Your new post is loading...
Vacancies in this network: Translators, Revisers, Editors, etc.
BARNEY MTHOMBOTHI21 MAY 2015
"The limits of my language," the celebrated Austrian-British philosopher and mathematician, Ludwig Wittgenstein, once remarked, “means the limits of my world.”
Nelson Mandela also chimed in on the subject. “If you talk to a man in a language he understands, that goes to his head. If you talk to him in his language, that goes to his heart.”
It’s worth pausing a little and reflecting on these words. They are profound.
Faced by the challenge of deciding which of our many tongues to recognise, the wise men at Codesa — the Convention for a Democratic South Africa — declared that the country would have 11 official languages. It was a decision, typical of the times, designed to please everybody.
But it was a cop-out. It effectively ensured that English and Afrikaans would continue to rule the roost. Black people could finally sit at the top table, but they had to leave their languages at the door.
African languages deserve their place in the sun. They cannot forever be hidden away like ugly cousins. But this is not simply about neglected languages. Understanding one another’s languages can help bridge divides and assuage fears and suspicions. It’s a shame we haven’t tried it.
There’s a strong belief that promoting African languages may revive tribal sentiments and that proficiency in English alone is adequate to get by, because it’s an international language. That may be so, but the reality is that millions speak African languages; they cannot simply be wished away.
“Who is the Tolstoy of the Zulus?” asked cantankerous writer Saul Bellow. “Or the Proust of the Papuans? I’d be glad to read him.”
Such sentiments abound. But language is not just about books or superior knowledge. It’s often about getting on — connecting — with our fellow human beings. And Bellow didn’t live in a country where the majority didn’t speak English or weren’t able to learn it even if they wanted to.
German or French will always come in handy when you go skiing in the Alps. But you spend most of your time here, at home, and it’s only common sense that you’re able to communicate with your compatriots on a very human level.
You can’t even begin to appreciate the full extent of the realities and complexities of your country unless you can understand the cacophony of voices and tongues swirling around you, including the chitchat that’s not even directed at you.
I remember my frustration the first time I visited a country whose language I didn’t speak. I wanted to follow the chatter of ordinary people; what they were laughing or sad about. But it was just gibberish. I can’t imagine spending the rest of my life in that sort of darkness.
I’m often intrigued by people who pounce on you at dinner parties, asking all sorts of questions about what’s happening in the country, as if they’ve just flown in from Mars. They’re South Africans born and bred, but they have the feeling they’re missing something. And they’re right. They don’t understand the language spoken on the dance floor. To be unilingual in today’s South Africa is to be socially and politically retarded. It’s a handicap.
This anomaly skews the national discourse. A significant part of the population doesn’t fully understand what’s happening, but the poor are often alienated from the political process. They tend to feel they’re either not heard or their pain is not adequately articulated in the halls of power. Hence the violent protests.
Only those who speak English participate in power — and benefit from it. Those who can’t, the majority, are mere spectators. The haves and have-nots are therefore determined, not by the colour of one’s skin as in the past, but by the ability to use the English language.
Some of those who daily analyse the ins and outs of our society can hardly speak an African language. How can they evaluate events in South Africa when they cannot understand, first hand, what the majority are saying? It’s like interpreting German society to the Germans when you can’t speak or understand German. A bit of an exaggeration, but you get the drift.
There can be no excuse for those living, say, in KwaZulu-Natal — be they black, white or Indian — not to be able to converse in Zulu. The same goes for Xhosa in the Cape and Sotho in the Free State. These languages are so overwhelmingly popular in those provinces that it will take little effort to learn them. What’s lacking is the will or desire to do so.
We should do away with the charade of 11 official languages, but let them be part of the fabric of those provinces where they predominate. And of course they should be part of every school curriculum.
Learning another language will not only broaden your understanding of the world around you, but, as Mandela says, it will tug at the heartstrings, making possible that connection which is so crucial to reconciliation and nation building. If anything can unite us, language will.
This article first appeared in the Sunday Times
The new edition of Collins Scrabble dictionary has added lotsa, twerking, lolz, and many more ridic words that are straight out of the slang vocabulary that the youth uses in social media posts, blogs, texts, tweets, comments, and other form of virtual interactions.
Even the word emoji is one of the 6,500 new words added to the official Scrabble dictionary.
"Dictionaries have always included formal and informal English, but it used to be hard to find printed evidence of the use of slang words," Helen Newstead, head of language content at Collins, told News.com.au.
Other words include facetime, which refers to talking someone in reference to the Apple app Facetime, Bezzy, which is short for best friend, and wahh, which is short for wailing.
For higher scoring words, there is quinzhee, which means an Inuit snow shelter, and there is schvitz, which is a Yiddish term meaning "to sweat."
However, not everyone is happy with the added words. Purists are objecting to the words added to the dictionary, saying that the words are an abuse to the English language and are mainly of youth culture and American influence, The Express Tribune reported.
The Collins Scrabble Word List is used by international tournament players, CNN reported. It includes more than 276,000 words from Australia, Canada, New Zealand, South Africa, the U.K. and the U.S.
It may seem ridic, but lotsa street slang and techie terms have been included in the latest official bible for players of the world’s favourite word game.
Devo, onesie and vape are among thousands of new entries that have been added to the official Scrabble word list.
Now people use slang in social media posts, tweets, blogs, comments and text messages.
Collins, which publishes the list of all words that can be used in the popular board game, has just added a further 6,500 to the existing line up of 250,000.
Words used on social media, in texts and on the street are now available to fans of the traditional game.
Making their debut in the list are lolz (laughs) and bezzy (best friend), which are joined by tweep (person who uses Twitter) and tuneage (music).
Others reflect modern society, trends and events, such as devo (devolution, as in devo-max), vape (to puff an e-cigarette), onesie (all-in-one suit) and twerking (hip-gyrating dance).
The new word list also recognises the role technology plays in daily life with the inclusion of facetime, hashtag and sexting.
Scrabble opponents are also now able to challenge each other with exclamations such as augh, blech, eew, grr and yeesh.
For the most competitive Scrabblers, the highest-scoring new words may be the most important. These include quinzhee (an Inuit snow shelter – 29 points) and checkbox (28).
“Dictionaries have always included formal and informal English, but it used to be hard to find printed evidence of the use of slang words,” said Helen Newstead, head of language content at Collins.
“Now people use slang in social media posts, tweets, blogs, comments and text messages.”
The board game was invented in 1933 by American architect Alfred Mosher Butts. It was originally known as Lexiko and then Criss Cross Words. Scrabble as we know it was born in 1948.
The game has reached a new band of modern players, with digital versions available online and as downloadable apps.
Collins Official Scrabble Words contains words from the UK, Australia, Canada, South Africa and the US.
New to international language of Scrabble
• Bezzy - best friend
• Cakeages - charges in a restaurant for serving cake brought in from outside
• Cakehole - mouth
• Dench - excellent
• Devo - short for devolution
• Geocache - search for hidden containers using GPS as a recreational activity
• Lolz - laughs at someone else’s or one’s own expense
• Lotsa - lots of
• Newb - newbie
• Obvs - obviously
• Ridic - ridiculous
• Onesie - one-piece garment combining a top with trousers
• Podiumed - past tense of podium, finish in the top three places in a sporting competition
• Shizzle - a form of US rap slang
• Shootie - type of shoe that covers the ankle
• Thanx - thank you
• Tuneage - music
• Twerking - type of dance involving rapid hip movement
• Vape - to inhale nicotine vapour (from an electronic cigarette)
• Wuz - non-standard spelling of was
Are there some Lancashire words or phrases you think could be added to the Scrabble dictionary, let us know in the comments below.
Some interesting stuff landed in the mailbag for this week. Let’s dive in.
First comes a question about a column in which I wrote: “Never use an apostrophe to form a plural unless it’s necessary for clarity.”
Rosemary in Pennsylvania has a 1970 Webster’s New World College Dictionary that begs to differ: “In my dictionary, the rule for using an apostrophe to form plurals states: ‘Use an apostrophe to indicate the plurals of figures, letters, and words referred to as such.’ … Have the rules changed regarding the use of apostrophes to form plurals?”
Rules change over time. My 2004 Webster’s New World College Dictionary differs some from Rosemary’s 1970 edition. But more important: Who put the dictionary people in charge of punctuation?
Language books disagree on punctuation rules, and none of them has ultimate authority. Publishers rely on a few well respected sources, especially the Chicago Manual of Style and the AP Stylebook, which sometimes disagree with each other. But their widespread use gives these two rule books a lot of legitimacy. They set the standard for professional writing.
So you can follow the punctuation rules in your dictionary if you want. But in language might makes right, so the style guides have more sway.
In another recent column, I wrote: “Let’s face it, grammar is more important for some people than for others.”
Al in Glendale had some thoughts. “That comma after the opening clause, though it may be okay, just didn’t sound like the best thing to use. It seemed to me that something a bit heavier was needed. My mind settled on a colon or a dash as the most desirable punctuation mark, with a slight preference for the colon. In a slightly distant third place was the semicolon.”
Any of these punctuation marks could work. But could one really improve my sentence?
A dash? Nah. Dashes set off parenthetical information or they indicate an abrupt change in thought or structure. So putting one between two complete clauses can stretch the rules a bit too far.
A semicolon? No way. Semicolons between whole clauses are usually silly. They raise the question: Why didn’t you just write two sentences?
A colon? Actually, yes. In retrospect, I think that would have been a better choice. A colon adds emphasis to whatever follows it. It says, “Listen: Here’s my point.” Al wins this round.
Dick in New York State wanted to know whether “fresh picked corn” is an ungrammatical version of “freshly picked corn” or whether, perhaps, the two forms carry different connotations. “Is it picked corn that is fresh or corn that has recently (freshly) been picked?” Dick also wondered:
Is the dynamic similar to terms like “rest easy”?
