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Frozen, Aladdin and The Lion King take on a slightly different feel when their lyrics move from English to Italian...
Sometimes life can be depressing. Sometimes life can be distressing. Sometimes life can be an upsetting lot of hard struggle and you feel helpless, lost and lonely. We need an escape from the pain and heartache. We need something that provides solace, hope and uplifting brightness. We need a remedy that'll make us smile again.
What we need is a Walt Disney Animated Studios movie and we need to hear (and sing-along to) those timeless tunes that raise our spirits and make us feel alright again. Actually, they make us feel awesome and able to overcome all the villains and trials in our way. Play one and it'll do magic, believe it or not (erm, "bibidi-bobidi-boo!").
They are the simple bare necessities that help you forget about your worries and your strife. They are the motivational "Hi Ho!" calls when you're a bit pitiful and have work to push on with. For children and grown-up children alike, those timeless numbers can act as a melodious touchstone to good times, childhood, positivity and/or the true human values that underpin our existence.
But what if you suddenly found that the songs you know and love (and possibly need as an emergency fixer-upper) were altered in some way? What if you found yourself watching a Disney flick but the familiar lyrics were unexpectedly unfamiliar and alienating? How would you feel about such a topsy turvy state of affairs, and could you cope?
To provide some context and explanation, I have recently experienced this myself. Earlier this year I jaunted off to Italy to teach English to school children and visit some friends. (I've been over there to work as an English teacher numerous times and consequently have made friends with several families who keep on inviting me back because they are lovely people from a lovely country.)
Unsurprisingly, Disney movies are really popular with Italian families just as they are popular with families all around the globe. One evening when I was staying with one such lovely Italian family it came time to stick on a DVD. I agreed with the 5-year-old of the family that The Lion King (a.k.a. Il Re Leone) was a good choice and it was also agreed that the language setting would be Italian with English subtitles. This would turn out to be very important.
We settled down together and the '94 vintage masterpiece (it's Disney's Hamlet, y'know) began with the shot of a hazy savannah sunrise and the sound of a man howling "Nants ingonyama bagithi baba! Sithi uhm ingonyama." (In Zulu, that means "Here comes a lion, father. Oh yes, it's a lion.")
The creatures of the Pride Lands all wake, rise up towards the dawn light and commence their journey towards Pride Rock in what is a majestic opening salvo. They are travelling to behold the newborn prince Simba, and as they move the traditional African chants fade into the background and the 'song proper' starts.
Of course, this being an Italian dub the voice was different and the words weren't the same. I speak some Italian and, though it's not great, I know enough to get by and not die, make conversation and identify when something is afoot (or a-paw). Likewise, vice-versa for the mother in this household, and as we gradually realised that the sung Italian and the English in the subtitles were not corresponding exactly we turned to face each other, frowning.
"É completamente diverso!" I cried, and that means "It's completely different!" And it was. The lyrics that Tim Rice wrote to accompany Elton John's music were altered, quite significantly. Take the soaring chorus, for instance - "It's the Circle of Life" translated to "It's a carousel that goes, this life". In my mind and soul, the 'Circle of Life' image is a highly spiritual and holistic one. Say 'carousel' though, and I think of Mary Poppins and Bert on a jolly jape in the Chalk Painting Dimension, the dystopian euthanasia ritual in Logan's Run or an awful Rogers & Hammerstein musical about clambakes and domestic abuse.
The Lion King (erm, Il Re Leone) rolled on and I became evermore perturbed - perhaps unreasonably - at the fact that it wasn't an exact, literal translation from English. Inevitably, in the shift from the original language I missed some classic vocal performances (no James Earl Jones or Jeremy Irons!) and the witty wordplay was, likewise, lost to oblivion.
When I Just Can't Wait to be King came around I mourned the absence of the pun-derful line "I'm gonna be the mane event" - its Italian equivalent, "I'll be the scoop of the century". With so much meaning, nuance and creative style not crossing over, I came to feel that foreign audiences are getting a duller picture than English-speaking viewers and this is probably the case for the majority of films in the majority of languages.
I didn't make it to the end of The Lion King because I was tired and opted for an early night. I bowed out before the trauma of Mustafa's death scene, hoping that sleep would ease all the confusion and cognitive dissonance that was addling my surprised brain.
Peace wouldn't come though, for the next evening the extended family came around and we all had pizza. (That's the nice part. You can stop reading now and pretend that everyone ate pizza and lived happily ever if you want. In fact, to make it a perfect Disney ending, I married the Princess and we all sang a song and it was not distorted or oddly re-arranged in any way.)
After pizza the children stuck on Frozen (a.k.a. Frozen - Il Regno di Ghiaccio or The Kingdom of Ice) for what was probably the thousandth time. When I eventually entered the lounge - I'd been socialising with the adults and avoiding more dub-disharmony - I stumbled in on Let It Go. Even though there were no English subtitles this time, I could tell that this was a similar scenario to The Lion King the night before.
Instead of "Let it go! Let it go!" I heard "Io lo so! Sí lo so!" which means "I know! Yes I know!" I ran away from the situation but vowed to investigate further at a later date when I was back in Britain - a land where foreign films are most often subtitled as opposed to dubbed.
I really like subtitles - for both foreign-language and English-language movies, as a matter of fact - and don't dig dubbing. I'm willing to make an exception if a Studio Ghibli film has been re-recorded with care and it's true that dubbing is part of the charm of retro chopsocky and spaghetti westerns. Otherwise, the practice leaves me cold but I know that's not the case for most people in territories where English isn't the mother tongue.
Accepting that then, I'm left to try and reconcile myself to the fact that great original screenwriting may get a bit mauled and mutilated in translation, but it's the music that leaves me really blue. For the sake of making rhymes, I fear the lyrical genius - so many moving metaphors, fantastical figures of speech, touching turns of phrase, wondrous bits of wit - may be sacrificed. In the magical and sacred realm of the Disney musicals, this thought is even more disconcerting.
As I say, I sought to delve into these dubbed mysteries to see just how different Disney classics end up when translated into Italian. The same undoubtedly occurs in all languages, from Arabic to Zulu, but I figured that I'd stick with a tongue and culture I'm familiar with for this brief unacademic study. (I'm using amateur uploads to YouTube and Google Translate for assistance.)
Here are three sample cases studies - infamous and much-loved Disney tunes of relatively recent vintage (well, my lifetime) - to illustrate just how unusual things can become when the words and voices you know and love are substituted for something that sounds strangely foreign...
Aladdin - A Whole New World becomes Il Mondo è mio (The World is Mine)
Possibly Disney's finest romantic duet and the vital narrative turning point in the studio's own Arabian Nights tale, A Whole New World is something very special. Truly, Alan Menken's music conjures up the sensations and "indescribable feeling" of a magic carpet ride that's "soaring, tumbling, freewheeling through an endless diamond sky". It's Tim Rice's lyrical genius, however, that makes it really fly and rightly earned it the Academy Award for Best Original Song.
Still, awards don't mean much but feelings mean everything, and A Whole New World is beautiful because it expresses the pure, blissful realisation of love better than any Disney song (so this writer believes). Aladdin (in disguise as Prince Ali) may try to charm Princess Jasmine with his charisma and his supernatural rug but in this moment it's his passionate, giving spirit that wins her over. The 'Whole New World' of the title is both the entire planet beyond the gilded cage of the palace and the state of being in love. It's a song about many things - listening to and following your heart; sharing a wondrous adventure with someone else; the experience of opening up to love and embracing the sensation. Truly, it's a poetic and profound masterpiece.
In the Italian dub, it's abysmal. For a start, a lot of the new lines fit awkwardly and are too long for easy synchronisation with Menken's music. The words that so wonderfully evoke the adventure - both the sensual experience of the magic carpet ride and the soulful experience of falling in love - are substituted for leaden lexis that doesn't really mean much. As for the overall meaning, where the original English version is experiential and awestruck, the Italian translation is all about possession. Basically, Aladdin sings "the World is yours" and Jasmine comes to respond with "the World is mine", which sounds pretty arrogant and self-entitled coming from the mouth of a privileged Princess.
She makes a concession at the end as the pair sing "the World is ours" but the damage is already done. Jasmine's delight is superficial, Aladdin's gestures aren't backed up with deep sentiment and the song says very little whereas the original version says everything and stirs up indescribable feelings with such stylish and moving aplomb. I'm utterly appalled and am now using the despoiled magic carpet to dry my tears.
Hercules - Go the Distance becomes Ce la posso fare (I Can Do It)
It twists Greek mythology all out of shape and makes it child-friendly, but Hercules is a winner thanks to its humour and irresistible music. Go the Distance is one of Disney's great anthems/motivational mantras for all aspiring athletes and deities. Written by lyricist David Zippel and that man Menken again, the song and its reprise together function as empowering plot-propellers in the film.
Our scrawny adolescent hero puts out a heartfelt plea to the Gods, has a chat with his daddy (the Statue of Zeus coming to jovial life) and receives his mission. No Twelve Labours for you, son! All that Hercules has to do to claim his divine status is become a "true hero" and from there he's on his way, Roger Bart the vocalist belting out the upbeat aphorisms with courage and determined conviction.
Lyrically this 'I want song' speaks first of loneliness and the young outcast's desire to fit in ("I'd go almost anywhere to find where I belong"). Post pow-wow with Zeus, the words take on an additional dimension and the 'distance' refers to trials and achievements as well as an emotional and physical distance. It's a touching musical tribute to the archetypal hero's journey, operating on a number of levels and different audiences can relate to its thematic depth in myriad ways.
Meanwhile in the Italian dub, Hercules is singing of the same things throughout though it feels more direct and less lyrical, as it were. The impression I'm left with is that the translated Herc is more like an earnestly ambitious kid with a limited vocabulary. For example, at the end of it all he literally comes around to say "I will fight everyone and everything and return to Olympus as a God." That's a bit of a bad translation but otherwise Ce la posso fare (I can do it!) does an okay job of expressing the determined desire to find a home, become a hero and fly (figuratively and literally on the back of Pegasus) in more simplistic terms.
Furthermore, as bonus pop pickings, once you've finished with Alex Baroni's Italian (his voice is a little shaky, but perhaps suited to the material) you may wish to get out your Zippo lighter and wave it along to Ricky Martin's Spanish version or Michael Bolton's English-language cover for the movie's closing credits. Both are resolutely dull and diminish all the inherent epic-ness of the original.
Frozen - Let it Go becomes All'alba sorgerò (Dawn Will Rise)
This is the big one - the song that is the crux of the phenomenon; the song that has invaded all the kids' birthday parties and driven the parents crazy; the song that Adele Dazeem performed at last year's Oscars ceremony. Let It Go is the bittersweet powerhouse that is both a triumphant celebration of liberating self-acceptance and a saddening resignation to an alienated state of isolation.
