Your new post is loading...
Vacancies in this network: Translators, Revisers, Editors, etc.
STOCKHOLM (AP) — Swedish poet and Nobel Literature Prize winner Tomas Transtromer has died at age 83, Swedish publisher Bonniers said Friday.
The reclusive, mild-mannered wordsmith — considered a master of metaphor and one of the most important Scandinavian poets of the post-World War II era — died Thursday after a short illness said Bonniers spokeswoman Anna Tillgren.
In famous collections such as the 1966 "Windows and Stones," Transtromer used imaginative metaphors to describe the mysteries of the human mind. His work has been translated into more than 60 languages and influenced poets across Europe, the Middle East and the Americas. In 2011 he was awarded the Nobel Prize in Literature.
Transtromer's works were characterized by powerful imagery that explored the mysterious sides of everyday life with little embellishment, and the focus on simplicity was also mirrored in the way he led his life.
Working as a psychologist in Swedish state institutions, Transtromer (TRAWN-stroh-mur) wrote his poetry during evenings and weekends and stood out for his unpretentious demeanor. He preferred to stay away from the public eye and largely avoided the political debates that engaged many of his contemporaries.
The poet stopped writing after suffering a stroke in 1990 that left him half-paralyzed and largely unable to speak. When he received the Nobel, aged 80, he had been a favorite for the prize for so many years that even his countrymen had started to doubt whether he would ever win.
His most famous works include the 1966 "Windows and Stones," in which he depicts themes from his many travels, and "Baltics" from 1974 about the democracies and dictatorships surrounding the Baltic Sea during the Cold War.
He published "The Sorrow Gondola" in 1996 with work that had been written before the stroke and the "The Great Enigma."
Born April 15, 1931, Transtromer grew up alone with his teacher mother in Stockholm's working-class district after she divorced his father, a journalist. He started writing poetry while studying at the Sodra Latin school in Stockholm and his work appeared in several journals before he published his first book of poetry, "17 poems," in 1954 to much acclaim in Sweden.
He studied literature, history, poetics, the history of religion and psychology at Stockholm University and worked briefly as an assistant at the university's psychometric institution.
But he would spend the majority of his professional life in the much less glamorous settings of state institutions in the small Swedish towns of Linkoping and Vasteras, where he lived in a terraced house with his wife Monika, a nurse, and their two daughters. He first worked at an institution for juvenile offenders and later at a state-funded labor organization, where he helped disabled people choose careers and counseled parole offenders and those in drug rehabilitation.
Meanwhile, he developed his succinct writing style together with his longtime friend, author Lars Gustafsson, as a response to the intense language of Swedish modernist poets.
"We compared our manuscripts and warned each other not to become too like the big names, (Gunnar) Ekelof and (Erik) Lindgren," Gustafsson recalled in a 2011 interview with the AP.
"We were striving, nearly instinctively you could say, in another direction. Not quite toward more simplicity, but maybe toward simpler diction."
For decades, Transtromer also had a close friendship with American poet Robert Bly, who translated many of his works into English. In 2001, Bonniers published the correspondence between the two writers in the book "Air Mail."
Transtromer's poems became infused with his love of nature and were often built around his own experiences: commuting to work, watching the sun rise or waiting for nightfall. But underneath the ordinary there was also something secretive, where he explored existential questions, death and disease.
He wove in imagery of Sweden's barren landscape, or returned to a childhood home on an island in the archipelago off the east coast where his grandfather worked as a ship pilot.
Transtromer traveled to faraway places such as Sierra Leone and the Central African Republic, and his interest in classical music to shone through in his poetry through references to composers and the use of musical rhythms. He was an avid amateur pianist and continued to play with his left hand after the stroke.
In the 1960s and 70s he was often criticized for the religious dimensions of his work and the lack of social commentary that were favored among the leftist Swedish intellectuals dominating the public debate at the time. But he didn't waver.
"So much has happened. Reality has eaten away so much of us. But summer, at last," Transtromer wrote in the poem "Summer Grass."
"A great airport — the control tower leads down load after load with chilled people from space. Grass and flowers — we are landing. The grass has a green foreman. I go and check in."
Transtromer is survived by his wife Monika and their daughters, Emma and Paula. Funeral arrangements weren't immediately announced.
Pasan Kodikara’s mortal remains would have been cremated by the time this piece appears in print. On Tuesday, in the funeral parlor, Pasan lay with a smile decorating the corner of his lip as though he was amused by the ins and outs around him. One didn’t know for sure whether to laugh or cry.
He was writer, a translator of several important works including Charles Darwin’s ‘The Origin of Species’ and Boris Bulgakov’s ‘Master and Margarita’, a playwright and a university lecturer. Those who associated him closely would recount hundreds of Pasan-stories. Here’s one.
Pasan and some friends ended spending the night at Udaya Rajapaksa’s house after a long session of conversation and alcohol. The following morning when they awoke they were all reluctant to get off the mats they had slept on. They were lying there, talking. At one point someone said ‘we should get up now’. Pasan had said ‘ha…ehema karala vath balamu hari yaida kiyala!’ (Ok, let’s do that and see if that, at least, works). Wry humor. Deeply philosophical Pasan Kodikara, through and through.
He’s gone now. He has left a soft footprint in many hearts and along many pathways, literary and otherwise. So soft that it will take some effort to obliterate or worse, it is so soft that we don’t know if he’s passed.
Deepthi Kumara Gunaratne, speaking of Pasan, said that people talk about his (Pasan’t) drinking but don’t ask why he drank. He offered that there were two parallel processes at work in Pasan’s life in a knowing or unknowing search for ‘The Real’. First the pursuit of the pleasure principle and secondly a death-drive.
Janaka Inimankada said that Pasan liked alcohol but was no drunkard. He concurred with many of Pasan’s friends by observing that Pasan remains undefined and resisting of definition. In this society, Janaka said, there’s no box or frame into which Pasan’s life can be fitted to perfection: ‘Every writer likes to think he or she is somehow out of the mainstream or is not amenable to definition but only Pasan was like that’. He was ‘odd’ or, in Pasan’s own words ‘out’. That was drawn from a blogpost authored by KK Saman Kumara aka ‘Sarpaya’.
Once, while in Deniyaya, Pasan had been taking a walk with Sarpaya. In Colombo, children tend to hide when they see Sarpaya, apparently. That day there saw children hiding behind their mothers when they saw Pasan. Pasan had said, ‘මමචං අපිව මෙහෙට පොඞ්ඩක් අවුට් වගේ නේද?’ (we are a bit ‘out’ here aren’t we?). A little while later, he adds, ‘කොහොමත් අපිව එහෙටත් අවුට්නෙ’ (in any case we are ‘out’ even there’). He knew he didn’t fit in.
Upul Shantha Sannasgala also referred to this ‘out’. ‘People like Pasan who are counter-cultural cannot live in an “acultural’ social setting such as what we find here. He didn’t fit in here. When his Russian girlfriend came here to take him back he didn’t want to go for he didn’t fit in there either. He died a long time ago.’ Prasanna Jayakody said the same thing in different words: ‘In a corporeal sense he died a long time ago, he was alive only in the words and those aren’t dead’.
He was for many the ultimate and perfect Bohemian. Nandana Weeraratne opines that Pasan was the only person he knew who lived in and for the moment. There was no before and no after. He didn’t subscribe to anything that was ordered. He was irreverent. As Sisira Edirippulige noted, Pasan pursued only that which he believed in. One might add, ‘at that particular moment’. He wasn’t scared to abandon things. He wasn’t scared to be who he was. No apologies, no caveats.
He pursued nothing, but things and people came after him. His friends agreed that he always had to deal with some pretty unsavory debt-collectors. They drove him to translation, i.e. not what he wanted to translate but what he had to do to get the money he needed. He didn’t even want his name mentioned in the countless little translation assignments he undertook.
And yet he was, according to many including Nandana, Janaka and Jagath Marasinghe the best translator of Russian works. Whereas many used the ‘English hook’ to translate into Sinhala works in other languages, Pasan’s knew Russian like a Russian. But translation was not his passion, theater was. Unfortunately, as he had often mentioned, there were no actors in Sri Lanka for him to work with. It was the wrong time for Pasan, perhaps.
But then again, the moment, whatever it was and wherever it was, belonged to Pasan and he belonged to it. This is why he could tell Sarpaya the last time the two had met, ‘අපේ හමුවීම සුන්දරයි. ආර්ට් කොච්චර කැත වුණත් මේ හමුවීම සුන්දරයි. ආයිත් හම්බවෙමු.’ (This meeting is sweet…however ugly art is, this meeting is sweet…let’s meet again’).
And so they all came to the funeral parlor to pay respects, be with, reflect on, cry or laugh with and over Pasan. No one really knew Pasan and he lived a life that was quite nondescript. And yet, it was as though there was no one who didn’t know him or know of him. It was a funeral parlor. But as Ravindra Wijewardena pointed out, it was a මල ගෙයක (funeral house), the stress on the second word. The entire village had gathered to grieve, individually and collectively.
If Pasan had never lived, it is equally true that he had never died and maybe this is why we are still not sure how to take this moment of departure. He knew moment, we did not and do not and perhaps never will know. He was ‘out’ but he is ‘in’ in death but we are ‘in’ and yet so ‘out’ (of sorts).
Some threewheelers have the following legend: ‘ලිඳ මගේ නම්, මම ලිඳේ නම්, කාටවත් ඇයි වේදනා ?’(if the well is mine and if I am in the well, why should it bother anyone else?’) Let’s put it this way, for Pasan: ‘මොහොත ඔහුගේ නම්, ඔහු මොහොතේ නම්, අපට ඇයි මේ වේදනා ?’ (If “the moment” belonged to him and if he inhabits it, why do we grieve?’
Governor Vajubhai Rudabhai Vala after handing over an award at the southern and south western regional official language convention inMangaluru on Friday.— Photo: H.S. Manjunath
Governor Vajubhai Rudabhai Vala on Friday stressed the need for translation of southern regional language literary works, including Kannada, into Hindi to spread the rich literary heritage of these languages across the country.
He was speaking at the inauguration of southern and south western regional official language convention here.
While Hindi unites the country, regional languages strengthen respective regions, he maintained. He said, “While the Ganga flows in the North, the Jnan Ganga (river of knowledge) flows down South. Many eminent writers and saints have authored valuable works in southern languages, Kannada, Tamil, Malayalam and Telugu, which if translated to Hindi, would reach a wider audience.”
Congratulating the Union government for making continuing efforts to spread Hindi across the country, Mr. Vala noted that it did not mean the government is against regional languages. A healthy combination of the both would make a strong India, he maintained.
A nation should have one flag, one emblem, one anthem and one language, Hindi perfectly fits the bill as national language, Mr. Vala said. Moreover 75 per cent of India’s population understand Hindi, he added.
