Metaglossia: The Translation World

"Call for Partnerships | Youth for Peace: UNESCO Intercultural Leadership Programme

UNESCO is pleased to announce the launch of a new Call for Partnerships by the Social and Human Sciences Sector.

28 May 2025

UNESCO is pleased to announce the launch of a new Call for Partnerships by the Social and Human Sciences Sector, as part of our ongoing commitment to promoting intercultural dialogue, peacebuilding and youth empowerment across the globe.

 

The Intercultural Dialogue Team is leading the Youth for Peace: UNESCO Intercultural Leadership Programme, which aims to empower Young Leaders to advance intercultural dialogue and peace through training, grants, and mentorship to support community projects. Each year, UNESCO produces new knowledge resources, connects grassroots action to policymaking within a global dialogue event and publishes an Insights Report, while a dedicated alumni network ensures sustained engagement and long-term impact.

 

The objective of this Call for Partnerships is to identify an Implementation Partner - a not-for-profit entity which has been actively operating and registered as such for at least two years. The scope of the work will involve supporting the administration and follow up of a grant portfolio of USD 1,500,000 for 3 years/500,000 USD per year, specifically:

 

Strengthening the resources, knowledge, and skills of 50 Young Leaders from across all regions of the world - through annual grant of USD10,000 per grantee, training, mentorship, and coaching - to implement impactful projects using intercultural dialogue to solve problems within their communities;

Enhancing the insights available to policymakers on how to apply intercultural dialogue as a strategy and a tool for solving real social challenges, using data and learnings from the actions of Young Leaders and consolidating into an annual 'Insights Report';

Bolstering networks between Young Intercultural Leaders through the design, creation, and animation of an Alumni Network.

 

We invite qualified entities to apply for the opportunity to support a new flagship initiative under UNESCO’s mandate by visiting the call which is now published on the United Nations Global Marketplace (UNGM).

 

Estimated start of activities: August 2025

Deadline for submission: 19 June 2025 at 23:59 (Paris time)

 

Full call and submission details are available here."

 

https://www.unesco.org/en/articles/call-partnerships-youth-peace-unesco-intercultural-leadership-programme

#metaglossia_mundus 

"Kenya's Ngugi wa Thiong'o, champion of African expression
Nairobi (AFP) – During his imprisonment, Kenyan author Ngugi wa Thiong'o decided he would never write in English again, a defiant move that helped put literature in African languages firmly on the map.

Issued on: 28/05/2025 - 21:53
Modified: 28/05/2025 - 21:50

...His decision in the 1970s to abandon English in favour of his native Kikuyu, as well as Kenya's national language Swahili, was met with widespread incomprehension at first.

"We all thought he was mad... and brave at the same time," said Kenyan writer David Maillu. "We asked ourselves who would buy the books."

Yet the bold choice built his reputation and turned him into an African literary landmark.

The softly-spoken writer also lived a life as dramatic as his novels.

His criticism of post-colonial Kenya -- describing the violence of the political class and the newly rich as "the death of hopes, the death of dreams and the death of beauty" -- brought him into frequent conflict with the authorities.

'Decolonising the mind'
Born James Ngugi into a large peasant family in Kenya's central Limuru region on January 5, 1938, he spent the first 25 years of his life in what was then a British settler colony.

His early works were heavily influenced by his country's battle against colonial rule and the brutal Mau Mau war of 1952-1960.

In his first collection of essays, "Homecoming", he described himself as a "stranger in his home country".

But his anger would later extend to the inequalities of post-colonial Kenyan society, incurring the wrath of the government.

In 1977, Ngugi and fellow writer Ngugi wa Mirii were jailed without charge after the staging of their play "Ngaahika Ndeenda" ("I Will Marry When I Want").

It was then that he decided to write his first novel in Kikuyu, "Devil on the Cross", which was published in 1980.

Ngugi and Ngugi wa Mirii's 'I Will Marry When I Want' was banned for years for years and the authors imprisoned © Tony KARUMBA / AFP
He had already abandoned his "English" name to become Ngugi wa Thiong'o.

"I wrote it on the only paper available to me, which was toilet paper," he told US radio broadcaster NPR.

Amnesty International named him a prisoner of conscience, before a global campaign secured his release from Kamiti Maximum Security Prison in December 1978.

As early as 1965, Ngugi's novel "The River Between" embarked on a critical examination of the role of Christianity in an African setting.

"If the white man's religion made you abandon a custom and then did not give you something else of equal value, you became lost," he wrote.

He went into self-imposed exile in 1982 after a ban on theatre groups in Kenya, moving first to Britain then to the United States.

In 1986, he published one of his best-known works, "Decolonising the Mind", a collection of essays about the role of language in forging national culture, history and identity.

'A Kenyan Tolstoy'
When Ngugi returned home on a visit in 2004, he was mobbed by supporters at Nairobi's airport.

"I have come back with an open mind, an open heart and open arms," he declared.

Days later, he and his wife were attacked by armed men: she was raped and he was beaten up. It was not clear whether robbery was the sole motive or whether the assault was politically motivated.

Margaretta wa Gacheru, a sociologist and former student of Ngugi, described him as a national icon.

"To me he's like a Kenyan Tolstoy, in the sense of being a storyteller, in the sense of his love of the language and panoramic view of society, his description of the landscape of social relations, of class and class struggles," she said.

In addition to fiction, the father-of-three, who became a professor of comparative literature at the University of California Irvine, also published essays and three memoirs.

His most recent book was the genre-defying novel-in-verse "The Perfect Nine", which he translated into English in 2020.

It recounted the founding of the Kikuyu people, blending folklore and allegory.

From widening economic inequality to the lingering trauma of racism, the issues raised in the play still persist in Kenya and beyond, a fact not lost on its creator.

"I am an activist, I want to see change," Ngugi told AFP.

"I hope we can continue striving for that world. We cannot give up.""
https://www.france24.com/en/live-news/20250528-kenya-s-ngugi-wa-thiong-o-champion-of-african-expression
#metaglossia_mundus

Kenyan writer’s death announced by his daughter, who wrote: ‘He lived a full life, fought a good fight’

The Kenyan writer Ngũgĩ wa Thiong’o, who was censored, imprisoned and forced into exile by the dictator Daniel arap Moi, a perennial contender for the Nobel prize for literature and one of few writers working in an indigenous African language, has died aged 87
...
Born in 1938, while Kenya was under British colonial rule, Ngũgĩ was one of 28 children, born to a father with four wives. He lived through the Mau Mau uprising as a teenager, during which the authorities imprisoned, abused and tortured tens or even hundreds of thousands of people.
...
“In prison I began to think in a more systematic way about language,” he told the Guardian in 2006. “Why was I not detained before, when I wrote in English?” He decided from then on to write in Gikuyu, that “the only language I could use was my own”.

Released in 1978, exile followed in 1982, when the author learned of a plot to kill him upon his return from a trip to Britain to promote his novel Caitani Mutharabaini, translated as Devil on the Cross. He later moved from the UK to the US, where he worked as a professor of English and comparative literature at the University of California, Irvine, and headed its International Centre for Writing and Translation.

Ngũgĩ continued to write in Gikuyu, despite his troubled connection with his homeland; an arrest warrant was issued for the fictional main character of his 1986 novel Matigari, which was also banned in Kenya. Returning to Nairobi with his wife Njeeri for the first time in 2004, two years after the death of Daniel arap Moi, Ngũgĩ was greeted by crowds at the airport. But during the trip, men wielding guns broke into their apartment, raping Njeeri and beating Ngũgĩ when he tried to intervene. “I don’t think we were meant to come out alive,” he told the Guardian two years later.

His novel Wizard of the Crow, translated by the author into English in 2006, returned to the subject of African kleptocracy, being set in the imaginary dictatorship of the Free Republic of Aburiria. He said the “most beautiful sentence in the entire novel” was “a translation from Gikuyu by the author”.

He continued to translate his own works from Gikuyu, and was nominated for the international Booker prize in 2021 for his epic novel-in-verse The Perfect Nine. He was the prize’s first nominee writing in an indigenous African language and the first author to be nominated for their own translation...

Ngũgĩ had nine children, four of whom are authors: Tee Ngũgĩ, Mũkoma wa Ngũgĩ, Nducu wa Ngũgĩ, and Wanjiku wa Ngũgĩ.

“Resistance is the best way of keeping alive,” he said to the Guardian in 2018. “It can take even the smallest form of saying no to injustice. If you really think you’re right, you stick to your beliefs, and they help you to survive.”
Richard Lea and Sian Cain
28 May 2025 20.50 BST
https://lnkd.in/eJtcd_H6
#metaglossia_mundus

 

Le monde des lettres africaines est en deuil. L’écrivain kényan de renommée mondiale Ngũgĩ wa Thiong’o est décédé ce mercredi matin à l’âge de 87 ans, a annoncé sa fille, Wanjiku Wa Ngugi, dans un message émouvant publié sur Facebook : « C’est avec le cœur lourd que nous annonçons le décès de notre père, Ngũgĩ wa Thiong’o, ce mercredi matin. Il a vécu une vie bien remplie et s’est bien battu. »

Figure majeure de la littérature africaine et icône intellectuelle mondiale, Ngũgĩ wa Thiong’o laisse derrière lui une œuvre puissante et engagée, qui a profondément influencé des générations de penseurs, écrivains et militants à travers le monde. Auteur prolifique, plusieurs fois cité parmi les prétendants au prix Nobel de littérature, il s’est imposé comme un fervent défenseur de la décolonisation culturelle et linguistique du continent africain.

Un écrivain enraciné dans son peuple

Né en 1937 dans une famille de paysans à Limuru, près de Nairobi, Ngũgĩ a été profondément marqué par la colonisation britannique et l’insurrection Mau Mau (1952-1960), événements fondateurs qui nourriront son engagement politique et littéraire. Ses premiers romans, écrits en anglais, dénoncent avec vigueur les injustices de la société postcoloniale kényane.

Mais c’est en 1977, à la suite de l’emprisonnement provoqué par l’une de ses pièces de théâtre critiques envers les élites, que Ngũgĩ opère un tournant décisif : il choisit d’abandonner l’anglais pour écrire exclusivement en kikuyu, sa langue maternelle. Ce geste audacieux devient un acte politique et culturel majeur. « Je crois tellement en l’égalité des langues. Je suis complètement horrifié par la hiérarchie des langues », confiait-il encore en 2024 dans un entretien à l’AFP depuis son exil californien.

Un legs inestimable pour l’Afrique et le monde

Ngũgĩ wa Thiong’o a consacré sa vie à la décolonisation de l’esprit, concept qu’il a théorisé et défendu avec rigueur dans ses essais. Pour lui, la reconquête des langues africaines était indissociable de la reconquête de la dignité et de l’identité. « Il a revitalisé les langues africaines, longtemps dénigrées comme étant incapables d’exprimer la modernité », affirmait le professeur Evan Mwangi de l’université Northwestern.

Comparé à Shakespeare, Dante ou Tolstoï pour avoir su magnifier sa langue maternelle dans la littérature, Ngũgĩ laisse une empreinte durable sur les lettres mondiales.

Un hommage unanime

Les hommages affluent depuis l’annonce de son décès. L’ancien président du Sénégal Macky Sall a salué, sur les réseaux sociaux, « une figure emblématique de la littérature africaine et ardent défenseur de la dignité de nos peuples », ajoutant : « L’Afrique perd une conscience éclairée, le monde une voix majeure. »

Le député Guy Marius Sagna a lui aussi exprimé sa reconnaissance : « Merci beaucoup Ngũgĩ wa Thiong’o de nous avoir aidés à “Décoloniser l’esprit”. »

Un héritage vivant

Ngũgĩ wa Thiong’o s’en va, mais son œuvre, traduite dans de nombreuses langues et étudiée à travers le monde, continuera d’inspirer les combats pour la justice, la souveraineté culturelle et la reconnaissance des voix africaines dans leur diversité.

"Le célèbre écrivain kenyan Ngugi wa Thiong'o est mort

Nairobi (AFP) – Le célèbre écrivain kenyan Ngugi wa Thiong'o, plusieurs fois cité comme un possible prix Nobel de littérature, est mort mercredi à l'âge de 87 ans, a annoncé sa fille sur Facebook.

 

Publié le : 28/05/2025 - 23:01

Modifié le : 28/05/2025 - 22:59

 

"C'est avec le coeur lourd que nous annonçons le décès de notre père, Ngugi wa Thiong'o, ce mercredi matin", a écrit Wanjiku Wa Ngugi. "Il a eu une vie bien remplie et s'est bien battu."

 

Considéré comme l'un des écrivains les plus influents d'Afrique de l'Est, il est l'auteur d'une oeuvre reflétant la terre et le peuple dont il était issu, sans suivre les traces de la tradition occidentale.

 

"Il a revitalisé les langues africaines"

Emprisonné par les autorités kényanes en 1977-78, notamment pour avoir écrit des pièces de théâtre qui s'attaquent aux élites de son pays, il décide d'abandonner l'anglais pour écrire dans sa langue natale, le kikuyu, un choix radical mais capital dans une oeuvre marquée par la lutte contre les inégalités.

