Metaglossia: The Translation World

September 14, 2024 by Insights Editor

Source: TH

Context: The Commission for Scientific and Technical Terminology (CSTT) plays a crucial role in standardizing scientific and technical terminology in Indian languages.

• Established in 1961, it aligns with the National Education Policy (NEP) 2020 by promoting technical education, including engineering and medicine, in Indian languages.
• CSTT publishes bilingual, trilingual, and multilingual glossaries, dictionaries, and journals, such as ‘Vigyan Garima Sindhu’ and ‘Gyan Garima Sindhu’.
• The “Shabd” website, launched in March 2024, hosts 322 glossaries with over 18 million headwords across various disciplines like Humanities, Medical Sciences, Engineering, and Agriculture.

The CSTT aims to accelerate its work using AI in the future to promote Indian languages and enhance accessibility."

#metaglossia_mundus: https://www.insightsonindia.com/2024/09/14/commission-for-scientific-and-technical-terminology-cstt-2/

 

Written By Kennedy (Red Bard)Edited By Samantha Ferreira September 14, 2024

A huge thanks to our Negikitsu for requesting this article! We can’t do it without you.

All fansub images are used as demonstrative aids; Anime Herald does not condone piracy

As many longtime One Piece fans will tell you, the English language release of the money-printing, global megahit series had a bumpy start. By the time Funimation got the English language rights to One Piece in 2007, the anime had been airing in Japan for nearly eight years and had recently surpassed 300 episodes. It was the backlog to end all backlogs. And, prior to Funimation, the English language rights to One Piece were bafflingly owned by 4Kids Entertainment. While today their heavily butchered version of One Piece has achieved “so bad it’s good” status, at the time it was hard to see it as anything less than a total disgrace to its source material. So if you wanted to watch One Piece in all its violent, uncensored glory (and why wouldn’t you?) odds are that you almost certainly watched the series with the help of Kaizoku Fansubs (KF), by far the most prominent One Piece fansubbing group in the days before Funimation acquired its license.

If you were to go back and watch any of the roughly 300 episodes of KF’s One Piece, probably the first thing you’d notice about it is that the group left a lot of untranslated Japanese words in their translation. When people were doing things like, say, lifting heavy objects, it wasn’t unusual to hear them say something like, “Yosha” as they did so. And the Straw Hat pirates weren’t a crew, but they were nakama. But, for as much as this stands out today, peppering English translations with Japanese words was very much the norm for fansubbing groups of the 2000s, which one could easily argue was the golden age of the fansub. At the time, official anime releases were still slow and expensive, and official simulcasts weren’t yet a thing, but internet usage—and by extension of that, digital piracy—was on the rise.

So while boku would think it’d be sugoi if you could keep a kawaii pin in that for now, for the time being, let’s get back to One Piece. Despite the expectations many anime fans in the west likely would’ve had during the 2000s, as many fans attribute 4Kids’ adaptation as a major factor in the slow growth of the series in North America, One Piece’s popularity would soar—even in the west—in the following years. And whether this continually growing number of One Piece fans discovered the title via KF (whether it was the subs themselves or their website, which had a robust One Piece-centric forum); noticed KF when going through older One Piece episodes, discussions, clips, fan materials, etc.; or simply talked with other One Piece fans who did, the reality remained that KF was so pervasive in the English language fan community for so long that their influence couldn’t help but linger. Their legacy would live on even after they slowly dissolved throughout the late 2000s and early 2010s. 

And while there are plenty of other places you can still find it today (when people call the villain of the Skypiea arc “Enel” rather than “Eneru” for example), nowhere is the ghost of KF more visible than the continued usage of the word “nakama” in One Piece fan circles. The word continues to be so prevalent that even Netflix utilized it in their marketing for their live-action One Piece series in 2023.

The complete history of fansubs is a long and complicated one that’ll completely derail this article. But, for the sake of the topic at hand, what you need to know is the following: when anime fandoms started emerging in the west, translations of the series they were interested in weren’t always available—officially or otherwise. At first, this resulted in fans like Robert Fenelon trying to explain/narrate what they thought was happening in certain shows/movies to an audience, as they all watched these shows/movies together. Others, like C. Sue Shambaugh, sent out photocopies of their translations. But soon, aided by the increased availability and accessibility of the VCR, subtitles made by fans—fansubbing—moved on to the scene. The disc, and especially the increased widespread usage of the internet (to say nothing of the massive boost in popularity anime got in the west during the ‘90s), further increased the prominence of fansubs in later years. 

But why were fansubs so prominent in the past, and barely existent today? Simply put, it’s because fansubs were born from a necessity. Oftentimes, fans didn’t have the means to watch anime that wasn’t being sold at their local video store without them. To be frank, that necessity no longer exists in the world today. The anime industry is larger than ever. 

Today, plenty of new series get licensed before they even start airing. And official, English language translations—and increasingly often, even dubs—are released at breakneck speeds. The streaming ecosystem is dysfunctional in more ways than I can list without swerving completely off-topic—especially in regards to anime—but even so, anime has become a massive part of the streaming landscape. Anime has never been as accessible to as many people as it is today. The reality we occupy stands in sharp contrast to that of even twenty years ago, when official anime releases were slow and, unless they were airing on TV, expensive.

For more detail on the history of fansubs, I recommend professional translator and former fan translator Sarah Moon’s video essay For Fans, BY Fans | Anime in the West (which, full disclosure, yours truly also made a brief segment for), the first segment of which is about the history of fansubs and how anime was watched in English. 

So, it’s definitely jarring and worthy of a double take to see the word “nakama” used in marketing by a giant corporation. But it also isn’t entirely unpredictable—let alone, well, alone. In fact, in 2024, you could write a fairly long list of other such words and phrases that have similarly entered the collective vocabulary of English-language anime fans. And a number of terms from that list have become well known enough to have also made it into marketing, not to mention official subs and dubs. Moreover, several of these words and phrases have earned the bluntest signifier that they’ve truly permeated and taken hold: acceptance and usage in non-anime fan communities. 

To list just a few of the more prominent examples of such words and phrases, this includes, but certainly isn’t limited to: senpai; shinigami; tsundere; bento; and the usage of Japanese honorifics even when everything else is English language. 

The word “shinigami,” in particular, is an interesting case study in what I’m referring to. In a nutshell, a shinigami is a Japanese god of death. Among plenty of other anime, they’re regularly brought up in Bleach and Death Note. But there’s a good chance you already knew exactly what a shinigami was without my having to tell you, because there’s a good chance you learned that from Death Note. In addition to being one of the most popular anime of all time (as of the time of writing, it’s the second most popular anime on MyAnimeList), its official dub—which first aired on US TV in 2007—refers to the shinigami as, well, shinigami. Fansubs had used “shinigami” for years, even before Death Note. Professional translator and former fan translator Sarah Moon, for example, heavily utilized “shinigami” in her 2001 fan translation for Descendants of Darkness (an excerpt of which is pictured below). “I think, frankly, I just did that because it sounded cool,” says Moon about why she left the word shinigami as shinigami, “Like, I just thought it sounded really cool.”