Consider, for instance, the sharp double-edged meaning of the line "the cold never bothered me anyway" - Elsa is, in casting off personal shame and embracing the powers she has sought to repress (that's good!) while simultaneously adopting a cold attitude and shunning the world around her (that's bad! Especially bad when you are the Queen of Arendelle - a kingdom now iced over thanks to your frosty freak-outs).
Composed by Kristen Anderson-Lopez and Robert Lopez, the story goes that upon first hearing the future hit the filmmakers realised they'd have to rewrite the movie to make Elsa less of a villain. It is thus, paradoxically, both the frozen heart and the heart of the film and Idina Menzel sells it to us in supreme fashion while her on-screen equivalent builds an astounding crystalline Fortress of Solitude.
Over to the Italian take, and Serena Autieri's version sounds wonderful because Italian is a beautiful language. In terms of content and meaning, it expresses Elsa's change moment effectively but, as with Hercules, it's expressed more plainly. Whereas the English lyrics relate to Elsa's backstory and play with snow-related imagery the Italian dub is vaguer. I feel, once again, that the meaningful magic is lost in translation a little. Still, the fact that it doesn't have a chorus refrain phrase ("Let It Gooooooo!") is interesting, Elsa singing a different word that ends in 'o' each time.
So there you have it, and of course there are many more and they run the spectrum of 'pretty accurate adaptation of the original English language' to 'Huh? What the Cruella De Vil happened here?' It's true that the translations into English might be crude and clunky and may not capture what in Italian is actually felt to be poetic - especially when it fits with the melodies and rhymes so well.
Still, knowing the original lyrics it just doesn't seem 'right' to my mind but there's nothing I or you or any other English mother tongue Disney fan can do about this Babelfish botching. All we can do is let it go (though that's not how it goes when translated into Italian).
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A declaração de independência irlandesa do autor de Finnegans Wake “consistiu em superar os ingleses na escritura do inglês”
“Ulysses” (ou “Ulisses”), um sr. esbelto de 93 anos, é uma espécie de Benjamin Button da literatura. Quanto mais fica velho, em termos de idade, mais parece jovem — quiçá o Drácula da prosa universal.
O original do romance-catedral de James Joyce é um palimpsesto literário à espera sisífica de interpretações. No caso, não apenas interpretações críticas. O escritor irlandês também é interpretado frequentemente por novas traduções, que, de certa maneira, o fazem “dizer” mais do que havia dito ou sugerido. Joyce é um autor que se permite reinventar tanto pelos críticos quanto pelos tradutores. Nunca se pode falar, em termos de sua literatura reverberativa, em traduções definitivas. A obra, mesmo depois de supostamente “pronta”, persiste em andamento, por meio do autor, dos coautores (críticos e tradutores) e leitores do tipo, digamos assim, Joyce e seu protagonista, Leopold Bloom.
O Brasil traduziu “Ulisses” três vezes. Antônio Houaiss traduziu primeiro, com rara mestria, o que pode ser comprovado com as leituras das novas versões.
Em seguida, Bernardina Pinheiro tornou a história do homem comum Leopold Bloom mais popular, ou, como dizem seus críticos, mais pedestre. Talvez seja possível sublinhar que pôr um livro tão difícil, embora paradoxalmente também seja simples, de pé nunca é um ato pedestre.
Caetano Galindo, mistura dos homerianos Ulisses e Aquiles, é a terceira ponte do romance para o português. Sua versão é um meio termo entre o eruditismo de Houaiss, quem sabe excessivo, e a simplicidade de Pinheiro, talvez excessiva. Tropicalizado por Caetano — o Galindo, não o Veloso —, Joyce se tornou (mais) “legível”, mas não pedestre.
Portugal responde por duas traduções de “Ulisses”. A primeira é de João Palma-Ferreira. A segunda é de Jorge Vaz de Carvalho, saudada na terra de Camões e Fernando Pessoa como um portento.
Francisco Vale, editor da Relógio d’Água, responsável pela nova edição, disse a João Céu e Silva, do “Diário de Notícias”: “Li aquela tradução [a de Palma-Ferreira], bem como as dos brasileiros Antônio Houaiss e Caetano Galindo [nota do Jornal Opção: ele não cita a versão de Bernardina Pinheiro], e ao comparar as quatro considero que a de Jorge Vaz de Carvalho é um avanço sobre as outras”. A tese de Francisco Vale: “É aquela [a de João Carvalho] em que o tradutor se atreve mais a ir ao encontro do que Joyce escreveu e de todas as ressonâncias culturais sem forçar analogias. Essa audácia foi sempre difícil porque a maior parte dos tradutores esquivou-se aos problemas fundamentais do livro”.
Mais cosmopolita, a Argentina traduziu “Ulisses” antes do Brasil, em 1945 — há 70 anos —, 23 anos depois de sua publicação. O autor do trabalho de Hércules, José Salas Subirat, não pôde contar, anota o poeta e tradutor Pablo Ingberg, em texto para o “Clarin” (publicado na quinta-feira, 14), com uma bibliografia que o ajudasse a entender de maneira mais ampla a prosa de Joyce. Mesmo assim, com “erros e tropeços”, “continua sendo a mais legível deste lado do Atlântico”. O jornal argentino cita duas outras traduções, espanholas: de José María Valverde, de 1976, e de Francisco García Tortosa e María Luisa Venegas, de 1999.
Agora, 93 anos depois da publicação do livro na Europa, sai outra tradução na Argentina. Pablo Ingberg diz que a tradução de Marcelo Zabarov, em colaboração com Edgardo Russo e revisão de Teresa Arijón, Anne Gatschet e Eugenio Conchez (coautor das notas explicativas), é de alto nível (leia a resenha no link: http://www.revistaenie.clarin.com/literatura/Ulises-catedral-novela-moderna_0_1354064604.html).
Um trecho da resenha de Pablo Ingberg: “Sua [de Joyce] declaração de independência irlandesa consistiu em superar os ingleses na escritura do inglês. Um inglês, claro, invadido de irlandesismos”.
Human intelligence is richer than logic: It includes "being funny, being sexy, expressing a loving sentiment — maybe in a poem or in a musical piece."
Aprender inglés, las estructuras, la gramática y la pronunciación, no asegura que tengáis un dominio fluido del idioma. Para mejorar la fluidez de la lengua, considerad nuestros consejos.
Initially launched in December 2014, the invite-only app required users to sign up for a waiting list to be able to test out its real-time voice translation in Spanish, English, Italian and Mandarin. The current free-for-use preview offers instant messaging translation in 50 languages with more being developed each day.
Try it out with your friends in different parts of the globe and relish the experience of talking in your native tongue while knowing that the user on the other end can hear your words in their language. In other words, the Skype Translator can instantly translate instant messages or video chats in real time.
Once the translation option in Skype is turned on, users can connect with and chat with any contact in their address book (drop-down menu). After the languages have been selected, the app provides an on-screen rendition of what that contact is saying which appears in a sidebar chat window. This way no word, phrase or emotion is lost in translation! If you think the app has made a mistake, you can either correct it or type in the correction in the chat feed.
Talking about their latest innovation, an official statement from the company said, “We are breaking down language barriers that have historically made it challenging for friends and families to connect. Skype’s mission is to bring people together from all over the world, and with Skype Translator we are breaking down language barriers that have historically made it challenging for friends and families to connect. Our goal for Skype Translator is to translate as many languages as possible on relevant platforms, and to deliver the best speech translation experience to our more than 300 million connected Skype customers.”
The best example of the app’s use comes from a New-York based non-profit organization called Pro Mujer which took part in the initial testing to provide women in Latin America micro-loans for starting small businesses, offered them healthcare services and job training all through the app. Skype Translator was used as the primary medium of communication between the local Latin America and U.S.-based teams to overcome the language barrier while maintaining time efficiency.
During the initial days of testing, the app threw up errors in slang and local jargon translation. The new beta version however takes care of most of those issues. Since the app is still under development, the only access to the service is via the Skype Translator preview app on Windows 8.1 and 10 devices; users can download it free from the Windows Store.
CANNES, France – The Cannes Film Festival is as close to the movies’ answer to the United Nations. The filmmakers and media of the world are usually represented in one way or the other. The Croisette, Cannes’ seaside promenade, is usually a babble of tongues.
So this year’s festival slate of films was greeted with consternation in some corners when a commonality was noticed across many of the festival’s in-competition selections: the English language.
Though there are only two American filmmakers in competition for Cannes’ Palme d’Or and no British directors, this year’s festival is littered with Europe’s elite filmmakers working in a language not their own. On a continent that has warily watched English become a kind of de facto common language, fears flared that contemporary European cinema was being lost in translation.
The Guardian said that an “Anglophone virus” was rampaging.
Italy’s Paolo Sorrentino will on Wednesday premiere his second English language film, “Youth,” with Michael Cain and Harvey Keitel. Four other notable names in international film — Norway’s Joachim Trier, Italy’s Matteo Garrone, Greece’s Yorgos Lanthimos and Mexico’s Michel Franco — are all making their English language debuts. And Quebecois filmmaker Denis Villenueve, an Oscar-nominee for his French language “Incendies,” premiered his English language drug war thriller “Sicario” on Tuesday.
As the festival has unspooled, many directors have defended their decision to switch languages for the sake of creative curiosity and for the greater opportunities it affords them.
After making the Oscar-nominated “Dogtooth” and his follow-up, “Alps,” Lanthimos moved from Greece to London. His Cannes entry “The Lobster,” starring Colin Farrell and Rachel Weisz, certainly showed no loss of idiosyncrasy in its satirical tale of divorcees and single people who face being turned into an animal if they don’t find a spouse.
“I don’t know what the fuss is about,” Lanthimos said. “It’s been always happening in this time and age, people live anywhere in the world, work anywhere in the world. I guess it’s a strange, interesting coincidence. But other than that, I don’t think it really means anything. In my case, for sure, it is easier to make a film in the English language and have a few more resources than I did in Greece. So that’s part of the choice.”
Garrone, the director of the acclaimed mob drama “Gomorrah,” made his English debut with “Tale of Tales” despite a deeply Italian story adapted from 17th century Neapolitan fairy tales.
“My choice wasn’t premeditated,” said Garrone. “The fact that I shot in Italy, the fact that everyone came to my country helped me to no end feel that I had a very close link to my roots and my culture. So I didn’t feel this was traumatic in any way when I moved from Italian to English.”
Such a transition, of course, has been going on for as long as movies have been made, from F.W. Murnau to Roman Polanski to Alejandro Gonzalez Inarritu.