Not exactly. In “rest easy,” “sitting pretty,” “slice the meat thin,” “dig deep” and similar sentences, the modifier refers to the noun. So an adjective like “easy,” “pretty” or “thin” is correct. But in “drive slow,” “come quick” and “breathe deep,” the modifier is describing the action. So it is an adverb. When you drop the “ly” ending from an adverb, it’s called a flat adverb. In some cases, flat adverbs are completely above board. Look up “slow” in most dictionaries and you’ll see it’s a synonym of the adverb “slowly.” In other cases, dropping the “ly” is considered informal or even unseemly.
So does fresh picked corn mean picked corn that is fresh? Or does it mean corn that is freshly picked? Well, why would anyone talk about “picked corn”? It goes without saying that the corn was picked. The only reason you’d bring up the picking at all is to emphasize it was done so recently. So that “fresh” isn’t modifying the noun “corn.” It’s describing the picking. It emphasizes that the corn was freshly picked.
This is the job for an adverb. So in “fresh picked corn,” we don’t have an adjective modifying a noun. We have a flat adverb modifying “picked.” And though these flat adverbs are sometimes fine in informal contexts, Dick’s sentence would be more proper with “freshly picked.”
– June Casagrande is the author of “The Best Punctuation Book, Period.” She can be reached at JuneTCN@aol.com.
Petersime Launches Chinese Language Version of Website21 May 2015
BELGIUM - Petersime is proud to announce that from now on www.petersime.com is also available in Chinese, as part of a continuing effort to expand their reach and support to their international customers.
Petersime serves a worldwide customer base in over 150 countries.
With production facilities, R&D and Customer Centre in their headquarters in Olsene, Belgium, and a network of regional sales & customer support offices, Petersime strives for a strong global presence coincided with easy to access local service.
Early 2014 Petersime has opened a representative office (spare parts logistics centre and service team) in Tianjin, China.
The subsidiary is officially known as the Belgium Petersime Tianjin Rep. Office and led by Chief Representative Ms Sandy Qi. With this local presence Petersime invests in ensuring customers the best local service and customer support.
Making it possible to consult their website in Chinese will enable a wider and more convenient spread of Petersime product information, service & training offering, news and more.
Furthermore their continued investments into technically qualified and customer oriented people has led to a team of highly skilled certified field Service Engineers specifically for the Chinese market.
Kurt Haeck, Manager Service Department, said: “Striving for unlimited service towards customers on a worldwide scale is a challenge every day.
"Achieving the highest standards of technical knowledge and support for our customers requires a lot of training.
"It is crucial however to make that top notch support available and accessible to all of regional markets, in different time zones and in many languages. We think global, but certainly act local as well!”
The demand for poultry meat continues to rise and poultry meat is set to become the number one meat in Asia, with China being one of the main players.
Mandarin Chinese is the most widely spoken language, based in the most populated country on the planet.
With such a big market and significant audience, it is important to Petersime to be able to address their customers in the right way. This is the Petersime support promise.
Petersime is the world’s leading supplier of incubators and hatcheries. Headquartered in Belgium, Petersime has a worldwide network of agents and distributors in over 60 countries.
Perhaps the most widely interpreted play in the history of theatre, Hamlet is now enjoying even more exposure as Shakespeare's Globe, a renowned theatre troupe from London, plans to visit every single country in the world with their production by the end of 2016, coinciding with the 400th anniversary of Shakespeare's death.
Organised by the British Council, Creative Industries and Chulalongkorn University, Thailand will be the 99th country since last year. This evening, Chulalongkorn University's Sodsai Pantoomkomol Centre for Dramatic Arts will serve as a substitute for the group's London venue.
Directed by Shakespeare's Globe artistic director Dominic Dromgoole and Bill Buckhurst, the production, featuring a multiracial troupe of 16 actors who also play instruments, aims to communicate with everyone, regardless of nationality, language and culture. Speaking to Life, director Dromgoole explained why it has to be Hamlet and how their journey has been thus far.
Can you give us a short introduction as to what this project is about?
We ran a big festival in 2012 called Globe to Globe where we invited 37 companies from all around the world to perform Shakespeare's entire canon in different languages. We had a Maori company perform Troilus And Cressida, a Georgian company perform As You Like It and a Japanese company perform Coriolanus, along with many more. These companies stayed in touch after the summer and we had lots of invitations to join them in their theatres around the world and so we were inspired to take one of our shows out. We have always toured across the UK and Europe so we had some knowledge of how the logistics would work, but this tour is much quicker than what we are used to.
Why Hamlet, of all of Shakespeare's plays?
Hamlet is universal, complicated and rich. Its themes concerning parents and children, rebellion and depression especially are themes that are relatable. However, many times you see the play you can find new meaning and hear new lines. This was important because the company would be performing the play over 200 times and we needed a play that would be fresh each time. Hamlet is also such a protean play; it can respond in very different ways to different places. In some places it has challenged, in some inspired, in some consoled. We're using a text that's a mix of the Folio text of Hamlet and the First Quarto. The First Quarto was very much a touring version, roughly half the length of the Second Quarto. That means it's got an energy, with a fast-moving narrative, and clarity. It will continue to stay fresh as each company member can double or triple up and play lots of different roles.
How has the journey been so far?
It started on April 23 last year and will visit every single country on earth by April 23 next year. The former is the 450th anniversary of Shakespeare's birth, and the second is the quarter centenary of his death (for he is believed to have entered and exited life with uncanny timing, on the very same day of the year). We started in Europe, made our way to North, Central & South America. Then we toured Africa, starting east and then touring to the northwest. 96 countries in a year. Thailand will be the 99th country we have performed in.
How do you think audiences from various backgrounds contribute to your production?
The audience contributes a huge amount to our production and how it continues to grow. Some audiences are vocal, some reserved and then roar at the curtain call. The idea behind the tour was to reach out to as many audiences as possible with Hamlet. Seeing their reactions makes all the travelling and the tiredness worthwhile.
There are, of course, challenges due to language and cultural differences and so on. What's the difference between the touring production and performing at Globe Theatre in London?
This production of Hamlet was born at the Globe and we take the Globe spirit with us on tour.
We don't ever turn the lights down on our audience, so they can see each other, and the actors can see them, which is what it is like at the Globe as we perform under natural light.
Our production needs to stay light on its feet as all the company carries the set and costumes from place to place and they all play instruments too as we don't have extra musicians travelling with the show. So it is a smaller production in comparison to what we have on at the moment in London but it remains rich and powerful just the same.
- Hamlet is staged at Sodsai Pantoomkomol Center for Dramatic Arts today at 7.30pm. Tickets cost 1,600 baht (800 baht for students).
- For reservations, call 086-300-2081 or email CreativeIndustriesBKK@ gmail.com
NEW YORK, NY--(Marketwired - May 21, 2015) - Park IP Translations, a Welocalize company, is a proud sponsor of the upcoming 13th Annual Rocky Mountain Intellectual Property and Technology Institute Conference, taking place in Westminster, Colorado on May 28 - 29, 2015.
The event will provide attendees with insights on current intellectual property law topics including protecting innovations, social media and big data and data security. Industry experts will be sharing advice on trends and changes in IP, technology and transactional law, as well as commercialization, licensing and funding.
As a sponsor and exhibitor, Park IP Translations will be sharing expertise and best practices with legal and IP professionals about legal language services, including experience in translating legal content into more than 157 languages and filing patents in more than 60 countries.
Park IP Translations will provide valuable insights for how to prepare for the pending AIA aftershock and the unprecedented demand legal language experts to meet the deadlines for a record number of PCT filings due by September 15.
"We look forward to meeting with colleagues and legal professionals who share our passion for protecting innovation and intellectual property around the world," said Erin Wynn, general manager at Park IP Translations. "This leading IP event provides a great opportunity to learn from engaging experts on how IP law is evolving and share critical expertise on foreign filings, patent processes and legal language solutions for IP litigation and patent prosecutions."
The event is co-sponsored by the Intellectual Property Law Section of the Colorado Bar Association, the ABA Section of Intellectual Property Law and Stanford Program in Law, Science and Technology. For more information about the 13th Annual Rocky Mountain Intellectual Property and Technology Institute Conference visit http://cle.cobar.org/ip.
About Park IP Translations - Park IP Translations, a Welocalize company, provides translation, litigation and filing solutions for patent and legal professionals. We protect our clients' most valued assets and global brands in nearly every jurisdiction in the world. We provide complete translation services in more than 157 language and filing-ready documentation into more than 60 countries. We are a leader in patent prosecution and validation, litigation languages services, E-Discovery translation and document review, patent translation and filing. We also provide general legal services for all types of corporate and legal documents. Park IP delivers the highest quality translations as a result of our ISO 9001:2008 certification. www.parkip.com
US: Jamie Glass
Europe/Asia: Louise Law
I get confused when I hear some people say in South Dakota, “We were here first.”
I certainly don’t dispute that native people lived throughout this region before European explorers arrived.
I don’t know anyone who disputes that.
So what is the point of the “We were here first” comment?
Is it to dismiss me because my personal heritage isn’t what our society now categorizes as American Indian?
Is it a way to tell me that I’m second-class?
I don’t need to be told that. I already know it. I can’t vote in a tribal government election. I can’t receive the additional benefits available from the federal government for lands taken.
I do understand the desire of people to speak their native language and dialects. That is how people’s brains are wired.
We want to speak our language. We want to talk about our history.
We want to say who we are, in our way.
Declaring “We were here first” can be a way of saying, “Recognize our language. Recognize our history.”
Throughout the first century of territorial settlement and statehood, many people in South Dakota spoke their native languages and dialects within their homes and communities.
The challenge, even still today, comes when speakers of different languages come together.
I don’t know enough German or Lakota or Spanish or French to flunk a test. I know only American English.
I confess: When a speaker at a meeting chooses to make comments in something other than American English, I’m lost.
Solutions might be trusting translators or personally learning the languages and dialects in which those comments are made.
We do have many people in South Dakota who speak more than one language. I admire them for that ability.
I just don’t think, at age 56, I will get there. Too often words I know escape me already.
The closest I came to living with a second language ended when I was a boy and the Catholic Church stopped celebrating mass in Latin.