But in official releases, the plain use of the word “shinigami” wasn’t nearly so normalized. For example, the official release of Bleach, which started airing in the US in 2006, refers to “shinigami” as “soul reapers.” What factors, specifically, led to the choice for leaving the word “shinigami” as-is in Death Note’s official English language release—especially the question of whether or not it had anything to do with the usage of the term in fansubs (for Death Note or otherwise)—could be a deeply interesting question for anyone who was involved in its translation/dubbing process.

Per veteran anime translator and former fan translator Katrina Leonoudakis, most of the words that have lingered in anime fan communities are loan words—words that don’t readily have an English language equivalent such as “sushi” or “tsunami”, so they were simply used as-is. She further elaborated that such words were often used in fan translations due to a common misconception (especially among monolinguals) that translation is about finding a one-to-one matching of words, rather than a matching of ideas through words—a misconception that translation is a science, rather than an art. The trend, therefore, was to simply not translate these loan words. And because this was so normalized, communities decided over time which loan words were cool, and which ones were cringe. 

On the topic of cringe, there’s another element with a seat at this table, and that’s the zeal of younger anime fans—which can often come off to other (less fun) people as cringy. Despite the Wall Street Journal acting as though this is a relatively new phenomenon, anyone who was a teenager and an anime fan in the ‘90s or 2000s knows that, while this probably isn’t as common today (and please correct me if I’m wrong, it’s been a long time since I’ve been a middle schooler), there was a considerable patch of time where young anime fans loved to sprinkle Japanese words intermittently throughout their otherwise English sentences, thereby promoting the use of these loan words and, by extension of that, anime. Moon told Anime Herald that in-group lingo—such as loan words in anime—can make the experience of watching anime feel more special, and can make anime-watchers as a group feel more unified. It’s hardly a shock, therefore, why this mixing of languages in sentences has been so prominent, especially for younger anime fans during a time where anime was a niche hobby.

But not necessarily every fansub-ism that’s stuck around is a loan word. There are, for example, a number of legacy terms that fit this bill, as well as English-language phrases that saw recurring use in fansubs, but generally speaking aren’t widely (if at all) used, otherwise. Starting with the former, for better or for worse, Higurashi When They Cry’s “Nii-nii” stands out as, without question, the most obvious example of this.

Based on Ryukishi07’s horror visual novel series of the same name, the first Higurashi anime originally aired in Japan in Spring 2006. Geneon’s English-language release of the series shipped to retailers in June 2007. Additionally, the series was fansubbed by a number of different groups. 

There’s a specific character in the series, Satoko Houjou, who has an older brother named Satoshi. Without delving into spoilery territory, what you need to know about them is that Satoko refers to Satoshi as her “nii-nii”—a childish way of saying “onii-san,” which means “older brother.” Even if you’ve only watched a few anime in Japanese, there’s a good chance you’ve heard characters say “onii-san” several times—it was then, and still is today, one of the more commonly known Japanese words among English language viewers.

If, in the mid/late 2000s, someone was into anime enough to be watching a niche title like Higurashi, odds are good that they were already familiar with what “onii-san” means, and can therefore easily infer what “nii-nii” means. Ipso facto, it was fine to leave “nii-nii” as “nii-nii.” And while it’s to be expected that fansubbers reached this conclusion and left the term as-is, Geneon’s decision to also use it is more striking, and solidified “nii-nii”’s status as a legacy term. For reference, a legacy term is a specific way of translating (or in the case of “nii-nii,” not translating) certain recurring words and phrases in a series, especially in previous versions and translations of it that’ve become embedded into the series’ fandom, and therefore also get used later if the need arises. For example, if a work gets a new piece of media after a while, if a new translator takes over an existing project, and so on. 

Fast forward to 2020 and 2021, with the releases of Higurashi Gou and Higurashi Sotsu—the first new Higurashi anime to air in nearly a decade. Despite their rough track record with Higurashi, Funimation acquired the rights to these series. And in charge of the translation was none other than Katrina Leonoudakis. “It was a vestige of an older age of not translating words like onii-chan—we just don’t do that anymore, and most translation style guides at anime companies like Crunchyroll say to translate or work around them,” said Leonoudakis, “But because the word is specifically called out in dialogue, it has to be translated in a kiddish way. I could have left it as is since it was legacy, but I chose to update it because I thought hardcore fans wouldn’t care.” And thus, Satoshi became Satoko’s big brudder. And while this is a good translation of nii-nii—which is to say, this is a childish way to say “big brother”—not everyone was happy with this, to say it lightly.

Leonoudakis received a lot of backlash and harassment over this translation choice. And reading through many of the criticisms she received, a common thread is that of the people who didn’t seem like they were harassing her for the sake of feeling like they had an excuse to harass a translator (and to be clear: despite what they believed, they didn’t), they seemed upset at the fact that it just wasn’t nii-nii. Whether you watched the original Higurashi anime by way of fansubs or Geneon, Satoshi has never not been Satoko’s nii-nii. The translation itself wasn’t wrong in the strictest sense, but it still felt off.

Ultimately, Leonoudakis came to realize that nii-nii is a legacy term, and as such, it should’ve been left alone from the start. Per Leonoudakis’ request, the subs were soon changed to reflect that—or at least, they were on Funimation/Crunchyroll. As of time of writing (and unbeknownst to Leonoudakis until I was writing this) the subs still say “Big Brudder” on Hulu. “The fix should have been applied by Funimation back when it was active, but they must have missed it on the other platform. With Funimation now absorbed into Crunchyroll, it’s doubtful that fix will ever make it to Hulu,” she told Anime Herald, “The ghost of my bad decision will haunt me forever, it seems.”

Nowadays, Leonoudakis looks back on this episode of her life as a learning experience—in particular about legacy terms and audiences. “I think I got a little bit carried away thinking like, ‘oh, new people will be watching this,’” Leonoudakis says about the matter, “When in reality this is like the 6th fucking season of Higurashi, no one’s fucking watching it except for us [people who were already fans of Higurashi]. So the language has to be made for us.”

As for English phrases that fansubbers leaned heavily on, arguably the most prominent examples of this are phrases that several anime fans will find familiar such as, “I won’t forgive you”, “[Person A] confessed to [Person B]”, and “it can’t be helped.” These phrases don’t usually feel terribly natural to say in English, and as translations, can charitably be described as stiff. Nonetheless, whether because it was the best they could do at the time, or because they saw everyone else using these phrases so they assumed they worked just fine/that fans expected to see these phrases, many fan translators—often amateurs at the time (a number of them would go on to become professionals and are still in the industry today)—utilized these phrases often enough that they’ve endured, despite not always being strong translations. 

The frequent translation of  “許さない” (yurusanai) as “I won’t forgive you,” in particular, strikes a nerve for Moon and Leonoudakis. “[“許さない” (yurusanai)] doesn’t always mean ‘I won’t forgive you’ because forgiveness is for something that someone has already done wrong, whereas “許す” (yurusu) is more like, it could be permitting someone to do something that they have not done yet, verses forgiving someone for something that they have done,” says Moon, “So, you shouldn’t always translate it as, ‘I’m not gonna forgive you’ or ‘that’s unforgivable.’” Leonoudakis agreed that many fansubbers didn’t seem to understand the nuance of what “許さない” (yurusanai) means—or perhaps more specifically, what it doesn’t mean—and she therefore doesn’t consider it to be a lingering fansub-ism in the same class as, say, loan words.