 

L'écrivain kenyan Ngugi wa Thiong'o lors d'une séance de dédicaces pour célébrer le jubilé d'or de son premier livre "Weep Not Child", le 13 juin 2015 à Nairobi © TONY KARUMBA / AFP/Archives

C'est d'ailleurs dans sa cellule de la prison de haute sécurité de Kamiti que Ngugi wa Thiong'o a fait son premier roman en kikuyu "Caitaani Mutharaba-ini" ("Le Diable sur la Croix").

 

"Je l'ai écrit sur le seul papier dont je disposais, du papier toilette", a-t-il un jour raconté.

 

"Je crois tellement en l'égalité des langues. Je suis complètement horrifié par la hiérarchie des langues", affirmait-il en 2024 dans un entretien avec l'AFP, de Californie, où il vivait en exil.

 

Cette décision avait à l'époque suscité l'incompréhension. "Nous pensions tous qu'il était fou (...) et courageux à la fois", raconte l'écrivain kényan David Maillu : "On se demandait qui achèterait les livres".

 

"Il a revitalisé les langues africaines, longtemps dénigrées comme étant incapables d'exprimer la modernité de manière intelligible", estimait Evan Mwangi, professeur de littérature à l'université américaine de Northwestern.

 

"Il fait ce que d'autres écrivains majeurs de l'histoire ont fait : écrire dans la langue de leur peuple plutôt que dans celle de l'élite", poursuivait-il, citant les exemples de Shakespeare, Dante et Tolstoï.

 

"De la mortalité à l'immortalité"

"Ayant déjà gagné sa place dans l'histoire du Kenya, il passe de la mortalité à l'immortalité", a écrit mercredi la branche kényane de l'ONG Amnesty International sur X.

 

"Ngugi wa Thiongo, un géant littéraire et un érudit de renom, un fils du sol et un grand patriote dont les empreintes sont indélébiles", a de son côté réagi Martha Karua, une dirigeante de l'opposition au Kenya, sur le même réseau social.

 

Né dans une famille de paysans de la région de Limuru, non loin de Nairobi, Ngugi wa Thiong'o a été marqué dès sa jeunesse par la colonisation britannique et l'insurrection locale Mau Mau entre 1952 et 1960, cruciale dans la marche vers l'indépendance finalement obtenue en 1963, qui influenceront ses premières oeuvres.

 

Il s'est volontairement exilé en 1982 après l'interdiction des troupes de théâtre au Kenya, s'installant d'abord au Royaume-Uni, puis en 1989 aux États-Unis, où il a enseigné la littérature comparée à l'université californienne d'Irvine.

 

En 1986, celui qui a abandonné son prénom occidental, James, a publié l'un de ses ouvrages les plus connus, "Décoloniser l'esprit", un recueil d'essais sur le rôle de la langue dans la construction de la culture, de l'histoire et de l'identité nationales.

 

Ngugi wa Thiong'o est retourné au Kenya en juillet 2004, après que Daniel arap Moi eut quitté le pouvoir.

 

Quelques jours plus tard, le couple a été violemment attaqué dans son appartement : sa femme a été violée, lui a été passé à tabac. Il n'a pas été établi si cette agression était de caractère criminel ou politique."

https://www.france24.com/fr/info-en-continu/20250528-le-c%C3%A9l%C3%A8bre-%C3%A9crivain-kenyan-ngugi-wa-thiong-o-est-mort

#metaglossia_mundus 

"Translation: The Hidden Meanings Behind Emojis That Are Dividing the GenerationsPublished on May 28, 2025By Doug Montero

A smile emoji is not always a symbol of happiness — at least not for Gen Zers, who are more likely to use it to express sarcasm or disdain.

In fact, there’s a huge emoji generation gap between baby boomers, Gen X, millennials and Gen Z, who are between 13 and 28 years old.

For millennial Sara Anderson, a 31-year-old cheerleading coach, the smiley face emoji adds “lightness” to her messages, she told The Wall Street Journal.

But Gen Z intern Hafeezat Bishi said she was shocked when her older colleagues used the smile emoji in emails. “I had to remember they are older, because I use it sarcastically,” Bishi told The Journal. She explained that she uses it more to “side-eye” a comment, rather than to express joy.

While people over 30 take them at face value — a smile is a smile — emojis have much different meanings for younger “digital natives,” who grew up using technology.

Take the thumbs-up emoji. Millennials, Gen Xers and boomers use it to signal agreement, but for younger people, it’s seen as snarky or disparaging.

Ingram Publishing / Newscom / The Mega Agency
Another disconnect comes with the sparkle emoji. Older users use it to express excitement or celebration, but for Gen Z, it denotes sarcasm or mockery.

For them, the fire emoji doesn’t refer to a literal fire or heat but to communicate that something — or someone — is hot, as in desirable.

Younger people also take advantage of emojis’ double meanings to conceal potentially “sinister” messages, warns Amit Kalley, founder of the organization For Working Parents.

To hide references to drugs, they may use a tree, leaf or branch emoji to represent marijuana, a snowflake for cocaine and a money bill for MDMA.

So, the next time you add an emoji on a message to a Gen Zer, think twice — it might not have the meaning you intend."
https://www.nationalenquirer.com/lost-in-digital-translation-the-hidden-meanings-behind-emojis-that-are-dividing-the-generations/
#metaglossia_mundus

"Beyond words: A deep dive into nonverbal communication

May 27, 2025, by Bob Curley

   

In Japanese culture, a geisha is a traditional entertainer, highly respected for her skill in dance and singing. In the West, however, “geisha girls” are often wrongly viewed as women of the night — a massively insulting stereotype and cultural faux pas.

 

It’s the kind of erroneous assumption students in Bryant’s “Intercultural Communication” course are learning not to make.  

 

In a classroom exercise organized by Emi Kanemoto, Ph.D., assistant professor and director of the Intercultural Communication Program in the department of Communication and Language Studies, students are shown a series of images depicting human interactions. They are then challenged to describe, interpret, and evaluate the nonverbal personal and cultural communication cues they see.   

 

When an image of a bowing woman impeccably clad in a silk kimono comes up, student evaluators use descriptors like “formal,” “polite,” and “friendly” — descriptors that reflect what’s actually in the image — without falling back on cultural assumptions or stereotypes. 

 

The nonverbal communications exercise is one facet of Kanemoto’s GEN201 class, a general education course that all Bryant students are required to take. The requirement is unique to Bryant, says Kanemoto, whose teaching journey in the United States began when she emigrated from Japan about a decade ago. Yet, while it may be rare, the class is important. 

 

“In the work setting, you have to work with people from other cultures, even within the U.S.,” Kanemoto notes. “Navigating these spaces is important not only in the workplace, but in your personal life, as well.”

 

Course goals include teaching members of the dominant culture to avoid committing microaggressions and improving their respect for marginalized communities. But the class also helps international students and other members of minority communities thrive in a sometimes unfamiliar and confusing cultural environment.  

 

“In class we do a lot of self-reflection,” says Kanemoto. “We learn about other cultures, but also about ourselves.” 

 

Unpacking stereotypes and oversimplifications are part of the learning process, as is unlearning attitudes about culture, race, gender, sexuality, national origin, and more, she says.  

 

“Students gain language to call out someone or explain issues, such as how to respond to microaggressions,” Kanemoto says. “We learn about idioms and metaphors and how to navigate them. It helps students to live in a diverse space. We use knowledge to empower one another, as well as ourselves, to create an inclusive society.”  

 

Lily Kimball ’27, a Biology major and Human Resource Management minor, sees the course as especially valuable for students who may have been relatively sheltered prior to college. 

 

“For some students who come to Bryant, it’s their first interaction with people from different cultures,” she says. “It’s important not to see one culture as being better than another, while at the same time respecting your own.”  

 

Kanemoto, who was inspired to pursue intercultural education through personal conversations with members of marginalized communities, says the general education requirement for students reflects a deep commitment to diversity at Bryant.   

 

“Bryant has a culture change happening on campus,” she says. “I want to be part of the change.”

 

Language isn’t the only way people communicate; equally (and often even more) important are nonverbal cues such as hand gestures and eye contact, which can differ widely from culture to culture.

 

Examples of nonverbal communication, Kanemoto says, include:

 

Proxemics: the physical space and distance people use in communication. When people refer to their “personal space,” they are defining proxemics. U.S. visitors to the Mideast may find that conversations with locals can get a little too close for comfort, for example. 

 

Chronemics: how we refer to and perceive time. This includes behaviors like punctuality and willingness to wait. Experiencing “island time” on vacation, for instance, is a classic example of chronemics.

 

Kinesics: body movements such as nodding or hand movements that are sometimes (but not always) accompanied by speech. Eye contact — or lack thereof — is also part of kinesics. Sustained eye contact is generally viewed as attentiveness in Western cultures but avoided in some Asian cultures as a sign of respect in certain social interactions.

 

Haptics: the use of touch in communication. Some U.S.-centric examples of haptics include functional-professional touch (a doctor touching a patient); social-polite touch (a handshake or a pat on the back); friendship-warmth touch (hugging or a kiss on the cheek); love-intimacy touch (kisses between lovers); and sexual-arousal touch. Touch rules and customs vary widely among cultures: Islamic communities, for example, generally frown upon touch between genders, but view behaviors like men holding hands in friendship as acceptable.

 

Paralanguage: verbal and nonverbal aspects of speech that influence meaning, including tone, intensity, pauses, and silence. An extended pause to emphasize the meaning of a word or statement is one example. Culturally, speaking loudly is a type of paralanguage that can be viewed as authoritative in Western countries; in some parts of Asia, it’s considered rude or, in Japan, a sign of loss of control in some contexts."

https://news.bryant.edu/beyond-words-deep-dive-nonverbal-communication

#metaglossia_mundus 

"AI learns languages in a similar way to humans

News article 28 May 2025 07:00

In a study, researchers tested having AI agents play a communication game with each other to mimic how humans develop language. They had an AI agent communicate a colour via a symbol, and the receiving AI agent would try to recover what colour the symbol corresponded to. Both agents received a common reward if the colour was successfully recovered. The researchers also let the AI models learn from each other over generations. The overall result was a system for naming colours that were similar to human colour language, even though the AI agents had never come into contact with such. Illustration: Chalmers University of Technology | Emil Carlsson | Mia Halleröd Palmgren

An AI system that learns language autonomously develops a language structured in the same way as human language. And just as we humans learn from previous generations, AI models get better when they take advantage of the knowledge of older relatives. This is shown by a study from Chalmers University of Technology and the University of Gothenburg, Sweden, which explores the mechanisms behind human language and provides important knowledge for the development of the AI of the future.

 

 

Portrait of Emil Carlsson, Photo: Chalmers University of Technology | Almerängs fotografi

AI-based language models like ChatGPT are getting better and better at mimicking human language and are increasingly being used as a tool for producing text. But the same types of models can also teach us to better understand how human languages have evolved. 

 

In the study, the researchers explored an AI system for evolving languages by using two different methods in a previously untested combination. On the one hand, reinforcement learning was used – where the right actions are rewarded and thus reinforced – and on the other hand, the researchers let the AI models learn from each other over generations.

 

"We discovered that the AI models reached something that is structured in the same way as human language, and that language learning worked in a similar way to human language. Thus, the study provides important insights about how AI models work, but also a greater understanding of how human languages evolve," says Emil Carlsson, who at the time of the study was a doctoral student at Chalmers and the University of Gothenburg.

 

All languages strive to be efficient 

According to an influential theory in cognitive science*, all human language is shaped by the need to be able to communicate effectively. At the same time, a balance is needed: as a tool, the language must be informative but also simple enough for us to learn. And the more information that needs to be communicated, the more nuanced the language needs to be. A classic example is that languages in colder climates often have more words for snow and ice than languages in warmer climates.

 

To test the theory and investigate how language becomes efficient, the researchers created AI agents - different AI models - that played a communication game with each other.

 

The AI agents were shown a colour and a list of symbols that initially have no meaning. As the agents interact, these symbols come to be associated with certain colours and used to communicate the colour to the other agent.

 

"The reason we used colours is that there is so much data on how the colour spectrum is named in different languages, including data from isolated languages that have never been exposed to other languages. The categorisation of colours varies between languages, both in terms of the number of words and which part of the colour spectrum the words describe," says Emil Carlsson.

 

Rewards and generational exchange yielded results for language development

The experiments involved one AI agent communicating a colour via one of the symbols in the list, and the receiving AI agent would guess which colour the symbol corresponded to. Both agents received a common reward when they made progress in their communication. The closer they got to a common designation of the exact colour shade that the receiving agent got, the more points were awarded.

 

In the next step, new "generations" of AI agents were created, while the old AI agents were phased out. The new AI agents got to see the dialogue and the language that the previous generation had managed to develop. After that, the new AI agents got to play the same communication game with each other.

 

"The idea was to let the AI agents first learn a language from previous generations and then further develop it by communicating with each other. Just like two small children who learn by listening to mum and dad talk and then continue to broaden and develop their own languages," says Emil Carlsson.

 

Provides knowledge about how language develops

The result was a system for naming colours that were similar to human colour languages, despite the fact that the AI agents had never come into contact with them.

 

"The interesting thing was that it was precisely the combination of the problem-solving in the game, together with the fact that the AI agents learned from previous generations, that led to effective language that resembles human language. When the AI agents only communicated with each other to solve the game, the languages became too complex. We also tried to let the AI agents only learn from previous generations, without having to deal with the problem-solving aspect of the game, and then the languages became far too simple," he says.