On the occasion, several Central government departments, organisations and employees were felicitated for their effort to spread Hindi in their official call.
Manchester Metropolitan University has become the first higher education institute in the UK to offer students the chance to earn a degree in Urdu.
From September, it will offer the language to students also reading international business and politics.
While shorter courses are available at other universities, this is the first time Urdu has been included in the title of an official degree.
About 100 million people speak it in the world, including 400,000 in the UK.
Yasmin Hussein from Routes Into Language encourages the teaching of minority languages
Yasmin Hussain from the Routes Into Languages university consortium campaigned for the introduction of the new degree.
She said: "The discourse is that modern foreign languages like French and Spanish are more important. Minority languages aren't seen to be as valued and so it has taken a long time."
Students on the full-time courses will have the chance to learn how the language has been used in film and literature, as well as using Urdu to discuss topics related to their core subject.
The launch of the course saw students from local schools take part in workshops and activities, as well as performances by poets and musicians.
Writer and artist Sabeena Khan says Urdu is a "rich and beautiful" language
Writer Sabeena Khan was among those at an open day to launch and promote the Urdu courses.
She believes young British Pakistanis in particular would benefit from having Urdu as part of their degree.
Ms Khan said: "The language is rich in meaning, its style and usage. It's beautiful and I don't want to see it die out, I want to see more people learning Urdu."
"Urdu" comes from the Persian "zaban-e-urdu-e-mu'alla", which means "language of the imperial court"
It is the fourth most popular language at GCSE after French, Spanish and German, with about 5,000 pupils sitting exams in the subject every year
The first book in the language, Sabras, was an allegorical mysterious romance written in 1635-36 by Mullah Asadullah Wajhi. Copies were handwritten as the printing press had not yet reached India at the time.
Following partition in 1947, Urdu became the official language of Pakistan but there are also large numbers of speakers in India
... And it has also contributed a few words to English
Cushy comes from "khushi", meaning ease or happiness
Pukka comes from "pakka", meaning solid
Cummerbund comes from "kamarband", meaning waist binding
Sheraz Ali is one of the lecturers who will be teaching the new undergraduate degree course.
"There is a demand for Urdu-related jobs not just in this country but also in many others, especially within professions such as teaching and the health and legal sectors," he said.
Mr Ali believed the course would attract students from different backgrounds and not just native speakers of the language.
He added: "The Urdu degree is open to everyone, not just people from the South Asian diaspora. We live in a multicultural society, where language isn't only a pile of words but something which can bring people together."
You can hear more on this story on BBC Asian Network at 17:00 GMT on Friday, or after that on the BBC iPlayer.
Tony Mochama and Phoenix CEO John Mwazemba. Mochama says that he is tired of having African languages romanticised and if the students wanted to reach as many people as possible, they should write in English. PHOTO | FILE
A few of us younger writers found ourselves debating the great Ngugi wa Thiong’o. The older man suggested to us youngsters that we should seriously consider writing in African languages.
My response was that if a writer wanted to write in an African language, they were welcome to do so. Further, I stated, I felt it was a form of decolonising my mind to write in English and let the former coloniser or neo coloniser know what it is I was writing about them (if I was).
Living in a country that has 11 official languages, I added, I ran the risk of discounting a large section of South African readership, black and white, if I were to write in my native isiXhosa.
By ZUKISWA WANNER
More by this Author
A month after my first novel came out in 2006, I got an email inviting me to arguably one of the best organised literary festivals I have ever attended in the world, Time of the Writer, in Durban.
At the festival, which goes on for a week and always happens in the third week of March (and had its last day last Saturday), all writers no matter how great or humble, stay in the same hotel.
One day as part of the festival, we were hosted by Mbulelo Mzamane at the Centre for African Literary Studies at the University of Kwazulu Natal’s Pietermaritzburg Campus to discuss writing.
It is here that a few of us younger writers found ourselves debating the great Ngugi wa Thiong’o. The older man suggested to us youngsters that we should seriously consider writing in African languages.
My response was that if a writer wanted to write in an African language, they were welcome to do so. I chose to and preferred to write in English and that was alright, too.
Further, I stated, I felt it was a form of decolonising my mind to write in English and let the former coloniser or neo coloniser know what it is I was writing about them (if I was).
Living in a country that has 11 official languages, I added, I ran the risk of discounting a large section of South African readership, black and white, if I were to write in my native isiXhosa.
I wanted to reach as many people as possible with my work and what most of literate South Africans have in common is the ability to speak and read the English language.
I went further, “Baba, when you published Decolonising the Mind in 1986, you were already so well known that you could have written in any language you wanted and there would have been many people standing in line to translate your work.” The debate went on with some for and others against as will often happen at these discussions.
Two weeks ago I found myself in the midst of a similar language debate at a PEN workshop in Eldoret. We had participants from six schools in the Rift Valley. In the red corner (and for African languages) were Jacob Oketch and PEN Chair Chris Wanjala. In the blue corner with the covers of the pens off, were that Sheng-writing literary gangster Tony Mochama and I.
Mochama sparked the debate when asked by Prof CJ Odhiambo what language he wrote in.
He responded that he wrote in English and a bastardised language which is a combination of Sheng and English that he chooses to call ‘Smitten’ for his column Smitta Smitten.
He then went on to tell the students that he was tired of having African languages romanticised and if the students wanted to reach as many people as possible, they should write in English.
At this point, Prof Wanjala interjected, highlighting that there was a danger of our African languages dying if we were so colonised that we only wrote and spoke in English.
Wanjala further stated that works could be translated from whatever African languages into English for greater reach.
Oketch then took up the argument, stating that, although he had written in English in the past, after a challenge to write a short story in Luo, he was certain that he would write more in that language.
“Children who are encouraged to learn their mother tongue first,” Oketch argued, “are more likely to be proficient in English, anyway.”
It was now my turn to give my input. I started by asking the PEN President Khainga O’Okwemba whether, being that I am South African, I would have been invited to be part of the workshop if my books were written in isiXhosa.
The point I was making was that he, and some in the audience, were only familiar with my work because it is written in English.
DICTATING TO THE ARTIST
I went further to say that I like that my work is accessible to readers in Nigeria, Zambia and a few other African countries.
I then conceded something on African languages. One of my favourite novels is a Shona detective novel called Sajeni Chimedza by James Kawara.
Those who can read Shona often cite it as one of the funniest books they have ever read. Unfortunately, 31 years after its first publication, this book has not yet been translated into English and I sadly cannot share some of its funny parts with friends who do not speak or read Shona.
Those who like visual art do not tell Michael Soi what colours to use when he paints. They appreciate him for the artwork he does. No fan tells Salif Keita what beats he should use for his music either.
It occurs to me that literature is the only art form that everyone else feels the need to dictate to the artist what language to write in and sometimes even, what one should write.
Do I want African languages to die because I write in English? Not at all. My minor solution is that as an artist, I should write in whatever language I feel comfortable in writing. I do, however, think that works should be translated to preserve African languages. Who will do that, you ask.
On this continent, there are state-funded universities with language departments. I would like to suggest that as part of anyone receiving their Master’s degree from any school of languages, one of the expectations should be to translate at least one work or three from the language of study to another. Say Kalenjin to English or vice-versa at Moi University.
And the job of a writer should remain being just that. To write in whatever language they are comfortable in.
Over to you, readers! Your thoughts?
On the eve of the Independence Day, Bangalee volunteers contributed around seven lakh Bangla words and phrases to Google Translate breaking a record.
This was the highest number of inputs to Google's free online translation service in 24 hours.
With this, the total number of Bangla words and phrases contributed to Google Translate reached around 17 lakh in just last 55 days since February 1, Jabed Sultan Pias, community manager of Google Developer Group (GDG) Bangla told The Daily Star.
The information and communication technology ministry, and GDG Bangla jointly organised 81 events across the country from where over 4,000 volunteers made the entries.
Besides, there were 69 other informal events at home and abroad. “The estimated number of volunteers from across the world would be seven to eight thousands,” said Jabed.
“We set a target to contribute over three lakh words and phrases in 24 hours on the eve of the Independence Day. But it exceeded the target and reached around seven lakh in a single day,” said Jabed, adding that they had set the target to break the record of three lakh entries of Spanish words and phrases in one day.
Khan Md Anarus Salam, the country engineering consultant of Google for Bangladesh, told The Daily Star over the phone yesterday evening, “Google will officially announce it on Monday.”
Asked how the entries reached such a high number, Jabed said there were multiple entries which Google would verify and then choose the most accurate translation of a word or phrase before letting users use them online.
This inputs would enrich Bangla in Google Translate and people across the globe would able to translate Bangla into over 90 languages and also text of those languages into Bangla, said Jabed.
Even though Bangla, the seventh most spoken language in the world, was included in Google Translate in 2011 as the 65th language, words and phrases stock was not rich enough for accurate translations.
LEAVE YOUR COMMENTS
Poet and psychologist who ‘transformed the everyday into astonishment’
Swedish poet and winner of the Nobel Prize in Literature Tomas Tranströmer. Photograph: Maja Suslin/AP
Friday 27 March 2015 19.55 GMT Last modified on Friday 27 March 2015 23.57 GMT
Share on Facebook Share on Twitter Share via Email Share on LinkedIn Share on Google+
The Swedish poet Tomas Tranströmer, who won the Nobel prize for literature in 2011, died in Stockholm on Thursday at the age of 83. He had lost the power of speech after a stroke in 1990, but continued to write poetry, and to play the piano with his left hand.
For most of his life, he worked part-time as an industrial psychologist and the rest of the time as a poet.
His sparse output was highly praised from the moment his first collection, 17 Poems, appeared in 1954 and he was acknowledged as Sweden’s greatest living poet long before he won the Nobel. He was translated into more than 60 languages.
Nobel prize for literature goes to Tomas Tranströmer
He wrote in exceptionally pure, cold Swedish without frills. His descriptions of nature were as sparse and alive as a Japanese painting. In fact, in later life, he attempted to write haiku in Swedish. Peter Englund, the secretary of the Swedish Academy, said: “One of the secrets of his success around the world is that he’s writing about everyday stuff. The economy of words that you can see in his poems is manifested in the economy of his output; you can get the core of his work in a pocket book of 220 pages. You can get through it in an evening.”
Björn Wiman, writing in the Stockholm paper Dagens Nyheter, praised him for his capacity to transform the everyday into astonishment. “His poem C Major is almost unique in the history of literature, since it both describes and summons up pure delight.”
The Guardian praised him when he won the prize as “unobtrusively unforgettable”, a writer “whose style is so simple as to make most words seem vain and superfluous. In translation, some of the slippery hard simplicities of his lyricism can melt like ice. But enough remains to show a poet who transforms the ordinary in apparently ordinary language. The world he sees is sometimes bleak or terrible, but it is always also full of promise no less real for being inexpressible: ‘The only thing I want to say glints out of reach, like silver in a pawnbroker’s’.”
