are keen to capitalise on our exotic new appetites (to use the phrase “cash in” seems a bit unfair in these slightly rarefied circumstances). Near…
Alexandre Goulart Simões, durante a Cúpula de Investimento SelectUSA 2016, com Barack Obama
A infância humilde no Parque Progresso e os estudos em escolas públicas de Franca, como “Pedro Nunes Rocha”, “Adalgisa de São José Gualtieri” e “Dante Guedine”, fazem parte da biografia de Douglas Alexandre Goulart Simões, 40. Filho de trabalhadores rurais e mais seis irmãos, ele chegou a trabalhar em fábricas de calçados como cortador e, antes de ingressar na carreira de tradutor e intérprete, lavou pratos e foi garçom durante uma longa estadia em Londres, na Inglaterra.
No mês passado, um trabalho nos Estados Unidos foi como uma coroação da profissão que abraçou há 16 anos. Ao lado da sócia, Simões fez a tradução simultânea do presidente Barack Obama, para o português, durante a Cúpula de Investimento SelectUSA 2016, evento que promove o investimento estrangeiro. “O presidente fez a palestra principal e, após esse trabalho, houve uma repercussão enorme. Não esperava por esse retorno”, conta.
Para chegar a esse patamar, Simões se abdicou da família, amigos e namoros e se dedicou exclusivamente aos estudos. Sua trajetória começou ainda em Franca. Incentivado por professores, descobriu a leitura. Em seguida, conquistou bolsa de estudo para fazer o ensino médio no Pestalozzi. De lá, foi aprovado em ciências sociais na UFU (Universidade Federal de Uberlândia) e, a convite de uma amiga, acabou indo para a Inglaterra durante um período de greve da universidade.
“Fui para ficar três meses e acabei passando quatro anos sem voltar para o Brasil. Tudo era muito caro e não havia internet como agora”, lembra.
A temporada esticada fez com que o francano se apaixonasse pela língua inglesa e o obrigou a trabalhar até em mais de dois empregos para se sustentar. Nesse período, Douglas lavou pratos, foi garçom e também trabalhou em jornal, fazendo entrevistas por telefone em português e traduzindo para o inglês, ao mesmo tempo em que continuava os estudos do idioma.
“Pensei muitas vezes em desistir. Foi um período muito difícil, mas fui persistente e consegui ficar.”
A experiência abriu portas e, ao retornar ao Brasil, já tinha engatilhado um emprego no Rio de Janeiro, como tradutor de uma empresa prestadora de serviço para a Petrobras. Simões também passou a trabalhar como professor, para completar a renda e a estudar como foco em um concurso público de tradutor juramentado - profissional esse reconhecido oficialmente por instituições e órgãos públicos. “Esse é um concurso muito concorrido da Junta Comercial. Passei no Rio Grande do Sul e, depois de um ano e meio, transferi para o Rio de Janeiro. Nesse período, comecei a me interessar pela tradução simultânea e fui em busca de um curso.”
Graças à carreira, Simões abriu uma empresa e pôde conhecer inúmeros países e a vivenciar diferentes experiências. “Devido ao talento nato, sempre tive o desempenho elogiado e isso me ajudou a trabalhar com o consulado dos EUA no Brasil. Viajei todo o território nacional traduzindo especialistas em treinamento com policiais. Também passei a acompanhar delegações brasileiras lá fora e a participar de eventos com o governo americano. Como sou de Franca, tenho muito orgulho da cidade e devo muito a ela e a grandes professores todas essas conquistas.”
A atriz Isabel Wilker, que interpreta Adriana Caldeira na novela “Haja Coração”, está a mil por hora. Mas nem a correria e a intensidade das gravações da atual novela das sete vai fazer a moça deixar de lado um sonho antigo – um curso de tradução. A primeira experiência dela com o tema surgiu na montagem brasileira de “Through the Yellow Hour”, do dramaturgo americano Adam Rapp, cuja ação se passa em uma Nova York sitiada e arrasada por uma guerra misteriosa e violenta.
A peça, em português “A Hora Amarela”, foi traduzida pela atriz, que ainda fez parte do elenco, trabalhando ao lado de Deborah Evelyn. “A ideia é fazer um curso informal, tanto que vou fazer tudo via e-mail com a ajuda do tradutor Sergio Flaksman, e quando estiver no Rio de Janeiro nos encontramos para tirar dúvidas e conversar sobre o progresso do ‘curso’”, diverte-se a moça, que anda sendo elogiada pelo excelente desempenho na trama. Ponto!