On one hand, the continued use of these fansub-isms has the potential to alienate and confuse people who are either new to anime entirely, or whose interest in anime is more casual. And in a media landscape where anime is mainstream enough that Luffy can be in the Macy’s Thanksgiving Parade and Goku is on Reese’s Puffs cereal, this audience is worth taking into consideration, especially for titles more likely to reach them. On the other, there’s something to be said about how in a series where a translator/licensor/distributor/anyone else involved in a series’ English language release can reasonably expect an audience to be familiar with certain terms—probably series on the more niche side, and/or older series—using them can make life easier and help to more simply get across ideas that might otherwise require more time, energy, keikaku-ing1, and precious on-screen real estate to communicate. The continued usage of these fansub-isms, in other words, is neither an inherently good or bad thing. Instead, they’ve become more akin to a tool that can be used case-by-case, based on its potential usefulness. Or if you prefer, they’re a subtle nod at a formative era of fandom history.

 

#metaglossia_mundus: https://www.animeherald.com/2024/09/14/fan-subs-that-fan-stuck-how-anime-fans-embraced-fansub-terminology/

 

13 September 2024

During an interreligious meeting with young people at Singapore’s Catholic Junior College, on Friday, 13 September, Pope Francis urged them to work toward unity, to become responsible citizens, and to pass down what they have learned to future generations. Some 600 participants from more than 50 schools and interfaith and religious organisations attended the event. This was Pope Francis’ final event before his departure from Asia to Rome after his four-nation 45th Apostolic Journey abroad, which also brought him to Indonesia, Papua New Guinea, and Timor-Leste. The following is the English text of the Holy Father’s words.

Thank you very much for your words!

Three things that you said struck me: “armchair critics,” “comfort zone,” and “technology” — the duty to use it but also the risks involved. This is the speech that I had prepared, but now I will speak [spontaneously]!

Young people are courageous and like to seek the truth but they have to be careful not to become what you referred to as “armchair critics” with endless words. A young person must be a critical thinker, and it is not good never to be critical. But you must be constructive in criticism, because there is a destructive criticism, which only makes a lot of complaints but does not offer a new way forward. I ask all young people, each of you: are you critical thinkers? Do you have the courage to criticize but also the courage to let others criticize you? Because, if you criticize, then someone else will criticize you. This is sincere dialogue between young people.

Young people must have the courage to build, to move forward and go out of their “comfort zones”. A young person who chooses always to spend his or her time in “comfort” is a young person who becomes fat! Not fatter in body, but fatter in mind! That is why I say to young people, “Take risks, go out! Do not be afraid!”. Fear is a dictatorial attitude that paralyzes you. It is true that young people often make mistakes, many mistakes, and it would be good if each one of us – if each of you — could think about how many times you have made mistakes. We make mistakes because we started walking and we make mistakes on the journey. This is normal; the important thing to realize is that you have made mistakes. Let us see who can answer my question: What is worse, making a mistake because I started to walk or not making a mistake because I stayed at home? Everyone, the latter! A young person who does not take risks, who is afraid of making mistakes, is already old! Do you understand this?

You have also talked about the media. Today there are so many options, so many possibilities for using the media, cell phone, or television. I would like to ask you: is it good to use media or is it not good? Let us think about this. What is a young person who does not use media like? He or she is closed. What about young people who live totally enslaved to the media, what are they like? They are lost. All young people should use the media, but in a manner that can help us move forward, not in a way that can enslave us. Understood? Do you agree or disagree?

One of the things that has impressed me most about the young people here is your capacity for interfaith dialogue. This is very important because if you start arguing, “My religion is more important than yours...,” or “Mine is the true one, yours is not true....,” where does this lead? Somebody answer. [A young person answers, “Destruction”.] That is correct. Religions are seen as paths trying to reach God. I will use an analogy, they are like different languages that express the divine. But God is for everyone, and therefore, we are all God’s children. “But my God is more important than yours!”. Is this true? There is only one God, and religions are like languages that try to express ways to approach God. Some Sikh, some Muslim, some Hindu, some Christian. Understood? Yet, interfaith dialogue among young people takes courage. The age of youth is the age of courage, but you can misuse this courage to do things that will not help you. Instead, you should have courage to move forward and to dialogue.

One thing that helps a lot with dialogue is respect. I will tell you one thing. I don’t know if it happens here, in this city, but in other cities it happens that among young people something bad occurs: bullying. I ask you: who is the bravest to tell me what they think about bullying? [Some young people respond] Thank you! Everyone has provided a definition of bullying but with a different aspect. Whether it is verbal or physical bullying, it is always an aggression. Always. Just think about what happens in schools or children’s groups: bullying targets those who are weaker. For example, a disabled boy or girl. Instead, we saw here this beautiful dance with disabled children! Each one of us has our own abilities and limitations. Do we all have abilities? [Answer: “Yes!”] Do we all have some limitations? [Answer: “Yes!”] Even the Pope? Yes, all, all! As we have our limitations, we must respect the disabilities of others. Do you agree? This is important. Why do I say this? Because overcoming these things helps in your interfaith dialogue since it is built upon respect for others. This is very important.

Any further questions? No? I want to thank you and repeat what Raaj told us: to do everything we can so as to maintain a courageous attitude and promote a space where young people can go and dialogue. This is because your dialogue is one that creates a path, and that leads the way forward. If you dialogue as young people, you will also dialogue as adults; you will dialogue as citizens, and as politicians. I would like to tell you something about history: with every dictatorship in history, the first thing it does is to cut off dialogue.

I thank you for these questions, and I am glad to meet you young people, to meet these brave, almost “shameless ones,” you are good! My wish is that all of you young people will go forward with hope, and not go backwards! Take risks! Otherwise, you will grow “fatter”! God bless you and pray for me, I do for you.

And now, in silence, let us pray for each other. In silence.

May God bless all of us. In the future, when you are no longer young, but you are elderly and grandparents, teach all these things to your children. God bless you and pray for me, don’t forget! But pray for, not against!

 

#metaglossia_mundus

"The foreign language requirement is necessary for students. In addition to learning a new language, it exposes students to different cultures and international events.

Owen Wu, Staff Writer

September 11, 2024

For those of us who are not a foreign language or linguistics major, being forced to take language classes up to the 2030 — intermediate—level may be frustrating. Personally, I found it hard to stay motivated amidst scrambling to do work from five other classes. However, in retrospect, I realized that learning another language encourages us to be more well-rounded and better global citizens, which are beneficial characteristics in the contemporary world.  

In today’s heavily interconnected society, international events ripple outwards. It is impossible to be wholly unaffected by something, even if it happens across the globe. It is critical that students broaden their horizons and expand their understanding of different cultures and global affairs.  

Tulane’s School of Liberal Arts understands the importance of global citizenship and asserts that students should strive to “achieve real proficiency in a foreign language” through taking the equivalent of three years of language courses. This goal may be ambitious, especially when most students are not majoring in foreign languages.  