So what do we do with these things such as language that would divide us as citizens?
Should our public schools teach Lakota / Dakota as a second language, as we increasingly offer courses in English as a second language?
Our state’s native people are hardly alone. This has been a struggle in Ireland too. I’m just as lost with anything spoken or written in Gaelic.
This comes to mind during Memorial Day weekend. It is a national holiday marking the losses of so many soldiers and others in the Civil War.
The war was largely about the federal Fugitive Slave Act and people with black skin who had been mercilessly forced to work in the United States of America.
The war ended in 1865 with the Union winning. This was also the time that U.S. troops pushed west into the Plains and over three decades came bloodshed, forced treaties and reservations.
We have yet to make real peace in urban America or Indian country.
We are here now, each of us, still facing that challenge.
Eurideas Translation is looking for freelance translators specialised in EU affairs.
Perfect knowledge of at least 2 official languages of the European Union
At least 5 years of experience as a translator
Excellent knowledge of one or more EU policies related thematic fields (e.g. law, economics, energy, transports, environment, finance, etc.)
Knowledge of EU terminology is required
Excellent editorial skills
University diploma is required
Precise, pro-active attitude
Translating, proofreading and editing texts related to EU matters and policies
Remuneration is based on performance, qualifications and experience
Flexible schedule, possibility to work on-line
Please send your CV, a copy of your diplomas and a short motivation letter to firstname.lastname@example.org and write in the title of your email: 'EN>DE EU translator.
Include your native language, the language of your studies, your thematic fields, a detailed description of your experience and your availability. Please indicate the name of the position you are applying for in the subject field of the e-mail. Please note that we might ask you to prepare a test translation.
Before you apply, read the latest news about EU policies on EurActiv.com.
Employers want to know how you found their job advert so please state that you found this position advertised on the EurActiv JobSite.
The JobSite can give you more...
Get a bi-weekly newsletter featuring the latest jobs published online here.
Become the JobSite's fan on Facebook.
Follow us on Twitter and receive the latest news and job of the day.
Disclaimer: EurActiv is not responsible for the content of the job vacancies published. Reproduction or redistribution of the above text, in whole, part or in any form, requires the prior consent of the original source. Terms and Conditions apply.
KSL Swamy is keeping his fingers crossed. If all goes to plan, his Prabhodha Chandrodayam, based on an 11th century drama by Krishna Mishra Yati, will be the third Sanskrit feature to be released in India. The film – over three years in the making – is funded by the central and the Karnataka governments and mathas (religious institutions) like Sringeri Sharada Peetham. Its budget: Rs1.5 crore.
"Anyone who knows about Sanatana Dharma, unka kartavya hai ki kuch kare apni matrubhasha ke liye," says the 77-year-old.
Ravi, as Swamy is better known, is a prolific Kannada director determined to give Sanskrit a cinematic shot in the arm.
Sanskrit may not be extinct, but it struggles to keep afloat. Buoys come in the form of mathas, Sanskrit universities and Karnataka's twin villages Mattur-Hosahalli, where it's the dominant language. Safehoused in sacred texts, Sanskrit didn't mix with its vernacular contemporaries or become a 'mass language'. And Ravi knows this well.
"My film will also have Malayalam and other local languages. Could people like bhajiwalas talk in Sanskrit? At no point in our history did the entire population speak the language."
But this fact didn't deter the director of India's first ever Sanskrit film. Ganapathi Venkatrama Iyer, to whom Ravi was assistant director for 30 years, wanted his 1983 opus Adi Shankaracharya to be made entirely in Sanskrit. And he stuck to his guns, going on to make his second Sanskrit film Bhagavad Gita: Song of the Lord ten years later, in 1993.
Role of Kannada cinema
The 1940s was a tough decade for Kannada cinema. "Releases were sporadic, and producers couldn't afford lavish sets. Tamil studios would host Kannada films after their own schedules were over, mostly at night," says professor, writer and film critic N. Manu Chakravarthy.
But Bedara Kannappa (BK) changed that in 1954. Directed by HLN Simha, it was based on a play by vaunted theatre troupe, Gubbi Veeranna Nataka Company – of which Iyer was a crucial part. Scripted by Iyer, BK was the first Kannada film to run for 100 days and win a National Award. Its wheels set Kannada cinema in motion.
Iyer directed films in the '60s, but none were particularly noteworthy. His pitch to direct Vamsha Vriksha (VV), based on a novel by SL Bhyrappa, was rejected by the author himself. The 1972 film, then directed by Girish Karnad and BV Karanth, spurred Kannada cinema's golden wave.
Iyer tried to catch up with Hamsageethe in 1975. The film was well-received, but even then, its director was behind his contemporaries.
"Hamsageethe marked a transition in his career, not Kannada cinema, which was already well into the 'new wave'. The big shift had already taken place," explains Manu Chakravarthy.
Iyer finally had a movie that clicked. Yet, it was too little, too late.
"I asked him why he made Adi Shankaracharya in Sanskrit. He said it was because nobody had ever done it," says Iyer's son Raghavendra. "He used to say Sanskrit is not a dead language. That it's a language of the world."
After Hamsageethe, Iyer went underground and resurfaced in a new avatar. He now had knotted hair, a flowing beard and bare feet, earning him monikers like 'Kannada Bheeshma' and 'The Barefoot Director'. During this time, philosopher Adi Shankara became his point of interest. "He'd read copiously on Advaita, going to gurus for discussions and debates and to learn Sanskrit," remembers Ravi.
From Sant Tukaram (Marathi) and Yogi Vemana (Telugu) to Chandidas (Bengali) and Narasinh Mehta (Gujarati), Indian cinema had no dearth of 'devotional' movies. Adi Shankaracharya, however, was an outcome of Iyer's intent to 'revive' Sanskrit – the 'language of the Brahmans'. Which was why its script was penned by a Vedic scholar and its actors had to have a fair, if not complete understanding of Sanskrit. "They either knew the language or had to learn all their lines. There was no dubbing," says Raghavendra.
Adi Shankaracharya won four National Awards in 1984, but never got a commercial release. It also attracted views ranging from admiration to indifference. Veteran Kannada actor and filmmaker Shivaramanna thinks it's one of Iyer's best works. "He'd sketched all the scenes – much like what (Satyajit) Ray used to do. His movies were like paintings." Then, there's Manu Chakravarthy's take: "Adi Shankaracharya was a cut-and-paste job. It had no critical or intellectual engagement. It's more veneration for an already-venerated Adi Shankara."
Iyer then directed Madhvacharya (1987) in Kannada and Ramanujacharya (1989) in Tamil. Both were peppered with Sanskrit dialogues. But it was in 1993 that he released his second Sanskrit film Bhagavad Gita: Song of the Lord, which bagged the National Award for Best Film in 1994.
Neena Gupta, an M.Phil in Sanskrit, co-starred as Draupadi in the film and remembers Iyer as a disciplinarian. "He was the oldest on set, but his energy belied his age. His son played Arjuna, and Mr. Iyer was most strict with him. He'd make him take dips in ice cold water," she laughs.
Like Iyer's first Sanskrit film, Bhagavad Gita... is relatively unknown. There's little chance of finding the films in DVD rental stores, although the former's on YouTube.
Can Sanskrit cinema ever become a reality? Despite acting in a Sanskrit film and being proficient in the language, Neena Gupta doesn't think so. "When the language isn't spoken, how can you make films in it? Who'll understand it?"
It's more practical to make movies in regional dialects, says Raghavendra. "Sanskrit cinema has no future. But films in Konkani and Tulu will go places. These languages can't be subsumed under Kannada or Marathi and belong to a separate sub-culture, like Bhojpuri. Bhojpuri films are even screened in Mauritius since it's one of the national languages there."
With the exception of The Passion of the Christ (Aramaic), which had the backing of a big name – Mel Gibson – movies in 'dead' languages don't work. Sebastiane, a 1976 biopic on Saint Sebastian and the only Latin film ever made, was radical because its theme was homoerotica. We may not have a Kama Sutra in Sanskrit anytime soon, but perhaps exploring 'atypical' subjects can generate interest.
Until then, those like Ravi have to be content with niche audiences. Even if things don't work out his way, Ravi claims he'll be happy that he tried to bring a Sanskrit nataka (play) to the fore.
We'll just have to wait and watch.
Samoan Language Week vital to preserve culture
Sunday, 24 May 2015, 12:00 pm
Press Release: New Zealand Government
Hon Peseta Sam Lotu-Iiga
Minister for Pacific Peoples
24 May 2015
Samoan Language Week vital to preserve culture
New Zealanders will celebrate the Samoan language this week with cultural performances, speeches and debates all over the country.
Samoan Language Week begins today. It is the first of seven Pacific language weeks to be celebrated this year.
Pacific language weeks allow us to celebrate the diversity that makes New Zealand unique, says Pacific Peoples Minister Peseta Sam Lotu-Iiga.
“Languages contribute to the cultural richness of our society and recognise that we are global citizens.”
Samoan is the third most spoken language in New Zealand, with 144,000 people at the last Census identifying as Samoan. It is also the second most spoken language in Auckland.
“The theme of ‘tautua nei mo sou manuia a taeao’ or ‘serve now for a better tomorrow’ is relevant. Using our Pacific languages ensures their preservation,” Mr Lotu-Iiga says.
“Drawing on the skills and expertise of those who speak Pacific languages allows knowledge to be shared and languages and cultures to be maintained and enhanced.”
Language maintenance is a challenge for Pacific and other migrant communities where the number of speakers is being maintained only through new migration. Second and third generation migrants are often not as proficient in their mother languages.
Language loss is occurring at an alarming rate.
“I trust that Samoan Language Week will provide opportunities for all Samoans to reconnect with their language and culture,” Mr Lotu-Iiga says.