Poem of the week: Six Winters by Tomas Tranströmer
Despite his work as a psychiatrist, Tranströmer’s writings about the mind never bore any hint of medicalisation. Within the hard classical forms there was an unquenchable romantic flame. He was alive to movement, and to change. A cabbage white butterfly might in his poetry become “a fluttering corner of truth itself”.
“Every abstract picture of the world is as impossible as a blueprint of a storm”, he also wrote. Perhaps that is why his work seemed to heighten reality so much. The longer time goes on, the further it gets from eternity. Only the moment approaches timelessness.
Per Wästberg, another member of the Swedish Academy, and a childhood friend of the poet’s, wrote in Svenska Dagbladet that “his poems open doors, give you vertigo, and at the same time offer a still calm: this is how things are and you can’t put them otherwise”.
Tranströmer was a socialist, a humanist and an atheist, and he managed to make life seem much more delicious: “Don’t be ashamed because you’re human,” he wrote once. “Be proud! Inside you, vaults behind vaults open endlessly. You will never be finished, and that’s as it should be.”
Tomas Transtromer, a Swedish poet who won the Nobel Prize in Literature in 2011 for a body of work known for shrewd metaphors couched in deceptively spare language, crystalline descriptions of natural beauty and explorations of the mysteries of identity and creativity, died on Thursday in Stockholm. He was 83.
The Swedish publisher Albert Bonniers announced the death without giving a cause. In 1990, at age 59, Mr. Transtromer had a stroke that severely curtailed his ability to speak; he also lost the use of his right arm.
With a pared-down style and brusque, forthright diction, Mr. Transtromer (pronounced TRAWN-stroh-mur) wrote in accessible language, though often in the service of ideas that were diaphanous and not easy to parse; he could be precisely observant one moment and veer toward surrealism the next.
“The typical Transtromer poem is an exercise in sophisticated simplicity, in which relatively spare language acquires remarkable depth, and every word seems measured to the millimeter,” the poet David Orr wrote in an essay in The New York Times in 2011.
He was a hugely popular figure in his home country — one American critic referred to him as Sweden’s Robert Frost — whose more than 15 books over nearly six decades were translated into 60 languages. And though he was not especially well known among American readers, he was widely admired by English-speaking poets, including his friends Robert Bly, who translated many of his poems, and Seamus Heaney, himself a Nobel laureate in 1995.
“I was utterly delighted when I heard Tomas Transtromer had won the Nobel Prize,” Mr. Heaney, who died in 2013, said in 2011. “Everybody was hoping for that. For years.”
Many of Mr. Transtromer’s themes and interests, including music (he was an accomplished pianist) and the beauty and inspiration of the outdoors, were evident in his first book, “17 Poems,” published in 1954. The succinct poem “Ostinato” (translated by Robin Fulton) — the title is a musical term referring to a repeated phrase or rhythmic figure — observes nature in both meaning and form:
Continue reading the main story
Under the buzzard’s circling point of stillness
ocean rolls resoundingly on in daylight,
blindly chews its bridle of weed and snorts up
foam over beaches.
Earth is veiled in darkness where bats can sense their
way. The buzzard stops and becomes a star now.
ocean rolls resoundingly on and snorts up
foam over beaches.
For many years, Mr. Transtromer, a trained psychologist, worked in state institutions with juvenile offenders, parole violators and the disabled, and many critics noted that he frequently deployed his inventive and striking metaphors to examine the depths of the human mind.
He often began his poems with descriptions of mundane settings and acts, but he was also interested in dreams and the other uncontrollable wanderings of thought. In “Preludes” (translation by May Swenson) he wrote:
Two truths approach each other
One comes from within,
one comes from without — and where they meet you have the chance
Continue reading the main storyContinue reading the main story
to catch a look at yourself.
His poems often had transcendental moments that led some critics to consider him a religious poet or a mystic. In “Further In,” from the 1973 volume “Paths,” the quotidian and the unfathomable collide, in both the body of the poet and in the world. Translated by Robin Fulton, the poem reads in its entirety:
On the main road into the city
when the sun is low.
The traffic thickens, crawls.
It is a sluggish dragon glittering.
I am one of the dragon’s scales.
Suddenly the red sun is
right in the middle of the windshield
I am transparent
and writing becomes visible
words in invisible ink
when the paper is held to the fire!
I know I must get far away
straight through the city and then
further until it is time to go out
and walk far into the forest.
Walk in the footprints of the badger.
It gets dark, difficult to see.
In there on the moss lie stones.
One of the stones is precious.
It can change everything
it can make the darkness shine.
It is a switch for the whole country.
Everything depends on it.
Look at it, touch it ...
Tomas Gosta Transtromer was born in Stockholm on April 15, 1931. His father was a journalist. His parents divorced when he was young, and he was reared mostly by his mother, a teacher. He studied literature, history, religion and psychology at Stockholm University, graduating in 1956. His survivors include his wife of more than 50 years, the former Monica Bladh, and two daughters.
Mr. Transtromer’s poetry production slowed after his stroke, but he took refuge in music, playing the piano with just his left hand. As a testament to his prominence in Sweden, several composers there wrote pieces for the left hand specifically for him.
He was also an amateur entomologist. The Swedish National Museum presented an exhibition of his childhood insect collection, and a Swedish scientist who discovered a new species of beetle named it for him.
Mr. Transtromer was considered a candidate for the Nobel for a decade or more. Each year, on the day the prizes were to be announced, Swedish journalists, anticipating his selection, gathered in the stairwell of his Stockholm apartment building, about a mile from the Swedish Academy, which administers the prizes.
He was the seventh Swede to win the Nobel for literature, and he was the only winner in nearly 20 years to be known mainly as a poet. (The last was Wislawa Szymborska in 1996.) His selection was not without controversy. Some critics complained of home-nation favoritism and said that Philip Roth and other fiction writers were more deserving.
Mr. Transtromer’s work was also at the center of a dispute between translators: Robin Fulton, whose work with Mr. Transtromer included the 2013 collection “The Great Enigma,” and Robin Robertson, a Scottish poet who translated a 2006 Transtromer volume, “The Deleted World.”
Mr. Robertson, who does not speak Swedish, referred to his work as “versions” of Mr. Transtromer’s poems and suggested that it was more important to get the spirit and tone of a poem right than every last idiom. The book set off a debate about the nature of translation. Mr. Fulton objected to what he called “the strange current fashion whereby a ‘translation’ is liable to be praised in inverse proportion to the ‘translator’s’ knowledge of the original language.”
Mr. Transtromer’s other works in English translation include the collection “The Half-Finished Heaven,” translated by Mr. Bly; “Airmail: The Letters of Robert Bly and Tomas Transtromer”; and a memoir, “Memories Look at Me,” translated by Mr. Fulton.
“Through his condensed, translucent images, he gives us fresh access to reality,” the Swedish Academy said in awarding him the Nobel.
A version of this article appears in print on March 28, 2015, on page D8 of the New York edition with the headline: Tomas Transtromer, Nobel-Winning Poet, Dies at 83 . Order Reprints| Today's Paper|Subscribe
NEW DELHI — Rewatiraman Shukla, a young office worker living in a slum on New Delhi’s outskirts, can’t remember a time when his family did not have a newspaper delivered to their home. Even when home was a single room in a congested tenement without indoor plumbing. Even when his father was working long hours as the single breadwinner to provide the bare necessities.
The newspaper was what Shukla’s father believed would open the world of opportunity for his three children.
And now, families like his are firing the exceptional growth of regional newspapers in India.
At a time when scores of American newspapers have downsized or shifted to online editions, the Indian newspaper industry is booming.
Media analysts say the regional language newspapers are expected to clock double-digit figures in the coming decade as millions of new literates choose newspapers as their primary source of information.
“Newspapers, especially in the regional languages, are a fast-growing space in India right now. We are bang in the middle of it, so we are very excited,” said Pradeep Dwivedi of Dainik Bhaskar, or Daily Sun, the most popular Hindi newspaper in the country, with about 3.57 million copies sold each day.
Democratic India has had a long history of print news; the first newspaper was founded more than 230 years ago. The government’s Registrar of Newspapers in India lists more than 82,000 newspapers. Nearly 33,000 of these are in Hindi, the language spoken by 41 percent of India’s 1.2 billion people.
DIYARBAKIR, Turkey — Imprisoned Kurdish rebel leader Abdullah Ocalan on Saturday renewed a call for his fighters to end their armed struggle against Turkey, part of efforts toward a peaceful resolution of a decades-long insurgency that has killed tens of thousands of people.
In a message read to Kurds celebrating a spring festival, Ocalan said the Kurdistan Workers’ Party, or PKK, should convene a congress to decide to abandon arms and seek a democratic solution. Ocalan, however, also suggested that the
Turkish government should take democratic steps outlined in a vague 10-point declaration that both sides have agreed on.
He called for the establishment of committees to oversee the peace process and help the sides confront their violent past.
SANTIAGO, Chile — Juan Carlos Cruz recalls that he and another teen boy would lie down on the priest’s bed, one resting his head at the man’s shoulder, another sitting near his feet. The priest would kiss the boys and grope them, he said, all while the Rev. Juan Barros watched.
“Barros was there, and he saw it all,” Cruz, now a 51-year-old journalist, said.
Barros has been tapped by Pope Francis to become bishop of a southern Chilean diocese this month, provoking an unprecedented outcry by abuse victims and Catholic faithful who contend he covered up sexual abuse committed by his mentor and superior, the Rev. Fernando Karadima, in the 1980s and 1990s.
A Vatican investigation found Karadima guilty in 2011 and sentenced the now 84-year-old priest to a cloistered life of “penitence and prayer” for what is Chile’s highest-profile case of abuse by a priest.
Barros had long declined to comment publicly on allegations against him. However, in a letter sent Monday to the priests of the diocese he’ll be overseeing, he said he did not know about Karadima’s abuses when they happened.
NOVOAMVROSIIVSKE, Ukraine — With cameras and clipboards in hands, teams of blue-
jacketed international observers drive around the muddy countryside of eastern Ukraine looking for rocket launchers and artillery.
Their task is to verify whether government troops and Russian-backed rebel forces are removing heavy weapons from the front line in accordance with a February cease-fire deal.
The success of the Organization for Security and Europe monitoring mission would lessen the chances that heavy fighting will resume in conflict that has already left more than 6,000 dead in a year.
Evidence is emerging, however, that the warring sides are leading monitors on a time-wasting game of hide-and-seek.