Nevertheless, these courses offer students exposure to other cultures and international issues, in addition to learning a second or third language. Students may not have the opportunity to learn about other parts of the world in depth and discuss international affairs without language courses.  

Additionally, learning languages is a massive lifelong asset. In today’s globalized world, international business is becoming more and more prevalent. The likelihood of doing work or transactions with people from another country is higher than ever. Thus, having the skill to converse in another language in your toolbelt is greatly beneficial in the professional world.    

Foreign language has more uses beyond work, and proficiency is not necessary to make use of it. Taking a year or two of French, for example, can make traveling or living in a French-speaking country a lot easier, as there would be a linguistic foundation established.  

Students are also given a different perspective on culture and the world, allowing them to consider more facets of an issue. Solely being immersed in American culture and principles is constraining in thought and prevents outside-the-box thinking.  

Gun policy, for example, is an issue where international perspectives can offer insight into solutions. Instead of being stuck arguing back and forth about constitutional rights versus saving lives, lawmakers can look towards how similar countries to the U.S. approach gun regulation and draw from what works. 

Breaking from a nationalist and isolationist view and adopting global perspectives is critical not only to improving professionalism and policy but building greater respect and tolerance for other cultures. One step towards combating prejudice and racism is to be more aware and more appreciative of other cultures’ contributions and traditions. As annoying as it might seem to spend nights doing VHL, the process of foreign languages inadvertently shapes us into better human beings and prepares us for problems in the contemporary world. We have language requirements to thank for that."

#metaglossia_mundus: https://tulanehullabaloo.com/66764/uncategorized/opinion-foreign-language-requirement-creates-better-global-citizens/

 

Les accents régionaux français sont le reflet des langues locales historiques, comme l’occitan ou le francoprovençal. Mais pourquoi sont-ils différents ?

Samedi 14 septembre

Saint-Étienne, Genève : ces accents qui mangent les voyelles

Diffusion du 12 septembre 2024

 

Les accents régionaux en France sont le reflet des langues historiques qui étaient parlées localement avant le français. Par exemple, les accents méridionaux trouvent leur origine dans l’occitan, tandis que l’accent de Saint-Étienne provient du francoprovençal. Lorsque les locuteurs de ces langues sont passés au français, ils ont conservé des particularités de prononciation. Chaque région a développé des variantes de ces accents en fonction de son histoire linguistique et de ses influences locales, comme les différences entre le francoprovençal parlé en Rhône-Alpes et en Suisse.

Les accents, héritage des langues régionales

Les accents régionaux résultent souvent des langues locales qui étaient parlées avant l’imposition du français. Ainsi, l’accent méridional s’explique par l’usage de l’occitan, tandis que l’accent stéphanois provient du francoprovençal. Ces accents ont persisté car, en apprenant le français, les locuteurs des langues régionales ont conservé certaines prononciations de leurs langues d’origine. Ce phénomène est comparable à l’apprentissage tardif d’une langue étrangère : on conserve souvent l’accent de sa langue maternelle.

Variations locales et influences croisées

Dans une même zone linguistique, comme celle du francoprovençal, l’accent varie selon les régions. Par exemple, à Saint-Étienne, l’accent est influencé par les voyelles des patois occitans de la Haute-Loire. Ces variations s’expliquent par des différences historiques dans la manière de parler le francoprovençal en fonction de la localité. Pourtant, des similitudes subsistent, comme la tendance à "manger" les voyelles : à Genève, on dit "G’nève" et à Saint-Étienne, "p’ter" pour "péter".

Olivier Glain

Eddy Gawron

 

#metaglossia_mundus: https://www.francebleu.fr/emissions/completement-gaga-des-parlers-d-ici/saint-etienne-geneve-ces-accents-qui-mangent-les-voyelles-4583736

 

"...Cette phase, qui se déroulera sous la forme d'un Concours de traduction en langues africaines du substrat de la Recommandation de l'UNESCO sur l'éthique de lIA, s'inscrit méthodologiquement dans l'esprit et la lettre de cette Recommandation.

Présidant la cérémonie de lancement de ce concours, le Professeur Lazare Poamé, Titulaire de la Chaire UNESCO de Bioéthique, a dévoilé les langues retenues pour l'édition 2024. Il s'agit de quatre langues ivoiriennes, le Baoulé, le Bété, le Malinké et le Sénoufo. Il a souligné la nécessité de rendre accessibles aux populations locales les concepts clés de lIA et son champ axiologique.

« L'objectif principal de ce Concours est de vulgariser les valeurs et principes de la Recommandation de l'UNESCO sur l'éthique de lIA et den favoriser l'appropriation mentale, culturelle et linguistique par les populations », a-t-il déclaré. Toute personne parlant lune des langues du Concours et ayant au moins le Baccalauréat peut y participer et sans contribution financière. Les inscriptions sont ouvertes sur le site de la Chaire UNESCO de Bioéthique, www.chaireunescobioethique.org à partir du 14 septembre 2024.

Le Professeur Lazare Poamé a rappelé que cette initiative est inspirée de ce qu'il a appelé avec Simondon l'hystérésis culturelle : « c'est le retard de la culture sur le phénomène technique dont l'évolution, extrêmement rapide, prend souvent de court nos us et coutumes. Ce retard est particulièrement grand en Afrique où la plupart des langues locales n'intègrent pas dans leur champ lexical et même cognitif les concepts et outils qui structurent la dynamique du technocosme ».

 

Cette initiative a reçu le soutien de personnalités comme L'Ambassadeur Ramata Bakayoko-Ly et ses collaborateurs de la Délégation permanente de la Côte d'Ivoire à l'UNESCO Paris, le Président de l'UAO, le Professeur Koffi Kouakou et le Secrétaire général de la Commission nationale ivoirienne pour l'UNESCO, le Dr MC Ngolo Soro qu'il a chaleureusement remerciées.

Le Professeur Lazare Poamé a profité de l'occasion pour adresser ses remerciements à toutes les autorités administratives et académiques qui ont répondu, dans l'urgence, à l'appel scientifique de la Chaire UNESCO de Bioéthique, en marquant de leur présence cet événement. Il a également remercié la Chaire UNESCO Eau, Femme et Pouvoir de Décisions domiciliée à l'Université Félix Houphouët-Boigny, avec pour Titulaire la Ministre Euphrasie Yao, ainsi que la Chaire UNESCO Anticipation, Prospective et Territoires durables, dont le Titulaire est le Professeur Sylvestre Kouassi de l'Université Alassane Ouattara.

Le Professeur Roger Tro Dého, représentant le Président de l'Université Alassane Ouattara (UAO), a exprimé son soutien à cette initiative de la Chaire. Le Professeur Grégoire Traoré, Directeur du Département de Philosophie de l'UAO et Responsable de la Coopération à la Chaire, a présenté les axes du Concours. Quant au Professeur Kouassi Marcel, Responsable de la Formation à la Chaire, il a détaillé la composition des jurys.