A list of events marking Samoan Language Week can be found at www.mpia.govt.nz
The 2015 Pacific Language Week line-up:
· Samoa Language Week 24-30 May 2015
· Cook Islands Language Week 3-9 August 2015
· Tonga Language Week 30 August – 5 September 2015
· Tuvalu Language Week 27 September – 3 October 2015
· Fiji Language Week 5-11 October 2015
· Niue Language Week 12-18 October 2015
· Tokelau Language Week 25-31 October 2015
© Scoop Media
The impending marriage of Sweden’s Prince Carl Philip to a former glamour model has generated rare excitement among Scandinavian professors of archaic Germanic languages.
Unlike conservative royalists, who thoroughly disapprove of Sofia Hellqvist’s appearances on the Paradise Hotel reality TV show, and her posing topless with just a boa constrictor to cover her modesty, the linguists are enthusiastic about her social elevation. A confession by the tattooed future Duchess of Värmland of cavorting with American porn star Jenna Jameson in Las Vegas in 2005 matters not a jot.
What’s significant is that Miss Slitz 2004, as Hellqvist was crowned by readers of the eponymous Swedish lads’ mag, hails from Älvdalen, a rural town that is the font of the once-banned language, Elfdalian.
The academics hope this endangered language will benefit from a little royal stardust, and that Sweden will upgrade it from the lowly status of “dialect” to enable it to revive and prosper. But they suddenly go shy when asked to expand.
“I need to be careful if we want to be taken seriously by the authorities,” said one campaigner, who asked to remain anonymous.
“But I think the fact that Miss Hellqvist comes from Älvdalen increases interest in the region and that way people discover the language, too.”
The academics’ reticence is partly a result of the intransigence of this most libertarian of nations towards Elfdalian. They believe Sweden is discriminating against a genuine Viking language that dates back to biblical times while recognising five other minority tongues.
“Elfdalian is a linguistic treasure trove,” says Guus Kroonen, a researcher from the Department of Nordic Studies and Linguistics at the University of Copenhagen. “It is something you are more likely to encounter in Tolkien’s Lord of the Rings rather than in a remote Swedish forest. It is one of the last strongholds of an ancient tongue that preserves much of Old Norse, the language of the Vikings.”
“Some of the cases of nasal vowels go back to before the birth of Christ,” enthuses language historian Bjarne Simmelkjaer Sandsgaard Hansen. “Elfdalian is the only language to preserve those nasal vowels.”
Grants of £300,000 are available to help protect recognised minority languages that match Stockholm’s criterion of having been spoken unbroken for a century by three generations. These are Finnish, spoken by up to a million Swedes; Meankieli, a derivative of Finnish used by 50,000 northerners; Romani, the language of the Roma people; Yiddish, introduced by Jewish immigrants three centuries ago; and Sami, the language of reindeer herders.
State funding would help to provide dictionaries and grammar books to consolidate the footprint of a language that is only spoken by about 3,000 people, only 60 of whom are children.
“It’s important to preserve the mother tongue and one should not be ashamed of it,” says Yair Sapir, an Israeli languages professor in Copenhagen, who is spearheading the fight to persuade Sweden to give Elfdalian minority language status.
He was astonished that as recently as the 1970s Sweden prohibited Elfdalian from being spoken in schools.
“The aim in Sweden was to have a standard official language and to diminish the importance of local linguistic varieties. Elfdalian is of great importance to researchers.”
The Council of Europe has asked Stockholm to clarify its position on Elfdalian. “The standpoint of the Swedish government is that Elfdalian is not a minority language to be recognised in accordance with the European Charter on Regional or Minority Languages,” culture ministry spokesman Kristoffer Talltorp told the Observer.
“The primary reason for this is that Elfdalian does not meet the criteria for a minority language under the charter.”
In its response to the Council of Europe, the government said: “The Swedish authorities nevertheless consider that Elfdalian should be preserved as part of the Swedish cultural heritage and should be passed on to the younger generation.”
Despite the lack of official financial and moral support, small shoots of revival are emerging from Älvdalen in the forested hills, 40 Swedish miles – 400km – northwest of Stockholm.
A kindergarten where only Elfdalian will be spoken will be opened there in 2016, and a local high school has a musical group where children who speak Swedish and English are learning Elfdalian folk songs.
Elfdalian has a certain cachet for pupils of guitar and violin teacher Lena Egardt, who, like her charges, performs in a rustic costume that would be totally alien to Sweden’s next princess in her previous incarnation.
From a red floral skull cap trimmed with lace to an ankle-length skirt, covered in a candy-striped apron, the style of dress is almost Amish in its modesty.
“Elfdalian is much softer, more musical than Swedish,” says Egardt. “I learned it as a child, and I have passed it on to my children, but my grandchildren no longer understand me.”
Another campaigner, Lid Ulla Schutt, a retired special education teacher, believes the opening of the kindergarten is a significant milestone. “Fifty years ago, they thought Elfdalian was not good for the children. But children can learn many languages when they are small and they are good at it.”
Schutt learned Elfdalian when she was 15. “It gives you a clear cultural identity. We have many words that belong to the area where we live, to our farming and our landscape. We have a lot of words for a mountain that I wouldn’t find in Swedish.
“It’s a harsh area. People have had a tough life, which has given them chance to stick together, to preserve their language, their music and their traditions.”
Such pride has inspired Eleni Johansen, aged 13, to join Egardt’s ensemble. “It’s fun,” she said. “I think Elfdalian will be useful in the future. It won’t disappear. It won’t die.”
Älvdalen is planning eight days of celebrations to coincide with the wedding, including champagne lunches, concerts and dancing.
“Sofia’s grandmother speaks Elfdalian, I think her mother does, too, and I guess Sofia understands it,” says Egardt. “The couple have visited Älvdalen many times, but people here leave them alone.”
As for the future princess, Hellqvist told Swedish TV: “The past is pretty boring. I’ve moved on with my life. But no regrets. Experience shapes a person.”
The linguists hope that erasing the past does not extend to Elfdalian.
I think Lee P. Webber (in his May 14 column) did not make a good case as to why foreign language classes should be mandatory at the University of Guam.
I myself hold degrees from the University of Washington, Washington State University and San Jose State University (California). Studying a second language was not a requirement at any of these schools. I speak no language other than English (which was not the language of my ancestors) and I am no worse off for it.
I think people should be encouraged to study foreign languages at the University of Guam, but not forced to do so. For one thing, many of the students at UOG already know a second language. For another, some people are just not good at language acquisition, just as some people are not good at music or math. University education is about building on academic strengths, not wasting time and money on weaknesses. This is the whole point about having a major.
We live in the age of English. I make my living teaching English in such places as Saudi Arabia, Iraq, China, Korea and East Timor, so I know for a fact that English is the key to international success because it is the international language. For some students, focusing on English is enough.
According to the Bible: "To everything there is a season, and a time to every purpose under the heaven: A time to be born and a time to die" (Ecclesiastes 3). So it seems that this is the season for English. A language is a thing and as such has a life span. Languages die when their season has passed. This may be sad but it is a fact.
Today we are seeing modern nations go the way of the Etruscans, Minoans, Assyrians, etc. As cultures die out in our changing world, their languages go with them and forcing people to learn a language will not propagate either the language or the culture.
Lee Webber alludes to this when he makes reference to his own childhood experience: "I was raised in a dual-language family. Both of my parents spoke Pennsylvania Dutch and English and as a young child I was the only member of my siblings who spoke and understood both languages. While I lost most of my ability to speak Dutch by adulthood my favorite uncle would always try to get me to speak it with me when visiting with him."
Despite his efforts to preserve it, Pennsylvania Dutch language and culture is going extinct in the Webber family because of time and circumstances. That is just the way life goes -- 'a time to be born and a time to die" is as true for languages as it is for people.
Paul Zerzan lives in Foshan, China
Aboriginal languages could reveal scientific clues to Australia’s unique past
The loss of Australian aboriginal languages could obstruct access to unique scientific information regarding Australia’s ancient geological history, according to a story reported this week by BBC News.
Ancient Australian aboriginal legends passed down over millennia appear to verify recent scientific discoveries regarding Australia’s ancient past. For example, cave art suggests an ancient knowledge of the heavens including beliefs in visits by ancient astronauts and a previously untapped record of natural history among the stars. Investigation of such a resource could reveal memories of ancient meteor strikes from thousands of years ago according to research by the University of New South Wales (UNSW).
Intriguing Aboriginal rock art depicting Wandjinas, the supreme spirit beings and creators of the land and people
Dr Duane Hamacher of the UNSW Indigenous Astronomy Group has been able to match Aboriginal stories to impact craters dating from 4,700 years ago. One such location, at Henbury in Australia’s Northern Territory, is reflected in local oral traditions that have been passed down across the generations.
Henbury Meteorites Conservation Reserve, located 145 kilometers south west of Alice Springs, is estimated to have hit the earth’s surface 4,700 years ago, it contains 12 craters in total. 2006, Photo by W & S Roddom. (Wikimedia Commons)
Indigenous Aboriginal history is believed to span a period of between 40,000 to 45,000 years with some estimates indicating an Aboriginal presence in Australia some 80,000 years before the arrival of the first Europeans. The number of indigenous Aboriginal groups could amount to several hundred, many of which date to well before the colonization of Australia by the British in 1788. The largest of the groups in existence today is the Pitjantjatjara people who live around Uluru (Ayers Rock) and extend into the Anangu Pitjantjatjara Yankunytjatjara in South Australia.
It is thought that at the time of the first European settlement in Australia, some 250 distinct languages were spoken among Aboriginal peoples. Given that many of these languages would also have had their own dialects, the number of potential linguistic forms could extend to several hundred, according to authors Michael Walsh and Colin Yallop.
Australian Aboriginals knew of variable star Betelgeuse before European astronomers
Oldest and largest concentration of ancient rock art under threat from Australian Government
Australian Aboriginals - Creation Myth
Map of Australia showing the distribution of different Aboriginal languages (David R Horton, creator, Credit: Aboriginal Studies Press)
Researchers have fortunately been able to revive one of these ancient languages, previously suppressed by European colonization. The Kauna language was once spoken by Aboriginal peoples around the present city of Adelaide but it began to disappear from South Australia from the early 1860’s.