“If you want to go to the American market maybe you need to have a film in English, but I still think all the great directors make films in their own languages,” said festival director Thierry Fremaux, who said English functions like “the new Esperanto.” ”I’m not sure if it’s a trend. We’ll see.”
Cannes, itself, fosters a crosspollination of talent. It’s the biggest movie market in the world, and many of the international casts at this year’s lineup were partly assembled in deals forged at previous visits to Cannes.
Bigger stars, naturally, means potentially more exposure and better financing. But sometimes a filmmaker’s strengths don’t come through as loudly without subtitles. Joachim von Trier’s “Louder Than Bombs” is a suburban New York drama about a family dealing with a mother’s death, starring Gabriel Byrne, Jesse Eisenberg and Isabelle Huppert. But at its Cannes premiere, it wasn’t received as well as Trier’s previous Norwegian films, “Oslo, August 31″ and “Reprise.”
“I went to film school in London, at the National Film and TV school, so I did a lot of short film work in English and I come from a country, Norway, with only 5 million people speaking the language,” said Trier. “So I felt it was a natural progression to also try to do films in English.”
For his film, set in Nyack, New York, Trier studied American teenagers in high school classrooms with an outsider’s eye.
Said Trier: “It’s nice to be able to travel, discover, seek something.”
Associated Press writers Jill Lawless and Zara Eldridge contributed to this report.
May 19, 2015 (ACCESSWIRE via COMTEX) -- RIVER FALLS, WI / ACCESSWIRE / May 19, 2015 / Sajan, Inc. SAJA, -3.62% a leading global language services and translation management technology provider, announced today that it purchased certain software assets of technology firm Reverbeo. The asset purchase will further enhance Sajan's capabilities with its website translation proxy technology, SiteSync.
Additionally, Reverbeo founder Robert O'Shaughnessy will join Sajan as a solutions architect, supporting clients in their website translation goals. With extensive experience in technology startup entrepreneurship, Web product development and digital marketing, Mr. O'Shaughnessy will bring valuable expertise to sales and marketing efforts around SiteSync. He received the European Innovator of the Year award and was a finalist in the 2013 Startup Chile global competition.
"Sajan has evolved with a focus on software and innovation, which has led to its rapid growth and constant competitive edge," said Robert O'Shaughnessy. "I'm personally excited about joining the Sajan family and helping to bring technology solutions to clients."
"I'm delighted about Robert joining us," said Jeff Kent, vice president of professional services at Sajan. "His blend of technical skills and business acumen, plus his wealth of knowledge and experience, will take an already strong website translation solution to another level. Reverbeo's technology fits perfectly with Transplicity and will create even greater efficiencies for our clients."
Sajan is a leading provider of global language translation and localization services, helping clients worldwide expand seamlessly into any global market. The foundation of Sajan's solution is its industry-leading language translation management system technology, Sajan Transplicity, which provides process automation and innovative multilingual content reuse to ensure schedule predictability, higher quality and cost efficiencies for its clients. By working closely with its clients, Sajan's experienced team of localization professionals develops tailored solutions that lend flexibility to any large or small business that truly desires to "think globally but act locally." Based in the United States, Sajan also has offices in Ireland, Spain and Singapore. Visit Sajan online at www.sajan.com.
The Private Securities Litigation Reform Act of 1995 provides a safe harbor for certain forward-looking statements. The Company's Annual Report on Form 10-K, its Quarterly Reports on Form 10-Q and other filings with the Securities and Exchange Commission, the Company's press releases and oral statements made with the approval of an authorized executive officer, contain forward-looking statements that reflect the Company's current views with respect to future events and financial performance. These forward-looking statements are subject to certain risks and uncertainties that could cause actual results to differ materially from historical results or those anticipated. The words "aim," "believe," "expect," "anticipate," "intend," "estimate" and other expressions that indicate future events and trends identify forward-looking statements. Actual future results and trends may differ materially from historical results or those anticipated depending on a variety of factors, including but not limited to those set forth in the Company's Annual Report on Form 10-K for the year ended December 31, 2014, filed with the Securities and Exchange Commission on March 23, 2015, under the heading "Item 1A. Risk Factors," its Quarterly Reports on Form 10-Q filed since then and its other filings with the Securities and Exchange Commission. The Company does not undertake any obligation to publicly update or revise any forward-looking statement, whether as a result of new information, future events or otherwise.
SOURCE: Sajan Inc.
I greatly admire French entrepreneurs who step outside their comfort zone to pitch me in English. Regardless of your mastery of second languages, pitching in your native tongue is usually far easier. Your reflexes are more instinctive; it’s easier to think on your feet; and you control the tone and the cadence of the pitch more effectively. There are of course some exceptions to this, such as people who have spent so much time immersed in their second language that it has practically replaced their native one, or those exceptionally gifted individuals who are so comfortably multi-lingual that they can weave in and out seamlessly (my experience is that this set of privileged people includes those who learned multiple languages from practically the day they were born, as well as every Swede and Dutchman I know).
But for most of us in the world born in countries that were sufficiently large enough to have local language TV programming, our second languages, if any, are not native, and accordingly, we’re often condemned to never be quite as effective in them as in our mother tongues.
I certainly do not hold it against French entrepreneurs who prefer to pitch me in French rather than English. On the contrary, if you can more effectively convey your vision to me in 30min in French rather than the 90min it takes in English, I prefer your native tongue. Yet I also encourage all of you French entrepreneurs to challenge yourselves to hone your pitching skills in English. These skills will become indispensable as you expand your business internationally. And do not be afraid to make mistakes. The number one language in the world today is broken English.
In the spirit of constructiveness, here are four ‘false friends’, i.e. words that look the same in both French and English but carry very different connotations in the context of company-building. Please keep these in mind when pitching to an Anglo-saxon investor.
Connotation in French: generally negative, as in ‘un marché de niche‘, a market that is too small to be worth pursuing
Connotation in English: a good place to start, an attractive sub-segment of early adopters from which you can build traction, a beachhead
Connotation in French: positive, such as a person that is efficient in responding to outside events
Connotation in English: negative, waiting for opportunities to come to you. the polar opposite of proactive, which implies actively seeking out opportunities or creating your own
Connotation in French: slightly negative, moving in haste without sufficient foresight or planning
Connotation in English: positive, making educated predictions about something and acting on it to test your hypothesis. anticipating keeps you ahead of the market.
Connotation in French: positive. carefully planned out with all failure scenarios thought through in advance. a character attribute proudly claimed by Ecole Polytechnique for its graduates
Connotation in English: generally negative, at least in a startup setting. prudence implies indecision, or asking for permission before acting. do you think Uber and Airbnb were prudent in their deployments?
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LIEGE La première édition de l’ouvrage date de 2004. Un ouvrage qui a notamment une ambition pédagogique.
Michel Elsdorf et Léon Bukens, avec le « Dictionnaire du wallon liégeois ». © D.R.
C’est une sacrée brique ! Deux kilos, 1.084 pages, près de 40.000 mots : la nouvelle édition du Dictionnaire de wallon liégeois de Simon Stasse est un vrai monument.
En fait, ce dictionnaire avait déjà connu une première édition en 2004, grâce à la société royale littéraire La Wallonne. Trois ans plus tard, Simon Stasse en avait réalisé une deuxième édition, toujours à La Wallonne.
Cette fois, cinq ans après le décès de son auteur, ce sont les éditions liégeoises Noir Dessin qui rééditent ce dictionnaire.
Michel Elsdorf, le patron de Noir Dessin : « Ce remarquable dictionnaire méritait bien une réédition, de manière à pouvoir toucher un public plus large. »
De son côté, Léon Bukens, le président de la société littéraire La Wallonne, explique : « Simon Stasse a travaillé pendant cinq ans sur la réalisation de ce dictionnaire. Dans cette troisième édition, améliorée, on trouvera une série de mots nouveaux. »
Et, visiblement, tant du côté de La Wallonne que du côté de Noir Dessin, on pense déjà à des éditions futures de ce dictionnaire, qui ne sera pas seulement utile aux étudiants en langue wallonne, mais aussi à tous les amoureux du wallon. Et il en reste pas mal dans notre région…
Sachez que vous y trouverez un dictionnaire français-wallon et un dictionnaire wallon-français, mais aussi des tableaux de conjugaison, un précis de grammaire…
A new translation service has been launched in New South Wales, taking in more than a hundred languages and dialects.
It will cost between $77 and $117 to have a document translated at eight Service New South Wales branches.
State Multiculturalism Minister John Ajaka told Ron Sutton the range of documents people can have translated is vast.
(Click on the audio tab above to hear the full interview)
I kept the documentation that identified me as a Special Education Reading and Writing Student. I stopped going to special education between my junior and senior years of high school.
After high school I graduated from my dream college (Penn State), and three months later I wrote a book.
My book, How to Find Your Passion, was downloaded on Amazon more than 3,000 times in the first couple months. This is how I became a #1 bestselling author by the age of 22.
Only a small part of this success was due to my writing skills. Most of it came from the methods I used focused on the following three areas:
Increasing my productivity and performance during intense work sessions (especially the writing sessions).
Going into my work sessions with a positive mindset.
How to market a book.
I've systematized this process, and today I'm going to share the marketing methods with you. My education came from the mentorship I received from top-level executives in corporate America and start-up founders from around the world. I'll be forever grateful for these teachings.
Book Marketing 101
A book is the best way to turn your passion into income. Once you write a book you'll gain what we call the book echo. In essence it's the difference between searching for customers and attracting customers.
Roger James Hamilton illustrates this wonderfully: "Searching for customer is chasing after butterflies with a net. Attracting customers is building a garden, the butterflies come to you."
The authority position, leadership status, partnership deals, speaking gigs, blogging, and podcast opportunities you'll receive after writing a book can be overwhelming.
WARNING: I'm not going to write a lot of "fluff" here. And there's ONE precursor to all of this. It's all about community. With the support of a community, your book will reach more people than you ever thought possible. After all, if I can go from being a Special Education Reading and Writing student to being a #1 Bestselling Author by age 22 with my books being bought by readers across the global on a daily basis, you can do it too.
Now, let's imagine you joined my new Self Publishing System and have a book ready for a go-to market strategy. Here's how you turn your passion into PROFIT.
Please note that skipping any of the steps will unnecessarily complicate things, so stick with the plan.
What follows, are proven techniques for publishing a bestseller, with all examples coming from the largest bookstore in the world - Amazon.com:
DISCLAIMER: This an only a blueprint - you must take action in order for this to work!