 

Ce Concours, ouvert du 14 septembre au 14 décembre 2024, récompensera les meilleurs traducteurs de chaque langue avec un prix de 500 000 FCFA. Le Dr MC Faloukou Dosso, Responsable Adjoint de la Coopération à la Chaire, a expliqué que l'objectif est de promouvoir une meilleure compréhension de lIA et d'encourager son utilisation éthique. Pour les prochaines éditions, d'autres langues ivoiriennes telles que l'Abron, lAbbey, l'Adjoukrou, l'Agni, l'Attié, le Dida, le Djimini, le Gagou, le Godié, le Gouro, le Guéré, le Koulango, le Koyaka, le Lobi, le Néo, le Yacouba ont été identifiées.

 

Au titre des autres langues africaines, des langues telles que le Kabyè, l'Ewé au Togo, le Fon, le Yom et le Yorouba au Bénin, le Moré au Burkina Faso, le Wolof au Sénégal, le Bambara au Mali, le Haoussa et le Djerma-sonraï au Niger ont été citées.

En encourageant la participation active des communautés locales, le projet « Semer les graines d'éthique dans l'esprit des populations » invite à « l'appropriation linguistique et culturelle des valeurs et principes distillés par l'UNESCO »...."

#metaglossia_mundus: https://www.koaci.com/article/2024/09/11/cote-divoire/science/cote-divoire-recommandation-de-lunesco-sur-lethique-de-lia-un-concours-de-traduction-en-langues-africaines-lance-pour-mieux-vulgariser-le-document_180779.html

 

"« La langue bretonne est tout autour de nous. Sur les noms de villes, de familles, de lieux… », confie Alexandre Perenon, nouvel instructeur à Ti Ar Vro, la fédération d’associations qui promeut et développe la langue et culture bretonne sur le territoire. Né à Lyon, résidant en Bretagne depuis les années 2000, Alexandre Perenon a suivi les traces de sa  compagne qui a suivi des cours du soir en breton ».

 

À 40 ans, le nouvel arrivant décide d’apprendre le breton. Ce dernier a suivi « une formation de six mois puis de trois mois au centre de formation Stumdi ».

« J’ai passé mon diplôme de compétences en langues. Aujourd’hui, je suis ravi de pouvoir transmettre la culture bretonne », confie Alexandre Perenon. Polyglotte grâce à ses nombreux lieux de vie, l’ancien gestionnaire parle le basque, le créole, le japonais et le chinois, qu’il ne pratique plus depuis vingt ans.

Faire vivre le breton

À mi-temps à Ti ar Vro,  j’aspire à travailler en breton à plein temps. En milieu associatif, scolaire ou en entreprise , souligne le nouveau venu. Il veut donner envie aux intéressés de se lancer dans l’apprentissage de la langue bretonne : « Ici on fera de l’initiation ou un peu plus selon le niveau mais on parlera aussi histoire, géographique, culture ou musique bretonne.Le breton c’est vraiment une culture à part. C’est une langue qui évolue, une langue vivante . Si les cours du soir existaient auparavant, ils étaient dispensés par des bénévoles. Mais, « l’offre se professionnalise et on veut la développer »,souligne le nouveau professeur.

 

Cours de 30 séances d’une heure trente par semaine. 150 € + 15 € d’inscriptions. Cours en soirée à Landerneau et au Tréhou. Renseignements sur tiarvrolanderneaudaoulaz.bzh. Tel. 09 73 65 35 24."

#metaglossia_mundus

"Mireille Huchon: «Ronsard a voulu faire du français l'égal des langues grecque et latine»

Par Dorian Grelier

Publié le 11/09/2024 à 07:00, Mis à jour le 11/09/2024 à 11:17ENTRETIEN - Dans sa volonté première d'innovation, le chef de file de La Pléiade a été accusé d'audace dans la création de mots, d'obscurité, ou encore d’archaïsme. Pour ses 500 ans, Mireille Huchon* explique comment Ronsard a été remis au goût du jour et ce qu’il nous reste de sa langue.

«La Poésie n'était au premier âge qu'une Théologie allégorique, pour faire entrer au cerveau des hommes grossiers par fables plaisantes et colorées les secrets qu'ils ne pouvaient comprendre», lit-on dans l’Abrégé de l'art poëtique françois (1565) de Ronsard (1524-1585). Avec le chef de file de la Pléiade s'affirme l'idée qu’elle est un gage d'immortalité. Aussi lui doit-on une révolution poétique française qui, acclimatant à la langue tous les genres et formes de l’Antiquité, fait date. Que nous reste-t-il de la langue du prince des Poètes ?

*Mireille Huchon est professeur émérite à la Sorbonne, membre honoraire de l'Institut universitaire de France et éditrice de La Pléiade dans la Bibliothèque de la Pléiade .

LE FIGARO. - En quoi Ronsard a-t-il rompu avec les codes poétiques de son époque ?

Mireille HUCHON. - Ronsard est célèbre pour avoir introduit en français des formes poétiques à l'imitation de l'Antiquité, telles les odes de Pindare..."

#metaglossia_mundus: https://www.lefigaro.fr/langue-francaise/actu-des-mots/mireille-huchon-ronsard-a-voulu-faire-du-francais-l-egal-des-langues-grecque-et-latine-20240911

 

Published  on September 11, 2024

By   Alex McFarland

In today's interconnected world, the ability to communicate across language barriers is more crucial than ever. For content creators, marketers, and businesses looking to expand their global reach, AI video translation tools have become invaluable assets. These cutting-edge technologies are revolutionizing the way we localize and distribute video content, making it possible to engage audiences worldwide with unprecedented ease and efficiency.

In this comprehensive guide, we'll explore the top AI video translation tools that are transforming the landscape of global content creation. From preserving the original speaker's voice to generating accurate subtitles in multiple languages, these platforms offer a range of features designed to streamline the video localization process and help you connect with diverse audiences around the globe.

1. Vidnoz AI

 

How to Translate Videos FREE With Vidnoz AI Video Translator in 1 Click

 

 

 

Vidnoz AI stands out as a powerful online tool that leverages artificial intelligence to break down language barriers in video content. Supporting an impressive array of over 140 languages, Vidnoz AI enables users to translate their videos while maintaining the authentic speaking style and emotions of the original speaker.

Vidnoz AI's intuitive interface allows users to upload their video, select the target language, and let the AI handle the rest. Within minutes, you'll have a professionally translated video complete with accurate subtitles, voice-overs, and lip-syncing. The platform offers a free plan for up to 4 minutes of video translation per month, making it accessible to users of all levels.

Key features of Vidnoz AI include:

• Multilingual translation support for over 140 languages
• AI voice cloning to preserve the original speaker's tone and emotions
• Automatic subtitle generation in target languages
• Lip-sync dubbing for a seamless viewing experience
• Compatibility with various video formats (MP4, MOV, WEBM)

Visit Vidnoz →

2. HeyGen

 

HeyGen Video Translation

 

 

 

HeyGen is at the forefront of AI video translation, offering a sophisticated platform that enables users to translate their content into multiple languages while preserving the original speaker's voice and emotions. By harnessing advanced technologies such as voice cloning, machine translation, and lip-syncing, HeyGen delivers high-quality dubbed videos that look and sound natural.