According to the stories of the Luritja people, a fire-devil arrived on the Earth seeking vengeance for the breaking of sacred laws. The story was handed down across more than 200 generations before the site of this event was finally identified in 1931.
The Henbury Meteorite Conservation Reserve was previously regarded as a taboo ‘no-go’ area by the Luritja. Scientists have now been able to establish that the ‘fire devil’ was actually an ancient meteorite that blasted several impact craters into the red-colored sand with an atomic level of power.
Meteoric iron, found in Henbury, Australia, 1931 - Higgins Armory Museum, 2011. Photo by Daderot (Wikimedia Commons)
“Aboriginal oral traditions contain detailed knowledge about the natural world” said Dr Hamacher, who leads a group of nine researchers from UNSW’s Nura Gili Indigenous programs unit. “By merging scientific data with descriptions in oral tradition we can show that many of the stories are accounts of real-life events. So Aboriginal stories could lead us to places where natural disasters occurred.”
The dozen or so craters created by the meteorite and its fragments have diameters of up to 180 meters across. When scientists first entered the area in 1931, the Aboriginal guide they had brought with them refused to go any further. Luritja elders later told a local resident that the ‘fire devil’ will burn and eat anyone who breaks the sacred law.
Aboriginal peoples hold other stories of ancient natural disasters that have now been shown to be authentic by modern investigation. The Gunditjmara people for instance, tell of a giant wave that swept inland and killed everyone who hadn’t gone up to the mountains.
When Dr Hamacher travelled to Victoria with tsunami expert James Goff, also of UNSW, he found a layer of sediment 2 mm deep at a number of different locations between 500 meters and 1 kilometer inland thereby indicating that an ancient tsunami had swept over the area hundreds, perhaps thousands, of years ago.
These and other indigenous stories could be of great benefit to researchers investigating Australia’s history and geology. They also reveal an understanding of the universe among ancient societies, the existence of which wasn’t widely accepted before.
If Aboriginal languages and dialects, that are currently at risk, can be protected and revived, who knows what else they may have to offer?
Featured Image: Uluru, also referred to as Ayers Rock, is sacred to the Pitjantjatjara and Yankunytjatjara, the Aboriginal people of the area. It has many springs, waterholes, rock caves and ancient paintings. Uluru is listed as a World Heritage Site. (Wikimedia Commons)
By Robin Whitlock
Se ha dicho que el verdadero protagonista de los libros de Alicia no es la niña aventurera y razonable, sino la palabra. Si es así, los traductores que han colaborado con Lewis Carroll en las más de cincuenta lenguas (incluido el latín y el esperanto) en las que sus libros han sido publicados, son responsables en buena parte de su inmortalidad literaria.
El discurso que hace Humpty Dumpty a Alicia, explicándole que "cuando yo uso una palabra, quiere decir lo que quiero yo que diga, ni más ni menos", la respuesta de Alicia, "La cuestión es si uno puede hacer que las palabras quieran decir tantas cosas diferentes," y la conclusión de Humpty Dumpty, "La cuestión es quién es el que manda, eso es todo", resumen la paradoja de todo lenguaje y declaran la libertad y los límites de la traducción literaria.
Alicia es sin lugar a dudas una niña inglesa de clase alta, educada según las normas victorianas, pero también es una niña española, china, rusa, francesa, alemana, etc. de nuestro tiempo, cuyo campo de juego son las palabras, y no es sorprendente que sus libros sean una obra esencial para tantos escritores. En su lengua original, Alicia inspiró a artesanos verbales como James Joyce, quien incluyó en su Finnegans Wake, entre otras referencias a Alicia, una larga palabra compuesta que denota la caída del Humpty Dumpty. Virginia Woolf sintió que en los libros de Alicia estaba ese momento inasible que todo escritor busca, en el cual el texto vacila hábilmente entre el sueño y la vigilia. Para Borges (quien leyó los libros en inglés) Alicia comparte el mundo fantástico del soñador de las ruinas circulares y también (secretamente) de su Inmortal.
André Breton reconoció en Alicia el humor negro de los surrealistas y trató de imitarlo. Para Vladimir Nabokov, Alicia forma parte del mundo estrictamente lógico del juego de ajedrez en su ficción (Nabokov tradujo Alicia al ruso en 1923) y también el de la sensualidad prohibida de su Lolita. En 1928, Shen Congwen, uno de los mayores novelistas chinos del siglo veinte, imaginó cómo sería una Alicia oriental y publicó Las aventuras de Alicia en la China. Renzo Rossotti, el novelista de Torino, la imaginó en el futuro, en Alicia en el año 2000. Salman Rushdie confesó que su mundo de ficción había sido fundado en su infancia por Alicia. Los japoneses Ai Ninomiya e Ikumi Katagiri la transformaron en personaje de manga en ¿Eres tú Alicia?. Italo Calvino habló de la imaginación como existiendo, simultáneamente, de los dos lados del espejo de Alicia, que son también los dos lados de la palabra, como nos explican ella y Humpty Dumpty. En esa realidad vivimos.
APPEL À CONTRIBUTION
Atelier de traduction, numéro 24
Faisant suite au numéro 23, le numéro 24 de la revue Atelier de traduction ne propose pas de dossier thématique spécifique, s’ouvrant à une diversité de réflexions.
Au sein de la traductologie, discipline à part entière et domaine de recherche privilégié, un éventail de sujets et d’approches se déploie, côtoyant une conceptualisation du phénomène multiforme qu’est le traduire.
L’atelier de travail du traducteur se prête à une observation sur l’axe de la synchronie ainsi que sur l’axe de la diachronie, plusieurs aspects étant intéressants à analyser: la dimension culturelle du texte littéraire en traduction et l’image du traducteur en tant qu’ambassadeur culturel, la critique des traductions, le phénomène de la retraduction, l’histoire de la traduction, etc., pour ne mentionner qu’une partie des approches possibles dans le cadre des études traductologiques.
Dans l’esprit d’ouverture induit par la réflexion sur la traduction, dans le numéro 24 de la revue Atelier de traduction nous encourageons une politique d’ouverture, invitant les contributeurs à réfléchir sur tous les aspects, les instances et les rapports qui agencent le vaste et complexe atelier du traducteur, en amont et en aval de la publication d’une traduction.
Nous vous proposons d’intégrer vos réflexions/ analyses dans les rubriques suivantes de notre revue:
→ Articles: section ouverte à toute contribution portant sur la pratico-théorie de la traduction. Tout en privilégiant la traduction littéraire, la rubrique reste ouverte à des analyses concernant la traduction scientifique, la problématique de la terminologie, la question de l’interprétariat ou la traduction audio-visuelle.
→ Portraits de traducteurs/ traductrices qui ont marqué l’histoire de la trtraduction à travers différents espaces culturels.
→ Comptes rendus critiques d’ouvrages récemment parus, traitant de la traduction (actes des colloques, dictionnaires, ouvrages collectifs, ouvrages d’auteur, etc.) ainsi que des comptes rendus de congres et colloques.
Vous êtes priés d’envoyer vos propositions d’articles jusqu’au plus tard le premier septembre 2015, pour le numéro 24 de la revue Atelier de traduction.
Vos contributions sont attendues aux adresses suivantes:
Muguraş Constantinescu, email@example.com
Daniela Hăisan, firstname.lastname@example.org
Pour d’autres informations pratiques, nous vous invitons à consulter le site de la revue: http://www.usv.ro/atelierdetraduction
CONSEILS AUX AUTEURS POUR LA PRÉSENTATION DES TEXTES
L’article sera envoyé par courriel dans un fichier Word (.doc) attaché qui portera le nom de l’auteur.
L’article aura entre 25 000 et 30 000 signes et sera rédigé en français.
Le titre sera écrit en lettres majuscules et centré.
Le prénom et le nom de l’auteur seront alignés à droite. L’affiliation de l’auteur et son adresse électronique seront précisées dans une note de bas de page.
Le texte de l’article sera accompagné :
d’un résumé de 500 à 600 signes en anglais ;
de cinq mots-clés en anglais, séparés par une virgule ;
d’une présentation de l’activité professionnelle de l’auteur et de ses domaines d’intérêt, rédigée en français, qui aura entre 500 et 600 signes.
La police sera Garamond 12 pt, sauf pour le résumé, les mots-clés et la bibliographie (11 pt), interligne simple.
Le format du document sera B5.
Il n’y aura pas de retrait pour le premier paragraphe des sections.
Les majuscules seront accentuées.
Les notes de bas de page sont réservées à des informations complémentaires.
Les références bibliographiques seront écrites entre parenthèses dans le texte, selon le modèle : (Meschonnic, 1999 : 25). Les notes seront numérotées à partir de 1 à chaque page.
Les citations et les exemples dans le texte ne dépasseront pas trois lignes et seront mis entre guillemets à la française (« ... »). Les citations et les exemples qui excèdent trois lignes seront mis en retrait et en caractères de 11 pt, sans guillemets.
Toutes les citations dans une langue autre que le français seront traduites en notes de bas de page.
La bibliographie sera placée en fin d’article et sera rédigée selon le modèle suivant :
Delisle, Jean (2003) : La traduction raisonnée : manuel d’initiation à la traduction professionnelle de l’anglais vers le français. 2e éd. Ottawa, Presses de l’Université d’Ottawa.
Pour tout renseignement, écrivez aux personnes de contact :
Muguraş Constantinescu, email@example.com
Daniela Hăisan, firstname.lastname@example.org
RESPONSABLE : Muguras Constantinescu
URL DE RÉFÉRENCEhttp://www.usv.ro/atelierdetraduction/
A Swedish musical, “Kärleken kommer att skilja oss åt” (Love Will Tear Us Apart), has been made from Joy Division’s songs – and some fans are upset, but they’re still flocking to see the performance.
Author Sara Stridsberg translated seven Joy Division songs into Swedish and they have been adapted to the stage by director Sally Palmquist Procopé.
The musical play premiered last Monday night at the Royal Dramatic Theater.
Every performance is already sold out, through the end of its run on June seventh.