KABUL, Afghanistan — As the Afghan president heads to the United States on his first trip to Washington as head of state, the landmark visit offers a chance for both sides to start afresh and wipe the slate clean on the legacy of troubled U.S-
Ashraf Ghani faces a daunting task — long-term, the visit could set the tone for years to come.
More pressingly, Ghani needs firm commitment of American military support in his fight against the Taliban and other insurgent groups, including an Islamic State affiliate, which he and U.S. military leaders fear is finding a foothold in Afghanistan.
Ghani’s relationship with Washington stands in stark contrast to that of his acrimonious predecessor, Hamid Karzai, whose antagonism toward the U.S. culminated in a refusal to sign security agreements with Washington and NATO before leaving office.
Ghani signed the pacts within days of becoming president in September, and has since enjoyed a close relationship with U.S. diplomats and military leaders.
Five years after the government launched a project to restore and digitise old Hindi and regional language films, two Reliance ADA Group firms have moved the Bombay High Court against the National Film Archive of India (NFAI) and the Nehru Memorial Museum and Library (NMML) alleging they haven’t been paid their dues for work done on restoration of films.
The petition filed by Reliance Media Works Limited and Reliance MediaWorks Entertainment on March 24 says that NFAI and NMML had signed a contract with them to digitise and restore at least 987 rare films. According to the petition, a copy of which is with The Indian Express, the companies have alleged that the two government organisations “failed and neglected” to pay over Rs 5.5 crore despite several reminders.
Retrieving The Past
Retrieving The Past
Retrieving The Past
The firms have, in their plea, have asked the court to direct NMML, NFAI and Union ministry of culture to “jointly or severally” pay Reliance Media Works Limited and Reliance Media Works Entertainment Rs 5.01 crore and Rs 62.25 lakh, respectively, with an interest of 18 per cent per annum.
The official spokesperson of Reliance ADA Group declined comment as the case is sub judice.
The petition says that on March 2, 2014, NMML “acknowledged the outstanding dues” and “assured” the firms that their demands will be placed before its financial committee and executive council.
But that didn’t seem to have worked. In another letter, the Reliance ADA firms said they would initiate legal proceedings as their letters had only fallen on deaf ears and there was no response as to whether they would be paid their dues.
Later, on May 13, 2014, the firms issued a notice to NMML, NFAI and Ministry of Culture asking them to cough up the outstanding dues with interest.
According to the petition, the ministry of culture, in a letter written to the firms, clarified that it did not come into the picture and that the NFAI was the party to the agreement signed between the firms. On the other hand, the petition also mentions that the NMML wrote to the two firms on June 11, 2014, questioning the validity of their agreement.
“Entrustment of work without a formal contract was a decision taken by the previous director and was highly irregular. NMML had appointed a fact-finding committee which has indicted the former director in this regard,” the petition quoted NMML as stating.
Mahesh Rangarajan, director of NMML, declined to comment.
Prakash Magdum, director of NFAI, said he was not aware of the court case. “I have joined only last month. But as per my knowledge, the entire amount, except Rs 2 lakh, was released to the company in December 2014 itself. The remaining amount will be released in the new financial year in continued…
If you want to know what the French think of a British or American idea, just look for the guillemets. These are the angular quotation marks you will find around any Anglicism deemed unworthy of the language, from «asap» to «le weekend». They neatly encapsulate the offending English words and the French attitude towards them. They are, if you like, a visual quarantine for anything too rabidly Anglo-Saxon.
Ultimately, the aim of l’Académie Française, the body that guards the mother tongue, is not merely to contain etymological impurities within these punctuation marks, but to squeeze the life out of them altogether. In this, it is aided by the Commission Générale de Terminologie et de Néologie — a sort of French linguistic version of the Spanish Inquisition. It will convert only the most essential of Anglophone hearsays and heresies into “les mots justes”.
ON THIS STORY
Friends but enemies
Hong Kong’s Hedge Fund Fight Nite
The great pop art swap shop
Swaziland: A kingdom under pressure
A new breed of commercial intelligence company
Musicians realise their talents thanks to wealthy benefactors
‘The Rise and Fall of Neoliberal Capitalism’, by David M Kotz
Lessons in everyday morality from the Jesuits
Eike Batista’s fall from grace
Sign up now
FirstFT is our new essential daily email briefing of the best stories from across the web
In recent years, it has allowed «le credit crunch» to be re-evaluated as “le resserrement du crédit”, «le binge drinking» to be gender realigned to “la beuverie express” and «le hashtag» to be retyped as “le mot-dièse” (even though this refers to a musical sharp symbol, which slants in a different way to a hashtag).
For readers of the financial pages, the most telling change has been Le Monde’s adoption of “l’assouplissement quantitatif”, in place of the very un-French «le quantitative easing». In fact, in the first seven weeks of this year, as the European Central Bank was preparing to ease economic concerns with €1tn of bond purchases, the newspaper made more mentions of “l’assouplissement” than it had in the whole of 2014.
Portfolio managers are asking whether this verbal volte-face will presage a similar turnround in market sentiment. Some even suggest that by embracing «QE» — or rather l’AQ — at the same time that oil prices are falling, Europe may finally have adopted a seldom-heard Americanism: recovery.
“The US had its recovery, we did not,” notes Karen Olney, a strategist at UBS, the Swiss bank. “Take advantage as we get help [from the] weak euro, oil, QE.” With US equities still trading at a 60 per cent premium to European equivalents, on price-to-book ratio, she sees a buying opportunity before this gap inevitably closes.
To some market watchers, «le buzz», or ‘le ramdam’, surrounds the oil price
Tweet this quote
César Pérez, chief investment strategist for Europe, the Middle East and Africa at JPMorgan Private Bank, is confident that QE can be easily translated from American and Japanese vernacular into Latinate languages. “Based on previous experiences in the US and Japan, we believe that in order to be effective, QE [bond buying] has to be about 20-25 per cent of equity market cap,” he argues. “Therefore, at around 21 per cent of market cap, the ECB is well placed for a good result.”
Others expect Europeans to steal more than just US vocabulary. “European companies will be nicking their US peers’ growth through the weak euro,” says Tom Becket, chief investment officer of Psigma Investment Management. He believes a weakened currency must benefit European exporters’ margins.
But to some market watchers, «le buzz», or “le ramdam”, surrounds the oil price. Guy Monson, chief investment officer at Sarasin & Partners, points out that the positive correlation between equity markets and oil has broken down for the first time in decades because, for once, oil prices are falling for a good reason: US shale. “Europe is the winner over 12-18 months,” he says, “and the emerging markets — especially India, China and Indonesia, the big oil consumers — are the investment winners over 3-5 years.”
Not everyone is convinced. Pau Morilla-Giner, chief investment officer at London & Capital, admits European stocks may rally in the near term thanks to QE and cheaper oil, but believes the eurozone success story is still missing several words — difficult ones such as political and fiscal union, and bank recapitalisation.
Nor are all the numbers and abbreviations helpful. Shares in Eurostoxx 600 index already trade on a slightly higher price/earnings ratio than their longer-term average of 13.4, Morilla-Giner notes, even though “quality of [earnings per share] growth is low”. Christophe Donay, head of asset allocation at Pictet Wealth Management, has a term for this: “excess territory”.
For investors needing words of encouragement, QE/l’AQ at least provides a lingua franca. Gerrit Smit, head of equity advisory at Stonehage, the multifamily office, suggests it does not even matter how the stimulus is spelt out: “Capital markets thrive on changes in perceptions, rather than what the current economic reading is.”
Sign language interpreters are essential, not distractions
Posted: Sunday, March 22, 2015 3:00 am
As a person who is deaf and as director of the Division of the Deaf and Hard of Hearing with the New Jersey Department of Human Services, I feel it’s important to write about the incredible value of the Americans With Disabilities Act, a historic and important piece of civil rights legislation.
The ADA requires that public and private entities provide people who are deaf and hard of hearing with “effective communication,” a term referring to communication equivalent to that received by people without hearing loss. For many people who are deaf, sign language interpreters are imperative.
Toledo burlesque troupe offers sign language interpreters
Written by Danielle Stanton | | firstname.lastname@example.org
When husband and wife Joseph and Emmah Artino get together with friends, Emmah sometimes plays interpreter for her deaf husband.
But sometimes they would like to enjoy entertainment together without the burden of interpreting. Unfortunately, not many venues in town offer interpretive services.
So when Emmah won tickets to a T-Town Tassels show on July 12, 2014 — the day before her husband’s birthday — she decided to inquire about an interpreter for the show.
She called Barry Aslinger, producer of the Toledo-based burlesque troupe, who didn’t hesitate to offer support to the deaf community.
“She said, ‘Yeah, I’m excited, yet I can’t take my husband because it’s a language barrier and gap in the community,’” Aslinger said. “And she asked about [an interpreter], and I said, ‘Yes.’ She had someone else do the interpreting while she watched the show.”
Emmah said that July show was the first time she and her husband enjoyed live entertainment without worrying about an interpreter.
“It was such a relief,” Emmah said. “Joey and I had yet to ever go out and experience local, live entertainment with friends and all of us have equal access and enjoy the performance.”
T-Town Tassels burlesque troupe. Photo Courtesy Lightbloom Photography
The troupe is the “world’s only burlesque troupe with an American Sign Language (ASL) translator interpreting every event,” according to a news release.
“I don’t know of any burlesque troupe that offers an ASL interpreter as part of every show,” said Jimmy Berg, burlesque industry specialist for Brown Paper Tickets, the largest seller of burlesque event tickets in North America, in the release.
Emmah said she was grateful to her colleague, Delta Kimmel, at Bowling Green State University, where they both teach ASL, for being the interpreter that night, and to Aslinger for his willingness to make a Tassels show accessible to all
As well as being an ASL instructor, Emmah is a CODA — Child of a Deaf Adult (her father is deaf) — and a native ASL speaker since she was 9 months old.
Emmah has since become heavily involved in the T-Town Tassels burlesque shows as an interpreter. She will be interpreting at the group’s next show, March 28 at Collingwood Arts Center (CAC), 2413 Collingwood Blvd., along with two other interpreters.
Emmah will interpret for the show’s master of ceremonies and the other interpreters — one of whom is her mother — will interpret the lyrics to the music.
The show, called “Burlesque Through the Decades,” marks the troupe’s sixth production and its one-year anniversary. Half of the troupe’s productions have been fundraisers for nonprofits, and the T-Town Tassels have raised more than $2,000 for CAC.
Emmah is working closely with Lexi Staples, director of the CAC, to ensure the CAC will provide interpreters to all performances. She has also been working side by side with Aslinger to make “Burlesque Through the Decades” the most accessible it can be for the deaf community.
“Burlesque Through the Decades” will feature drag queen Deja D. Dellataro and honor burlesque dancing from the beginning of the 20th century.