HeyGen's capabilities make it an excellent choice for various industries, including education, marketing, entertainment, and personal communication. Whether you're creating multilingual educational content, localizing marketing videos, or sharing personal messages across language barriers, HeyGen provides the tools to transcend linguistic boundaries and foster global connections.

Notable features of HeyGen include:

• Support for over 40 languages, including major global languages
• Advanced voice cloning technology for authentic-sounding translations
• AI-driven lip-sync dubbing for seamless visual integration
• Customization options for fine-tuning translations and lip-syncing
• User-friendly interface for easy video uploading and language selection

Visit HeyGen →

3. Rask AI

 

Welcome to Rask AI

 

 

 

Rask AI emerges as a leading AI-powered video translation and dubbing platform, offering users the ability to localize their video content into over 130 languages. By leveraging advanced artificial intelligence technologies, Rask AI delivers high-quality translations and natural-sounding dubbed videos that retain the original speaker's voice, tone, and emotions.

Rask AI's user-friendly interface allows for easy video uploading and language selection, while its intelligent algorithms automatically generate accurate translations, subtitles, and dubbed audio tracks. This streamlined process saves users significant time and resources compared to traditional manual translation methods. With applications across various industries, including e-learning, entertainment, marketing, and corporate communications, Rask AI simplifies the process of overcoming language barriers and connecting with global audiences.

Key features of Rask AI include:

• Support for over 130 languages, covering a vast array of global languages and dialects
• Voice cloning technology to preserve the original speaker's characteristics
• Automatic subtitle generation for enhanced accessibility
• AI-driven lip-sync dubbing for a seamless viewing experience
• Customization options for editing translations and fine-tuning dubbing

Visit Rask →

4. Fliki

Fliki Video Translator stands out as a cutting-edge AI tool that enables users to translate video content into over 80 languages with remarkable ease. Fliki delivers high-quality translations and natural-sounding voiceovers, making your videos accessible to a global audience.

Fliki's user-friendly interface allows content creators, educators, marketers, and businesses to easily localize their videos without any technical expertise. The platform automatically generates accurate translations, subtitles, and dubbed audio tracks, significantly reducing the time and resources required compared to traditional manual translation methods.

Key features of Fliki include:

• Support for over 80 languages and 100+ dialects
• Access to 2000+ ultra-realistic AI voices for natural-sounding narration
• Automatic subtitle generation in target languages
• Customization options for editing translations and adjusting dubbed audio
• Voice cloning capabilities for replicating unique voices or creating character voices

Visit Fliki →

5. ElevenLabs

ElevenLabs

ElevenLabs offers an impressive AI video translation and dubbing platform that enables users to localize their video content into over 30 languages while maintaining the original speaker's voice, tone, and emotions. The platform delivers high-quality translations and natural-sounding dubbed videos that retain the authenticity of the original content.

ElevenLabs' user-friendly interface allows for easy video uploading and language selection, while its AI algorithms automatically generate accurate translations, subtitles, and dubbed audio tracks. This streamlined process saves users significant time and resources compared to traditional manual translation methods. The platform's customization options, such as the ability to edit translations and fine-tune dubbing, ensure that the final product meets the specific needs of each user.

Key features of ElevenLabs include:

• Support for over 30 languages, catering to a wide range of global audiences
• Advanced voice cloning technology to preserve the original speaker's characteristics
• Automatic subtitle generation for improved accessibility
• AI-driven lip-sync dubbing for a seamless viewing experience
• Customization options, including the ability to clone your own voice

Visit ElevenLabs →

6. Wavel AI

 

Generate Translations for Videos with Wavel AI

 

 

 

Wavel AI emerges as a top AI platform to make video content accessible to a global audience. Supporting over 70 languages, Wavel AI enables users to effortlessly translate their videos while preserving the original speaker's voice, tone, and emotions.

Wavel AI's intuitive interface allows users to upload their video, select the target language, and let the AI handle the rest. Within minutes, you'll have a professionally translated video complete with accurate subtitles and voice-overs. The platform's real-time translation feature sets it apart, making it an excellent choice for live events, webinars, and international conferences where immediate communication across language barriers is crucial.

Key features of Wavel AI include:

• Support for over 70 languages, catering to a wide range of global audiences
• Real-time translation capabilities, ideal for live events and conferences
• Automatic and accurate translation of spoken language in videos
• Seamless subtitle integration synchronized with the video's audio track
• Customizable outputs to tailor translations to specific needs and preferences

Visit Wavel AI →

7. Elai

Elai

Elai offers a unique approach to AI video translation and dubbing, enabling users to localize their existing video content into over 75 languages while also providing a library of virtual presenters. By leveraging AI, Elai delivers high-quality translations and natural-sounding dubbed videos that maintain the authenticity of the original content.

Elai's user-friendly interface allows content creators, marketers, educators, and businesses to expand their global reach without the need for expensive equipment or production teams. The platform's unique offering of AI avatars ensures a consistent look across all translated videos, making it an excellent choice for brands looking to maintain visual coherence in their multilingual content.

Key features of Elai include:

• Support for over 75 languages, covering a wide range of global audiences
• A library of 80+ diverse AI avatars to serve as virtual presenters
• Advanced AI technology for lip movement and facial expression matching
• Text-to-video conversion capabilities for easy content creation
• Customization options for tailoring translated content to specific needs

Visit Elai →

8. Vizard.ai

 

How to Translate Video into 29 Different Languages with Vizard

 

 

 

Vizard.ai stands out as a comprehensive AI video translation and editing platform that enables users to effortlessly localize and repurpose their video content for global audiences. By combining advanced language processing with intelligent video editing capabilities, Vizard.ai offers a unique solution for creating multilingual, social media-ready content.

Vizard.ai's intelligent video editing capabilities set it apart from other translation tools. The platform can automatically identify key moments in videos to create short, impactful clips optimized for social media sharing. This feature, combined with its translation and subtitle generation capabilities, makes Vizard.ai an excellent choice for content creators and marketers looking to maximize the impact of their video content across different languages and platforms.

Key features of Vizard.ai include:

• Translation support for over 29 languages, expanding content reach globally
• Automatic subtitle generation in multiple languages
• AI-powered video editing to extract highlights and create short clips
• Speaker detection and auto-framing for focused, dynamic videos
• Customizable branding options for maintaining visual identity

Visit Vizard.ai →

9. Kapwing

 

How to Dub Videos into Other Languages Using AI (Translate Video/Audio)

 

 

 

Kapwing offers a full-featured online video editing platform that includes a powerful AI-powered video translation tool. Supporting over 60 languages, Kapwing provides a comprehensive solution for content creators looking to edit, translate, and optimize their videos for a global audience.

Kapwing's strength lies in its integration of translation capabilities with a full suite of video editing tools. Users can not only translate their videos but also edit, enhance, and customize them within the same platform. This all-in-one approach makes Kapwing an excellent choice for content creators who need both translation services and advanced video editing capabilities.