"If there is a book you want to read, but it hasn't been written yet; then you must write it." - Toni Morrison
Book Marketing 101: Bestseller Blueprint:
PART I: Social Media
1. Build A Story
Over the past 2,000 years a lot has changed. However, what has stayed the same is the way we pass on knowledge, which is through storytelling. Storytelling is how we tell our friends about a new product, a favorite athlete, a great meal, or a favorite vacation spot.
Therefore, the fastest way to have your book spread is to tell its story. What does this story look like?
It can be scary to tell this story, in part because it requires you to become vulnerable and be authentic. It requires you to share information you weren't necessarily asked to share.
It's about what you say and when you say it. You need three different forms of this story to get great results. The story itself is about WHY you wrote your book.
Here are the three different versions of this story you must create:
A - The One-Pager on why you wrote your book
Some points to cover in this single page of writing include the following: Start this story with the arch (plop your readers in the most intense part). It can be pulled from the beginning, middle or end of the story.
This will grab the reader's attention.
Then move into a vulnerable sharing in order to bring depth to the relationship you're establishing with the reader.
From there you move into motivation, expressing the 3-5 benefits that readers will gain from reading your book.
Finally, inspire readers by showing your vision and allowing them to feel like they are a part of this mission.
B - Condense your one-pager into a one-paragraph description.
C - Condense your one-paragraph piece into a 30-second pitch (it may be your subtitle).
When people ask what you're up to lately, answer with C, then B, and then A, in that order.
There are only a few announcements needed before you launch your book, or for any project for that matter. Tell people about what was created, when they can buy it, and why they should buy it.
The what is a snapshot of what your book is about - version C of your story from above. The when is the release date for launching your book. The why is version A of your story from above.
Here's a tip to use for your release date: Create an email opt-in page.
This allows you to directly contact people via email. Do this by creating a single webpage that contains a space for visitors to enter their email address. This is called a landing page. Use Weebly or any free website service to create the webpage. Then connect an email service with the landing page such as MailChimp to collect the emails.
The next announcement is a Facebook Event created for the release date. Invite all of your friends and add the link to your opt-in page.
"The true alchemists do not change lead into gold; they change the world into words." - William Gass
PART II: AMAZON
3. Upload Your Book To Amazon.com KDP (Kindle Direct Publishing)
If you have uploaded your book more than five days before your release date, press Save as Draft. Once you get within the five-day range, you will want to click Save & Publish. This is because you only have 30 days to be on the Hot New Release List. Once you publish, the clock starts ticking. However, leaving a 5-day window will allow sufficient time for the next task.
After your book is published, you will be sending a PDF copy of your book to 15 close family and friends.
Ask them to read your book, and in return for the sneak peek, ask them to write you a short review. If everyone complies, great! But life does happen, so expect at least several of them to not follow through as you hoped they would.
Aim for 15 reviews.
Upload your book
If it's 6+ days before launch day - Save as Draft.
If you're within 5 days of your launch day - Save & Publish.
Once published, get 15 reviews before your official launch day!
4. Promotion Types
This is a 2-5 day promotion that can be ended at any time. The promotion is best used at the launch of your book, and is the quickest pathway to the bestseller list. I encourage taking this route for any first-time authors.
One unique scenario where you wouldn't want do this is when you have a strong enough following to provide you with the juice needed to rise through the ranks and sell thousands of book in the first week, in which case I recommend the pre-order promotion for that.
You can launch your book through a pre-order route. A benefit of this will be promoting your book for over 90 days.
This would include not needing to have your final version complete until 10 days before the release date.
During your entire promotion period you will be racking up sales. This strategy is fairly new to Amazon, and is best used if you're confident that your reach is already in the thousands.
5. Free Promotion Strategy
It's not only what you do and how you do it, but you must consider when you do it. If you choose to do a free promotion strategy, you will have two options to optimize sales. Again, I have tested each method and have found the following to be the best options:
2-3 Day Promotion Launch
In this strategy, you launch your book on a Tuesday. Two factors in your favor are urgency to download by giving a shorter timeline, and also that Tuesday, statistically speaking, is the best day for a launch.
Avoid the Saturday slump - it's essentially a dead day for book sales.
3-5 Day Promotion Launch
This is a solid strategy for first-time authors. Mistakes do happen, and with the 2-3 day launch strategy, there's very little wiggle room for mistakes!
In the 3-5 day launch strategy, you launch your book on a Monday. This allows you to still maximize sales from Tuesday and avoid the Saturday slump.
This strategy works very well towards the end of the day on a Monday. If afternoon sales are dismal on a Monday launch, don't panic.
Do heavy marketing and promotion on Tuesday for both strategies.
Pick your launch timeline strategy.
Inform your audience of your release date and DON'T CHANGE IT!
Promote heavily on Tuesday.
6. Pricing Progression
I recommend the following formula, but of course you are entitled to choose any pricing plan you want.
If you decide to do the free promotion, start with a price of $9.99. This will give your book a higher perceived value. 6-8 hours prior to ending your free promo, change your price to $0.99.
Keep this price for a week. Then change to $1.99 and hold that price for a week, then $2.99, and from there you can experiment with prices as you see fit.
Rule of thumb: Any price between $2.99 and $9.99 will get you 70% of that price in royalties. Any price below or above will get you 35% in royalties.
Amazon is running a beta program called KDP Pricing Support. This will show you the relationship between the optimal price, past sales, and author earnings for KDP books similar to yours.
Now you have the secret to publishing and marketing your book to make money for you!
If you would like to write a book and publish it with the full support of a whole community, check out selfpublishingsystem.com.
(Original Post: Addicted2Success)
Plus de 1000 pages, plus de 20 000 mots, des tables de conjugaisons : voici le nouveau dictionnaire de wallon liégeois. Il sort de presse ce lundi aux éditions Noir Dessin. On y trouve aussi les expressions, des plus connues aux plus confidentielles. Comment dire mobylette ? Oreillette ? Parking ? A vos dictionnaires.
"Je pense que c'est utile car il y a pas mal de nouveaux termes qui apparaissent et ce sont des questions récurrentes dans le cadre de mon cours de pédagogie du wallon explique Louise Moor, maître-assistante en langue wallonne à la Haute-Ecole de la Ville de Liège (Jonfosse). Comment parle-t-on des réalités d’aujourd’hui ? C'est important car le dernier dictionnaire de wallon liégeois, qui était un dictionnaire de Jean Haust, évoquait plutôt les réalités de la première moitié du vingtième siècle".
5 ans de travail
"Simon Stasse, l'auteur, aujourd'hui décédé, a mis 5 ans pour construire ce dictionnaire après avoir fait un livre de conjugaison et un de grammaire, raconte Léon Bukens, l'actuel président de "La Wallonne", la société littéraire à l'initiative de ce projet. Cet ouvrage est donc plus qu'un dictionnaire car il comporte beaucoup d'expressions en wallon de Liège et sa région, qu'on retrouve facilement au départ d'un mot clé".
CULTURE - Comme chaque année, le moment est arrivé pour les dictionnaires d'accueillir de nouveaux mots dans leurs pages. Lundi 18 mai, Le Petit Robert et Le Petit Larousse ont chacun dévoilé les 150 définitions inédites qu'ils allaient intégrer à partir de 2016.
Chaque nouvelle entrée a dû respecter, comme pour les éditions précédentes, l'un des deux critères suivants: être populaire et souvent repris dans les médias mais aussi être en rapport avec l'actualité sans risquer de disparaître rapidement.
De "goji" à "zadiste" en passant par "particule fine"
De nombreux thèmes ont fait place aux petits nouveaux. Les tendances culinaire et morale dans le Larousse avec par exemple "goji", baie rouge comestible riche en vitamine C très à la mode, ou "vegan", relatif aux adeptes du veganisme, principe selon lequel les animaux ne sont pas la propriété des humains et ne peuvent donc pas légitimement être utilisés.
L'environnement accueille pour sa part la "circulation alternée" et la "particule fine", polluante et suspendue dans l'air, d'un diamètre inférieur à 2,5 micromètres. Dans le Robert 2016, la porte s'ouvre au "zadiste", qui s'oppose à un projet d'aménagement qui porterait préjudice à l'environnement, ou au "faucheur volontaire", qui détruit les parcelles de maïs transgéniques.
Côté technologie, on découvrira aussi le "gyropode", véhicule électrique sur deux roues que le conducteur, débout, manœuvre à l'aide d'un guidon. Le Larousse laisse part ailleurs un peu de place aux anglicismes avec "open data", données numériques accessibles par tous ou le fameux "selfie".
BHL, Pixar et Rosetta
"Selfie" qui fait aussi son apparition dans les régionalismes sous sa forme québécoise "égoportrait". On apprendra aussi en feuilletant le Larousse 2016 que le terme "amarrer" signifie à la Réunion "séduire quelqu'un" et que "fouiner" se dit "chneuquer" en Suisse.
Autres termes à refléter l'époque, ceux directement issus du vocabulaire familier comme "bolos", "lose" ou "partir en cacahouète". Le Robert installe de son côté les expressions: "tendu comme un string" ou "maquillée comme un camion volé".
Côté noms propres , le Larousse 2016 va par ailleurs accueillir le philosophe Bernard-Henri Lévy, le patissier Pierre Hermé, l'acteur Michael Caine ou l'artiste britannique Banksy mais aussi la sonde Rosetta et les studios Pixar.
L'édition 2016 du Petit Robert paraît cette semaine avec 200 nouveaux mots dont "zadistes" ou "climatosceptique". Parmi les personnalités, la maire de Paris Anne Hidalgo et Charb, le dessinateur de "Charlie Hebdo" intègrent le dictionnaire.
Le cru 2016 du Petit Robert a été en partie dévoilé lundi 18 mai par le journal "Le Parisien". Alors que le dictionnaire sort ce jeudi, on connaît déjà quelques uns des 200 nouveaux mots qui font leur entrée.
Parmi eux, le terme de "zadiste", qui désigne un militant qui occupe une ZAD (une zone à défendre). Ce mot a été largement employé dans les médias lors des occupations de site à Sivens ou encore Notre-Dame-des-Landes. Toujours dans le cadre du monde de l’écologie, "faucheur volontaire", "climatosceptique", "décroissance", "covoiturer", "écoconduite" ou "recyclerie" se retrouvent désormais dans le dictionnaire.
Des expressions familières figurent aussi parmi les nouveaux entrants comme les "baltringues", "prendre cher" (ne pas être ménagé), "tendu comme un string" (être très angoissé, à cran) , la "beuh" (qui désigne la majijuana) ou même "partir en cacahuète" (perdre son sang-froid ou, dans le cas d'une situation, dégénérer).