 

According to Emil Carlsson, the results indicate that our ability to communicate and learn from each other is crucial for how languages develop over time.

 

"When we only learn something from another person, without perhaps understanding the benefits of it, our tendency to develop the knowledge decreases. But when we actually have to use what we have learned to solve problems and move forward, that's when structured and effective languages can be created," he says.

 

He hopes that the results will contribute new insights and ideas in language research, as well as research in AI and computer science.

 

"This is knowledge that can help us better understand the mechanisms behind human languages, but also understand how large AI-based language models work. This can pave the way for being able to guide the development of AI in fruitful directions", says Emil Carlsson.

 

More about the research

The study Cultural evolution via iterated learning and communication explains efficient color naming systems has been published in the Journal of Language Evolution. The authors are Emil Carlsson and Devdatt Dubhashi at Chalmers University of Technology and the University of Gothenburg, Sweden, and Terry Regier, UC Berkeley, USA.

 

The study is part of the thesis Reinforcement Learning: Efficient Communication and Sample Efficient Learning, which Emil Carlsson has presented at the Department of Computer Science and Engineering at Chalmers and the University of Gothenburg.

 

More about the cognitive science studies in the study

The cognitive science theory that the study is based on, "efficient communication", measures the efficiency of language in a strictly mathematical way. According to the theory, All languages strive to be efficient. This means that, on the one hand, we want an informative language, on the other hand, a simple language, as this creates less effort and is easier to learn. According to efficiency theory, language strikes the perfect balance between these two parameters, and it can be different for different languages and cultures, depending on the needs involved.

 

For more information, please contact:

Emil Carlsson, PhD at the Department of Computer Science and Engineering at Chalmers University of Technology and the University of Gothenburg,Sweden, emil.carlsson@sleepcycle.com, 072 177 22 44

 

Devdatt Dubhashi, Professor at the Division of Data Science and AI at the Department of Computer Science and Engineering at Chalmers University of Technology and the University of Gothenburg, Sweden dubhashi@chalmers.se, 031 772 10 46"

https://www.chalmers.se/en/current/news/cse-ai-learns-languages-in-a-similar-way-to-humans/

#metaglossia_mundus 

"Daniel Mendelsohn Book Event -

Jun 19, 2025 | Translator of The Odyssey

Erik Rostad, Neighbor

JUN

19

Event Details

Thu, Jun 19, 2025 at 6:00 PM

 

Landmark Booksellers | Franklin, Tennessee, 114 E Main St, Franklin, TN, 37064

Join Landmark Booksellers on Thursday, June 19th, at 6 PM for an unforgettable evening with acclaimed author and classicist Daniel Mendelsohn as he presents his new translation of The Odyssey. Mendelsohn will share insights into his groundbreaking translation, participate in a Q&A session, and engage in a discussion about the enduring relevance of The Odyssey. He will then conclude the evening with a book signing, making this an ideal gathering for lovers of literature and classical storytelling. This event is a perfect complement to Landmark’s “Great Wall of the Great Books,” a curated display celebrating humanity’s most influential literary works, including Homer’s timeless epic."

https://patch.com/tennessee/franklin/calendar/event/20250619/14a67187-3f61-452d-9873-7577c5ab929e/daniel-mendelsohn-book-event-translator-of-the-odyssey

#metaglossia_mundus

Linguistic, cultural and political differences make interpretation difficult, but analysts also point to factors like the target audience.

 

" ‘Never right’: why there’s a war of words over Beijing’s English translations

Linguistic, cultural and political differences make interpretation difficult, but analysts also point to factors like the target audience

 

Jane Caiin BeijingandMeredith Chenin Hong Kong

Published: 6:00am, 28 May 2025Updated: 9:29am, 28 May 2025

America’s top diplomat Marco Rubio has made clear that he does not trust Beijing’s English translations of Chinese officials’ words – he says they are “never right”.

 

The China hawk has instead urged his colleagues to go back to the original Chinese version of statements put out by Beijing to get a more accurate understanding of what is going on.

 

Rubio, the son of Cuban immigrants, appears to be the most powerful diplomat under President Donald Trump. He is the first person since Henry Kissinger to hold the national security adviser and secretary of state positions at the same time, making him the point man on China over the next four years.

Rubio has been blunt about his distrust of China. During his secretary of state confirmation hearing in January, he highlighted the importance of referring to the original Chinese to understand the words of President Xi Jinping.

“Don’t read the English translation that they put out because the English translation is never right,” he said.

 

US Secretary of State Marco Rubio has been blunt about his distrust of China. Photo: AFP

The subject of translation came up again later that month, when Rubio and Chinese Foreign Minister Wang Yi spoke by phone. Wang reportedly told Rubio to “hao zi wei zhi” – an idiom Beijing translated as “act accordingly” in its English readout of the call. It was more stern in foreign media reports on the meeting – Reuters translated it as “conduct yourself well”, while Bloomberg’s translation was “conduct yourself properly”.

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Adding to the confusion, Rubio denied Wang had even given him any warning. “The translator that was on the call did not say anything to me that I felt was over the top. But then they put out these games – they like to play these games,” Rubio said in an interview on The Megyn Kelly Show, according to a transcript released by the US Department of State.

 

“They put out these translations where it says one thing in English and then it’s translated in a different – they use a different term in Mandarin – so like ‘He was warned not to overstep himself’. They never said that.”

 

Accurate translation is a difficult task given the linguistic, cultural and political differences between the United States and China. Analysts also point to other factors, such as the target audience for the messaging.

 

But one thing is clear – understanding what the other side is saying is more important than ever amid a 90-day pause in the US-China tariff war and with key areas on the table for negotiation, from electric vehicles to semiconductors and rare minerals.

 

Xiaoyu Pu, an associate professor of political science at the University of Nevada, said the linguistic, conceptual and political differences between the countries could lead to gaps in perception and interpretation.

 

He said some Chinese political phrases were “highly idiomatic, historically rooted or symbolic”, and that made them challenging to translate directly.

 

Why Wang Yi’s message to Marco Rubio may have been lost in translation

‘There are limits’: the problems with China’s bid to patch things up with Europe

In further high-level exchange, China and US say channels remain open

Pu noted that there was also a difference in political communication styles. He said Chinese official discourse could be vague and ambiguous, whereas Western diplomatic language tended to be more direct and precise.

 

He said there was also some flexibility with translation that could be used strategically for different audiences.

 

“As one Chinese concept can be translated into different English terms, sometimes Chinese officials intentionally emphasise the Chinese meaning for a domestic audience while translating the idea into English for an international audience,” Pu said.

 

He pointed to the idiom used by Wang as an example, saying it was intended for a nationalistic domestic audience, while the official English translation was more moderate.

 

According to Pu, Chinese concepts could sometimes also be interpreted by foreign translators in the West in ways that fit their country’s political climate, rather than genuinely adhering to the original Chinese meaning.

 

 

Interpretations of an idiom used by Chinese Foreign Minister Wang Yi have varied. Photo: AFP

Pang Zhongying, a visiting senior fellow at Singapore’s ISEAS-Yusof Ishak Institute, said Rubio seemed to have “inherited” a distrust of Beijing’s translations from other China hawks like Robert Lighthizer.

 

Lighthizer, the US trade representative and architect of the trade war with China in Trump’s first term, wrote in his 2023 book No Trade Is Free that: “There is often a major difference between what China says in Chinese to its people and the way it officially translates those words into English for Western audiences.

 

“Routinely, the harsh, combative language is watered down. It thus is important to look to an unofficial and candid translation to determine what is being conveyed,” he said, citing an interpretation of Xi’s report to the 2022 Communist Party congress provided by Kevin Rudd, the former Australian prime minister and a China expert who speaks fluent Mandarin.

Pang said political distrust was at the heart of “misconception or disinformation” given that both sides had a large team of professional translators to draw on.

 

He said one way to reduce the problem was by increasing face-to-face communications so that misunderstandings could be cleared up. That was especially important given the range of issues expected to be negotiated by Beijing and Washington following the trade war truce agreed in Geneva earlier this month, he added.

Sabine Mokry, a researcher at the University of Hamburg’s Institute for Peace Research and Security Policy, said the criticism of Beijing’s English translations reflected a deep-seated mistrust that had become one of the defining features of US-China relations.

 

She said the remarks were “a bit overblown”. “It speaks to a common perception – or misperception – that we don’t know anything about their [Chinese authorities’] intentions and they hide everything,” she said.

 

Mokry analysed the official English translations of foreign policy documents released by Beijing from 2013 to 2019. According to her study findings, published in 2022, almost half of the documents contained differences between the English and Chinese versions, and most of those differences potentially altered the intended meaning.

 

But she said the two versions were not entirely different, and the key messages remained largely consistent because the official translations were “carefully crafted” to align with Beijing’s political objectives and diplomatic priorities.

 

Mokry found that the Chinese version usually signalled stronger and more assertive intentions while the English version came across as softer, since they targeted different audiences.

 

“The question is more about how the US government and also governments around the world can build up enough capacity to deal with the original Chinese texts instead of just relying on the official English translations,” she said.

 

Mokry said machine-learning tools could help to identify translation differences but it remained crucial to have experts available who could work with the original Chinese statements, point their colleagues to the nuances and add the interpretive context that went beyond linguistic skills.

 

To do that, she said it was important to understand the institution issuing the document and its role in the political system.

 

How are Chinese citizens feeling the effects of the US-China tariff war?

 

How are Chinese citizens feeling the effects of the US-China tariff war?

According to Wang Huiyao, founder and president of the Centre for China and Globalisation, a Beijing-based think tank, the historical and cultural differences that shape the values of Chinese and Western societies – and the way concepts are expressed and decoded – are the main reason for misperceptions when it comes to translation.

 

Wang said Chinese civilisation was rooted in agrarian traditions such as cultivating one’s plot and favouring modesty, while Western cultures, influenced by nomadic and expansionist histories, tended to emphasise individualism, mobility and global outreach.

 

He noted that some of the terms used in Chinese political messaging could be hard for international audiences to grasp. But he said instead of just communicating those unfamiliar phrases Beijing could create new terms and concepts that might gain international acceptance if there was clear context and the ideas were framed in more globally relatable ways.

 

Wang gave the example of Beijing’s renamed trade and infrastructure strategy, the Belt and Road Initiative.

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When it was launched in 2013 it was known as One Belt, One Road. But that caused confusion because it was not a road but sea routes linking China’s southern coast to East Africa, the Mediterranean and Latin America, while the “belt” refers to a series of overland corridors connecting China with Central Asia, the Middle East and Europe.

 

It quietly became the Belt and Road Initiative in 2015 – a name that is now recognised globally – with the Chinese name left unchanged.

 

Wang said further efforts from both China and the US were needed to boost exchanges in education and tourism, ease visa restrictions, and allow more access for foreign media to promote mutual understanding.

 

He said far more Chinese had studied in America than Americans in China since the reform and opening-up began in the 1970s. According to Wang, that imbalance, with a limited number of Americans learning Chinese, had a serious impact on how well they could understand each other.

 

“Chinese people are much more familiar with the United States than Americans are with China,” he said"

https://www.scmp.com/news/china/diplomacy/article/3311936/never-right-why-theres-war-words-over-beijings-english-translations

#metaglossia_mundus

"Speech recognition for interpreters

20/09/2025

 

On Saturday September 20, 2025 Josh Goldsmith, from Techforword, will be giving a one day training on “Speech recognition for interpreters”.

 

 

 

Here are the details:

 

 

Date:                Saturday, September 20, 2025 from 09:00 to 17:30.

 

Location:         Novotel Geneva, Rue Zurich 19, 1201 Geneva

 

Trainer:            Josh Goldsmith

 

Training:         Speech recognition for interpreters (see description below)

 

Participants:  20  (maximum number of participants)

 

Registration fee:

Members of AIIC: CHF 100.00 (EURO - 107.00)

Non-members: CHF 200.00 (EURO - 214.00)

 

 

About this event

Unlock the power of speech recognition and elevate your interpreting skills in this dynamic full-day workshop. Numbers, dates, names, and terminology can be particularly tricky, but cutting-edge AI tools can ease the stress, allowing you to focus on delivering top-quality interpreting. Through hands-on training, you'll explore the best speech recognition solutions for online and onsite meetings, simultaneous and consecutive settings. Get ready to test-drive industry-leading tools, refine your techniques, and gain practical insights

tailored to the needs of interpreters. Join us and discover how AI-driven speech recognition can transform the way you work!

 

About the trainer : Josh Goldsmith

Josh Goldsmith is a UN- and EU-accredited translator and interpreter and AIIC member working from Spanish, French, Italian, Portuguese and Catalan into English. He splits his time between interpreting, translating, and working as a trainer and researcher focusing on the intersection between interpreting, technology and education. As Founder and Geek-In-Chief at techforword, Josh shares tips about technology, translation and interpreting in conferences and workshops, academic articles, the AI in Translation and AI in Interpreting Summits, and at techforword insiders, the premier online community for tech-savvy language professionals.

 

Speech recognition for interpreters

Full-day workshop

Numbers, dates, names and terminology can be especially challenging for interpreters.

But cutting-edge speech recognition tools can help to decrease the stress around numbers and terminology so you can focus on delivering higher-quality interpreting.