Notable features of Kapwing's video translator include:

• Support for over 60 languages, including major global languages
• Automatic subtitle generation powered by AI
• Seamless integration with Kapwing's comprehensive video editing tools
• Customizable subtitle styling options
• Multiple subtitle export formats (SRT, VTT, TXT) for versatility

Visit Kapwing →

10. Veed.io

 

How to Translate Video Automatically with AI | YouTube Video Translator

 

 

 

Veed.io rounds out our list as a powerful online video editing and translation platform that enables users to effortlessly transcribe, translate, and add subtitles to their videos. With support for over 100 languages and an impressive 98.5% accuracy rate, Veed.io offers a reliable solution for making video content accessible to a global audience.

Veed.io's user-friendly interface and high accuracy rate make it an excellent choice for content creators, marketers, and businesses looking to expand their reach. The platform's integration with popular social media platforms allows for easy sharing of translated content, streamlining the process of distributing multilingual videos across various channels.

Key features of Veed.io include:

• Support for over 100 languages with a 98.5% translation accuracy rate
• Automatic transcription of video audio into text
• Seamless subtitle integration synchronized with audio
• Customizable subtitle styling options
• Multiple export options for subtitles and translated videos

Visit VEED →

Unlocking Global Reach with AI Video Translation Tools

As we've explored in this comprehensive guide, AI video translation tools have revolutionized the way content creators, marketers, and businesses approach global communication. These innovative platforms use artificial intelligence to break down language barriers, making it easier than ever to translate videos and reach a global audience.

From Vidnoz AI's seamless multilingual support to HeyGen's pioneering voice cloning technology, each of these AI video translators offers unique features designed to streamline the video localization process. Whether you're looking to translate YouTube videos, create multilingual content for social media, or adapt your video content for international markets, these tools provide the capabilities you need to overcome language barriers and connect with viewers worldwide.

The benefits of using AI video translation tools are numerous:

1. Efficiency: Automated translation and dubbing save time and resources compared to traditional methods.
2. Accuracy: Advanced AI algorithms ensure high-quality translations and natural-sounding voiceovers.
3. Scalability: Easily translate videos into multiple languages to reach a broader audience.
4. Preservation of original content: Many tools offer voice cloning to maintain the speaker's tone and emotions.
5. Customization: Fine-tune translations, adjust dubbing, and customize subtitles to meet specific needs.

As online video translation services continue to evolve, they're becoming an indispensable part of global content strategies. By leveraging these AI-powered tools, you can effectively localize your video content, expand your reach, and engage with audiences across different languages and cultures.

Whether you're a content creator looking to expand your YouTube channel's reach, a marketer aiming to create compelling multilingual campaigns, or a business seeking to communicate with a global customer base, these AI video translation tools offer the solutions you need to break through language barriers and make your message heard around the world.

Related Topics:AI videobest of

Don't Miss

10 Best AI Form Generators (September 2024)

Alex McFarland

 

Alex McFarland is an AI journalist and writer exploring the latest developments in artificial intelligence. He has collaborated with numerous AI startups and publications worldwide."

#metaglossia_mundus: https://www.unite.ai/best-ai-video-translation-tools/

 

"Riyadh, September 11, 2024, SPA – The King Faisal Center for Research and Islamic Studies (KFCRIS) inaugurated yesterday the UNESCO Chair in Translating Cultures with the support of the Literature, Publishing and Translation Commission (LPTC).
The program aims to encourage research and partnerships in translating cultures and cultural texts and building bridges between civilizations that create diverse cultural dialogues.
During his speech at the launching ceremony, the LPTC's CEO, Dr. Mohammed Hasan Alwan, said that the idea of inaugurating the UNESCO Chair in Translating Cultures came within the framework of the remarkable interest of the Ministry of Culture, represented by the Minister of Culture Prince Badr bin Abdullah bin Farhan.
Dr. Mohammed Alwan added that the inauguration of the UNESCO chair embodies a major aspect of the cultural aspirations of the Saudi Vision 2030, and boosts international cooperation in the field of research and development
He concluded that the UNESCO chair will generate scientific contributions in the field of cultural translation, and it will be a leading platform for exchanging experiences and knowledge between researchers worldwide.
The UNESCO Chair in Translating Cultures meets the growing need for specialized research in the humanities and social sciences, comprehensive education, and cultural diversity and encourages partnerships that gather the experience of representatives of academic sectors to enhance scientific research, in addition to providing scholarships, organizing seminars and enriching current academic theses to develop the concept of Arab culture and cultural diversity.
--SPA
06:00 Local Time 03:00 GMT
0011"

#metaglossia_mundus: https://www.spa.gov.sa/en/N2169478

 

"By: El-Hussein A.Y. Aly    Brill, 2023. 209 pp. $129.03.

Reviewed by: Mark Durie

The Qur’an has primarily reached the anglophone West through translations by Indian Muslims in the first half of the twentieth century. Aly’s engaging book fascinatingly reviews their achievements, the wider social and political context that shaped them, and their enduring influence to this day. He contends that these translations need to be understood as products of their context, and especially their attempt to accommodate Islam with modernity.

At a time when Middle East Muslim authorities discouraged translations of the Qur’an, conditions in India favored translations. The East India Company Act of 1813 lifted the ban on Christian missions, which brought English-language materials with them. This challenge alerted Indian Muslims to the need also to engage in apologetics in English.

Further, after the Indian Rebellion of 1857, the Raj opened the civil service to Indians with a proficiency in English. This led to the rise of a modern English-speaking Muslim intellectual class, many of whom, like Yusuf Ali, had studied in Britain. They were acutely conscious of Islam’s weakened condition and the challenge that modernity presented to the Qur’an. Aly focuses on four such challenges: unscientific elements (such as jinn), the doctrine of jihad, Muslim supremacism, and the status of women.

Most interestingly, Aly discusses in detail the choices of translation to answer these challenges. Translators presented the Qur’an as consistent with science; as a religion of peace, insisting that jihad means “struggle” and that military jihad is only defensive; as universal, for all nations, softening verses pointing to Muslim superiority; and as respectful of women, downplaying the ill-treatment of women (most famously, Yusuf Ali added the word “lightly” to Sura 4:34, the wife beating verse).

Aly clearly agrees with those Indian translators, to the point that his partisanship sometimes shines through, as when he calls Sura 4:34 “ambiguous” even though the Arabic is very clear: it just says “hit her.”

Qur’an Translation as a Modern Phenomenon shows how profoundly the pioneering work of Indian translators has underpinned and empowered Islamic da‘wa (mission) in the West. The many Western converts to Islam, won over by a message of tolerance and universal peace, are testimony to the Indian translators’ remarkable success, despite the many divergences of their translations from the pre-modern Islamic understanding.

 

Mark Durie

A theologian, human rights activist and Anglican pastor, Rev. Mark Durie has published on linguistics, Christian-Muslim relations, the Qur’an, the Islamic Sharia and religious freedom. He holds a Ph.D. in Linguistics from the Australian National University and a Th.D. from the Australian College of Theology. Durie, who has addressed the Middle East Forum, has held visiting appointments at the University of Leiden, MIT, UCLA and Stanford, was elected a Fellow of the Australian Academy of the Humanities in 1992, and was awarded an Australian Centennial Medal in 2001. He is a Senior Research Fellow at the Arthur Jeffery Centre of the Melbourne School of Theology, and Founding Director of the Institute for Spiritual Awareness. Follow Mark Durie on Twitter @markdurie"

"By: Mykhaylo Yakubovych

Open Book Publishers. 228 pp. $42.95 ($26.95, paper).