De nouveaux anglicismes seront également dans les pages du dictionnaire comme "bitcoin", cette unité monétaire en usage sur Internet, indépendante des réseaux bancaires , " captcha", ce test requis pour accéder à certains services sur Internet, qui consiste à saisir une courte séquence visible sur une image, afin de différencier les utilisateurs humains d'éventuels robots malveillants ou le "big data", l'ensemble des données générées par les nouvelles technologies.
Du côté des nouvelles personnalités la maire de Paris Anne Hidalgo et Charb, l'un des dessinateurs tués lors des attaques de "Charlie Hebdo" ont été notamment sélectionnés.
La oferta del 11° Mayo de las Letras da para todos los gustos y se extiende por la región. De hecho, esta noche a las 21, en la sala Lola Mora, del Ente Cultural (San Martín 251), se realizará una “Mesa de Escritores del NOA”.
Por Catamarca participará César Vera Ance, poeta, cuentista, dramaturgo y docente, quien se centrará en “Al otro lado de las voces”, su último libro de cuentos fantásticos. En representación de La Rioja, Luis Aníbal Quintero hablará de su libro “Don Cecilio”, una novela histórica. Desde Salta vino Belén Alemán, quien presentará su novela “Hasta volvernos a encontrar... Tupananchiskama”, y el poemario “Qué profunda es la noche”. Los santiagueños Andrés Navarro y Néstor Mendoza, presentarán “Picados. Antología del ciclo Lata Peinada”, que recopila la producción de un ciclo de lectura de esa provincia.
También hoy, pero a las 19, la pianista, docente e investigadora Dora de Marinis presentará su libro “Nuestra Escuela Pianística. De Semillas, Jardines, Flores y Árboles”, un diccionario de pianistas argentinos. La cita es en el Auditorio del Instituto de Música de la UNT (Chacabuco 242).
Y en la sala Lola Mora del Ente de Cultura (San Martín 251) a las 20 se debatirá sobre “Pensamiento Nacional y Político desde el punto de vista provincial”, con la coordinación de Mónica Ruffino. Participarán los doctores Juan Pablo Litchmajer, Gustavo Carreras, Diego Cheín y Fabiola Orquera.
Cronistas y una panelista
La agenda es extensa. Mañana, a las 20.30 se presentará en el Virla “Crónicas de acá”, antología de Tucumán Zeta, la primera revista tucumana de periodismo narrativo. Coordinará Ezequiel Svetliza.
Y a las 20.30, en el Teatro Orestes Caviglia, la periodista Sandra Ruso, panelista del programa 6, 7, 8, dictará una charla sobre “La escritura periodística”.
Llega una herramienta que simplificará el proceso creativo de músicos y poetas sin inspiración: el diccionario de rimas. El portal de recursos para el idioma español llamado “Busca Palabra” permite buscar la rima de las palabras en español entre una variedad de más de 740.000 entradas y aplicando diversos filtros.
Asimismo, la página ofrece una gran variedad de secciones que contribuyen a mejorar el uso de la lengua. Por ejemplo, se puede conocer la etimología de cada término y cuenta con un conjugador de verbos, ideal para quienes aún hoy dudan acerca de cuál es el pretérito correcto para cada caso. También, facilitará la tarea de los más chicos porque además de tener una amplia lista de sinónimos y antónimos, cuenta con un separador de sílabas.
Sin embargo, una de sus propuestas más novedosas es este diccionario de rimas. En nuestro idioma hay dos tipos de rimas: la asonante y la consonante. En la primera hay una semejanza de sonidos entre dos o más palabras a partir de la última sílaba acentuada, es decir que las vocales que se encuentran al final son iguales pero la consonantes distintas. En cambio, en el segundo caso riman las últimas vocales y las consonantes.
La página permite buscar la semejanza sonora entre las palabras aplicando varias categorías como: nombres, adverbios, artículos, pronombres, conjunciones, adjetivos, preposiciones e interjecciones. Incluso, se puede determinar previamente la cantidad de sílabas que se quiere obtener como resultado.
Falta poco para que un proyecto de tal envergadura salga a la luz: Georgina Barraza, profesora de la licenciatura en Letras Hispánicas de la UNAM, está en proceso de elaborar el "Diccionario de léxico tabú". Estima que le falta un año para concluirlo, y está en busca de editorial para publicarlo.
18.05.2015 Última actualización 19.05.2015
aef Español Culturas Lenguaje Lingüistica Georgina Barraza Albur Diccionario de léxico tabú ARTICULO A+A-
El análisis de las expresiones permite identificar rasgos culturales de los mexicanos, dice Georgina Barraza, profesora en Letras Hispánicas. (Alejandro Gómez)
Si el lenguaje es la casa del ser, como sentenció Heidegger, que a alguien le guste el arroz con popote o que decida algo por sus tanates, más que expresiones floridas del decir popular son una manera muy mexicana de habitar el mundo, de construirlo e iluminar sus intersticios más oscuros sin pudor alguno.
En el español de México, los giros con que el habla se las arregla para referirse a lo prohibido, lo picaresco o lo vergonzoso aún no se han cuantificado. Esta tradición -a la que se vincula el albur desde tiempos coloniales- tiene su más exegético glosario en la Picardía Mexicana de Armando Jiménez, pero hasta ahora no existe ningún diccionario que desde la perspectiva académica reúna, ordene y proporcione significados del acervo lexicográfico de los temas que se consideran clandestinos, como el sexo, la muerte, la escatología y ciertas enfermedades mentales o discapacidades físicas.
Falta poco para que un proyecto de tal envergadura salga a la luz: Georgina Barraza, profesora de la licenciatura en Letras Hispánicas de la UNAM, está en proceso de elaborar el Diccionario de léxico tabú, que permitirá a cualquiera que entienda español saber cómo reaccionar cuando alguien le invite a asolearse de noche.
Cannes presenta dos cintas mexicanas de los Lumiere
Brasil retrata su dictadura con sarcasmo
“Incluye todo el léxico que se habla en México, que puede o no ser compartido con algunos países de América, pero no con España”, explica la lingüista.
La docente del Colegio de Letras Hispánicas de la Facultad de Filosofía y Letras de la UNAM sostiene que todas las actividades vedadas generan su propio vocabulario, pero buena parte de este universo existe sólo en la oralidad. Por esta razón, reunirlo para su estudio no ha sido tarea sencilla; conformar el compendio, que hasta ahora da cuenta de 872 vocablos y expresiones con sus significados precisos, le ha requerido consultar infinidad de libros, revistas y -la mejor aportación- 200 películas de ficheras de los años 70. Un trabajo exhaustivo que ha realizado desde 2011 con la ayuda de estudiantes de la facultad.
El análisis de las expresiones permite identificar rasgos culturales de los mexicanos, dice, como el machismo, que se evidencia incluso en la homosexualidad. “Hay palabras para señalar a los varones, pero casi no las hay para referirse a a las mujeres”, ejemplifica.
La creciente igualdad sexual entre las nuevas generaciones también se ve reflejada en el uso del lenguaje, ya que el léxico que en otro tiempo era empleado exclusivamente por los hombres, ahora es compartido por las jóvenes, y lejos de considerarlo inapropiado, resulta de uso común.
“Tenemos palabras que por sí mismas son tabú, como verga. En nuestras generaciones las mujeres ni la pensábamos, ahora las muchachas dicen con una facilidad que algo está de la verga, como interjección: te cayó de la verga; este léxico se ha ido extendiendo”.
Y es que el miembro sexual masculino es uno de los conceptos más prolíficos para el español. Naturalmente, el Diccionario de léxico tabú reservará buen espacio a tales palabras para explicar su correcto uso y evitar que un mal hablante, en su ignorancia, pueda herir susceptibilidades: “la cosita, el tilín se usan para referirse al pene del niño; ¡nunca vayas a decirle eso al marido porque tendrías un problema enorme!”. La risa surge espontánea, pero recupera la seriedad: “yo creo en lo que decía Freud, que detrás de una broma siempre hay una realidad. El chiste siempre oculta una realidad que nos incomoda y la aminoramos para poder hablar de ella”.
En ese sentido no sería muy amable decirle a alguien que la tiene chiquita. Si el hombre no se toma las cosas tan a pecho responderá: sí, chiquita, pero braguetera. Claro, la referencia tendrá que ver con la virilidad masculina, es decir: el cara de haba, el chóstomo o la de hacer niños.
Este proyecto, explica Barraza, surgió después de que, como consultora gramática de la Academia Mexicana, participó en la elaboración del Diccionario de mexicanismos que la institución publicó en 2010, y en el de americanismos de la Asociación de Academias de la Lengua Española.
“En principio lo hice porque me interesaba comprender cómo se manejaba mi propia cultura. Está pensado para que los mexicanos se identifiquen a sí mismos, pero también para que los otros hablantes del español encuentren en él una manera de compararse o incluso de reflejarse con los mexicanos”.
El diccionario, que no es etimológico, contará con los marcajes de rigor e identificará sustantivos, adjetivos, verbos y adverbios; si una palabra es de uso vulgar, popular, coloquial o si se puede decir en cualquier contexto.
Sobre su organización, explica: “Va a estar dividido en dos partes, la primera será alfabética y la otra va a ser desde el punto de vista semántico. Entonces si buscas ano (chimuelo, por decir) o tanates (los que soplas, diría el albur), te va a decir todas las palabras que hacen referencia, de manera que se pueda regresar a la primera parte del diccionario y se obtenga toda la información”. Barraza estima que le falta un año para concluirlo, y está en busca de editorial para publicarlo.
Detail from the cover design for the English edition of Satantango
Wednesday 20 May 2015 07.00 BST Last modified on Wednesday 20 May 2015 08.23 BST
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Awards such as the Man Booker International prize are doing their job if they bring relatively unknown authors to new readers. If you’ve missed out on László Krasznahorkai’s writing so far, here’s a potted history. This Hungarian novelist and screenwriter has been an open secret in some circles, and has been described by Susan Sontag as the “contemporary Hungarian master of the apocalypse”. If you are among his admirers, we’d love to hear from you in the comments.
For starters, how do you pronounce his name?
[ˈlaːsloː krαsnαhorkα.i] That’s in phonetic English – for other languages, the author himself has provided some help.
Who is he?
Considered by many to be the most important living Hungarian author, Krasznahorkai was born on 5 January 1954, in Gyula, Hungary, to a lawyer and a social security administrator. He studied law and Hungarian language and literature at university, and, after some years as an editor, he became a freelance writer. His first novel, Satantango (1985), pushed him to the centre of Hungarian literary life and is still his best known. He didn’t leave Communist Hungary until 1987, when he travelled to West Berlin for a fellowship – and he has lived in a number of countries after that, returning to Hungary and Germany often.