Palmquist Procopé says that initially she was very skeptical and thought hearing Joy Division in Swedish would be lame. But when she heard it was Stridberg who would do the translation, she was excited because she says Stridberg’s language and her imagery fits Joy Division.
Musical arranger Stefan Johansson says fans of Joy Division have also been skeptical, and many have written on Twitter that this is an idiotic idea. But, he says, they’re still going to go see it.
Continue reading at Sveriges Radio
Krasznahorkai edged out Amitav Ghosh, eight others to bag the award
London : Hungarian author Laszlo Krasznahorkai has won Britain’s prestigious Man Booker International prize for his achievement in fiction as he edged out India’s Amitav Ghosh and eight others to bag the top literary award.
Chair of judges Marina Warner, an academic and writer, compared Krasznahorkai’s work to Franz Kafka — Krasznahorkai’s own personal literary hero — and Beckett. “I feel we’ve encountered here someone of that order,” she said while announcing the winner.
“That’s a trick that the best writers pull off; they give you the thrill of the strange…then after a while they imaginatively retune you. So now we say, ‘it’s just like being in a Kafka story'; I believe that soon we will say it’s like being in a Krasznahorkai story,” she said lauding his work.
Krasznahorkai, 61, in his acceptance speech at a ceremony in the Victoria and Albert Museum, credited Kafka, singer Jimi Hendrix and the city of Kyoto in Japan for inspiration.
The biennial Man Booker International prize is worth 60,000 pounds and is intended to honour a living author for his or her body of work, either written in English or available in English translation. The award can be won only once in an author’s lifetime.
Krasznahorkai was one of 10 writers shortlisted for this year’s award, alongside authors including Ghosh, Libya’s Ibrahim al-Koni, Mozambique’s Mia Couto and America’s Fanny Howe.
Kolkata-born, 58-year-old Ghosh had also missed out on the prize in 2008 when he was shortlisted for his work ‘Sea of Poppies’. “We really would have preferred not to have to choose a winner — every one of the 10 writers is really remarkable in different ways and there really isn’t any of them who doesn’t reward reading, who couldn’t have won the prize,” Warner said.
H S Rao
When you think about Welsh literature, the first things that come to mind might be Dylan Thomas, “How Green Was My Valley,” miners, sheep, and so on. Time travel and alternate realities probably wouldn’t be on that list. But Joanna Davies’s new novel “Un Man” (“One Place”), the story of a woman who travels back to 1980s Cardiff and relives her lover’s death by car accident again and again, totally does away with traditional ideas of what makes a book Welsh. She is, as she told me somewhat cheekily, “the first to write a Welsh book that combines sci-fi with horror and romance.”
Sci-fi and speculative fiction (a broader category encompassing any literature with fantastical elements) aren’t the obvious vehicles for preserving an endangered language like Welsh, the oldest language in Europe, spoken by 19 percent of the population, around 562,000 people in 2011. But the genre has been intimately connected to the Welsh revitalization movement over the past 60 years, its writers playing creatively with the language, mixing up traditional folklore with space-age hobgoblins, and imagining various linguistic apocalypses. In fact, for those concerned about endangered languages anywhere in the world — including in the United States — sci-fi is a very natural way to express the perilous experience of an uncertain linguistic future.
The novel that’s generally considered the first modern Welsh sci-fi is Islwyn Ffowc Elis’s 1957 “Wythnos yng Nghymru Fydd” (“A Week in the Wales of the Future”). Published by Welsh nationalist party Plaid Cymru, it tells the story of a young Welshman traveling in time to visit Cardiff in 2033. In one version of the future, Wales is bilingual, independent, and prosperous; in another version, Wales (known as Western England) has lost its language and crumbled into violence. Elis was quite consciously writing nationalistic propaganda, and the goal of using a popular genre, says Miriam Elis Jones, a Ph.D. candidate at Aberystwyth University who studies Welsh science fiction, was mostly “to reach out to more readers.” (At one point, he tried his hand at American Westerns.)
But other supporters of Welsh language preservation continued to see creative possibilities in science fiction. David Griffith Jones wrote the 1964 novel called “Pe Symudai y Ddaear” (“If the World Moved”) in which, in a sort of divine retribution for people speaking English during the National Eisteddfod, a yearly cultural festival, a giant tsunami rips Wales apart from England and turns it into a solitary island. Owain Owain, a former nuclear scientist, founded the Welsh Language Society, which campaigns for language rights, and designed its logo, an abstracted dragon’s tongue. He also wrote the dystopian novel “Y Dydd Olaf” (“The Last Day”), published in 1976, purporting to be the 1999 diary of a boy who’s about be harvested for his organs and cloned by evil robots — and written in Welsh, because (apparently) the robots can’t read that language.
More recently, Jones points to what she calls a revival in Welsh-language science fiction, which she ascribes to a mix of “new confidence, and [authors] getting tired of the old and traditional representations of Welsh culture.” And again, many sci-fi books published today in Welsh deal with language, and language politics, fairly directly. Lleucu Roberts’s 2008 young adult novel, “Annwyl Smotyn Bach” (“Dear Spot”) updates Elis with another futuristic look at a non-Welsh-speaking Wales, this one a bleak apocalypse. Jerry Hunter’s 2014 “Ebargofiant” (“Oblivion”) plays with orthography to build an entirely new Welsh that’s intrinsic to the novel’s post-apocalyptic universe.
Talking to ‘Game of Thrones’ conlanger about building languages
Ahead of the April 12 premiere of Season 5, David J. Peterson discussed the chance to bring George R.R. Martin’s fantastical books alive.
In Maine, the Penobscot dictionary project rises again
There are some linguistic challenges to writing sci-fi in Welsh. According to Jones, there isn’t really a word for “alien.” The direct translation for “alien” is “aliwn,” but, Davies said, “we don’t really use that in everyday conversation.” She prefers “creadur arallfydol,” which means “otherworldly creature.” Similarly, the term “science fiction” directly translated into Welsh — “ffuglen wyddonol” — has fallen out of favor, Davies said. A more common term now is “gwyddonias” (the name of Jones’s blog), which means something like “thrilling science.”
For a writer like Davies, Welsh gwyddonias is clearly a thrill, and an opportunity: “You have got an element with Welsh literature that can be kind of snobby,” she said. “With my books, I’m trying to do stuff that’s fun to read. Because a lot of people don’t read a lot in Welsh.”
For sci-fi fans who want to write in other endangered languages, though, there’s often less support. Welsh has a relatively strong infrastructure, with government grants for writers and publishers, like Gomer Press, which published “Un Man.” The situation is quite different in the United States, with its more than 150 indigenous languages, many of which are spoken by only a handful of people. So far, there haven’t been any science fiction novels written entirely in an indigenous American language — at least, not that have been published, according to Grace Dillon, a professor in the Indigenous Nations Studies program at Portland State University and editor of “Walking the Clouds: An Anthology of Indigenous Science Fiction.” Native authors of speculative fiction, including Celu Amberstone and William Sanders (both Cherokee), Dillon said, have used indigenous languages in their work, but the work generally is in English.
That said, though, she thought speculative fiction was exactly where writers working in endangered languages belonged. “As . . . an indigenous person, you’re living in the post-apocalypse stress syndrome” already, she said, due to the dislocations and loss of language. She pointed to Anishinaabe writer Gerald Vizenor’s classic 1978 dystopian novel, “Darkness in Saint Louis Bearheart,” as an example of how the inventiveness of science-fiction could subvert what Vizenor calls “victimry.”
In the process, Dillon said, “you really start picking up projects. You start thinking of ways to preserve your language. You play around with [language], which is what you want to do. . . . It works so much better when it’s just a lot of fun.”
Britt Peterson is an Ideas columnist. She lives in Washington, D.C. Follow her on Twitter @brittkpeterson.
«Il faut créer notre propre miroir et faire en sorte que le monde nous voit à travers lui», dixit Samba Gadjigo. Le co-réalisateur d'un documentaire sur le cinéaste Sembène Ousmane, projeté pendant le Festival de Cannes, plaide pour que le continent maîtrise mieux sa production cinématographique.
Samba Gadjigo enseigne la littérature et le cinéma d'expression francophone à l'université américaine Mount Holyoke College. Il est l'auteur d'Ousmane Sembène : une conscience africaine (Editions Homnisphères), la biographie officielle du réalisateur sénégalais publiée en 2007. Avec Jason Silverman, il a présenté à Cannes Classics Sembene!, un documentaire sur le célèbre cinéaste africain.
Les films africains sont toujours très rares à Cannes. Vu de France, on a parfois l'impression que les Américains sont plus intéressés par le cinéma africain...
Les universités et les institutions américaines constituent un très grand marché pour les productions africaines parce que nous avons beaucoup de programmes liés à à l'Afrique. Il semble que les universités américaines soient plus ouvertes à l'Afrique que leurs équivalents français.
Aux Etats-Unis, le premier film africain a été distribué en 1969 : c'était La Noire de... de Sembène Ousmane (dont une copie restaurée a été présentée à Cannes Classics). Yelen de Souleymane Cissé a également eu un grand succès aux Etats-Unis. Récemment, ce fut le cas de Timbuktu, d'Abderrahmane Sissako.
Le Festival de Sundance, où Sembene! était le seul film africain, nous a ainsi beaucoup soutenus à travers son institut. De même que la Ford Foundation. Il y a plus d'opportunités de financement aux Etats-Unis qui sont plus ouverts aux films africains que le Vieux continent.
La France est pourtant très active dans le développement du cinéma africain à travers la Francophonie...
La France a sa propre politique culturelle et nous en sommes à la périphérie. La Francophonie soutient les films africains dans le cadre de la promotion du français. Ce n'est pas de l'aide, c'est un partenariat. La France investit dans l'expansion de sa langue, dont le cinéma africain est un vecteur.
Les cinéastes africains, du moins francophones, doivent-ils donc trouver des financements en dehors de la France pour enfin créer une industrie sur le continent?