 

Join us for this hands-on workshop and explore the ins and outs of speech recognition in interpreting.

 

After this session, you’ll know how to:

● Set up speech recognition for online and onsite meetings

● Pick which speech recognition tool to use

● Use speech recognition in simultaneous and consecutive settings

 

You’ll also get a sneak peak of the newest speech-recognition-powered approach to interpreting, Sight-Consec.

 

Session overview

● Part 1: Introduction to speech recognition

● How speech recognition works

● Sight translation vs interpreting

● Part 2: “Generic” speech recognition tools

● Built-in captions in Zoom and other online meeting platforms

● Market overview: Otter, Web Captioner, and other speech recognition tools

● Deep dive: Maestra Web Captioner for speech recognition in 20+ languages

● Pros and cons of working from a running transcript

● Part 3: Audio routing

● Software for audio routing in remote meetings

● Hardware for audio routing in onsite meetings

● Part 4: Speech recognition tools for interpreters

● The 3 major players: CymoNote, InterpretBank, and SmarTerp

● Speech recognition for numbers

● Speech recognition for named entities

● Speech recognition for terminology

● Force replace

● Part 5: Sight-Consec: Combining speech recognition with note-taking

● How to go from sight translation to Sight-Consec

● Bilingual Sight-Consec with CymoNote

● Automated consecutive note-taking with speech recognition

● How to annotate transcripts while interpreting to boost your interpreting

● What to note down – and what to leave out – in Sight-Consec

● Part 6: The future of speech recognition-enabled interpreting

● Recap: Pros and cons of speech recognition

● What does the future hold?

 

The interactive training will include ample time for hands-on testing of tools and discussion of speech recognition.

 

Please bring a laptop and a headset or USB microphone + headphones. You can also bring a tablet and stylus if you have one.

 

All tools that will be covered include a free trial.

 

Please note:

This proposal is subject to change depending on developments in artificial intelligence.

 

Nevertheless, the session will provide an overview of the most cutting-edge AI-powered tools for interpreters based on available applications, and will include examples that specifically cater to the interpreting contexts and languages used in Switzerland. Please note that the trainer speaks English, French, Spanish, Italian, and Portuguese and can also provide examples in German and Arabic.

 

For registration please send an email to Melanie Klemm at training-ch@aiic.org.

https://aiic.at/client/event/roster/eventRosterDetails.html?productId=746&eventRosterId=9

#metaglossia_mundus

Abidjan, 28 mai 2025 (AIP) – La traduction des textes sacrés dans les langues ivoiriennes a été au centre d’une journée scientifique organisée le mardi 27 mai au Goethe-Institut d’Abidjan. Placée sous le signe de la coopération ivoiro-allemande, cette rencontre a réuni enseignants-chercheurs, linguistes, étudiants et diplomates autour du thème : « Les travaux de traduction des textes sacrés en Côte d’Ivoire : bilan et perspectives ».

Initiée par le Laboratoire dynamique des langues et discours (LADYLAD) de l’Université Félix Houphouët-Boigny, en partenariat avec l’Office allemand des échanges universitaires (DAAD), la journée visait à faire le point sur les efforts de traduction des textes religieux en langues locales, tout en explorant les perspectives de ce chantier culturel et scientifique majeur.

 

Représentant le doyen de l’UFR Langues, Littératures et Civilisations (LLC), le professeur Aboua Abia Alain a salué la portée multidimensionnelle de cette initiative.

 

« Traduire un texte sacré, ce n’est pas simplement transposer des mots d’une langue à une autre. C’est interpréter une vision du monde, une conception du divin, des valeurs éthiques et une culture vivante », a-t-il souligné, mettant en lumière les enjeux culturels et identitaires liés à cette démarche en contexte ivoirien.

 

L’ambassadeur de la République fédérale d’Allemagne, Matthias Veltin, a honoré de sa présence cette rencontre, exprimant son attachement personnel au monde littéraire et académique. « La diplomatie et la traduction partagent une vocation commune : bâtir des ponts de compréhension entre les peuples. J’explique aux Allemands la Côte d’Ivoire, et aux Ivoiriens l’Allemagne », a-t-il déclaré.

 

Le professeur Edzard Lutz, spécialiste du texte biblique en hébreu, a quant à lui offert une perspective historique et philologique sur les traductions anciennes, illustrant leur importance dans la transmission du patrimoine religieux. Il a évoqué notamment le Codex Sinaiticus, un manuscrit biblique du IVe siècle, pour montrer que certaines traductions sont parfois plus anciennes que les copies conservées dans la langue originale.

 

Pour le directeur du LADYLAD, Kra Enoc, cette journée visait à dresser un bilan rigoureux et à définir de nouvelles pistes de recherche et d’action. « Il est urgent de traduire les textes sacrés dans des langues telles que le baoulé, le bété ou le djoula, mais cela suppose de relever de nombreux défis : méthodologiques, culturels, mais aussi financiers », a-t-il expliqué, appelant à un soutien accru pour mobiliser les ressources intellectuelles et logistiques nécessaires.

 

Des initiatives concrètes ont été mises en avant, telles que celles de l’Alliance biblique de Côte d’Ivoire et de la Société internationale de linguistique, qui œuvrent activement à la traduction et à la diffusion des textes religieux dans les langues nationales.

(AIP)

dg/sdaf/cmas"

Abidjan, 28 mai 2025 (AIP)

#metaglossia_mundus

"Karima Kim primée pour sa traduction coréenne de la Muqaddima : un pont entre civilisations
« Beaucoup plus qu’un livre d’histoire, la Muqaddima est un projet intellectuel pour une compréhension globale de l’urbanisme, des dynamiques du pouvoir et des transformations sociétales », a déclaré la Sud-Coréenne Karima Kim, lauréate du Prix Ibn Khaldoun pour la promotion et la recherche dans les sciences humaines 2025 (catégorie « International »), pour sa traduction de la Muqaddima en langue coréenne.
La professeure coréenne s’exprimait lors de la cérémonie de remise du prix organisée mardi au Centre des Arts, de la Culture et des Lettres, à Ksar Saïd, Tunis. Ce prix est attribué par la Chaire ICESCO « Ibn Khaldoun pour la culture et le patrimoine » de Ksar Saïd, en partenariat avec l’association Med21.
Le comité d’évaluation, composé des historiens Abdelhamid Larguèche (président), Latifa Lakhdar et Faouzi Mahfoudh, a également attribué deux autres prix : au Franco-marocain Mehdi Ghouirgate (catégorie « Méditerranée ») et au Tunisien Moncef M’halla (catégorie « Pays d’accueil »).
Deux prix honorifiques ont par ailleurs été décernés à titre posthume aux professeurs tunisiens Ahmed Abdessalem et Aboul-Kacem Mohamed Kerrou, en présence des membres de leurs familles respectives.
Dans son intervention intitulée La Muqaddima, un pont entre les langues et les civilisations, Karima Kim a affirmé que « la pensée d’Ibn Khaldoun dépasse son cadre spatio-temporel. Elle propose des outils d’analyse qui demeurent utiles à notre époque ».
Bien plus qu’un historien du passé, « en Corée, Ibn Khaldoun est aujourd’hui considéré comme un penseur contemporain, porteur d’une vision critique et d’un esprit ouvert sur l’autre ».
Elle a qualifié la Tunisie, pays natal d’Ibn Khaldoun, de « lieu de mémoire, mais aussi de pensée vivante et d’innovation ». Elle y voit un pays tourné vers l’avenir, guidé par la pensée khaldounienne « comme un flambeau vers de nouveaux horizons ».
Karima Kim est revenue sur les conditions ayant entouré sa traduction, entamée en 2005. Elle dit avoir été animée par un sentiment de devoir envers le lecteur coréen, afin de transmettre la profondeur de la pensée d’Ibn Khaldoun dans leur langue.
Cette traduction est le fruit d’un long voyage intellectuel et culturel qu’elle qualifie d’expérience personnelle, dépassant le simple cadre académique.
Professeure de littérature arabe à l’Université de Hong-Kong des études étrangères de Séoul, Karima Kim est spécialiste de la littérature de la maqâma et de la littérature arabe contemporaine de la diaspora. Titulaire d’un doctorat portant sur l’œuvre d’al-Jahiz, notamment Al-Boukhala (Les Avares), elle rappelle qu’al-Jahiz (Abû Uthmân Amr Ibn Bahr al-Basrî), érudit irakien du IXe siècle, fut une figure majeure de la pensée arabe.
L’idée de traduire la Muqaddima est née d’une conviction intime : cette œuvre constitue un pont entre civilisations et ouvre de nouveaux horizons pour le dialogue entre l’Asie de l’Est et le monde arabe.
Elle a toutefois reconnu les contraintes liées à ce travail, notamment linguistiques, lexicales, et culturelles. Le style dense, les références historiques et les contextes propres au monde arabo-musulman ont nécessité un équilibre rigoureux, dans le respect du texte original.
Cette traduction a nécessité six années de travail, soit davantage que le temps qu’Ibn Khaldoun lui-même aurait mis à rédiger son manuscrit.
La version coréenne de la Muqaddima a connu un grand écho dans les milieux académiques et culturels de Corée du Sud. Sa publication a été largement médiatisée, suscitant un intérêt croissant pour la civilisation islamique et la pensée arabe.
L’ouvrage sera au cœur d’une conférence filmée cet été dans le cadre des classiques de la littérature mondiale présentés à l’Université nationale de Séoul.
En 2020, la version coréenne figurait parmi les œuvres primées du prestigieux Prix Sheikh Hamad pour la traduction et la compréhension internationale, décerné au Qatar. Une reconnaissance pour cette œuvre monumentale née au sud de la Méditerranée et désormais traduite vers de nombreuses langues, dont le coréen.
Véritable vecteur d’interculturalité, « la traduction ne se limite pas à transmettre les mots, estime la professeure Kim. Elle est un outil pour comprendre l’autre et construire des ponts entre les esprits et les cultures ».
À travers cette œuvre, elle dit avoir voulu offrir un aperçu de la profondeur de la pensée arabe et de la richesse de sa civilisation.
Karima Kim a conclu en souhaitant que cette rencontre jette les bases d’un « dialogue constant entre Orient et Occident, entre langues et cultures, dans un esprit de compréhension et de respect mutuels ».
Par La Presse avec TAP
le 28 mai 2025
https://lapresse.tn/2025/05/28/karima-kim-primee-pour-sa-traduction-coreenne-de-la-muqaddima-un-pont-entre-civilisations/
#metaglossia_mundus

At the 30th book fair in Prague, Chytomo was entrusted with a special mission — to observe young authors and translators participating in the CELA program (Connecting Emerging Literary Artists). We listened to presentations of literary works in five different languages, participated in professional discussions, and witnessed initial pitches to international publishers.

 

What young translators and writers in Europe are focusing on: A summary of the CELA Program in Prague

 

27.05.2025

 

VICTORIA FESHCHUK

 

At the 30th book fair in Prague, Chytomo was entrusted with a special mission — to observe young authors and translators participating in the CELA program (Connecting Emerging Literary Artists). We listened to presentations of literary works in five different languages, participated in professional discussions, and witnessed initial pitches to international publishers.

 

 

 

 

 

 

We’ll also share more information and insights into the Czech perspective on publishing.

 

 

 

 

This article was produced with the support of the International Festival Book Arsenal in the framework of the CELA program.

 

 

 

 

Consortium of young voices

 

 

 

 

How can a young author find a translator? How can a translator connect with an author? How can they both eventually find a publisher, and then readers? These were the questions that inspired the organizers of the CELA program. Today, the initiative includes 11 festivals across 11 European countries, including Ukraine (Book Arsenal).

 

 

 

 

This year, the program brought together 165 authors, translators, and literary professionals for networking, synergy, and future publications.

 

 

 

 

RELATED: Book Arsenal 2025 has announced its program

 

 

 

 

The Ukrainian authors included Myroslav Laiuk, Anastasiia Levkova, and Eugenia Kuznetsova. The list of Ukrainian translators and literary specialists featured Oksana Ziobro, Iuliia Stakhivska, Khrystyna Vengryniuk, Oleksandra Laktionova, Olga Bondarenko, Larysa Dobra, Yuliia Stankevych, Olena Roman, Olha-Anastasiia Futoran, Máximo André Martynenko Shchehlov, and Onujec Ionela-Paulina.

 

 

 

 

As part of the program, Eugenia Kuznetsova attended events at the Prague Book Fair, and authors Yulia Lukovniak (Slovenia) and Magdalena Sodomkova (Czechia), with Czech translator and journalist Rita Kindlerová, are scheduled to visit the International Festival Book Arsenal. Chytomo will also have a conversation with Lukovniak and Sodomkova during the Book Arsenal.

 

 

 

 

When discussing the implementation of the CELA program in Prague, it’s important to recognize that Czechia is slated to be the Guest of Honor at the Frankfurt Book Fair next year. As a result, the country is actively preparing to promote and sell copyrights to international publishers. Given the limited number of literary agencies in Czechia, this process actively involves publishers, translators, and authors.

 

 

 

 

The CELA special program in Prague focused on networking with other exhibitions’ special projects, and its participants attended events of the Fellowship Program and the Central and East European Book Market program.