In the early 1990s, he spent long periods of time in Mongolia and China, and would later explore Japan – all of which resulted in aesthetic and stylistic experiments and changes in his writing. During his writing of the novel War & War (1999), he travelled in Europe and lived in Allen Ginsberg’s flat in New York, where the American writer and poet advised and helped him. According to his publishers, he now “lives in reclusiveness in the hills of Szentlászló”. His main literary hero is, he says, Kafka: “I follow him always.”
Which are his main translated works, and where should you start?
He’s known for his uncompromising style (the 12 chapters of Satantango each consist of a single paragraph) and is often labeled as postmodern. Don’t let that put you off, though. Five of his fictional works have been published in English so far, in translations by Ottilie Mulzet and George Szirtes, who will share the £15,000 translation prize that goes with the Booker.
Satantango (1985) is his first and most famous novel. It tells the story of life in a disintegrating village in a dystopian Communist Hungary, where a man called Irimias, long thought dead and who may be a prophet, a secret agent or the devil, appears out of nowhere and begins to manipulate the remaining citizens. According to the Guardian review, this is “a monster of a novel: compact, cleverly constructed, often exhilarating, and possessed of a distinctive, compelling vision – but a monster nevertheless. It is brutal, relentless and so amazingly bleak that it’s often quite funny.” It won the 2013 Best Translated Book Award in Fiction.
The Melancholy of Resistance (1989): This comedy of apocalypse is set in a town where a mysterious circus, which seems to exhibit only a whale, unnerves inhabitants. He uses a stream of consciousness style, with minimal punctuation. Translator Szirtes described it as “a slow lava flow of narrative, a vast black river of type”. It won the Book of the Year Award in Germany in 1993.
How about the films?
Both these novels have been made into films by his friend, Béla Tarr, in a collaboration which began with Kárhozat (Damnation) in 1988, and includes a seven and a half hour long black-and-white epic version of Satantango, which took seven years to make and was released in 1994. The collaboration continues today.
A still from Satantango Photograph: PR/PR
What do the International Booker judges say about him?
Krasznahorkai was chosen from 10 contenders for the £60,000-worth prize for “an achievement in fiction on the world stage”.
The official citation:
What strikes the reader above all are the extraordinary sentences, sentences of incredible length that go to incredible lengths, their tone switching from solemn to madcap to quizzical to desolate as they go their wayward way; epic sentences that, like a lint roll, pick up all sorts of odd and unexpected things as they accumulate inexorably into paragraphs that are as monumental as they are scabrous and musical.
Chair of judges Marina Warner said:
Laszlo Krasznahorkai is a visionary writer of extraordinary intensity and vocal range who captures the texture of present day existence in scenes that are terrifying, strange, appallingly comic, and often shatteringly beautiful. The Melancholy of Resistance, Satantango and Seiobo There Below are magnificent works of deep imagination and complex passions, in which the human comedy verges painfully onto transcendence.
What about Susan Sontag, Sebald and others?
Here is some praise from fellow authors:
“The contemporary Hungarian master of apocalypse who inspires comparison with Gogol and Melville” – Susan Sontag
“The universality of Krasznahorkai’s vision rivals that of Gogol’s Dead Souls and far surpasses all the lesser concerns of contemporary writing” – WG Sebald
The New York literati love him too.
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Susan Sontag in 1979. Photograph: Sophie Bassouls/Sygma/Corbis
In his own words
He told the Guardian:
If there are readers who haven’t read my books, I couldn’t recommend anything to read to them; instead, I’d advise them to go out, sit down somewhere, perhaps by the side of a brook, with nothing to do, nothing to think about, just remaining in silence like stones. They will eventually meet someone who has already read my books.
Letters; then from letters, words; then from these words, some short sentences; then more sentences that are longer, and in the main very long sentences, for the duration of 35 years. Beauty in language. Fun in hell.
I’m not interested to believe in something, but to understand the people who believe.” ― in a Q&A
Quotes from the novels
However apparently insignificant the event, whether it be the ring of tobacco ash surrounding the table, the direction from which the wild geese first appeared, or a series of seemingly meaningless human movements, he couldn’t afford to take his eyes off it and must note it all down, since only by doing so could he hope not to vanish one day and fall a silent captive to the infernal arrangement whereby the world decomposes but is at the same time constantly in the process of self-construction.” ― Satantango
Get it into your thick head that jokes are just like life. Things that begin badly, end badly. Everything’s fine in the middle, it’s the end you need to worry about.” ― Satantango
“ [...] What one ought to capture in beauty is that which is treacherous and irresistible” ― War & War
Useful links for further reading
This Guardian interview from the 2012 Edinburgh Book Festival (“This is the result of 10,000 years? Really?”)
This review of Satantango, from when it was published in English in 2012.
Madness And Civilization: The very strange fictions of László Krasznahorkai, from the New Yorker.
This interview in The White Review (“The similarity [betweeen the time he started writing and the present] is astounding. Everything seems to have changed and yet everything is essentially the same.”)
He Rarely Stops Writing: a New York Times piece on how he found a US audience.
The Man Booker International 2015 contenders in their own words
His own website is very extensive and a brilliant source for all things Krasznahorkai.
Have you already read Krasznahorkai, in Hungarian or in translation? Do let us know your thoughts in the comments.
Des débats relatifs au Traité Transatlantique à l’organisation par le Barreau de Paris en avril dernier d’une conférence sur le contentieux international, l’arbitrage international est plus que jamais au cœur de l’actualité.
La langue de la procédure d’arbitrage, loin d’être un détail, peut facilement se transformer elle-même en objet de désaccord. Retour sur les enjeux et conséquences du choix de la langue en matière d’arbitrage international.
Par Alexandre Kasmi.
Mode de résolution des conflits hors des juridictions étatiques, l’arbitrage s’adapte particulièrement bien aux litiges internationaux par sa confidentialité, sa neutralité – les parties choisissent librement leurs arbitres et le pays de la procédure - et sa rapidité.
Dans ce contexte international, la langue choisie pour mener à bien la procédure aura nécessairement des conséquences sur le déroulement de celle-ci, notamment lorsque les deux parties parlent une langue différente.
Qui choisit la langue d’arbitrage et comment ce choix impacte-t-il concrètement la procédure d’arbitrage ? Répondre à ces questions permettra de mieux comprendre l’importance d’anticiper cette prise de décision dès la phase de négociation du contrat.
Qui choisit la langue d’arbitrage ?
Que l’arbitrage relève d’une institution comme la CCI ou d’une procédure ad-hoc, on laisse en principe le choix aux parties de la langue qui sera utilisée lors de la procédure d’arbitrage.
Celle-ci peut être déterminée au sein de la clause compromissoire incluse dans le contrat en prévision d’un éventuel litige et avant que celui-ci ne survienne, ou au début de la procédure.
Mais en cas d’absence de clause compromissoire préalable ou si aucune langue n’y a été mentionnée, il reviendra à l’arbitre ou au tribunal arbitral de la choisir.
La langue du contrat initial ne sera pas forcément retenue, et dès lors que les parties parlent une langue différente, ce choix a un impact déterminant sur l’efficacité, le coût et la durée de la procédure.
De plus certains états comme la Russie peuvent imposer leur propre langue par défaut pour la procédure d’arbitrage lorsqu’il n’existe pas de clause compromissoire dans le contrat. Il reviendra donc aux arbitres de vérifier les lois applicables dans chaque pays avant de décider de la langue d’arbitrage.
Des enjeux financiers importants
L’absence d’entente entre les parties sur le choix de la langue au début de la procédure a des conséquences financières non négligeables.
De la traduction des mémoires, débats, pièces et de la sentence arbitrale à l’audition de témoins, la langue de l’arbitrage implique souvent de faire appel à des traducteurs experts et à des interprètes chargés de retranscrire les débats. Ces frais de traduction peuvent s’avérer particulièrement élevés et seront soit à la charge des deux parties, soit à la charge de la partie qui a exigé la traduction ou l’interprétation.
S’il y a eu désaccord sur le choix de la langue et que deux langues sont retenues pour la procédure, la facture sera multipliée d’autant. D’où l’importance de prévoir en amont et de façon équitable les modalités de répartition des frais afférents à ces prestations de traduction : cela facilitera par la suite la répartition des frais de procédure.
La nécessité de faire appel à des traducteurs voire à des interprètes en simultané pour l’audition de témoins impacte le coût, mais également la durée de la procédure.
Une entrave à la rapidité supposée de la procédure
Outre sa confidentialité et sa flexibilité, la rapidité de la procédure fait partie des raisons pour lesquelles l’arbitrage est souvent préféré aux institutions judiciaires traditionnelles. Le succès grandissant des recours à l’arbitrage d’urgence en est l’illustration.
Or, le choix de la langue a une véritable incidence sur la durée de l’arbitrage à plusieurs niveaux :
Le choix des arbitres et des experts ou conseils retenus pour la procédure pourra s’en trouver perturbé et ralenti. Si les parties sont de nationalité différente et parlent une langue relativement peu utilisée, elles auront tout intérêt à choisir une langue couramment utilisée comme l’anglais afin de simplifier l’ensemble de la procédure, quand bien même l’anglais ne serait pas la langue du contrat.
A cela s’ajoute la durée de traduction de tous les documents utiles, et la difficulté de trouver des traducteurs et interprètes disponibles et compétents en matière d’arbitrage international. En effet, la terminologie de l’arbitrage étant particulière, il est recommandé de recourir à des traducteurs juridiques familiers de ces procédures, du droit des contrats, et/ou du contentieux international en général. Ces derniers devront se référer aux glossaires et règlements d’arbitrage traduits en plusieurs langues pour éviter toute erreur ou contresens.
Quand la langue de l’arbitrage devient elle-même source de conflit…
Il est de plus en plus courant que pour ces raisons de coût et de rapidité, le tribunal arbitral n’impose pas la traduction de la totalité des documents. Mais les critères de production de pièces partiellement traduites doivent être très clairement établis au début de la procédure pour respecter l’équilibre entre les parties.
Ces dernières années en effet, plusieurs procédures ont fait l’objet de jugements en appel pour des défauts liés au choix de la langue d’arbitrage. L’un des plus récents est l’arrêt du 2 avril 2013 rendu par la Cour d’Appel de Paris : celle-ci a partiellement annulé une sentence arbitrale considérant qu’elle avait « violé le principe de la contradiction » parce qu’elle se basait « exclusivement sur un rapport d’expertise auquel était annexées des pièces partiellement traduites » à la « seule discrétion » de l’une des parties.