Tant qu'ils resteront collés à la langue française, ils auront toujours des problèmes. Le français est une langue française universelle : il y a beaucoup plus de locuteurs français en dehors du territoire français qu'à l'intérieur. Par ailleurs, parler d'Afrique francophone ne me paraît pas très approprié.
Le français est notre langue officielle car nous écrivons en français. Mais dans nos familles, nous parlons des langues africaines. Il y a moins de 5% de Sénégalais qui parlent le français à la maison. Comme le disait le célèbre écrivain sénégalais Boris Boubacar Diop, nous sommes des francographes, pas francophones : le français est notre langue de travail.
Nous parlons d'aide parce que la majorité des Africains sont aujourd'hui incapables de produire leurs propres œuvres. Comment voyez-vous l'avenir de nos cinématographies. Nollywood pourrait-il être un exemple à suivre?
Il n'y a pas d'industrie du cinéma africain parce qu'il n'y a pas de structures de production, de distribution, un marché. A l'exception de quelques oasis : l'Afrique du Sud, le Nigeria, l'Egypte, qui a la plus vieille industrie du continent. Néanmoins, le numérique a amélioré les conditions de réalisation des films. C'est léger, abordable et accessible. Les jeunes cinéastes africains en profitent.
Quant à Nollywood, je me réjouis du phénomène parce qu'on produit pour notre propre public. C'est le plus important. Je souhaiterais néanmoins que ce soit un cinéma qui ait une plus grande conscience politique. Mais au nom de la liberté des artistes, je salue ce qu'ils font. En outre, s'il faut développer une industrie, il serait souhaitable d'éviter le modèle hollywoodien où le cinéma est réduit à un objet de consommation.
Dans la conjoncture actuelle, les artistes ont une responsabilité car les gens les écoutent et les regardent. Il n'y a d'ailleurs plus d'Africains en Afrique à cause de la télévision : ils sont tous devenus des Européens dans leur manière de s'habiller et leur façon de se nourir. C'est une conséquence du fait que nous ne contrôlons pas nos propres images.
Nous sommes nourris d'images qui viennent de l'extérieur et nos images sont faites par d'autres. Je cite encore Boris Boubacar Diop qui affirme qu'il faudrait que nous allions au-delà du miroir. Il faut créer notre propre miroir et faire en sorte que le monde nous voit à travers lui. Les images de l'Afrique, du Noir dans le cinéma mondial, sont un miroir brisé, un prisme déformant.
L'aspect le plus pernicieux de la colonisation, c'est sur le plan idéologique, psychologique et mental. Et il est le plus difficile à anihiler. Cinquante-cinq ans après l'indépendance, nous parlons toujours la langue des colonisateurs. Le changement doit donc s'opérer au niveau mental.
Comment produit-on des images quand on a pas le soutien des Etats?
Ce n'est pas le rôle de l'Etat de déverser des milliards pour que les cinéastes fassent des films. Les Etats doivent seulement créer les conditions qui permettent aux cinéastes de faire circuler leurs films en Afrique. On ne peut pas demander à des artistes de faire des films, et de construire des salles de cinéma.
Pensez-vous que les Africains, qui ont les moyens d'investir dans le cinéma, sont conscients que c'est un élément de soft power ?
Le soft power est tel que la puissance des Etats-Unis n'est ni liée au Pentagone ni à Wall Street, mais à Hollywood. Dans nos pays, que vous dites francophones, il n'y a aucun musée digne de ce nom. Il faut aller à Paris, à Londres ou à New York pour découvrir l'art africain. C'est un cercle vicieux qu'il faut briser même si je suis conscient du fait qu'il y a de nombreuses autres priorités. Jusqu'ici, on n'arrive pas à faire boire nos populations. Néanmoins, l'erreur, c'est de penser qu'il peut y avoir un développement sans culture.
En quoi Sembène Ousmane est-il une source d'inspiration pour ceux qui veulent changer la donne?
Sembène Ousmane est bien connu aux Etats-Unis et à l'étranger. Il l'est moins en Afrique. C'est pour cela que j'ai co-réalisé Sembene!, c'est ma manière de l'offrir en modèle. Sembène Ousmane est devenu réalisateur à 40 ans. Quand il a fait Borom Sarret (son premier court métrage sorti en 1963, NDLR), il n'avait pas d'argent. Il avait juste une vieille caméra 16 mm qu'il avait ramenée d'Union soviétique. C'est un autodidacte. Les moyens sont en nous, pas en dehors contrairement à ce que pensent beaucoup d'Africains.
IT IS common knowledge that typical Singaporeans have a propensity to communicate in pidgin English among themselves ("Reverse trend of speaking poor English" by Ms Amy Loh Chee Seen; April 28, "Use good English at all times" by Ms Lim Lih Mei, and "Steps towards better English" by Mr Tan Teck Huat; both published on May 2, all published on Forum Online).
Such spoken English would not appear intelligible to the international community at large.
I recently watched Mind Your Language, a British sitcom which aired on our national television during the 1980s.
One stood to learn many impeccable English phrases, expressions and figures of speech from it.
Similarly, tuning in to the BBC channel on the radio is another avenue to learn good English.
I look forward to a time when Singaporeans are finally accustomed to speaking good English.
While it is impractical to abolish Singlish altogether, we should at least make a concerted effort to minimise its use.
Teo Kok Seah
When I first saw Ricky Altieri’s Facebook status on the morning of April 22, announcing that he would be making a toast that in the back room of Valentine Dining Hall that evening, I thought he was kidding. By complete coincidence, I happened to be sitting upstairs when all conversation stopped and everyone turned their attention to Altieri as he took off a puffy coat to reveal a suit and tie. With his trademark wit, he made a moving toast about how much the staff at Valentine have made this campus feel like a home to him.
Depending on whom you ask, Altieri is the former Marsh Coffee House emcee, the guy who got into Mr. Gad’s House of Improv on his fourth try or that person who speaks way too many languages. It’s hard to live on this campus without having had some kind of impression of or connection with him.
Altieri clearly has an impressive resume: He was just awarded a Watson Fellowship and completed an honors thesis in philosophy. Yet beyond all of these accomplishments, it is almost impossible to think of anyone who has the uncanny ability to connect as widely and as deeply as Altieri does.
The All-Boys School
After finishing eighth grade at his local Scarsdale public school, Altieri went to what his parents euphemistically called “a fun new place,” the Jesuit Catholic all-boys school Regis, on the Upper East Side of Manhattan.
It was a transition in many ways. For one thing, he said the all-male climate was jarring for him. It was also an intense place where students “literally competed over who can have the most depressing work/life balance,” he joked. At the same time though, he was inspired by the academically rigorous environment.
“I’m not sure if I had that love of learning going into high school,” he said. “But as I left, I loved to read, loved to write and loved to think hard even about tiny things that probably don’t matter.”
Altieri’s love of learning and attention to small details is clear after just anhour of talking to him. In fact, he’s quite the grammar nerd.
“I love the grammar of ideas,” he said. “The way ideas can fit together in different patterns and construction, but with a sense of structure to it, to convey a theme and get a point across.”
The Gap Year
It was also at Regis that Altieri first became enamored with foreign languages. After failing a placement test to get into French II, he decided to try something entirely new: Chinese. He became fascinated with the different ideas he could express with a new language, which he describes as a “from zero” way of learning about the world.
While in China for a high school program, Altieri experienced first hand how people can connect over the absurdity of language.
“In Chinese, the phrases ‘immediately’ and ‘on a horse’ sound very similar,” he said. “Something wasn’t sitting well in my stomach. I didn’t want to be rude so I said to my host family ‘I have to run to the bathroom, but I will return on a horse.’ My host brother, who has a wicked sense of humor, said, ‘No, there’s no need to return on a horse.’ I, however, insisted. Then I went to a decidedly horseless bathroom and we shared a laugh when I got back.”
After accepting a place at Amherst for the fall of 2010, Altieri got a message from his childhood friend, Greg Kristoff, asking to talk about a gap year. Altieri figured he’d humor Kristoff, but over the course of about six hours he was convinced.
“It was one of those watershed moments,” he said.
For the first semester of his gap year, he enrolled in a language program at a university in Beijing. After studying Chinese during the day, he engaged in a “conversation exchange” with local friends in which they would spend an hour speaking each language. He and Kristoff also taught English, enjoying both sides of the language learning experience.
In January, they went on a trip to a rural area near Tibet. Altieri and Kristoff spent the rest of their year in the city of Dalian, taking classes at the local school.
Ultimately, Altieri said that the year, though often lonely and difficult, shaped him into a more independent person.
“I was 18 years old and negotiating heating bills in a foreign language,” he said. “I learned how to take care of myself even if when I got here, I wasn’t as prepared to engage with people as I would have liked to be.”
Finding His Place
Will Savino ’14, who works in the Admissions Office, joked to me that Altieri should win “Most Improved Person” at Amherst. After his gap year, Altieri was surprised to find just how much he had to adjust at college.
During his first year, he pledged the underground Delta Kappa Epsilon fraternity. Excited to be a part of a group with so many upperclassmen, he soon found he admired these men despite their fraternal affiliation rather than because of it.
That summer, he told me he had the time “to take a step back and think about the person I was and the person I wanted to be at Amherst.” He decided he wanted to invest time in other communities and left the fraternity.
“Altieri had few problems forming new meaningful connections and communities at the college. People seemed to be drawn to him after first meeting him. He seems like an all right guy,” said his friend Long You ’17.
After performing for Voices of the Class and telling jokes as Marsh Coffee Haus emcee his sophomore year, Altieri realized how much humor meant to him. He decided to give Mr. Gad’s House of Improv a serious try for a second time, after an unsuccessful audition in his first year. He didn’t get in.
He tried for a third time that spring after receiving a huge amount of feedback from Savino, a member of the group. Gad’s decided not to take anyone that semester.
Altieri was devastated but resolved to try out a fourth time his junior fall.This time, he was finally accepted.
“To put myself out there and be vulnerable has just become a mindset,” he said.