 

 

 

 

 

 

 

 

 

RELATED: Through Covid-19 and war: the story of Frankfurt comeback

 

 

 

 

 

 

 

 

 

“This year we managed to organise at least three meetings with Czech publishers for each author(s). It is a challenge to find Czech publishers who would be interested in publishing a new generation of authors from different countries,” Michala Čičváková, the director and project manager of CzechLit, said. CzechLit coordinated the participation of authors from CELA in the Prague exhibition program.

 

 

 

 

 

 

 

 

 

 

As part of her role at CzechLit, Čičváková builds connections between German and Czech publishers and provides grants to support the translation and publication of Czech books into various languages. Taking into consideration her experience with texts’ pitching, she notes that attracting foreign publishers can be a challenging task — even when a grant is already secured — because Czech books are often not seen as financially appealing projects.

 

 

 

 

 

 

 

 

 

RELATED: Jan Kravčík: When you lose the cultural war, then the nation is totally lost

 

 

 

 

 

 

 

 

 

Participants of the program in Czechia are emerging authors from Ukraine, Bulgaria, Romania, and Spain: Luis Díaz, Ioana Maria Stăncescu, Gergana Galabova, and Kuznetsova. With the exception of Kuznetsova (“History of Ukrainian Borshch,” published by Vydavnytstvo in Ukrainian, has been published in Czech), these authors have not been translated into Czech, so building bridges is not easy. That is why the Czech CELA program resembles a mini-Frankfurt.

 

 

 

 

 

 

 

 

 

 

That’s where we make a second note about the broader context of Central and Southern Europe. In countries like Czechia, Romania, Bulgaria, and Ukraine, working with a literary agent is considered a luxury, particularly for emerging authors. This point is affirmed by Bulgarian literary agent Gergana Pancheva from the Sofia Literary Agency.

 

 

 

 

 

 

 

 

 

“It’s my first time in Prague, and for me, the local contexts, publishers, and audience are all completely new and unknown. As a writer, I explore universal things, the relationships between men, so I hope to find my audience here and, if I’m lucky, publishers,” Luis Díaz, a program participant and Spanish author, commented on the way to his readings.

 

 

 

 

 

 

 

 

 

Other participants of the program work with a variety of universal topics. Romanian author Ioana Maria Stăncescu writes about trauma and difficulties of mother-daughter relationships, Bulgarian author Gergana Galabova read an excerpt about bureaucracy, and Kuznetsova wrote about war.

 

 

 

 

 

 

 

 

 

 

“CELA is definitely a career boost. My book is suddenly being translated into German, maybe another book will be translated into Serbian. And I find myself more confident and less doubtful about whether it makes sense to write at all,” Czech author Anna Lunakova said.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Translators’ networking

 

 

 

 

 

 

 

 

 

For translators, the CELA program offers a valuable opportunity to discover new authors to work with and, importantly, to connect with publishers.

 

 

 

 

 

 

 

 

 

 

Authors who participate in the CELA program say that the program is mostly translation-centric. First and foremost, workshops on pitching book excerpts to publishers were designed specifically for them. The translators were expected to actively conduct meetings with local publishers.

 

 

 

 

 

 

 

 

 

It is important to highlight that publishers had the chance to meet translators working with less common language pairs, such as Bulgarian-Czech, Romanian-Czech, and Croatian-Czech. This is a good impetus not only to take an interest in a particular work, but also to establish long-term cooperation. Czech publishers (just like most Ukrainian publishers) find it easier to publish English- and German-language literature, partly because of access to translations — if you want to publish Macedonian or Romanian literature, it’s a completely different story.

 

 

 

 

 

 

 

 

 

“Another challenge is to introduce translators. In general, in Czechia, the names of translators are invisible to readers. If we look at the covers of most books published in the Czech Republic, there are no translators’ names, except for a few publishers. We would like to emphasise that translators are literary artists, equal to authors,” Čičváková said.

 

 

 

 

 

 

 

 

 

RELATED: Eero Balk: Our elders warned us that the KGB might try to recruit us

 

 

 

 

 

 

 

 

 

Other participants at the exhibition spoke about the challenges faced by translators. Notably, Petr Vidlák, the Czech translator of Nobel Prize laureate Olga Tokarczuk, said that he could not even afford basic groceries on his translation fees.

 

 

 

 

 

 

 

 

 

 

Most of the translators Chytomo spoke to in Prague juggle at least three or four professional roles: librarians, authors, managers, editors, or critics. Anna Lunakova, who was introduced as a writer for the CELA project, is also a translator, book reviewer, and project manager at Revue Prostor.

 

 

 

 

 

 

 

 

 

This, of course, was a major impetus for Czech translators to also participate in the CELA program. CELA participants included Markéta Cubrová, Adéla Mikešová, Klára Našincová, Jitka Zárubová, Anna Kostková, Bára Genserová, Věra Böhmová, and Petra Janků.

 

 

 

 

 

 

 

 

 

Kindlerová will talk more about the context of Czech translators during a public event at the International Festival Book Arsenal.

 

 

 

 

 

 

 

 

 

The Ukrainian book “Sheep Are Safe” by Kuznetsova was pitched to Czech publishers by its translator, Mikešová, who also participated in the CELA program. This was her first experience with presenting a book to foreign publishers.

 

 

 

 

 

 

 

 

 

 

“We managed to pitch the novel to Host and Větrné mlýny. They were genuinely interested and will now read an excerpt from the book in my translation,” Mikešová said. 

 

 

 

 

 

 

 

 

 

RELATED: Ukrainian novel «Ask Miechka» was nominated for the European Union Literary Prize

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Ukrainian perspective

 

 

 

 

 

 

 

 

 

“For me, as a Ukrainian author, any public event is an opportunity to talk about the Russian-Ukrainian war. It is primarily about promoting the Ukrainian narrative and resisting pro-Russian stereotypes among audiences. It is political activism, and I think that this is the mission of all Ukrainian authors now,” Kuznetsova shared in a conversation with Chytomo.

 

 

 

 

 

 

 

 

 

At the festival, Kuznetsova took part in two public events where she read her texts and engaged in discussions with other authors on topics such as literary sensitivity and responsibility, linguistic identity during war, and the experience of living in different countries.

 

 

 

 

 

 

 

 

 

 

“We need to talk about the war but in a somewhat lighter format. There’s a part of the audience abroad that associates Ukraine only with very difficult and traumatic experiences. Readers may consciously avoid this. After all, for some people, reading is just a leisure activity. I think it is crucial that Ukrainian literature, in addition to being conscious and informative, also provides something for the soul. And between the lines, we can write about what hurts us,” Kuznetsova said.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Photo credit: Svět knihy Praha, Jitka Hanusova, Jan Tichý

 

 

 

 

Translation: Iryna Saviuk

 

 

 

 

Copy editing: Terra Friedman King

"New Research Suggests Human Language Evolved More Than 135,000 Years Ago

By Emma Taggart on May 26, 2025

 

There are an estimated 7,000 languages spoken around the world today, allowing humans to chat, tell stories, and share information. Being able to communicate our ideas is an integral part of being human, and a new study suggests we’ve been using language a lot longer than we initially thought—at least 135,000 years ago.

 

Despite each language having its own unique sound and structure, new research suggests that all 7,000+ languages spoken today may trace back to a single linguistic family tree. A team of researchers from Massachusetts Institute of Technology (MIT), the American Museum of Natural History, the Department of Linguistics at University of São Paulo, and other international collaborators explored the genetics of ancient humans and uncovered that the capacity for language was likely embedded in our DNA long before our ancestors began migrating across the globe.

 

Miyagawa and his team looked at 15 different scientific studies, all using different methods, and noticed they all pointed to the same conclusion: humans started splitting into different groups about 135,000 years ago. This was based on studying things like our full DNA, Y chromosomes (passed down from fathers), and mitochondrial DNA (passed down from mothers). The researchers say that if language had developed after that split, then some human groups today might not have language, or they might communicate in a totally different way. But that’s not the case—all humans have language, leading the researchers to believe that language must have existed before humans spread out.

 

“Every population branching across the globe has a human language, and all languages are related,” explains Shigeru Miyagawa, a professor emeritus of linguistics and the Kochi-Manjiro Professor of Japanese Language and Culture at MIT. “I think we can say with a fair amount of certainty that the first split occurred about 135,000 years ago, so human language capacity must have been present by then, or before.”

 

Some scientists believe that humans might have had the ability to use language a few million years ago, just by looking at how other primates (like apes) communicate. But according to Miyagawa, it’s not just about making sounds—it’s about having the mental power to combine words and grammar into a system that lets us express complex ideas. He says human language is special because it has two key parts: words, which are the names we give to things like “tree” or “run,” and syntax, which refers to the grammar or rules that help us put words together in a meaningful way.

 

Miyagawa suggests that humans had the mental capacity for language before they began using it to communicate. At first, it may have been a private thinking tool, but by around 135,000 years ago, it evolved into social communication. Evidence of this shift appears in archaeology around 100,000 years ago, with behaviors like carving symbols in caves and tombs.

 

“Language was the trigger for modern human behavior,” says Miyagawa. “Somehow it stimulated human thinking and helped create these kinds of behaviors. If we are right, people were learning from each other [due to language] and encouraging innovations of the types we saw 100,000 years ago.”

https://mymodernmet.com/human-language-history/?

#metaglossia_mundus 

"Globalization, the process of increasing interconnectedness and interdependence among nations, has dramatically impacted the world in several dimensions, including economic, political, technological, and cultural. Although there is no denying that globalization has sped up a very worrying phenomenon—cultural erosion—it has also unquestionably produced enormous potential for growth, creativity, and intercultural communication. Cultural erosion is the term used to describe how traditional identities, values, languages, and rituals gradually deteriorate or vanish due to outside pressures. Cultures all around the world, particularly those of less prominent or indigenous people, are gradually being absorbed or supplanted by mainstream global—often Western—cultures in this age of globalization.

 

Culture is the foundation of individual and societal identity. It includes language, traditions, customs, beliefs, music, rituals, and collective ideals that have been passed down through centuries. However, as globalization progresses, these distinct cultural characteristics are frequently overwhelmed or supplanted by internationally dominant standards. This transformation is not usually forced; rather, it occurs gradually through a variety of channels, including media, technology, education, trade, and migration.

 

Mass media is one of the most powerful causes of cultural disintegration in the globalised world.

 

Western television shows, films, music, and internet content dominate worldwide airwaves and digital platforms, resulting in an increase in the adoption of Western lifestyles, fashion, language, and values. Local cultural forms, traditional storytelling, and indigenous music are frequently pushed to the sidelines, viewed as out of date or less enticing than new, global alternatives. As media consumption becomes more global, young generations, in particular, are growing up with influences that are frequently far removed from their own cultures. Language loss is another major cause of cultural decline. Language is more than just a means of communication; it carries a people’s philosophy, history, and identity

 

Ad powered by Advergic.com

 

As English becomes the main language of global business, research, and education, native and indigenous languages are dying at an alarming rate. Many children today are being raised to speak global languages instead of their mother tongues, particularly in urban areas and top educational institutions. This trend is especially hazardous because when a language dies, a major portion of the related culture goes with it.

 

Globalization fosters a consumer culture that prioritises material success, convenience, and standardized products. This has resulted in broad appeal of multinational brands, frequently at the expense of local crafts, traditional meals, and indigenous attire. In several nations, people are increasingly donning Western-style attire instead of traditional dress, and fast-food restaurants have supplanted many traditional cafes. As a result, the economic and cultural significance of indigenous commodities and customs is diminished, frequently leading to their demise or extinction.

 

Tourism, another result of globalization, can help or hinder cultural preservation. While technology provides a platform for displaying cultural heritage to the globe, it frequently leads to commercialization or even distortion of cultural practices. Traditions are occasionally changed or produced to meet visitor expectations, turning significant rites into empty shows. This commoditization robs culture of its authenticity and transforms it to a marketable commodity rather than a live, breathing way of existence.

 

Urbanization and migration patterns have also had a substantial impact on cultural loss. When people relocate from rural areas to cities or travel to foreign nations in quest of better opportunities, they frequently assimilate into the prevailing culture of their new environment. Traditional modes of living based on village groups and ancestral rituals are gradually fading. The cosmopolitan lifestyle in urban areas, affected by global trends, frequently hinders the continuation of cultural practices that are deemed to be outdated or unimportant.

 

Real-world examples highlight the concrete effects of globalization on cultural disintegration. The younger generation in India is increasingly drawn to English, Western clothes, and worldwide music, frequently at the expense of regional languages, traditional festivals, and classical arts. . Although India has one of the world’s most rich cultural heritages, contemporary media and global consumerism are fast transforming the social fabric. Similarly, in African countries, colonial history combined with globalization has resulted in the marginalization of native languages and practices. Western education and religion have superseded many indigenous ones, and traditional knowledge systems are typically rejected in favour of Western models. In Latin America, particularly in Brazil and Mexico, indigenous cultures are under pressure from American pop culture, resulting in the gradual extinction of native languages and customs.

 

The repercussions of cultural degradation are severe. One of the most serious consequences is the loss of identity. When traditional values, rituals, and languages are lost, individuals and communities may feel disconnected from their roots. This can lead to identity crises, especially among young people who feel torn between modern global influences and their traditional heritage. Social structures can also start to crumble. The loss of these cultural features might impair communal relationships, leading to increasing individualism and social fragmentation.