Pour éviter tout déséquilibre dans la résolution des conflits par voie arbitrale, il apparaît donc essentiel d’anticiper le choix de la langue d’arbitrage le plus tôt possible, dans l’idéal dès la phase de négociation du contrat. Un moyen de ne pas entraver plus la résolution de litiges déjà suffisamment complexes.
• Interview de Jacques Bouyssou – Site internet le Monde du Droit - http://www.lemondedudroit.fr/interviews-portraits-profession-avocat/202301-jacques-bouyssou
• Le choix de la langue de l’arbitrage par Irina Guérif, secrétaire général CAIP – Site internet de la Lettre de la Chambre Arbitrale Internationale de Paris - http://www.arbitrage.org/newsletter/newsletter-CAIP-2014-02-long.html
• Rédiger une clause d’arbitrage - Site internet NAFTA Trilateral - https://www.nafta-sec-alena.org/Accueil/R%C3%A8glement-extrajudiciaire-des-diff%C3%A9rends/R%C3%A9diger-une-clause-darbitrage
• L’arbitrage d’urgence, ou le retour à l’essence même de l’arbitrage, par Philippe Cavalieros, avocat à la Cour – Site internet Les Echos - http://www.lesechos.fr/idees-debats/cercle/cercle-130223-larbitrage-durgence-ou-le-retour-a-lessence-meme-de-larbitrage-1107939.php
• Contrats : la langue de l’arbitrage, un choix trop souvent sous-estimé, par Stéphanie Smatt, avocate - Site internet Les Echos - http://www.lesechos.fr/idees-debats/cercle/cercle-94404-contrats-la-langue-de-larbitrage-un-choix-trop-souvent-sous-estime-1000481.php
Scènes de la traduction France-Argentine
Jeudi 4 juin 2015, Salle 235A, 29 rue d’Ulm 75005 Paris
(N. del T.) / (N.d.T.)
Escenas de la traducción Francia-Argentina
Scènes de la traduction France-Argentine
Contact:firstname.lastname@example.org et email@example.com
9h30-11h Clásicos franceses : la traducción entre el mercado y la academia
Magdalena Cámpora Antes de Sur : legitimidad y traducción en ediciones populares argentinas
Mariano Sverdloff Traducir Huysmans : la literalidad en cuestión
11h-12h30 Sur et la traduction
Roland Béhar "Lo he argentinizado levemente" : Victoria Ocampo, Dante et la quête de la langue
Victoria Liendo Victoria Ocampo et les maçons de Babel
14h30-16h Traduit de l’argentin
Gersende Camenen Roberto Arlt, un « grand écrivain français » ? Les sept fous (1981) et Le jouet enragé (1984) traduits par Isabelle et Antoine Berman
Mariana Di Ció Laure Bataillon en el jardín verbal de Arnaldo Calveyra
16h30 Rencontre avec Silvia Baron Supervielle
The more we use words like ‘saviour’ or ‘super hero’, the more we lose the language of democracy and dumb down the political discourse.
To politicise the masses is not and cannot be to make a political speech. It means driving home to the masses that everything depends on them, that if we stagnate the fault is theirs, and that if we progress, they too are responsible… — Frantz Fanon
The extraordinary thing about the Brazilian football legend Sócrates was his realisation that football was not the raison d'être in a world defined by injustice and oppression. A qualified doctor, he showed unprecedented courage in challenging his own nation’s military government, even while he captained its mercurial football team. For Sócrates, democracy and justice were primary; everything else, secondary.
Narendra Modi came to power on May 26, 2014. Since then, these questions have been asked incessantly: can Mr. Modi change India? Can he do what Manmohan Singh could not? Can Mr. Modi take India to superpower status? But the critical point is this: these questions are completely contradictory to the ethos of a democracy. It is the inability to rise above them that is the greatest crisis in Indian politics: the lag between the formal shell of democracy and its practice, the republic and its language.
That is why we already see ennui setting in about the Modi regime — things being the same, and fading hopes of a new India. But how can a nation of India’s size transform itself when people are completely divorced from the transformation?
People’s power is being systematically decimated and ceded to political rulers. Increasingly, individual leaders are seen as agents of change — a renowned scholar saw Mr. Modi as a potential Abraham Lincoln and a popular columnist sees him bringing development to India if not thwarted by “Hindu fanatical organisations”. Here, Mr. Modi the individual exists in a bubble separated from the social forces that brought him to power.
The wrong questions
The more we pose questions from this framework of the leader as the saviour, the more we get tendencies like the complete negation of the parliamentary system and the role of the prime minister as simply primus inter pares or “first among equals”. Do we have another example of a Cabinet made so redundant by the omniscient power of the Prime Minister? If the early photo of Ministers standing like schoolchildren in front of the Prime Minister was ominous, the brutal clipping of the wings of the foreign minister, in a regime so focussed on making India a global power, is degrading.
If Dr. Singh’s office was rendered weak being subject to extra-constitutional authority, Mr. Modi’s has concentrated power in itself. Ironically, the weakest and the strongest Prime Minister have both struck at the edifice of democracy and produced a policy paralysis. The strengthening of the executive wing of the state is not the only problem; unprecedented attacks are being launched on the judiciary, too.
Despite these top-down moves, what is dangerous to the language of democracy is the servility of the people themselves. The government’s confrontational attitude towards civil society has not been resisted enough by the citizenry. A pliant media refuses to question the government. If before only Dr. Singh was silent, today the whole government is silent. It arrogantly believes that a republic can be built by the monologue of “Mann Ki Baat”.
The lack of resistance is pushing democracy as monologue. The fawning NRI audiences of Mr. Modi reinforce this, and reduce politics to superficialities. Of course, all mass and popular politics is superficial to an extent, especially in a media-saturated culture, but superficialities cannot devour all substance.
Witness the speech by Mr. Modi in Toronto, which was, like his other speeches abroad, ridden with theatrical hyperbole. Complex problems like India’s waste, which have dimensions of caste, class, technology, etc., were reduced to caricature. Unsurprisingly, the examples he gives to show a tectonic shift in cleanliness is Sachin Tendulkar cleaning up a street in Mumbai or two young women cleaning the ghats of Varanasi. That the Prime Minister can pitch his speeches at this level — seemingly addressing children — is incredulous in the Information Age. But they are met with rapturous ovation. The problem is not created by an individual politician like Mr. Modi; it is a reflection of the consistent infantilisation of citizens in these democracies, which have eviscerated their power. What is more concerning than the dumbing down of political discourse is the public’s response.
The fundamental problem is the lack of a critical mass of people’s organisations challenging the status quo and deepening the language of democracy around substantial issues of food, education, health and ecology. India’s great agrarian devastation is more than two decades old but, astonishingly, the 60 per cent of the population engaged in agriculture has not been able to generate an independent democratic movement that could bring the nation to a standstill.
The degeneration of political parties has led to the language of superhero as saviour. The Congress, with its nonexistent inner party democracy, is not the one that can deepen democracy. The Bharatiya Janata Party and the Sangh Parivar, built on a regressive majoritarianism and now captured by a supremo culture, have always been fundamentally against democracy.
The mainstream Left parties, which had once built deep democratic roots and momentous people’s struggles, are now mostly a mirror image of the “bourgeois” parties. If the phenomenal victory of the AAP showed how even a minor tinkering of the language of democracy can enthuse the masses, its later travails show that even that can lead to resistance and implosion from within.
As writer and revolutionary Frantz Fanon recognised, empowering the masses means decentralising power: “The flow of ideas from the upper echelons to the rank and file and vice versa must be an unwavering principle.”
When Sócrates began to campaign for democracy against the military regime in Brazil, he started with building democracy in the lowest unit: his football club. Unless there are democratic organisations representing every walk of life, the language of democracy cannot be constructed.
If dynasties control parties, it is because the language of feudalism, of hierarchy and deference, pervades all other aspects of society. The attitude of the citizens in a democracy to their rulers should be that of Diogenes, the Greek philosopher, to Alexander the Great. When Alexander went to meet the famous philosopher, who chose to live on the streets in penury, he was basking in the morning sun. Alexander asked him if he could do anything for him. Diogenes replied: “Yes. Stand out of my sunlight”!
Leaders, however illustrious, do not build democracies; people do. As Fanon put it, “the magic lies in their hands and their hands alone”.
The destiny of 1.3 billion people cannot be left to a single individual. Vibrant people’s struggles for democracy do exist, but are fragmented, and on the margins. They have to coalesce into new and robust social and political formations that are interested in building democratic language and institutions. Only then can we stop asking if the prime minister will change the nation’s future.
(Nissim Mannathukkaren is with Dalhousie University, Canada. E-mail: firstname.lastname@example.org)
Keywords: Narendra Modi, One year of NDA rule, Modi 365, BJP
The Cannes Film Festival is as close to the movies' answer to the United Nations. The filmmakers and media of the world are usually represented in one way or the other. The Croisette, Cannes' seaside promenade, is usually a babble of tongues.
So this year's festival slate of films was greeted with consternation in some corners when a commonality was noticed across many of the festival's in-competition selections: the English language.
Though there are only two American filmmakers in competition for Cannes' Palme d'Or and no British directors, this year's festival is littered with Europe's elite filmmakers working in a language not their own. On a continent that has warily watched English become a kind of de facto common language, fears flared that contemporary European cinema was being lost in translation.
The Guardian said that an "Anglophone virus" was rampaging.
Italy's Paolo Sorrentino will on Wednesday premiere his second English language film, "Youth," with Michael Cain and Harvey Keitel. Four other notable names in international film — Norway's Joachim Trier, Italy's Matteo Garrone, Greece's Yorgos Lanthimos and Mexico's Michel Franco — are all making their English language debuts. And Quebecois filmmaker Denis Villenueve, an Oscar-nominee for his French language "Incendies," premiered his English language drug war thriller "Sicario" on Tuesday.
As the festival has unspooled, many directors have defended their decision to switch languages for the sake of creative curiosity and for the greater opportunities it affords them.
After making the Oscar-nominated "Dogtooth" and his follow-up, "Alps," Lanthimos moved from Greece to London. His Cannes entry "The Lobster," starring Colin Farrell and Rachel Weisz, certainly showed no loss of idiosyncrasy in its satirical tale of divorcees and single people who face being turned into an animal if they don't find a spouse.
"I don't know what the fuss is about," Lanthimos said. "It's been always happening in this time and age, people live anywhere in the world, work anywhere in the world. I guess it's a strange, interesting coincidence. But other than that, I don't think it really means anything. In my case, for sure, it is easier to make a film in the English language and have a few more resources than I did in Greece. So that's part of the choice."
Garrone, the director of the acclaimed mob drama "Gomorrah," made his English debut with "Tale of Tales" despite a deeply Italian story adapted from 17th century Neapolitan fairy tales.