Some of the decades include the 1940s, which will be a nod to Rosie the Riveter; the 1950s, with a nod to the American housewife; and the 1980s, with a nod to Star Wars, Emmah said.
Let’s not even get into the nature vs. nurture conversation around creativity. Why does it have to be one or the other? It can be both.
For the purposes of this conversation, let’s also agree that creativity goes way beyond the arts. There are opportunities for creativity for every skill, talent and personality style.
Now that we have that out of the way, you’re ready to take on my book review of Tom and David Kelley’s Creative Confidence: Unleashing the Creative Potential Within Us All . I received a review copy of this book months and months ago and I have to admit that while the subject matter is definitely something I’m interested in, it took me a while to actually pick it up and get into it.
It was the new year and the launch of several new projects that inspired me to pick up Creative Confidence. I’m sure you know what I mean – we business owners have so much to do and so little time to get it all done. Then there are the constant fires to put out and client or customer issues to resolve.
All of these leave very little time for the kind of open and relaxed mindedness required to think creatively and actually come up with something that inspires you and your team (oh, and makes money too!).
Creativity is a Mindset – Something You Can Choose and Practice
Creative Confidence doesn’t try to teach you creativity, nor does it blather on about other creative people and leave you feeling inadequate. Instead, the authors point out that creativity is a mindset – a choice that you make, a way to look at the world. Once you’ve decided to look at the world as a more distant observer, rather than jumping to conclusions or judgments, creative ideas will start popping up for you.
To that end, the stories and examples that the authors, Tom Kelley (@TomKelley74) and David Kelley offer are of regular people — just like you — who were practiced enough to step away from the details of the situation and suddenly see what was right in front of them.
There’s Doug Diets, a regular guy who designs MRI machines for GE. He noticed how frightened patients were (especially children) when it came time to go “into” the MRI and designed a fun pirate ship version of the machine so that kids would feel more comfortable.
The key to getting the most out of this book is understanding that creativity is how you choose to be and how you choose to look at the world. In another example, the authors talk about “gaming” and how it’s completely acceptable to fail and “die” in a video game because you know it’s not real. And by repeatedly failing, you ultimately learn how to play the game and move forward.
What if you were able to bring that same fearlessness to your every day life and business? What are all the different opportunities that you have to fail safely?
Yes, You Can Have Fun Making Money and Making a Difference
Each chapter in the book is filled with inspiration stories and how-to tips that you can use to help you on your way to living a more creative and rewarding life. As I read through each one, I noticed my little voice saying things like, “Oh yeah, sure…easy for you to say” but then I realized how deeply I was rooted in being busy, in doing what had to be done, in taking myself entirely too seriously and that this kind of thinking was actually sabotaging everything I was trying to accomplish.
That’s when I started reading the book differently. I started and taking a little extra time with the how-to sections and ideas that the authors recommended in each chapter – just to see how it would work. And guess what? I started having FUN!
First, I played with stick figures (page 60) and started drawing out a day in the life of my customers. I can’t begin to describe how powerful and fun an experience that was. By simply using simple shapes like circles, squares, triangles and blobs I got closer to experiencing what my customers experienced and how I could help them.
Then I took that one step further and started playing with Storyboarding (page 138) to help me succinctly explain a new product and service that I was planning on launching.
Finally, I played with a team exercise called 30 circles (page 219) and had a blast working out my brain by seeing how many of the 30 circles I could fill in with recognizable objects.
Who Will Get the Most From this Book?
Marketers, copywriters, designers – anyone who has to be creative on-demand should have a copy of this book close at hand. There is a lot of content in the book with exercises mixed in, so you’ll have to read through the book and mark the exercises that you will want to come back to.
Small business owners will love the book as a sort of meditative guide or personal respite from the overwhelming insanity of constantly doing. When you find yourself freaking out – grab this book and pick an exercise to play with around your challenge. You just may come up with the next money-maker.
Coaches and consultants will love the many exercises and team activities that you can use with your clients to get them un-stuck.
Creative Confidence is a beautiful, high-end book printed on high quality paper with gorgeous graphics. This isn’t a cheap book by any means, so don’t be surprised by the price tag. But it’s a book that you can place on your coffee table or in your office for easy reference.
One more quick tip for digital readers. If you’ve got a black and white Kindle, I wouldn’t recommend downloading this book that way. It’s entirely too beautiful and may be hard to read. I can’t say for sure because I have a hard copy, but based on what I’ve seen with graphics on older Kindles, I wouldn’t recommend it. But if you’re going to read it on a color digital reader like an iPad or Kindle Fire, then by all means, go for it.
It’s definitely a book you want to have with you while you’re traveling or if you want to run a quick exercise with a team.
The last thing I have to say for Creative Confidence is that I’m a fan. If you decide to read it, you’ll definitely see the world through new eyes and have more fun being creative – especially if you don’t think you are.
There is a famous saying from Mao Zedong that all students of Chinese learn early into their studies: 好好学习天天向上 (haohao xuexi tiantian xiangshang), which implores students to apply themselves every day if they hope to improve and rise up. 好好学习 天天向上 (haohao xuexi tiantian xiangshang) functions because of its rhythm. It plays with the flexibility of characters in Chinese, which are monosyllabic. Its literal translation, however, “good good study, day day up” is essentially meaningless. The Chinese often hold this example up as a reason why their language is so hard for foreigners to study. Often it just doesn’t translate.
Chinese is a much more flexible language than English, which makes it beautiful to study but a nightmare to translate. I recently saw a post on 微信 (weixin), Chinese Twitter, that left me stumped. The title was 最近有活动 (zuijin you huodong). The final three characters mean “an event,” but the first two, 最近 (zuijin), can mean either recent or upcoming. So I had no idea from the post whether the person was celebrating the fact that there had recently been an event or whether they were promoting an upcoming one.
The flexibility and playfulness of the Chinese language is in full force In Mo Yan’s latest novel, Frog. Mo Yan controversially won the Nobel Prize in 2012, being simultaneously lauded at home by the ruling CCP and criticized abroad for not adequately distancing himself from that same party. That he has published critical books, such as Red Sorghum, and even called for the release of fellow Nobel Laureate Liu Xiaobao (albeit only once) seemed to elude the critical voices. His new book, therefore, is released under something of a cloud.
As is typical of his novels, Frog takes place in North Gaomi township, which is his own hometown, a small city in Shandong province in northeast China. It takes on the politically sensitive topic of forced abortions under the infamous “One Child Policy” and simultaneously charts the fortunes of multiple generations of residents, from those who suffer from the great famine caused by the Great Leap Forward in the 1960s to the “sweet potato” generation born after, who become teenagers in a China tentatively embracing capitalism. It’s a nuanced portrait of China and hardly a paean to the CCP. Still despite its ambition, it isn’t without its problems, particularly in translation.
Frogs are omnipresent. As a repeated metaphor, it can seem a bit strange — lacking the weight of kitsch in Milan Kundera’s Unbearable Lightness of Being or the whimsical beauty of balloons in Julian Barnes’s Levels of Life. In a review for The Guardian, Isabel Hilton states that the reasoning behind calling the book Frog is the “meandering connection Mo Yan makes between human sperm, early stage embryos, tadpoles and bullfrogs that is woven through a novel concerned primarily with the importance of love and life.” Other reviewers have dwelt on the notion of the frog as a symbol of fertility in Eastern cultures and on quotes from the text such as, “The croaking of frogs is often described in terms of drumbeats…But the cries that night were infused with a sense of resentment and of grievance, as if the souls of countless murdered infants were hurling accusations.”
Although these reasons are all valid in their own way, they result from the flatness of the translation. The word frog in Chinese is 蛙 (wā), while the word for child is 娃 (wá). Frogs are omnipresent in the text and haunt Gugu, a village obstetrician who rabidly enacts China’s infamous family planning policy and is thus responsible for thousands of abortions. The beauty of the metaphor lies in the ambiguity between these two similar sounding words. If we substitute the word frog for child, then the constant references to frogs throughout becomes haunting.
At one point in the novel, Gugu, returning after a night of drinking with friends, is chased by frogs. In the English translation, she is initially unsettled by the sound of croaking reverberating “as if the cries of infants” before eventually being chased by “an incalculable number of frogs.” But in Chinese, both the cries of frogs and children are also 哇 (wā). So in the Chinese original, this paragraph hangs on the inflections of these three wa sounds. If we see Gugu as chased by the ghostly wails of the children she has aborted, as opposed to the mere croaks of frogs, then the scene takes on the gravity and weight appropriate for a Nobel Prize winner. The way the meanings interweave due to their similar pronunciation is ethereal and translucent — and entirely lost in the English translation.
Without understanding the similarity between the Wa sounds that appear throughout the novel, the metaphor of frogs seems labored and bizarre. Without context, the constant recurrence of frogs is arbitrary. Rather, in the original, the metaphor of frogs is multifaceted and beautifully subtle. It’s thus strange that the book only makes a passing reference to this, embedded within the text, glossed over in a single sentence in the latter third. There is no translator’s note prefacing the work, which is limiting for readers unfamiliar with Chinese.
Why then is such a note missing from Frog? It’s no doubt intentional and stylistic. Excessive footnoting not only disrupts texts but also can turn fictional works into something resembling an academic thesis. To explain the intentional ambiguity in the text is also problematic, as it would break down the natural flow and could sound patronizing (it would obviously sound ridiculous to state that Gugu was chased by “an incalculable number of frogs, a word which sounds a lot like ‘child’ in the original Chinese”).
Howard Goldblatt, the translator, has chosen to stick to the flow of the original and not encumber it with excessive intrusions from the translator. While laudable, this means that some of the most interesting aspects of the prose remain out of reach for the average reader of the work in translation.
There are further issues, but these are more systemic and common to all works of Chinese fiction in translation. Most translation is done by sinologists, who come from a thoroughly academic background. Goldblatt, who has dedicated a life to translation, is regarded rightly as the foremost translator of Chinese into English. He has translated more than 50 books and received numerous translation prizes.
Yet utter proficiency and experience in a foreign language is not tantamount to literary prowess. Roy Harris argued in the Times Literary Supplement that today, “the translator’s primary function is no longer mimetic but analytical.” This being the case, the translator draws as much from unique life experiences, wide reading, and a deeply embedded knowledge of both the culture he is translating from and the one he is translating into. The problem however is that the vast majority of translation comes from within the academy (Goldblatt has a PhD and taught for many years at Notre Dame), which means that sometimes though the translations are mimetic, they are too formal and stodgy to be accurate portrayals of the texts themselves. This is certainly the case in Frog, in which many of the characters, despite being farmers and lacking formal education, often sound as if they too have PhDs. It’s a catch-22: To be proficient enough in the language to be an accurate translator requires a high level of education, but just such an education can cripple the ability of the translator to render the text accurately.