 

Furthermore, the loss of indigenous knowledge is a severe worry. Traditional societies often have extensive ecological, medical, and agricultural expertise that has been honed over generations. This information is frequently closely related to cultural behaviours and languages. As cultures deteriorate, so does this vital knowledge that could otherwise contribute to sustainable development and biodiversity conservation. Furthermore, as the world becomes more culturally homogenized under the effect of globalization, we risk losing the rich diversity that distinguishes human societies. . A homogeneous global culture may be efficient, but it lacks the vibrancy, complexity, and variety that local cultures provide.

 

Despite these problems, several initiatives are ongoing to protect and revitalise cultural heritage in the face of globalization. Government policies can help by identifying and conserving endangered languages, promoting traditional education, and sponsoring cultural preservation projects. International organisations like UNESCO have initiated projects to safeguard intangible cultural assets and promote awareness about the significance of cultural diversity. Surprisingly, the same technology that aids cultural deterioration can also be used for preservation. Traditional stories, crafts, music, and rituals can be documented and shared through digital platforms and social media. Educational films, podcasts, and mobile apps can help younger generations connect with their past in new ways.

 

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Educational institutions also have an important role to play. Schools and universities can incorporate cultural studies into their curricula, celebrate local festivals, and promote the usage of native languages. Bilingual and culturally inclusive education cultivates pride in one’s identity while also enabling for global involvement. Communities are organising local festivals, storytelling events, and cultural seminars to reconnect with their heritage. Involving adolescents in these projects guarantees that cultural information is passed down to future generations, not as historical relics, but as developing facets of identity. Tourism, when conducted correctly, can also aid in cultural preservation. Communities can profit economically from supporting ethical and courteous tourism while preserving the originality of local traditions.

 

Finally, cultural degradation caused by globalization is a major issue affecting cultures around the world. . While globalization offers significant chances for advancement and cross-cultural engagement, it must be negotiated carefully to ensure that local cultures are not destroyed in the process. Cultural diversity strengthens humanity and provides varied perspectives on the world. It is critical to recognise the significance of each culture and strive for a balance between accepting global trends and safeguarding indigenous traditions. Individuals, communities, governments, and international organisations can work together to conserve cultural identities and ensure that globalization serves as a bridge between cultures rather than an erasing weapon."

 

By Irfan Ali Khadim

May 27, 2025

https://minutemirror.com.pk/cultural-erosion-due-to-globalization-397567/

#metaglossia_mundus 

"L’UE repousse encore la reconnaissance du catalan et du basque comme langues officielles

 

François David

Publié le mardi 27 mai 2025 à 17:20

 

 

Le vote a été reporté faute d’unanimité entre les 27 États membres. Plusieurs pays invoquent des doutes juridiques et le coût trop élevé de la mesure.

 

C’est un échec pour le gouvernement espagnol de Pedro Sánchez. Mardi 27 mai, les ministres européens ont décidé de reporter le vote sur le statut officiel du catalan, du basque et du galicien dans l’Union européenne. L’initiative n’a pas trouvé l’unanimité requise parmi les 27 États membres.

 

Comme le rapporte La Vanguardia, sept pays ont exprimé des doutes juridiques, techniques et financiers. L’Allemagne, la Finlande ou encore l’Italie ont demandé plus de temps pour examiner la proposition. Certains pays, comme la France, la Croatie ou Chypre, se sont aussi montrés sceptiques.

 

Trop cher, trop flou

 

L’argument principal ? Le coût. Selon une étude, cela pourrait coûter jusqu’à 44 millions d’euros par an. Tous les documents officiels de l’UE devraient être traduits dans ces trois langues. Les discours au Parlement européen aussi. L’Espagne a promis de prendre en charge les frais, mais cela n’a pas suffi à rassurer ses partenaires.

Autre point soulevé : le flou juridique. Le Conseil de l’UE s’interroge encore sur la nécessité éventuelle de modifier les traités européens, ce qui complique la procédure.

 

Une crainte d’effet domino

 

Les États craignent aussi un précédent. L’Europe compte une soixantaine de langues régionales ou minoritaires. Et si le catalan ou le basque deviennent langues officielles, cela pourrait ouvrir la porte à d’autres demandes.

Même si le catalan est parlé par environ 10 millions de personnes – autant que le suédois ou le tchèque – cela ne suffit pas à convaincre certains pays qui redoutent des conséquences politiques.

 

Derrière cette décision, il y a aussi des jeux politiques. La Vanguardia rappelle que l’Italie de Giorgia Meloni, proche du parti espagnol Vox, n’a aucun intérêt à offrir une victoire symbolique au socialiste Pedro Sánchez. Certains États préfèrent d’ailleurs éviter de prendre position publiquement, mais ils bloquent en coulisses.

 

Et maintenant ?

 

L’Espagne avait proposé une mise en œuvre progressive et promet de poursuivre son travail de lobbying pour convaincre ses partenaires. Ce dossier est important pour Pedro Sánchez : c’est un engagement pris dans son accord avec le parti catalan Junts, en échange du soutien à son investiture.

Mais pour l’instant, le catalan, le basque et le galicien ne deviendront pas langues officielles de l’UE. Le débat est simplement repoussé à plus tard. Et rien ne garantit qu’il aboutira."

https://www.francebleu.fr/infos/societe/l-ue-repousse-encore-la-reconnaissance-du-catalan-et-du-basque-comme-langues-officielles-8634000

#metaglossia_mundus

"Catholiques et protestants flamands s’entendent sur une bible commune

 

C’est une première depuis cinq siècles : à partir de l’Avent 2027, l’ensemble de la communauté chrétienne néerlandophone utilisera la même version de ses textes sacrés.

Par William Bourton

Publié le 27/05/2025 à 17:19

Fin 2027, curés et pasteurs flamands liront des passages de la même Bible lors de leurs messes et offices. C’est la première fois en cinq siècles – depuis la Réforme – que les Eglises catholique et protestante néerlandophones vont utiliser la même traduction du Livre : la NBV21, pour Nieuwe Bijbel-vertaling voor de 21e eeuw (« Nouvelle traduction de la Bible pour le XXIe siècle »).

 

https://www.lesoir.be/678197/article/2025-05-27/catholiques-et-protestants-flamands-sentendent-sur-une-bible-commune

#metaglossia_mundus

Launched on 1 January, the four-year REVEIL project offers training across Luxembourg to combat racism and promote intercultural understanding, with the goal of challenging personal biases and fostering lasting behavioural change in both public and professional sectors.

"New training initiative against racism and for intercultural understanding opens across the country

Julie Thilges – adapted for RTL Today|Update: 25.05.2025 11:06

 

Launched on 1 January, the four-year REVEIL project offers training across Luxembourg to combat racism and promote intercultural understanding, with the goal of challenging personal biases and fostering lasting behavioural change in both public and professional sectors.

 

REVEIL stands for 'Renforcer la cohésion sociale par l’interculturalité et la lutte contre le racisme et les discriminations' in French, which translates to "Strengthening Social Cohesion through Interculturality and the Fight against Racism and Discrimination". After the completion of the project, a full evaluation will be conducted. The goal is to assess not only participant satisfaction, but also whether the training has led to tangible changes in attitudes and behaviours.

 

The project is led by the International Organisation for Migration (IOM), in collaboration with the Luxembourg Integration and Social Cohesion Centre (LISKO) of the Luxembourg Red Cross and the association Centre for Education and Dialogue.

 

The initiative is rooted in the findings of a 2022 study by the Centre for Intercultural and Social Study and Training (CEFIS), which explored racism and discrimination in Luxembourg. The study found a clear need to raise public awareness and offer training in intercultural competence.

 

Training sessions and personal experience with racism

Since the start of this month, REVEIL training sessions have been open to the public, targeting sectors where multicultural interaction is common. The project acknowledges that racism remains an issue in Luxembourg's multicultural society, and aims to directly address it through structured, reflective learning.

 

Cécile Jérouville, from the Luxembourg Red Cross, explained that participants are invited to critically reflect on their own behaviours and assumptions, and are provided with materials and tools to challenge their thinking, expand their worldview, and embrace other cultures and ways of life.

 

Arline Sonita Tchagnang, a project officer at LISKO, offered a personal account of why such training matters. Having arrived in Luxembourg in 2016, she experienced racism and glottophobia – a form of discrimination linked to accent – while studying in the country. She also recalled being turned away from a job interview, where she was told outright: “We don’t work with people like you.”

 

Sector-specific training opportunities

Various sectors can benefit from the programme, including municipal authorities, youth and childhood services, and the social sector. These groups are offered both general training sessions and more targeted modules relevant to their field. Interested organisations or individuals can register online"

https://today.rtl.lu/news/luxembourg/a/2306883.html

#metaglossia_mundus 

"The Mistake Europeans Make in Japanese Restaurants
Some common gestures in Asian restaurants in Europe can be perceived as cultural errors in Japan...

Sticking chopsticks in rice: a taboo full of meaning
In Japan, it is strongly discouraged, even shocking, to stick your chopsticks vertically into a bowl of rice. This gesture evokes a funerary practice: during Buddhist rites, a bowl of rice is placed with two chopsticks inserted in the center as an offering for the deceased. It is a powerful image, linked to death, mourning, and respect for spirits.

Reproducing this gesture in an everyday context, such as during a meal with friends or in a restaurant, is therefore extremely frowned upon. For the Japanese, this amounts to inadvertently invoking funeral symbolism in a moment of conviviality. It can even be perceived as a lack of respect or a basic ignorance of cultural codes.

Why this gesture remains common outside Japan
Outside of Japan, and especially in Europe, sticking your chopsticks in rice is often a practical gesture: you place them in the bowl while you pour yourself something else, or to take a break. For the uninitiated, it has no particular connotation. In many so-called "Japanese" restaurants (sometimes inspired by China or Korea), no instructions are given on the proper etiquette.

Furthermore, in Western culture, the symbolism of the meal is very different. We value autonomy at the table, and setting down cutlery in a practical manner is common. Without intercultural education, the symbolic significance of gestures escapes us. This is why this type of clumsiness is common, although it is never done with bad intentions.

What to do instead?
To avoid confusion or awkwardness, it is recommended to place chopsticks flat on a chopstick rest (called a hashi-oki), often provided in traditional Japanese restaurants. If one is not available, it is acceptable to place them parallel to the edge of the plate or bowl, in a neat and orderly manner.

Another elegant solution: roll up a corner of the paper napkin to create a small temporary support. This gesture demonstrates a willingness to adopt good practices, something the Japanese particularly appreciate in foreign visitors.

Other gestures to avoid at the table
Sticking your chopsticks isn't the only common cultural mistake in Japanese restaurants. Here are some other behaviors to avoid:

Rubbing chopsticks together: This implies that they are of poor quality, which can be offensive in a well-kept establishment.

Pointing at someone or a dish with your chopsticks: This is considered rude.
Passing food from one pair of chopsticks to another: this gesture also evokes funeral rites, particularly when the bones of the deceased are passed on.
Using chopsticks to move a bowl: they are not serving or object handling tools.

A culture of respect and harmony
What may seem rigid or excessive from a European perspective actually stems from a philosophy deeply rooted in Japanese culture: respect for the gesture, the moment, and each other. A meal is not just about eating, but a moment of sharing, balance, and gratitude. Every detail, down to how you hold or place your chopsticks, contributes to this harmony.

Adopting these gestures is a sign of understanding. It's also a mark of respect for the people who perpetuate this tradition, whether in an izakaya in Tokyo or a small family restaurant in Kyoto.

By learning to recognize and avoid these mistakes, we're not just demonstrating politeness; we're entering a culture of subtlety, where even the smallest detail has its place and significance. Respect isn't just expressed through words, but also through gestures, especially at the table."
https://www.msn.com/en-nz/news/other/the-mistake-europeans-make-in-japanese-restaurants/ar-AA1FkgBv
#metaglossia_mundus

"Faute de consensus, la décision de déclarer le basque, le catalan et le galicien langues officielles de l’UE a été reportée

 

L’Espagne réclame avec insistance que le basque, le catalan et le galicien soient reconnus comme des langues officielles de l'Union européenne, un sujet explosif qui embarrasse une grande partie des 27. Le sujet a été abordé ce mardi matin par les ministres des Affaires européennes de l’UE, réunis à Bruxelles, mais la décision a été reportée, faute de consensus.

 

Qu’est-ce que ça changerait ?

 

L'Union européenne, où l’on dénombre une soixantaine de langues régionales ou minoritaires, compte actuellement 24 langues officielles. Ce statut implique notamment que les documents juridiques de l’UE (traités, règlements ou accords internationaux) soient traduits dans ces langues, et qu’une interprétation soit disponible pour les sommets et réunions ministérielles.

 

Pourquoi l’Espagne défend le projet ?

L’Espagne avait pourtant mis « tout son poids politique » dans la bataille, selon un autre diplomate à Bruxelles. Le gouvernement du socialiste Pedro Sánchez a absolument besoin des voix catalanes pour faire passer la plupart de ses textes aux Cortes, le Parlement espagnol. Depuis une précédente tentative par Madrid en septembre 2023, qui n’avait pas eu plus de succès, un important travail a été accompli pour tenter d’apaiser les craintes de nombreux États membres, peu enclins à ouvrir la boîte de Pandore des langues régionales.

 

Pourquoi ça coince ?