"My choice wasn't premeditated," said Garrone. "The fact that I shot in Italy, the fact that everyone came to my country helped me to no end feel that I had a very close link to my roots and my culture. So I didn't feel this was traumatic in any way when I moved from Italian to English."
Such a transition, of course, has been going on for as long as movies have been made, from F.W. Murnau to Roman Polanski to Alejandro Gonzalez Inarritu.
"If you want to go to the American market maybe you need to have a film in English, but I still think all the great directors make films in their own languages," said festival director Thierry Fremaux, who said English functions like "the new Esperanto." ''I'm not sure if it's a trend. We'll see."
Cannes, itself, fosters a crosspollination of talent. It's the biggest movie market in the world, and many of the international casts at this year's lineup were partly assembled in deals forged at previous visits to Cannes.
Bigger stars, naturally, means potentially more exposure and better financing. But sometimes a filmmaker's strengths don't come through as loudly without subtitles. Joachim von Trier's "Louder Than Bombs" is a suburban New York drama about a family dealing with a mother's death, starring Gabriel Byrne, Jesse Eisenberg and Isabelle Huppert. But at its Cannes premiere, it wasn't received as well as Trier's previous Norwegian films, "Oslo, August 31" and "Reprise."
"I went to film school in London, at the National Film and TV school, so I did a lot of short film work in English and I come from a country, Norway, with only 5 million people speaking the language," said Trier. "So I felt it was a natural progression to also try to do films in English."
For his film, set in Nyack, New York, Trier studied American teenagers in high school classrooms with an outsider's eye.
Said Trier: "It's nice to be able to travel, discover, seek something."
WorldPenScan X Review: Portable Pen Scanner & Translator
by Jason Bouwmeester May 19, 2015 2 comments
With mobile apps and tools, gone are the days of having to scan page after page manually through a cumbersome scanner for optical character recognition (OCR) and translation. While there are quite a few apps that will allow you to take a picture of a block of text and convert it via OCR technology into editable text or translate from a different language, they are often limited to the device you are using. PenPower has released their on the go pen scanner/translation tool which started out as a Kickstarter project. We take a look in our WorldPenScan X review.
Size: 115 x 33 x 22.5 mm
Weight: 55 g
Interface: BLE 4.0/ USB 2.0
Built-in lithium polymer rechargeable battery
Scanning speed: 10 cm/ sec
Character size: 6-22 pt
Transmission distance: 1 meter
Requires iOS 7, Android v4.3, OS X v10.6.8, Windows 8/7/Vista/XP
Before we get into our review, have a look at the WorldPenScan X product video.
The scanning end includes a wheel for smoother scanning and an arrow for easier scanning alignment.
The WorldPenScan X looks like a fat highlighter, for lack of a better comparison. At one end is the microUSB port used for charging and connecting to a Windows or Mac computer, the other end has a cap that covers the scanning portion of the device. The power button sits near the microUSB end while a function button sits just above the status light and rubber grip near the opposite end. The scanner portion is housed in a clear plastic piece with a cutout guide and wheel to assist with smoother dragging when scanning across pages.
The pen itself is pretty comfortable to hold and the the function button placement and rubber grip are well placed. One minor complaint I do have about the design however is that the plastic cap doesn’t fit on the back end when you are using the pen, it would have been nice to be able to place the cap on the pen so as to not risk misplacing or losing it when using it with a mobile device.
The included USB cable is nice as well in that it has a flat cord to it as opposed to the traditional rounded cable.
The WorldPenScan X comes with a USB cable and Windows/Mac installation CD.
On both Android and Windows, the WorldPenScan X was really easy to set up. For the mobile version, simply download the WorldPenScan app from the Play Store (or App Store for iOS) and install. After the WorldPenScan X pen is turned on, launch the WorldPenScan app on your device and it will search for and connect to the scan pen. In order to use the pen however, you will have to go into your input settings and switch from your default keyboard to the WorldPenScan. On a Windows (or Mac) computer, insert the installation CD and install the app. After the app is installed, plug in the scan pen with the USB cord and complete the hardware wizard (on Windows). Launch the WorldPenScan app (on Windows or Mac) and the software will walk you through connecting the pen the first time you launch it.
Scanning is easy, simply align the arrow in the scanning portion on the line of text you want to capture and drag the pen along until you reach the end of the line. Press the function button to create a line break and scan the next line. While you don’t have to create a line break after each line, the tool doesn’t appear to recognize it as such. The last word of the previous sentence scanned and the first word of the next line will appear as one word without a space in between in whatever word editing program you are using, even though the Windows app has a setting to insert a space after each scan. The function button can be set to insert a space or line break though, so you can use that to get around the run on words.
Once you get used to the scanning process, the WorldPenScan X is fairly accurate.
As far as accuracy of the scanner, it seems to be fairly accurate and a lot of the errors seem to depend on the speed you drag, as well as the font/size of the text you are scanning in. Once you get the hang of the proper scanning technique and speed, you can get near perfect scanning input. Overall though, I’d estimate it’s between 95-98% accurate and while the document created from scanning requires minor clean up, it’s definitely faster than having to type notes by hand.
While the pen does work as a translation tool, it is somewhat limited on the mobile apps and currently supports 21 languages including simplified and traditional Chinese, English, French, Spanish, Japanese, Russian, and various other basic languages. The Windows/Mac version supports many more languages, works with programming languages such as Basic, C/C++, JAVA, and even supposedly works with simple chemical formulas. The pen can also be used to scan barcodes and MICR codes on cheques and invoices.
Sample text input (left) and translation (right) on Android app. The input (left) was done twice, second time a bit slower and with more care for perfect results.
While the WorldPenScan X works fairly well and is something that I can see as being a great benefit for students, researchers, and others who do a lot of reading I think it’s a bit on the pricier side, especially for students. If you can afford it, it’ll definitely save you some time when creating study guides or inserting quotes into papers. It does have the added attraction of being compatible with iOS, Android, Windows, and Mac though so that’s something else to consider. It does have other features as well like translation and barcode scanning which does add some value, but I think a better price point would be in the $99-$129 range as opposed to the $169 it retails for. A slightly lower price point and I could see this as a great tool that would be more accessible for students.
PenPower’s WorldPenScan X is a handy little portable OCR scanning tool for those that require it. It’s easy to set up and once you get the hang of the proper scanning technique can achieve near perfect scanning results into the word editing program of your choice. Additional features like translation (although I can’t see myself pulling it out to translate a menu at a restaurant but can see the use for translating a large printed document), dictionary lookup, and barcode/MICR scanning increase the scenarios it can be used for.
PURCHASE WORLDPENSCAN X FROM AMAZON
*We were sent a demo unit of the WorldPenScan X for the purposes of this review.
Translations will soon be available under the same roof as licence renewals in NSW.
Sydney, Wollongong and Newcastle residents will be able to call in at eight Service NSW branches to have documents translated into more than 100 languages and dialects.
The service will cost between $77 and $117 but isn't expected to be a money-spinner for the government.
Rather, Multiculturalism Minister John Ajaka hopes it will make life easier for travellers, businesses and those with limited English.
"With 20 per cent of people in NSW speaking a language other than English at home, this is a practical and commonsense initiative that will make life easier for our community," he said.
Mr Ajaka will visit southwest Sydney on Tuesday to launch the initiative, which has already been trialled at two service centres.
El oceanógrafo Anxo Mena se ha hecho con el primer premio de poesía de la Universidad de Vigo con un poema que, pese a su profesión, nada tiene que ver con la ría ni con los escualos. El tema es mucho más pragmático que todo eso, se refiere al transporte público que conecta la ciudad con el campus.
15C, es el título del poemario y también el nombre de la línea del bus de Vitrasa que conduce a los universitarios al campus de Lagoas-Marcosende. «Tentei plasmar unha morea de cousas cotiás desta liña, que seguro que quen colle o bus recoñece perfectamente, pois é unha viaxe curiosa que se presta a anécdotas», explica Anxo Mena. Su idea era hacer algo divertido, reivindicativo y descriptivo. El tema era para él de sobra conocido al viajar en esta línea durante toda la carrera y parte del período del doctorado.
Si algo refleja la composición es que en Vigo no es nada fácil moverse en transporte público debido a su configuración y orografía. En ese bus el oceanógrafo se ha desplazado en innumerables ocasiones y en ese bus ha vivido experiencias de lo más variadas y esperpénticas. «Vivín pequenos incendios do motor, lipotimias e mareos grandes. Son buses pequenos que suben coa xente moi mareada. Dura unha hora e pico e pasa por moitas obras», comenta el escritor.
Antes, la línea hacía el trayecto de Samil al campus y ahora parte de Navia. Recuerda que en horas punta iban como sardinas, tal vez la única relación del poema con la carrera que cursó el autor, Ciencias del Mar. Habitualmente los usuarios son estudiantes que no tienen un acceso fácil a las lanzaderas y se mezclan con vecinos de Cabral que van o vienen del mercado.
«O 15C ten algo así como 59 paradas / imos ponerlle 60 / por ser ecuánimes na distribución e variacións da ida e da volta e das obras e des-obras / así como medida previa da media / son 60 paradas / nunha aproximación remota a vigo / xeral e obviando detalles / coma vigo.», relata el autor de Carral (A Coruña), que en la actualidad reside en Cangas.
En otra parte del poemario se refiere a las frenadas y paradas bruscas que acaban por lanzar a los usuarios hacia adelante. Habla de humanidad concentrada, semáforos en rojo y miradas cómplices de los estudiantes. «Xa se viron mareos desmaios lipotimias hipotension e hipertension e síntomas diversos / moitas veces sen parada e omisón de servicio / outras moitas baixaron na primeira», refleja el poema al final para rematar con «cada viaxe vaiche na saúde / e desconta da seguinte / sen transbordo».
No es la primera vez que Anxo Mena recibe un premio. En dos ediciones anteriores obtuvo accésits y en el 2013 logró el de nuevos creadores de Mondoñedo.
Junto a Mena resultaron también galardonados con los premios de poesía, relato corto y traducción literaria de la Universidad de Vigo el filólogo Xurxo Martínez y la estudiante de Traducción e Interpretación, Marta Santamaría. La institución académica trata de premiar la calidad y la creatividad literaria en lengua gallega en el ámbito de la comunidad universitaria.
En esta ocasión se presentaron 43 trabajos, de los que 22 eran de la categoría de poesía, 15 de relato coro, y seis de traducción literaria. Los premios se entregarán mañana en el acto institucional del Día das Letras Galegas, que este curso se celebrará en el campus de Pontevedra en recuerdo al homenajeado Xosé Filgueira Valverde.