Goldblatt is so totemic and the universe of literary translators from Chinese to English is so small that often there is only one translation for literary texts. When languages have a similar linguistic root (i.e. Latin for romance languages), cognizant words and similar grammatical structures, then translation should be straightforward. The measure of a good translation of French to English is that one could translate the English back into French and arrive at largely the same text as the original. The same is not true in translating from Chinese to English because the languages are so fundamentally different. Translation is largely subjective. If one were to translate back from the English into the Chinese, the text would only vaguely resemble the original, like the hazy outlines of a skyscraper in smog. This is problematic because the average reader only has Goldblatt’s subjective decisions to go by. It’s impossible to arrive at a consensus of how Mo Yan should sound in English when there is only one translation that we can go from.
This is why flawed aspects of the text, such as characterization, become so frustrating. The characters in Frog suffer not just from sounding overly formal, but also from the translation of key phrases that makes them sound like literary constructs, not human beings. Take this sentence, “Money is nothing; it’s as transient as floating clouds.” Undoubtedly beautiful and poetic, it nonetheless sounds bizarre coming from a peasant farmer in response to his friend. It’s a direct translation of the word 浮云 (fuyun), which does mean floating clouds and is often used metaphorically in the context of aspirational desires such as money and fame. But was Goldblatt right to not dilute the translation in this context? It’s far more likely that the character, were his native language English, would respond something along the lines of “Don’t worry about money; it comes and goes.” This construction is undoubtedly less interesting, but it’s also more authentic. Chinese often has multiple levels of translation. A surface level translation retains the original form and the metaphor intact, while a deeper level gives the meaning straight and without the flowery symbolism of the original. 浮云 (fuyun) thus goes from “transient as floating clouds” to “temporary” or “ephemeral.” What’s crucial is the context. Were 浮云 (fuyun) not directly reported speech, then the surface level translation is beautiful and worth retaining. As speech between farmers, a deeper level would have been more appropriate.
What’s more jarring is that there are multiple instances in the text of characters dismissing things as “floating clouds,” which to a western reader makes the author seem lazy and grasping for metaphors. There is an ontological difference in what constitutes great writing between Chinese and English. Chinese writing values the ability to deploy 成语 (chengyu), four character idioms which come from canonical works or poems. English on the other hand has no such affinity for tradition and rabidly eschews cliché.
Take the following hypothetical: My room is a mess. Were I to describe it in a literary context in Chinese, I would say it’s 乱七八糟 (luan qi ba zao) or seven parts chaos, eight parts spoiled. In English, however, were I to say, “My room is a disaster area,” it would be seen as lazy and painfully clichéd. This sort of criticism plagued the reception of The Goldfinch, with Francine Prose in The New York Review of Books highlighting clichés such as “Theo’s high school friend Tom’s cigarette is ‘only the tip of the iceberg” or “The bomb site is a ‘madhouse.’” A crucial subjective decision is made over the translation of these idioms. Does one choose a similar idiom or quote in English and risk sounding clichéd, or does one get inventive and risk being unfaithful to the text? I would capture some of 乱七八糟’s (luan qi ba zao) vividness by describing my room as “covered in clothes scattered as haphazardly as falling snow,” but that is neither a faithful nor direct translation.
Kundera quotes his Italian publisher Roberto Calasso, as saying, “The mark of a good translation is not its fluency but rather all those unusual and original formulations that the translator has been bold enough to preserve and defend.” There is certainly something to be said for this, but in Frog the inclusion of original formations is overdone and makes the text heavy and unwieldy. There happens to be a 成语 (chengyu) for this: 画龙点睛 (hualongdianjing). It translates as “adding the pupils to a painting of a dragon,” in other words, to put the finishing touches to bring a work of art to life. Original formations, when over done, are not merely dotting the “i”s; they are scribbling over the original outline and intention of the work.
Without multiple translations of the same work, it’s impossible to adequately evaluate the author. To what extent Mo Yan writes in clichés or to what extent it’s a tic of the translator is not a judgment call that the average reader can make. This means that placing him alongside authors such as Gabriel Garcia Marquez, Kundera, and Haruki Murakami is difficult. Although all of the authors are themselves presented to an Anglophone audience in translation, there are at least multiple translations available. In the case of Kundera, the imprecision of translation drove him to such despair that he spent years correcting the translations of his own work into the four languages he can read.
Both Mo Yan and Marquez have received the Nobel Prize for literature, while Kundera and Murakami are regularly tapped as potential winners (Murakami was odds on favorite to win the 2014 prize according to the British bookmaker Ladbrokes). What is important to note is that unlike the other denizens of magical realism, we only ever see Mo Yan’s work through the prism of Howard Goldblatt. In that case, it seems unfair to make a comparison and to evaluate his oeuvre. As Goldblatt himself noted in an interview with The LA Review of Books, “What the reader has in her hands is a facsimile of the original work.” We should therefore see multiple facsimiles, and then we can decide on Mo Yan’s true place within literature.
Literature is important in providing nuanced and divergent interpretations of a country so often rendered in stark black and white terms. Translating a country as vast and diverse as China to a wider audience may be Sisyphean, or it may be 精卫填海 (Jiangweitianhai) or like a bird trying to fill the ocean with pebbles. Perhaps the most important thing we can learn from the plurality of voices emerging from China today is not what separates our cultures, but how ontologically similar they are. For every Sisyphus and his bolder, there is a 精卫 and his pebbles.
It’s thus a sad systemic irony that many great novels from contemporary China, which are so crucial in providing a sounding board for the diversity of the Chinese experience, suffer from being the sole preserve of one translator. Until the field opens dramatically, much of what is being said will be lost in translation.
The nature of orthographic representations in the human brain is still subject of much debate. Recent reports have claimed that the visual word form area (VWFA) in left occipitotemporal cortex contains an orthographic lexicon based on neuronal representations highly selective for individual written real words (RWs). This theory predicts that learning novel words should selectively increase neural specificity for these words in the VWFA. We trained subjects to recognize novel pseudowords (PWs) and used fMRI rapid adaptation to compare neural selectivity with RWs, untrained PWs (UTPWs), and trained PWs (TPWs). Before training, PWs elicited broadly tuned responses, whereas responses to RWs indicated tight tuning. After training, TPW responses resembled those of RWs, whereas UTPWs continued to show broad tuning. This change in selectivity was specific to the VWFA. Therefore, word learning appears to selectively increase neuronal specificity for the new words in the VWFA, thereby adding these words to the brain's visual dictionary.
El poeta William Wordsworth (1770-1785) fue uno de los iconos del romanticismo inglés. Intimó con este movimiento sembrando ideas aun presentes que han dado pie a la antología y traducción de su obra, Poemas escogidos. El profesor José Manuel Mora, ha sido el traductor y presentador de esta nueva edición en una de sus clases del Master de Escritura Creativa de la Facultad de Ciencias de la Información.
Lucía Platas y José Manuel Benítez fueron quienes, dulce y majestuosamente, pusieron voz a algunos de los poemas que componen la obra Poemas escogidos de William Wordsworth, (Ediciones de la Isla de Siltolá) y que recientemente ha traducido el poeta, narrador, traductor, crítico y profesor de escritura creativa José Manuel Mora.
“La traducción poética es un ejercicio fundamental porque conoces más lo tuyo en el espejo del otro. El yo se desarrolla en un tú”. Así valoraba el profesor Mora esta labor a la que en su momento, reconocidos escritores dedicaron gran parte de su vida profesional, según expresó, y gracias a lo cual conocemos hoy en día la gran maestría de los mismos.
Pero este ejercicio de traducción ha de realizarse, desde su punto de vista, de una manera “perceptible”. Al menos, así lo ha hecho él con Poemas escogidos. Y es que considera que no existe una traducción definitiva. Por ello, se vio en la necesidad de introducir su toque personal, un ritmo especial que no traicionara el verso poético del autor británico. William Wordsworth le marcó notablemente durante los años de carrera de Filología inglesa y siempre ha sido un escritor recurrente que ha tenido cerca; de ahí que tarde o temprano llegara el momento de traducir su obra. Y es que José Manuel Mora piensa que para llevar a cabo una traducción es necesario conocer al autor y tener un especial vínculo que llegue al lector creando así un trío literario connatural.
Las preguntas y consejos del profesor sobre el arte de escribir se intercalaron en la presentación del libro, con la lectura de varios poemas por parte de dos alumnos incitando a la reflexión a todos los allí presentes.
¿Quién fue William Worsdsworth?
Nacido en 1770 en Cumberland, Noroeste de los Lagos de Inglaterra, Wordsworth pasó allí parte de su infancia influenciado en gran medida por el entorno natural que le rodeaba y que tanto mostró en su legado poético.
Perteneciente a la primera etapa del romanticismo, germinará en él la semilla filosófica de Rousseau, desarrollando ideas como la intuición, la armonía y la naturaleza. Este último tema predominará en sus escritos con el fin de luchar contra el racionalismo ilustrado, con el que convivió y del que fue un “crítico interno”, según expresó el profesor José Manuel Mora durante la presentación. Entre las obras de este joven inquieto se encuentra una de las más meditadas, Versos escritos pocas millas más arriba de la abadía, que refleja el ejercicio de memoria propio de la época de los primeros románticos que hablan de sus vivencias. Baladas Líricas será otra de sus obras destacadas por su prólogo revolucionario en el mundo de la poesía.
Un juego de contrastes será la vida de Wordsworth, autor que entendió la poesía como un desbordamiento de sentimientos poderosos, nacido en la calma, en el sosiego de los recuerdos de aquello que pasó. Muchas de las ideas de este autor del XVIII se manifiestan en la mente de muchos del siglo XXI. De ahí el interés por conocer el pasado y dar sentido al presente gracias al viaje en el tiempo con traducciones como esta.
CALGARY, le 27 mars 2015 /CNW/ - Au nom de l'honorable Rona Ambrose, ministre de la Santé, Joan Crockatt, députée de Calgary‑Centre, a annoncé un financement fédéral de 600 000 $ pour améliorer l'accès aux services de santé des communautés francophones de Calgary (Alberta).
Le financement est versé à l'Association canadienne-française de l'Alberta régionale de Calgary pour l'ouverture dans la ville d'une nouvelle clinique qui augmentera la prestation de services de santé primaires aux communautés francophones de Calgary. Dans le cadre du projet, l'Association créera des stages ainsi qu'un réseau pour les professionnels de la santé qui souhaitent offrir des soins en français. Une stratégie de recrutement sera aussi mise en œuvre pour la création de futurs postes pour francophones en santé, ce qui améliorera l'accès à des professionnels de la santé francophones. Plus de 21 000 résidants francophones et des milliers d'autres immigrants francophones récemment arrivés dans la ville pourront ainsi profiter d'une amélioration de la sûreté et de la qualité de leurs soins.