Une telle reconnaissance nécessite une décision à l’unanimité des Vingt-Sept. Ce qui n’est toujours pas le cas. Beaucoup de ministres ont insisté mardi pour que la discussion se poursuive et obtenu que la décision soit renvoyée à une autre réunion, faute de consensus, a assuré un diplomate à Bruxelles.

 

Plusieurs d’entre eux ont cependant multiplié les signes d’apaisement à l’égard de Madrid. « Je pense que la diversité linguistique est importante et nous sommes toujours constructifs », a souligné le ministre finlandais aux Affaires européennes Joakim Strand. Mais pas au point d'« européaniser un sujet national », a résumé un diplomate européen.

 

Plusieurs États membres, dont les pays baltes, redoutent, en acceptant la demande espagnole, d’être contraints à reconnaître eux-aussi le statut de langue officielle aux langues régionales utilisées sur leur territoire. Une grande partie de la population balte parle russe et « donc, le russe pourrait devenir une langue officielle », ce que ces pays ne souhaitent pas, a ainsi expliqué Marko Stucin, secrétaire d’État slovène aux Affaires européennes.

 

Le service juridique du Conseil de l’UE, instance qui rassemble les États membres, a jugé qu’il était impossible d’accéder aux demandes de l’Espagne sans changer les traités.

 

Quel consensus pourrait être trouvé ?

Mais pour certains pays, il y a peut-être une possibilité de compromis. Il suffirait pour cela de se limiter aux langues régionales implantées de longue date et déjà reconnues comme langues officielles dans les constitutions nationales. Dans ce cas, il n’y aurait en fait que trois langues éligibles : le basque, le catalan et le galicien. Et l’Espagne a toujours assuré qu’elle était prête à payer les frais de traduction pour ces trois nouvelles langues"

Publié le 27/05/2025 à 15h49

https://www.sudouest.fr/culture/le-basque-langue-officielle-de-l-union-europeenne-pourquoi-le-sujet-divise-encore-les-pays-membres-24623346.php

#metaglossia_mundus

Au cours de l’atelier de sensibilisation à la traduction littéraire arabe – français, organisé, à Arles au Collège international des traducteurs du 8 au 12 avril 2025, par l’association ATLAS dans le cadre du programme Livres des deux rives piloté par l'Institut français, les participantes et participants ont pu échanger avec Stéphanie Dujols, traductrice littéraire de l’arabe au français et tutrice de l’atelier. Elle a traduit dernièrement Je suis ma liberté de Nasser Abu Srour aux éditions Gallimard et travaille actuellement à la traduction d’un roman intitulé  ذئب العائلة(Le Loup de la famille), écrit par Souhaib Ayoub, co-tuteur de cet atelier.  Transcription réalisée par Hugo Buton, après un entretien mené collectivement par les participantes et participants de l'atelier. 

 

"Livres des deux rives : à la découverte du métier de traductrice avec Stéphanie Dujols

 

Ce qui m’intéresse, c’est ce qui résiste à la traduction, en particulier dans la syntaxe : l’intraduisible.

 

Au cours de l’atelier de sensibilisation à la traduction littéraire arabe – français, organisé, à Arles au Collège international des traducteurs du 8 au 12 avril 2025, par l’association ATLAS dans le cadre du programme Livres des deux rives piloté par l'Institut français, les participantes et participants ont pu échanger avec Stéphanie Dujols, traductrice littéraire de l’arabe au français et tutrice de l’atelier. Elle a traduit dernièrement Je suis ma liberté de Nasser Abu Srour aux éditions Gallimard et travaille actuellement à la traduction d’un roman intitulé ذئب العائلة(Le Loup de la famille), écrit par Souhaib Ayoub, co-tuteur de cet atelier. 

 

 

 

 

Transcription réalisée par Hugo Buton, après un entretien mené collectivement par les participantes et participants de l'atelier. 

 

 

 

 

Mis à jour le 27/05/2025

 

 

 

 

Atelier de sensibilisation à la traduction littéraire arabe – français, organisé par l’association ATLAS dans le cadre du programme Livre des deux rives piloté par l'Institut français.

 

 

 

 

Qu'est-ce qui vous a conduit vers le domaine de la traduction littéraire, et vers l’arabe ? 

 

 

 

 

Durant mon adolescence, j’ai vécu cinq ans en Tunisie. J’étais au lycée français, où on nous enseignait un peu d’arabe en troisième langue. Mais c’était aléatoire, je crois que nous n’avions ce cours qu’une année sur deux… 

 

 

 

 

À l’université, je n’étais pas particulièrement attirée par les cours dits « de version ». Il se trouve que j’étais « rimbaldienne ». Un jour, j’ai lu dans une revue qu’Adonis, qui avait tenté de traduire Rimbaud en arabe, venait de déclarer forfait. Ce constat d’impossibilité a résonné en moi. Je me suis intéressée alors aux traductions arabes existantes des Illuminations. J’ai découvert que Rimbaud, dont l’œuvre et la figure ont accompagné le mouvement de renouveau de la poésie arabe, notamment au Liban, avait été beaucoup traduit en arabe. J’ai donc choisi de consacrer un mémoire de maîtrise à une analyse stylistique comparative de diverses traductions arabes de quelques poèmes des Illuminations. Je pensais ensuite approfondir la question dans une thèse de doctorat un peu utopique. J’aurais voulu réunir plusieurs poètes arabes contemporains rimbaldiens et coordonner un atelier visant à établir une tentative de traduction collective des Illuminations. Dans tout cela, ce qui m’intéressait, c’était ce qui résiste à la traduction, en particulier dans la syntaxe. L’intraduisible. 

 

 

 

 

Et puis finalement, Richard Jacquemond a créé une bourse pour former pendant un an un étudiant à la traduction littéraire. J’ai candidaté, et j’ai pris ce chemin, abandonnant mon fantasme de thèse-atelier. Ensuite Richard m’a proposé un roman qu’il n’avait pas le temps de traduire pour Actes Sud. Et de fil en aiguille, je suis devenue traductrice de littérature arabe contemporaine. 

 

 

 

 

Lorsqu’on traduit de la littérature, même un court texte, on a besoin de temps. J’aime laisser le texte reposer, l’oublier, puis le reprendre avec un regard nouveau.

 

Comment naviguez-vous entre les dialectes et la fusha (l’arabe standard moderne) ?

 

 

 

 

Quand j’étais petite je parlais un peu le dialecte tunisien, puis je l’ai oublié. À la fac (l’INALCO), on étudiait peu les dialectes. On nous plongeait directement dans des poèmes hermétiques de la Jahiliyya.

 

 

 

 

Lorsque j’ai travaillé avec Richard Jacquemond en Égypte, j’ai appris naturellement le dialecte égyptien. Ensuite, à la fin des années 1990, je suis allée travailler en Palestine, comme interprète, pour le Comité international de la Croix-Rouge (CICR). Je traduisais toute la journée le palestinien dans les prisons, dans des conditions souvent extrêmes. Je l’ai donc appris très vite.

 

 

 

 

Je n’ai donc pas du tout étudié les dialectes de manière livresque. Je suis également allée en Irak, toujours comme interprète avec le CICR. Le premier jour, je me suis demandé si j’étais à ma place, car je ne comprenais pas grand-chose. Puis petit à petit, mon oreille s’est adaptée.

 

 

 

 

Quelle est votre place dans le processus de sélection des livres lorsque tu travailles avec des maisons d’édition ? Peut-il y avoir des textes imposés ou à l’inverse que vous refusez ?

 

 

 

 

J’ai travaillé principalement avec Actes Sud, mais je n’ai de contrat permanent avec personne. Je travaille en freelance, comme, je crois, tous les traducteurs littéraires.

 

 

 

 

Il m’arrive de refuser des textes pour diverses raisons. Cela a dû m'arriver trois ou quatre fois. Parce que je ne ressens pas d’affinité avec ces textes, dont l’écriture me semble trop hâtive, ou “journalistique”. Mais souvent on me propose des textes que j’accepte, comme le dernier que j’ai traduit : Je suis ma liberté, de Nasser Abu Srour aux éditions Gallimard, qui m’est en quelque sorte tombé du ciel. Parfois, c’est moi qui propose un texte et qui m’efforce de le défendre.

 

 

 

 

En revanche, j’ai quasiment arrêté de traduire pour des revues, car je trouve cela frustrant et inconfortable. On nous contacte souvent “au dernier moment”, alors que lorsqu’on traduit de la littérature, même un court texte, on a besoin de temps. J’aime laisser le texte reposer, l’oublier, puis le reprendre avec un nouveau regard.

 

 

 

 

Je crois que, pour un jeune traducteur, l’idéal est d’avoir un auteur à présenter qui n’a jamais encore été traduit en français.

 

Quelle est votre journée type ?

 

 

 

 

Ça dépend vraiment des traducteurs, chacun a son style. Je sais que certains ont un rythme tout à fait régulier : ils se lèvent le matin, boivent leur café et se mettent à traduire. Moi j’en suis incapable. Je suis complètement anarchique, procrastinatrice… Parfois, je m’y mets à minuit et je travaille toute la nuit. Et le lendemain je découvre que ce que j’ai traduit n’a ni queue ni tête. 

 

 

 

 

J’ai lu dans une interview qu’une traductrice américaine de littérature arabe, professeure à la fac – comme beaucoup de personnes qui font ce métier peu lucratif – traduit une page par jour. Donc un livre de 300 pages lui prend 300 jours, sans compter les relectures. C’est sans doute un rythme idéal. 

 

 

 

 

J’ai un ami qui traduit de la littérature de l’espagnol et du portugais vers l’arabe. Il est très demandé et traduit entre sept et huit livres par an. Je pense qu’il a une capacité de concentration fantastique. 

 

 

 

 

Il y aussi certaines contraintes qu’on ne peut pas ignorer. On se met d’abord d’accord avec un éditeur. Ensuite, il faut attendre deux contrats : celui de l’auteur, puis le contrat de traduction. L’accord entre l’auteur et l’éditeur peut prendre beaucoup de temps et retarder l’établissement du contrat de traduction. Au début, je commençais à traduire dès l’accord de principe, mais désormais, j’attends toujours d’avoir signé mon contrat car j’ai déjà eu de mauvaises surprises… 

 

 

 

 

Tout cela pour dire que lorsqu’on parle d’un livre, on parle toujours de deadline. Mais souvent, l’éditeur n’a pas la même conception de la deadline. Car si tu lui as dit qu’il te faut six mois pour traduire un livre, il peut considérer que ces six mois commencent à partir de l’accord de principe. 

 

 

 

 

Pour le livre de Souhaib (Souhaib Ayoub, co-tuteur de l’atelier, NDLR), j’ai eu environ cinq mois. Mais je pense que je vais demander un petit délai supplémentaire. Pour Je suis ma liberté, de Nasser Abu Srour, je n’ai eu que six ou sept mois, ce qui était fort contraignant, compte tenu du volume et de la difficulté du texte. 

 

 

 

 

En tout cas, si je peux me permettre un conseil : je pense qu’il est préférable de ne pas se lancer dans la traduction avec un gros livre, car il faut prendre son temps et le volume peut être problématique pour l’organisation quand on débute. On ne se rend pas forcément compte qu’il faut faire des pauses, qu’il faut oublier le texte pour pouvoir y revenir et le redécouvrir sous un autre angle. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Avez-vous des conseils à donner pour se lancer dans la traduction en indépendant ? 

 

 

 

 

Je crois que, pour un jeune traducteur, l’idéal est d’avoir un auteur à présenter qui n’a jamais encore été traduit en français. 

 

 

 

 

On peut commencer par envoyer un premier extrait de 20-30 pages – en général on envoie le début du livre, mais rien n’empêche de choisir un extrait dans le corps de l’ouvrage, ou plusieurs extraits. Il faut que ce soit très soigné pour que la maison d’édition puisse être convaincue de l’intérêt du texte. Donc il ne doit pas s’agir d’un premier jet. Je dirais au moins un cinquième jet. Il faut également présenter l’auteur et rédiger un synopsis ou une description de l’œuvre. Vous pouvez vous inspirer du programme proposé par ATLAS, LEILA, qui promeut des œuvres arabes pour qu’elles soient traduites en France et en Europe. L’idée étant de convaincre un éditeur d’accueillir un auteur et son œuvre dans le paysage éditorial français. 

 

 

 

 

Reste à sélectionner un certain nombre de maisons d’édition auxquelles vous enverrez votre projet. On peut privilégier celles qui ont une ouverture sur la littérature arabe et qui en publient régulièrement. Mais certaines maisons qui n’ont encore jamais ou très peu publié de littérature arabe peuvent avoir envie d’ouvrir leur catalogue… 

 

 

 

 

C’est aussi souvent une question de hasard. Je pense qu’il ne faut pas hésiter à taper à toutes les portes. Parfois, un membre d’un comité de lecture va apprécier votre texte pour une raison ou une autre et décider de le défendre. 

 

 

 

 

Mais ma première expérience de traduction littéraire s’est faite à quatre mains, avec une amie traductrice égyptienne, Nashwa el-Azhari. (...) C’était une vraie aventure, très riche et très amusante, mais ce n’était pas de tout repos.

 

On a souvent en tête que le métier de traducteur est solitaire, comme celui de l’écrivain. Mais est-ce que la traduction peut être aussi une expérience collective ? 