Words, Words, Words
Altieri’s passion for language also continued into his college career. His first year, he decided to give Spanish a shot and found he had a knack for the language. In fact, because Spanish was so similar to the Italian he had heard in his childhood, he skipped several levels.
“It was fascinating to me to learn that Altieri spoke so many languages,” You said. “Chinese, French, Spanish. Also English, really well.”
Though few people know it, Altieri is a prolific poet who often performed his work at Marsh Coffee Haus.
His love for the minutiae within complex ideas gave him a natural inclination towards philosophy, leading him to declare the major his sophomore year.
Even in the classroom, Altieri’s ability to connect with others shines through.
“He has the amazing personality to take everyone he is talking to seriously,” said Philosophy Professor Nishiten Shah. “To get the best of what everyone is saying out of them.”
In fact, one of Shah’s students told him that his favorite part of class was whenever “Ricky opens his mouth.”
His love of words also led him to become editor-in-chief of The Indicator. During his tenure at the magazine, he wrote some truly touching and hilarious articles, including one on his experience getting his back waxed.
And, although few of his peers knew this during his time at Amherst, Altieri played a tremendous role making the campus laugh as the co-founder and editor-in-chief of the Amherst Muck Rake. Among his anonymous articles were “12 Things Thesis Writers Are Tired of Hearing,” and “Professor Poe Fined $125 for Dominating Text of Stop Sign” (though he regrets that he’s never actually talked to Poe).
Yet, so much of Altieri’s impact at Amherst has been more subtle, in his daily interactions and one-on-one conversations with friends. Savino described him as a “deeply introspective and sympathetic friend.” Though it’s easy to list his discrete accomplishments, his simple ability to make others feel welcome will be sorely missed throughout the Amherst community.
All The World's A Stage
Altieri will spend next year traveling the world on the Watson Fellowship, studying his passions for comedy and foreign culture. He plans on going to Chinese, Spanish and English speaking countries and immersing himself in each country’s comedic culture.
“The culture of comedy is tied to regions, countries and languages,” he said. “Yet, all our art forms get deeper from the aesthetic intermingling with other cultures.”
Altieri’s Watson project aims to help merge comedic traditions and create more cross-cultural understanding.
“If people are laughing with each other, they generally aren’t killing each other,” Altieri said, quoting Alan Alda.
Ultimately, Altieri doesn’t know what lies in store for him moving forward. He said he may want to study philosophy more, because he enjoys “thinking hard about the little things.” He also may want to get a law degree and use his language skills and cultural understanding to tackle international issues.
Altieri’s options for the future certainly seem unlimited.
“I can see Ricky doing many things. I can see him as a colleague, a politician, running a business. He’s so amazingly talented,” Shah said.
A translator's battle always takes place between his ears.
Already this summer, a small team of Purdue scholars have begun to translate single-leaf, medieval Latin manuscripts from the Virginia Kelly Karnes Archives and Special Collections Research Center. The never-before-translated texts include verses from the Old Testament as well as texts with nothing to compare translations to. The fragile, browned sheets of vellum (animal skins) themselves sit harmlessly in transparent plastic covers, but trying to produce an English equivalent is a considerable feat.
The work is painstaking. Caitlin Young, a senior in the College of Liberal Arts, and Dustin Meyer, a graduate student in literary studies, come equipped with pencils and paper, laptops, a magnifying glass and plenty of reference books. In the sacred silence of the manuscript viewing area on the fourth floor of the Humanities, Social Sciences and Education Library, the students and their instructor will pore over texts and be on the hunt for meaning in a maze of inconsistent abbreviations and peculiarities.
In addition to moving back and forth between reference materials and the the text itself, the group has to meticulously transcribe the often-cramped lettering unique to each scribe's hand. They are engaging in paleography – the study of ancient writing.
But this opportunity and those materials would mean nothing if not for their translation skills. Their Latin has to be good enough to make them feel comfortable sitting with a text they have never seen before, chock-full with the various inflectional endings, grammatical forms and constructions of the language.
Spearheading the project is Liz Mercier, a continuing lecturer of Latin and ancient Greek, who recruited Young and Meyer after they'd studied the language for at least two years.
"I actually started Latin on a whim rather than any deep interest," said Meyer. "But as it happens when you have a teacher as great as (Mercier), you get instilled with passion."
Eventually, Mercier plans to expand the project into an interactive website for students studying Latin anywhere in the world. Getting the texts, transcriptions and translation online will increase their visibility.
Together with Sammie Morris, University archivist and head of Purdue Archives and Special Collections, Mercier hopes to work with the computer science department's undergraduate programmers to develop the web end of the project. Neal Harmeyer, digital archivist for the Archives, will upload the translations into Purdue's digital repository at earchives.lib.purdue.edu.
"This revs me up more than anything else," said Mercier as she entered the room where the team is to work all summer.
The joy of translation comes in the fight for elegance and accuracy. The translators, too, will encounter plenty of surprises along the way as the project continues indefinitely. The most surprising – and rewarding – things to come across are the scribal errors.
"I honestly feel the scribe's personal pain when I can see that he is getting tired by the errors he is making in the text," said Mercier. "The errors can occur in clusters so that you can actually watch him get sleepier and less attentive ... We hope to make the manuscripts come alive."
Posted in Features on Thursday, May 21, 2015 4:00 pm.
Clayton County Public Schools is seeking applicants for the following position(s):
FY2015 - Sign Language Interpreter for the Hearing Impaired
Job Type: Sign Language Interpreter
Job Description: Under direction, interprets/ transliterates spoken language using American Sign Language or other manual sign system, and vice versa, to facilitate communication between hearing and deaf/hard of hearing individuals; serves as a liaison between deaf/hard of hearing students, hearing students and instructors; and performs related work as required.
Reports To: Director/Principal
Duty Days: 185
Salary Range: Clayton County Public Schools Salary Scale for the 2014-2015 School Year - Grade 21 ($27, 424)
Additional Job Information:
Transliterates/interprets information accurately, conveying the thought, intent and spirit of the sender in a manner appropriate to the student's communication level.
Reverses interpretation of information accurately, conveying the thought, intent and spirit of the sender.
Facilitates communication among hearing impaired students and their hearing peers, classroom teachers, and other educational personnel.
Maintains the Registry of Interpreters for the Deaf (RID) Code of Ethics at all times.
Plans work by obtaining in advance an overview of new work for each student served.
Communicates with the teacher of the hearing impaired and regular education teachers concerning the needs of students with hearing impairments.
Provides orientation regarding deafness, interpreter roles, and special equipment to hearing students and staff.
Performs other duties assigned by appropriate supervisor.
* Bachelor's Degree or higher required, AND
* One of the following two items required:
* EIPA at level 3.5 or higher for the Educational Interpreter Performance Assessment
* RID card (completed both parts) for the Registry of Interpreters for the Deaf.
Director Translates Funny At The Icelandic Documentary Film Festival
York Underwood and Hannah Jane Cohen
Published May 21, 2015
Director Ragnar Hansson has always been fascinated by stand-up comedy. He’s a filmmaker who’s worked with, and written, comedy for over a decade. When he found out two comedians, Ari Eldjárn and Hugleikur Dagsson, were planning to perform in english at the Stand-up Turku Festival in Finland, he had to see it. To fund this trip, he decided to make a film, Translating Funny. What started out as a way to fund a trip ended up in a two-year project and a film that is premiering this weekend at Skjaldbord, the Icelandic Documentary Film Festival in Patreksfjörður.
Skjaldbord begins on May 22 and lasts until the 25th. Filmmakers from all around the world will be presenting their films, all hoping for the coveted audience-choice “Einarinn” award, named after the founder of the festival.
“We are going to be the last film in the evening on Sunday,” said Ragnar. “We’re going to show the film and then there’s going to be stand-up. Hulli will be putting on a show and I’ll be doing some stand-up too.”
Ragnar started doing stand-up because he was inspired by watching his friends and subjects perform. Originally, to get funding for the film, he followed Ari and Huli and filmed them doing shows in Iceland. The trailer he made from those shows led to the funding to follow them to Finland. The film itself becomes a collection of three trips to Finland and two trips around Iceland. The angle of the documentary became about stand-up as craft and special focus on translating humour from to different genres and different languages.
“It’s very backstage and behind the scenes,” said Ragnar. “The red line through the film is Huli. His progression from cartoonist, to stand-up comedian, to stand-up comedian on a foreign stage in a different language. He’s translating his humour from the page to the stage, and then from the stage to another language. It’s about translating funny.”
Ragnar has collaborated with Ari, and his stand-up troupe Mið-Ísland, on two previous occasions, but it all started when Ragnar filmed a comedy series in 2009, which featured Nordic Comedians from all over Scandinavia.
“I introduced Ari Eldjárn to some of the Nordic comedians, namely André Wickström, who is arguably the biggest name in Finnish stand-up,” said Ragnar. “That opened up a lot of doors for Ari.. especially in Finland where he has since gigged a lot. Don’t get me wrong… I just pointed towards the door and Ari ran through it all by himself easily, being a world class act who would have broke outside of Iceland all by himself one way or the other.”
You can see Ragnar perform all around Iceland—including being a regular on Hí á Húrra at Húrra each month. The Stand-Up Turku Festival really opened his eyes to the universality of comedy.
“The first thing I realized is everyone is the same. It doesn’t matter where they came from,” said Ragnar. “The other thing I realized is that every comedian goes through the same thing. They all start with some shell around them, a fake persona. They have a fixed set, write it down word for word, and read it out like a play. Then as they progress they shed it all and become more of themselves. Since doing stand-up, I’ve noticed it’s completely right. I’ve been around comedy for years, but I couldn’t even skip that stage. Everyone has to go through it. I’m still on the stage of finding myself.”
Skjaldborg aims to feature pieces that would not usually find a widespread public release. Looking for everything from big budgets to the truly bizarre? You’ll find it here. The films are free but other activities, like their annual seafood feast, cost some kronur. There will be artist talks, parties every night and rumor has it, a cutthroat limbo competition. Patreksfjörður lies only 400 km from Reykjavik—a perfect location for a little holiday.