Cet investissement fédéral fait partie d'une annonce de 2,3 millions faite plus tôt aujourd'hui par l'honorable Shelly Glover, ministre du Patrimoine canadien et des Langues officielles, au nom de la ministre de la Santé Rona Ambrose. Cette annonce appuie six projets dans des centres clés à l'échelle du pays, y compris celui annoncé aujourd'hui, pour la mise en œuvre à l'échelle locale de nouvelles initiatives en vue d'améliorer l'accès aux services de santé des communautés de langue française en situation minoritaire à l'extérieur du Québec. L'an dernier, le gouvernement fédéral a investi 112,9 millions de dollars à l'appui de 14 initiatives au pays pour la formation et l'intégration d'un plus grand nombre de professionnels de la santé bilingues dans les communautés de langue officielle en situation minoritaire.
Faits en bref
Le soutien fédéral pour ces projets provient de la « Feuille de route pour les langues officielles du Canada 2013-2018 : éducation, immigration, communautés » du gouvernement. Grâce à cet investissement de 1,1 milliard de dollars, le gouvernement du Canada tient son engagement de promouvoir et d'appuyer les deux langues officielles à l'échelle du pays et de garantir un système de santé qui répond aux besoins de tous les Canadiens.
Le Programme de contribution pour les langues officielles en santé de Santé Canada fait partie de la Feuille de route 2013-2018. Le programme soutient des organismes communautaires et des établissements d'enseignement supérieur en vue de l'amélioration de l'accès aux services de santé des communautés anglophones au Québec et des communautés francophones à l'extérieur du Québec.
Au moyen de la Feuille de route, Santé Canada investit plus de 13 millions de dollars sur cinq ans pour répondre aux besoins émergents des communautés de langue officielle en situation minoritaire et pour améliorer l'intégration des ressources humaines en santé au sein de ces communautés à l'échelle du pays.
Selon le recensement de 2011, il y a plus d'un million d'anglophones au Québec et plus d'un million de Canadiens francophones à l'extérieur du Québec, qui représentent ensemble 6 % de la population canadienne.
Le français est la langue maternelle d'environ 81 085 Albertains. Selon le recensement de 2011, la population francophone de l'Alberta croît plus rapidement que toute autre population francophone au Canada. La population francophone a crû d'environ 18 % depuis 2006.
« Je suis très heureuse que les familles francophones de Calgary et que l'ensemble des Calgariens profitent de cet important projet de soins de santé. Nos communautés francophones minoritaires auront ainsi accès près de chez elles à des services de santé en français dont elles ont grand besoin, ce qui nous aidera grandement à répondre aux besoins des résidants francophones dès maintenant et à améliorer la vitalité de ces communautés à l'avenir. »
Députée de Calgary-Centre
« L'accès aux services de santé nécessaires est une préoccupation pour tous les Canadiens. C'est pourquoi le gouvernement intervient afin de supprimer les barrières linguistiques qui existent dans certaines communautés et qui limitent l'accès des gens à des soins de qualité dans la langue officielle de leur choix. L'investissement d'aujourd'hui renforce encore le système de soins du Canada en augmentant le nombre de professionnels bilingues et en donnant aux patients un accès facilité et amélioré aux soins dont ils ont besoin dans leurs communautés. De concert avec de principaux partenaires et intervenants, nous travaillons pour que, peu importe où ils vivent, les Canadiens puissent utiliser les deux langues officielles quand ils reçoivent des services de santé à l'échelle du pays. »
L'honorable Rona Ambrose
Ministre de la Santé
« La contribution de Santé Canada arrive au bon moment et assurera le développement d'une clinique communautaire pour l'offre active des services de santé en français. Elle apporte à la communauté francophone de Calgary des moyens et des ressources nécessaires au lancement d'un processus de développement des services inexistants. »
Association canadienne-française de l'Alberta régionale de Calgary
Le dispositif pour préparer les élèves aux filières universitaires assurées en langue française, toujours d’actualité (ministre)
Le dispositif pour préparer les élèves pendant le cursus scolaire aux filières universitaires scientifiques assurées en langue française est toujours d’actualité, mais son application est limitée, a regretté mercredi soir, la ministre de l’éducation nationale, Nouria Benghebrit. La ministre a expliqué que les recommandations de la commission du rapport Benzaghou relatives à la préparation des élèves aux filières scientifiques enseignées à l’université sont toujours d’actualité, mais que leur mise en œuvre n’est pas généralisée à l’échelle nationale pour diverses raisons, souvent non fondées.
Mme Benghebrit répondait, en marge d’une émission consacrée à son secteur à la télévision nationale, à une question de l’APS relative aux difficultés rencontrées par les bacheliers qui optent pour les filières scientifiques enseignées exclusivement en français, alors que les matières scientifiques sont complètement enseignées en arabe durant tout le cursus scolaire.
Elle a rappelé que le rapport de la commission Benzaghou de 2003 relatif à la réforme du système éducatif, avait recommandé, entre autres, d’enseigner aux élèves la terminologie des matières scientifiques en langue française à même de les préparer aux études universitaires assurées en langue étrangère.
La mise en œuvre de ce dispositif " pose problème dans plusieurs wilayas, notamment dans celles ou la langue française en tant que matière posait déjà problème", a relevé Mme Benghebrit.
"Durant la décennie noire, et même après, il y avait des wilayas qui dispensaient le français et l’anglais des examens, par manque d’enseignant, ou juste quand l’évaluation se fait et qu’on dit qu’il y a des problèmes en terme de maîtrise et en terme de compétence", a-t-elle regretté.
Ces pratiques étaient, selon la ministre, des solutions de facilité qui n’étaient pas les meilleures, puisque "au lieu de trouver des solutions pédagogiques, on allait vers la solution administrative la plus mauvaise", a déploré la ministre.
Elle a assuré que son département avait pris en charge cette question et qu’il était revenu aux recommandations de 2003, avant d’insister sur l’importance pour chaque élève de maîtriser plusieurs langues, car, "il n’était pas du tout pratique d’être monolingue de nos jours".
"Nous avons un dispositif relatif à la terminologie scientifique en langues étrangères qui n’est peut être pas suffisamment appliqué sur l’ensemble du territoire national, mais pour nous, c’est une modalité aussi de préparation des élèves à affronter non seulement la société de demain, mais également pour pouvoir être présents dans l’université algérienne et les autres universités", a-t-elle expliqué.
La ministre a ajouté que l’algérien "a une capacité extraordinaire en terme de maîtrise des langues" et que le ministère de l’éducation nationale "travaille encore plus pour que la mise en œuvre du dispositif en question puisse être faite dans l’ensemble des classes dans tout le pays ".
Interrogée sur le problème du manque d’enseignants en langue française et anglaise dans certaines wilayas, notamment dans le sud du pays, Mme Benghebrit a souligné que cette question a été réglée dans toutes les écoles du pays qui ont été pourvues de "tous les besoins en terme d’enseignants du français ".
La Fédération des parents du Manitoba (FPM) a reçu vendredi 100 000 $ du gouvernement fédéral pour améliorer l'offre active de services de santé en français aux enfants francophones de six ans et moins, ainsi qu'à leurs familles.
Le financement est versé dans le cadre d'un programme de Santé Canada inscrit dans la Feuille de route pour les langues officielles du Canada 2013-2018.
L'investissement fait partie d'une contribution de 2,3 millions de dollars annoncée aujourd'hui à Saint-Boniface par la ministre des Langues officielles Shelly Glover afin d'améliorer l'accès aux soins de santé de langue officielle en situation minoritaire, à l'échelle du pays.
Avec les fonds, la FPM travaillera de concert avec l'Office régional de la santé de Winnipeg et Santé Sud pour identifier et mettre en oeuvre des stratégies durables pour sensibiliser les francophones à l'offre active.
Selon la directrice générale de la FPM, Josée Chabot, « les médecins de famille, les sages-femmes, les infirmières de santé publique et les infirmières praticiennes ont un rôle important à jouer pour identifier, durant la grossesse et à la naissance, les francophones et pour les aiguiller vers les programmes et les services disponibles en français - notamment ceux offerts à travers des centres de la petite enfance et de la famille. »
La ministre de la Santé Rona Ambrose croit que l'investissement augmentera le nombre de professionnels bilingues dans le domaine de la santé et facilitera l'accès aux soins.
« L'accès aux services de santé nécessaires est une préoccupation pour tous les Canadiens. C'est la raison pour laquelle le gouvernement intervient afin de supprimer les barrières linguistiques qui existent dans certaines communautés et qui limitent l'accès des gens à des soins de qualité dans la langue officielle de leur choix. »
— Rona Ambrose, ministre de la Santé
Au total, six communautés canadiennes profiteront du Programme de contribution pour les langues officielles en santé de Santé Canada.
Initié par le Réseaulangues, le festival multilingue connaît sa seconde édition. 400 jeunes de la province y participent. Un succès.
L’apprentissage des langues est une chose essentielle. Nul n’en doute. Pour y parvenir, différentes déclinaisons existent entre le séjour linguistique et l’apprentissage scolaire. La province de Luxembourg n’est pas en reste. Initié en 2014, le festival multilingue vient de connaître sa seconde édition. Le principe? Des jeunes proposent, sur scène et devant un public, une petite pièce ou une saynète en néerlandais, anglais ou encore allemand. «Il y a un an, ce festival s’était uniquement tenu à Arlon. 140 jeunes y avaient participé», souligne Salvatore Ali, coordinateur du Réseaulangues.
Son équipe et lui s’en sont rapidement rendu compte: une demande existait pour ce genre d’exercice. L’idée de délocaliser les séances a été lancée et a reçu un accueil chaleureux de partenaires locaux et des établissements scolaire. Après Bertrix il y a une semaine, La Roche-en-Ardenne ce mardi et Arlon jeudi (voi ci-dessous), le festival multilingue a rassemblé 400 jeunes! «À partir du moment où les écoles s’inscrivent, on peut supposer que l’accueil est bon. Mais on sait que cela demande un investissement important de la part des élèves et de leurs professeurs. Il faut du temps, répéter, consacrer des heures de cours pour ce projet», avance notre interlocuteur. Le concept plaît visiblement: «L’objectif est de permettre aux jeunes de s’investir dans un projet de groupe, un projet artistique et culturel. C’est aussi une manière d’aborder les langues d’une façon différente et plus pratique. Jouer devant un public, dans une autre langue, c’est un défi».
Un défi brillamment relevé par les étudiants. Entre tracs, petits trous de mémoire, rires, les jeunes se sont donnés à fond.