 

 

 

 

Personnellement, je connais assez peu de traducteurs, ou alors je les connais de loin. Et avec mes quelques amis traducteurs, au fond, nous parlons assez peu de traduction. 

 

 

 

 

Mais ma première expérience de traduction littéraire s’est faite à quatre mains, avec une amie traductrice égyptienne, Nashwa el-Azhari. Il s’agissait de ce drôle de roman de Mohamed Mostagab (Les tribulations d’un Égyptien en Égypte) que Richard Jacquemond m’avait offert de traduire pour Actes Sud. Je ne sais pas pourquoi, j’ai spontanément proposé à cette amie de le traduire avec moi. C’était une expérience assez inoubliable. Elle était un dictionnaire ambulant, elle connaissait toutes sortes d’expressions idiomatiques en français, moi j’étais plutôt la « syntaxeuse ». On avait des visions très différentes qui nous rendaient complémentaires. Notre méthodologie était la suivante : on traduisait chacune un chapitre de notre côté, et ensuite on croisait nos deux versions afin d'en établir une troisième que l’on retravaillait côte-à-côte. C’était une vraie aventure, très riche et très amusante, mais ce n’était pas de tout repos. D’autres paires de traducteurs se partagent une traduction avec chacun sa partie à traduire, puis, sans doute, ils harmonisent ensemble les deux parties. C’est tout autre chose… 

 

 

 

 

Si l’occasion se représentait, je retenterais l’expérience de la traduction à quatre mains, voire collective, car c’est très stimulant. Mais pour un petit texte ! 

 

 

 

 

Le programme Livres des deux rives

 

Image

 

 

 

 

Issu du Sommet des deux rives, financé par le Fonds Équipe France du ministère de l’Europe et des Affaires étrangères, le programme Livres des deux rives est piloté par l’Institut français. Sa première phase (2021-2023) impliquait le Maroc, l’Algérie et la Tunisie. En 2024, Livres des deux rives lance sa seconde phase et s’ouvre au Liban et à l’Égypte. 

 

 

 

 

Ce projet vise à soutenir le dialogue entre les sociétés civiles des rives Nord et Sud de la Méditerranée par des actions de coopération autour du livre."

 

https://www.institutfrancais.com/fr/magazine/rencontre/livres-des-deux-rives-stephanie-dujols

 

#metaglossia_mundus 

Two translators and a Nobel-winning novelist illuminate an undervalued skill

 

"

Saturday 24 May 2025

AI can’t match the human art of translation

Anthony Cummins

 

 

Two translators and a Nobel-winning novelist illuminate an undervalued skill

With more than 1.9m titles sold in the UK in 2022, it’s a boom time for translated fiction. Yet there are ominous reports in the trade press of publishers increasingly asking translators to clean up AI-generated first passes, so you sense storm clouds are brewing. In some markets abroad, novels translated from English are being outsold by imported originals, prompting overseas publishers to issue their own English editions. It’s hard not to feel that if the industry can find a way to do without translators, it will; even the language of praise (“seamless”) tends to imply that the best translators are the ones who let us pretend they don’t exist.

 

Two excellent new books enhance our appreciation of what’s actually involved in turning one language into another. Speaking in Tongues is a spry exchange between the Nobel-winning novelist JM Coetzee and his Argentine collaborator, the translator Mariana Dimópulos. She produced the first published text of his 2022 book The Pole, released in Spanish (El Polaco) before it came out in English. Coetzee, fed up of English lording it over other languages, wanted Dimópulos’s version to be considered the original from which other translations would be made. Doubtful publishers refused to play ball.

 

The dialogue examines these and other subjects in absorbing detail. Naive views of “faithful” translation are immediately demolished. Coetzee imagines translating the sentence “Roger and his brother caught a bus” into Vietnamese, which has words for “elder brother” and “younger brother”, but not “brother”; like it or not, the translator’s role is “semi-authorial”. That’s before you get to more ethical questions of, say, offensive material. Dimópulos prefers to “reproduce every view and position the manuscript gives me, even if I utterly disagree”; Coetzee, a translator himself, isn’t so sure.

 

The book keeps in sight Jen Calleja’s abiding excitement at language

 

The energy of their conversation lies chiefly in Coetzee’s attitude of perpetually troubled thoughtfulness. As they cordially bat around ideas on Kafka’s style or the untranslatability of colour, we glimpse a mind poised on the brink of a philosophical abyss. “If the word cannot be found, does it really exist?” asks Coetzee, unable to nail a description of a character in his latest work-in-progress. He recalls his schoolboy toil over grammatical gender in Latin: “It is only recently that I have begun to wonder whether I was not missing something: a window to a universe not of objects but of forces, forces which to our ancestors... were ultimately versions of the great procreative drives, the masculine and the feminine, embodied and embedded in language since time immemorial.”

 

Fair, a memoir by Jen Calleja, a translator from German to English, sticks to more practical matters. Where Coetzee and Dimópulos debate childhood language learning (“an acquisition of the idea of language itself”), Calleja, born in an English seaside town to a Maltese mechanic, recounts needing to persuade teachers at her cash-strapped state secondary not to scrap French and German.

 

The title flags her playful organising conceit – chapters on various aspects of translation are presented as different stalls at a fair – but it also signals Calleja’s concern with justice; here less a matter of line-by-line fidelity than labour conditions. The book’s transparency demystifies a 21st-century arts career: a kind of access-all-areas ask-me-anything, it’s clear-eyed about her struggles yet always keeps in sight her abiding excitement at language. The spark came in childhood, overhearing her father on the phone speaking Maltese, which she wasn’t taught. Further fuel came from adventurously pitching up in Munich as a school leaver in flight from a teenage relationship.

 

Calleja’s professional adulthood back in the UK among privately schooled Oxbridge graduates leads her to speculate on the link between her proficiency as a translator and the need to code-switch as a survival strategy. She says growing up in a household that owned only a few books prepared her for the repeated re-reading that’s now key to her life (“I can handle those 12 reads”); in a similar spirit of sincere self-inquiry, she wonders if her occupation might share a trace in common with her late mother, who had schizophrenia and heard voices.

 

Fair is spiky as well as frank. Calleja takes issue with a critic’s online post about not using dialect in translation; she turns a nitpicking Spectator review into a poem; and gives herself the last word over pesky interlocutors at panel events. Inkier trials of the job are dramatised with vigour: a discussion on how she handled the first line of Marion Poschmann’s The Pine Islands plays out as a comic dialogue of fretful second-guessing (“Don’t forget! Translators get paid per word, not by the hour!”).

 

Most publishers don’t even want translators named on a book jacket. The message is clear: they’re disposable, secondary, not the story. Calleja’s genre-busting memoir laughs in the face of all that, with cheek and joy and not a little bitterness. Its invigorating candour and vivid quiddity feels audacious, polemical, essential.

 

Speaking in Tongues by JM Coetzee and Mariana Dimópulos is published by Harvill Secker (£14.99). Fair: The Life-Art of Translation by Jen Calleja is published by Prototype Publishing (£12.99)

1. https://observer.co.uk/culture/books/article/minding-their-language-the-art-of-t⁷ranslation

#metaglossia_mundus

"...India currently has 22 officially recognised languages and more ... local languages, making it complicated to code an AI model that can process all these languages seamlessly.

 

Ishan Garg & Kevin Lam

26 May 2025 06:32PM

 

NEW DELHI: India is building its own large language model it hopes one day may rival OpenAI's chatbot ChatGPT, but the country’s countless languages and dialects have made training it a challenge.

 

Some languages like Marathi share common roots with others such as Hindi and Gujarati, while others spoken in South India - such as Kannada, Telugu, Tamil and Malayalam - are completely different.

 

A large language model has to process these multiple languages seamlessly, and coding an AI model capable of understanding most of them, if not all, remains complicated.

 

TRAINING AI ON LOCAL LANGUAGES

 

One challenge faced by BharatGen, a consortium funded by India’s government, in training their large language model is a lack of online content in Indian languages.

 

The consortium said that while roughly half of all the data available on the internet is in English, Indian languages make up barely 1 per cent.

 

Literary works in many Indian languages have never been digitised, while a raft of cultural and traditional information has been verbally passed down for generations without being stored online.

 

On a more positive note, experts said that the diversity of languages and data collected from local sources could help create AI models with fewer biases.

 

Ganesh Ramakrishnan, a professor at the Indian Institute of Technology Bombay, told CNA his work involved reaching out to magazines, data sources, foundations and non-governmental organisations who have been gathering data in their local languages.

...

Experts said platforms like BharatGen need to invest billions of dollars on graphics processing units and data centres to achieve made-in-India generative AI at scale.

 

The hefty price tag would be a small price to pay to transform India from a major tech service provider to a major tech disruptor, in what could soon be a trillion-dollar market.

 

“India is all about scale and complexity,” said Shekar Sivasubramanian, head of the LEHS-AI unit at non-profit AI institute Wadhwani AI.

 

“If it is solved in India, and if it works in India, chances are, it will work in the world. That’s the opportunity"

 

https://www.channelnewsasia.com/asia/india-ai-language-model-chatbots-bharatgen-5153516

##metaglossia_mundus

"In a world driven by communication, the ability to convert spoken words into written text has revolutionized how we interact with technology. Audio-to-text technology, also known as speech-to-text, is no longer just a cutting-edge concept—it’s an essential tool used across industries, from journalism and education to healthcare and customer service.

Whether you’re transcribing a podcast, drafting a report by voice, or creating accessible content, this technology is changing the way we work and communicate.

What Is Audio-to-Text Technology?
Audio-to-text technology is a form of speech recognition software that listens to spoken language and converts it into written text.

It uses algorithms and artificial intelligence (AI) to understand and process human speech in real-time or from recorded audio files. The output is a readable, editable transcript that can be stored, shared, or repurposed in various ways.

How Does It Work?
The magic lies in a combination of AI, natural language processing (NLP), and machine learning. Here’s a simplified breakdown:

Audio Capture: The system records or receives audio input.

Speech Recognition: AI models identify phonetic patterns in the audio.

Linguistic Analysis: The system breaks down speech into individual words and sentences using grammar rules.

Text Generation: Finally, the recognized words are converted into text, often with added punctuation and formatting.

Modern tools are also trained on large datasets, enabling them to distinguish between accents, dialects, and even different speakers.

Key Benefits of Audio-to-Text Technology
1. Improved Productivity
Why type when you can talk? Professionals can dictate reports, emails, or meeting notes quickly, freeing up time for more important tasks.

2. Enhanced Accessibility
Audio-to-text tools make digital content more accessible to people who are deaf or hard of hearing. Captions, transcripts, and subtitles break down barriers and promote inclusivity.

3. Better Documentation
In fields like healthcare and law, accurate records are critical. Audio-to-text provides real-time transcription for interviews, patient notes, and court proceedings.

4. Content Creation Made Easy
Podcasters, YouTubers, and marketers use transcripts to repurpose audio content into blogs, articles, or social media posts—maximizing reach and SEO impact.

Where Is It Being Used?
Education: Transcribing lectures and notes for students
Media & Journalism: Interview transcription and content archiving
Customer Service: Voice interactions recorded and analyzed for quality and training
Corporate Meetings: Auto-transcribed minutes and action items
Healthcare: Voice notes and patient documentation
Legal Sector: Transcripts for testimonies, hearings, and case files
Challenges of Audio-to-Text
Despite its many advantages, audio-to-text isn’t without hurdles:

Accuracy: Background noise, overlapping speech, or heavy accents can reduce precision.

Privacy Concerns: Storing sensitive data requires secure handling and encryption.

Language Support: Some systems still struggle with less commonly spoken languages or dialects.

However, continuous improvements in AI and machine learning are closing these gaps rapidly.

Popular Audio-to-Text Tools
Usevoicy.com: Speech-to-text everywhere
Otter.ai: Excellent for meetings and interviews
Google Speech-to-Text: Offers real-time transcription with cloud integration
Rev: Human-verified transcripts for higher accuracy
Descript: Popular among content creators and podcasters
Microsoft Dictate: Built into MS Office for easy integration
Each tool has its own strengths depending on your needs—whether it’s real-time captioning, multi-speaker recognition, or advanced editing features.

Tips for Getting the Best Results

Use a high-quality microphone to reduce background noise
Speak clearly and steadily
Choose a quiet environment for recordings
For recordings, consider editing or trimming the audio before transcription
Always review the output for final touches

The Future of Audio-to-Text
As voice technology continues to evolve, we’re likely to see even more intelligent, faster, and more accurate transcription services. Imagine seamless integration with virtual assistants, real-time translation, or voice-based coding—all powered by improved speech recognition.

With AI getting better at understanding human nuances, sarcasm, and context, we’re heading towards a future where typing might become the exception, not the rule.

Final Thoughts
Audio-to-text technology is more than a convenience—it’s a transformative tool that’s shaping the future of communication. From saving time to enhancing accessibility, it’s proving essential in both personal and professional circles. Whether you’re a student, entrepreneur, content creator, or healthcare worker, there’s a way this technology can streamline your life.

So, the next time you have something to say—why not let technology type it for you?"
By Anamta Shehzadi
May 27, 2025
https://techbullion.com/transforming-sound-into-words-the-power-of-audio-to-text-technology/
#metaglossia_mundus