Le néerlandais boudé
«Certes, le Réseaulangues organise, encadre mais ce sont les jeunes qu’il faut mettre en avant pour leur implication», poursuit Salvatore Ali. Il le constate: l’anglais a la cote. Par exemple, lors de la journée rochoise, sur les treize pièces, dix étaient proposées dans la langue de Shakespeare. L’allemand est également joué dans la région arlonaise. Par contre, on retrouve peu d’enthousiasme pour le néerlandais. Sur ce point, Salvatore Ali ne peut apporter de réponses. Cette seconde édition du festival multilingue est d’ores et déjà un succès. Et le coordinateur le précise, il ne s’agit aucunement d’un concours: «Il n’y a ni jury, ni classement, les jeunes font ça pour la beauté du geste.»
Une beauté du geste, certes, mais avant tout une fameuse expérience. Le festival, lui, sera sans doute reconduit l’année prochaine. Ses organisateurs y comptent bien.
Governor Vajubhai Rudabhai Vala on Friday stressed the need for translation of southern regional language literary works, including Kannada, into Hindi so as to spread the rich literary heritage of these languages across the country.
He was speaking at the inauguration of southern and south western regional official language convention here. While Hindi unites the country, regional languages strengthen respective regions, he maintained. Congratulating the Union government for making continuing efforts to spread Hindi across the country, Mr. Vala noted that it did not mean the government is against regional languages. A healthy combination of the both would make strong India, he maintained.
A nation should have one flag, one emblem, one anthem and one language, Hindi perfectly fits as the national language, Mr. Vala said.
On the occasion, several Central government departments, organisations and employees were felicitated for their effort to spread Hindi in their official call.
GoDaddy Launches Local Language Campaign for Domain Names and Hosting
Encouraging Tamil-speaking small businesses to get online
Chennai, Tamil Nadu, India
GoDaddy, the world’s largest technology provider dedicated to small businesses, today launched its first regional marketing campaign in India. Beginning with Tamil, GoDaddy is working to educate India’s local small businesses that with an online presence, no business is a small business. This supports the company’s broader India strategy to educate small business owners on the advantages of having an online presence - allowing businesses to operate 24/7, reach customers globally and grow their business.
“In this market, where local language content still remains dominant, Tamil is one of the most popular languages in India. The next wave of growth in Internet adoption will be driven by local language content and smaller cities,” said Rajiv Sodhi, Vice President and Managing Director, GoDaddy India. “What’s more, Tamil Nadu is home to one of the highest number of operational small and medium sized enterprises in India. Through this campaign we want to increase GoDaddy’s brand awareness among Tamil-speaking small business owners and boost Internet adoption.”
The regional campaign includes a Tamil language television commercial featuring GoDaddy customer – Chennaifurniture.net – a local furniture manufacturer, along with a social media campaign. The TV commercial is now airing on regional channels in the South including Sun TV & Adithya TV. It shows how a small business owner from Dindigul, a small town in Tamil Nadu, saw the need to get a website to help expand his business to larger markets like Chennai. With a robust Internet presence today, powered by GoDaddy, he is able to convert two out of every ten enquiries he gets from the website into new business.
“Until now, my business success was based on word-of-mouth. But today it’s important to be online, because that is where the consumers are. That’s why creating an identity for my business on the Internet was crucial. GoDaddy helped me establish an online presence with ease and now we get orders around the clock,” said Elango Samy, Owner, Chennaifurniture.net.
“We’ve seen that small businesses listen to their peers’ recommendations about a particular product or solution and its benefits. The new campaign illustrates through a real-world customer example that the Internet is not just for large enterprises, and that small business owners can attain the same benefits for their business,” Rajiv added. “And now with our latest solution – Get Online Today, small business owners can establish an online presence, easily and affordably.”
Get Online Today package comprises a domain name, subscription to website builder and Microsoft Office 365 from GoDaddy for Rs. 99/ month for the first year with an annual purchase. The offer is designed to cater to the business and communication needs of SMBs, while making the business more discoverable, keeping the identity secured and enabling collaboration online.
GoDaddy’s regional push follows two integrated marketing campaigns in Hindi, since starting operations in India in 2012. Both campaigns were geared towards educating small business owners and individuals on the need to get online. GoDaddy is focused on growing the market by educating small businesses on the importance of getting an online identity and bringing new users online.
In India, GoDaddy has an award-winning 24/7 local customer care center, with experts supporting small business owners get online, in various regional Indian languages.
As the world’s largest Web domain registrar, GoDaddy’s mission is to empower small business owners, individuals and entrepreneurs by helping them to easily start, confidently grow and successfully run their own ventures.
To learn how GoDaddy can help your small business, visit: in.godaddy.com
Connect with GoDaddy on Facebook , Twitter & LinkedIn
Read why our customers recommend GoDaddy
GoDaddy's mission is to radically shift the global economy toward small businesses by empowering people to easily start, confidently grow and successfully run their own ventures. With approximately 13 million customers worldwide and more than 59 million domain names under management, GoDaddy gives small business owners the tools to name their idea, build a beautiful online presence, attract customers and manage their business. To learn more about the company, visit www.GoDaddy.com.
For News Release background on GoDaddy click here
En el marco del Día Mundial de la Poesía que se acaba de celebrar, fue publicada en Lisboa la antología bilingüe (español-portugués) ‘Troco a minha vida por candeeiros velhos’, del poeta colombiano León de Greiff, que ha despertado un interés particular en el mundo intelectual luso.
En especial, por las similitudes que tiene la llamada ‘Leolandia’, ese universo literario tan particular creado por De Greiff con el de su colega luso Fernando Pessoa.
Ambos, no solo supieron dibujar, a través de sus versos, todo un mundo novedoso para los lectores, inspirado en sus propios territorios, sino que se inventaron un sinnúmero de personajes -sus famosos heterónimos-, que han sido tema de estudio y admiración. “Ni de Greiff ni Pessoa supieron cuántos fueron y no creo que esto los haya inquietado demasiado”, anota el profesor Jerónimo Pizarro en el prólogo.
Así como Alberto Caeiro, Álvaro de Campos, Bernardo Soares y Ricardo Reis, cuatro de los más importantes heterónimos de Pessoa, son tan familiares para los lusos, a los lectores colombianos les resultará muy familiar el nombre de Sergio Stepansky, famoso por el relato que De Greiff dedicó a su nombre, que comienza: “Juego mi vida, cambio mi vida./ De todos modos/ la llevo perdida…/ Y la juego o la cambio por el más infantil espejismo,/ la dono en usufructo, o la regalo…”.
Uno de los valiosos aciertos de esta antología que se le descubre al mundo de habla portuguesa, es que fue cuidadosamente organizada por el hijo del propio De Greiff, Hjalmar De Greiff, custodio y juicioso estudioso de la obra del poeta antioqueño (1895-1976).
El libro “presenta, justamente los poemas de algunos de los ‘más notorios otro-yoes’ greiffianos –anota Pizarro-. Para quien no los conoce, y sin olvidar que la lista supera con creces la siguiente, recuerdo cuáles son los que en este volumen se incluyen o refieren: Matías Aldecoa, Leo Legris (o Le Gris), Gaspar von der Nacht, Sergio Stepánovich Stepansky, Erik Fojrdson, Ramón Antigua, Skalde, Proclo, Bogislao y Guillaume de Lorges”.
La traducción al portugués estuvo a cargo del poeta Gastão Cruz, para quien el reto no era nada sencillo. “La traducción de la poesía de León De Greiff suscita dificultades muy específicas, que se relacionan, especialmente, con su arraigo en una realidad característicamente local, de la cual el poeta parte hacia una propuesta poética de más largo alcance. De Greiff construye una personalidad diversificada y ambiciosa, muy crítica del mundo circundante y se empeña en la presentación de un 'yo' elocuente y decididamente afirmativo de su visión del mundo”, anota cruz al inicio del libro, que se presentó con la asistencia de destacadas personalidades, en el Centro Cultural de Belém, uno de los lugares más importantes de la cultura de la capital lusa.
Una de los valores agregados de esta publicación, además de una completa cronología acompaña de históricas fotos del autor de poemas como ‘Tergiversaciones’, 'Balada intrascendente de Aldecoa, Leo y Gaspar’ y ‘¡Señora muerte!’, es la inclusión, al cierre, de un glosario de más de 160 de los términos extraños y palabras inventadas por De Greiff, que buscan servirle de guía al lector, para descifrar su mundo poético.
Esta es la séptima publicación que hace el periodista y escritor Germán Santamaría, al frente de la embajada de Colombia en Portugal, para promover las letras nacionales, entre las que se encuentran libros de José Eustasio Rivera, Álvaro Mutis, José Asunción Silva y Juan Manuel Roca, entre otros. Esta iniciativa contó con el apoyo, también, de la Cancilleria colombiana, en su programa de promoción de Colombia en el exterior.
CULTURA Y ENTRETENIMIENTO
El inspector de la brigada de Extranjería (Ucrif) de la comisaría de Vigo Roberto Rodríguez reveló ayer que sus agentes descubrieron a un intérprete que traducía las declaraciones de esclavas sexuales explotadas por un grupo de proxenetas y que luego filtraba la información a una red rival. Rodríguez hizo públicas sus investigaciones ayer en una conferencia a alumnos de la Facultad de Filología de la Universidad de Vigo sobre la importancia de la interpretación en la lucha contra la trata de mujeres. En la charla intervino la fiscala jefa de Vigo, Susana García-Baquero, experta en extranjería.
El mando policial contó que los agentes que hacían escuchas a una red de proxenetas que explotaba a extranjeras y descubrieron que alguien les estaba pasando detalles de cómo había sido desmantelado otro grupo rival. Incluso les filtró datos de lo que declararon las víctimas. «Era un intérprete que contaba más de lo que debía, daba datos a otra red sobre asuntos que no debía», relató el inspector. La operación para destapar al topo de comisaría se desarrolló el año pasado.
Por su parte, la Fiscalía animó a las estudiantes de traducción de Vigo a hacer preguntas a las extranjeras prostituidas para descubrir si son víctimas de la trata sexual. García-Baquero indicó que hay que vigilar la explotación laboral en las ferias y que el fiscal «debe salir a la calle para buscar a las víctimas. Aunque en O Berbés las mujeres no están encadenadas, hay otro tipo de cadenas invisibles». Recomendó a las traductoras distinguir entre víctima de trata y la de inmigración clandestina. La esclava sexual es reconocida por varios indicios: es incapaz de decir en qué ciudad está, miente y dice que está estupendamente, carece de teléfono móvil y pasaporte, no conoce el idioma y trabaja en locales con cámaras y verjas».
La profesora Maribel Del Pozo calificó la trata de mujeres como «la esclavitud del siglo XXI» pero cuando las víctimas son extranjeras las barreras de comunicación son «infranqueables», por lo que reivindicó que las alumnas de Traducción e Interpretación sean formadas y que el Estado endurezca los requisitos para traducir a las víctimas en la comisaría porque «a veces contratan a personas ajenas que no siempre hacen bien su trabajo».