Reviewed by: Mark Durie

Yakubovych, a Ukrainian Islamic studies scholar, has written a fascinating and masterful survey of the extraordinary achievements of Saudi Arabia’s Qur’an publishers. Most notably, the King Fahd Glorious Qur’an Printing Complex, established by royal decree in 1982, has printed hundreds of millions of Qur’ans and commentaries in book and audio format, a majority in Arabic but also translations in multiple language.

Until the mid-twentieth century, many Muslim scholars still opposed translating the Qur’an. For one, the word qur’an means “recitation” and for the pious reciting the Arabic text out-loud, as—it is believed—it was delivered to Muhammad remains the only true (and untranslatable) experience. For another, the meaning of the Qur’an is mediated by a centuries-old traditions of commentary and a translation of the Qur’an needs to be approved by qualified scholars. (Saudi scholars resolved the translatability issue were by casting the translations as of approved “meanings” of the Qur’an, rather than the Qur’an itself.)

Yakubovych explains how Saudi clerics, relying on Ibn Taymiya, argued for the value of translations as a tool of missionary work. While Qur’ans published in the kingdom have some theological diversity, the Ibn Taymiya’s influence, known as Salafist, dominates and endures. Qur’an publishing has served as “a powerful missionary tool” to reach both Muslims and non-Muslims.

Only recently have Saudi scholars engaged with such modern issues as Islam and science, violence in the name of Islam, relations with non-Muslims, religious freedom, and women’s rights. As Yakubovych reports, this encounter with modernity has led to adjustments of translations, such as softening or removing negative references to Jews and Christians in the first Sura (Sura 1:7), and adjusting the translation of the wife-beating verse (Sura 4:34). It is not clear, however, whether these should be seen as genuinely “liberal interpretations,” as Yakubovych posits, or a pragmatic effort to enhance the Qur’anic message.

The final paragraph of In The Kingdom and the Qur’an sums up the import of this undertaking: “Whether the works themselves are accepted or criticised, popularised or neglected, Qur’an translations published in Saudi Arabia or with Saudi support abroad now undoubtedly constitute the biggest contribution to the contemporary Muslim understanding of the sacred text of Islam at a global level.”

Mark Durie

Melbourne School of Theology"

#metaglossia_mundus

"Established in 2018, the US National Book Awards’ newest category, Translated Literature, this year drew 141 submissions.

In Feature Articles by Porter AndersonSeptember 11, 2024

By Porter Anderson, Editor-in-Chief | @Porter_Anderson

See also:
US 2024 National Book Award Longlists: Young People’s Books
US 2024 Distinguished Contribution Medalist: Barbara Kingsolver
Publisher Paul Coates Wins the US 2024 Literarian Award

The Second of Five Categories’ 2024 Longlists

With its rate of submissions in this category running a bit lower than might have been expected, the United States’ National Book Foundation‘s second-released 2024 longlist is for Translated Literature.

 

This is the most important of the five categories for our international professional readership at Publishing Perspectives.  In 2023, this category drew 141 entries from publishers, the lowest number since the 2020 competition and the second-lowest since the 2018 establishment of the Translated Literature award.

Last year’s competition drew 154 submissions, by comparison to this year’s 141. The 2022 competition drew 146. Indeed the largest year for submissions so far in Translated Literature was 2021, when publishers made 164 entries. Even in the opening year, 2018 was slightly higher than this year’s input, at 142. Only one year’s number of entries has been lower than this year’s, and that was the pandemic year of 2020, when there were just 130 submissions.

While the differences in these numbers are not large, the longtime struggle of translated literature among American consumers is a perennially painful and frequently embarrassing point for many in the States’ book community and industry. Perhaps there’s some work to do on the part of the foundation in encouraging more submissions in this still-young category.

As an added incentive, perhaps, translated literature’s recognition generally can be expected to highlight the valuable work of more independent publishers than might be the case in other traditional categories. As is logical, the large publishing houses gather much of the visibility elsewhere in the nominations, after all, something you can see, for example, in the longlist for Young People’s Literature this year.

The Translated Literature longlistees in this 75th iteration of the National Book Awards were published originally in Arabic, Danish, French, Mandarin Chinese, Spanish, and Swedish. 

The jurors  for Translated Literature this year are Aron Aji, Jennifer Croft, Jhumpa Lahiri (chair), Gary Lovely, and Julia Sanches.

The 2024 Translated Literature Longlist

Once again, the 10 books longlisted here all appear to have their translators clearly credited on their covers. We mention this in reflection of the effort by many in the business to persuade publishers to provide proper credit to translators on book covers.

Author Title Original Language Translator Publisher / Imprint Nasser Abu Srour The Tale of a Wall: Reflections on the Meaning of Hope and Freedom Arabic Luke Leafgren Other Press Bothayna Al-Ess The Book Censor’s Library Arabic Ranya Abdelrahman and Sawad Hussain Restless Books Linnea Axelsson Ædnan Swedish Saskia Vogel Penguin Random House / Knopf Solvej Balle On the Calculation of Volume (Book I) Dutch Barbara J. Haveland New Directions Publishing Layla Martínez Woodworm Spanish Sophie Hughes and Annie McDermott Two Lines Press Fiston Mwanza Mujila The Villain’s Dance French Roland Glasser Deep Vellum Publishing / Deep Vellum Fernanda Trias Pink Slime Spanish Heather Cleary Simon & Schuster / Scribner Fernanda Vallejo The Abyss Spanish Yvette Siegert New Directions Publishing Yáng Shuāng-zǐ Taiwan Travelogue Mandarin Lin King Graywolf Press Samar Yazbek Where the Wind Calls Home Arabic Lerei Price World Editions

As always, the jury’s decisions are made independently of the National Book Foundation staff and board of directors and deliberations are strictly confidential.

See also:
US National Book Award: Opening to Non-US Citizens
The US National Book Foundation Issues US$350,000 in Hawthornden Grants

More from Publishing Perspectives on the National Book Awards in the United States is here and more on the huge field of international book awards and prizes is here. More from us on translation and translators is here, more on international publishing rights is here, and more on the United States’ market is here. 

 

About the Author

Porter Anderson

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Porter Anderson has been named International Trade Press Journalist of the Year in London Book Fair's International Excellence Awards. He is Editor-in-Chief of Publishing Perspectives. He formerly was Associate Editor for The FutureBook at London's The Bookseller. Anderson was for more than a decade a senior producer and anchor with CNN.com, CNN International, and CNN USA. As an arts critic (Fellow, National Critics Institute), he was with The Village Voice, the Dallas Times Herald, and the Tampa Tribune, now the Tampa Bay Times. He co-founded The Hot Sheet, a newsletter for authors, which now is owned and operated by Jane Friedman."

#metaglossia_mundus: https://publishingperspectives.com/2024/09/us-national-book-award-2024-longlists-translation/

 

"In Representing and Interpreting Abstraction Today (Magütt Publishing, 2024), a volume of essays edited by Alessandro Ferraro, a range of authors—including artist Peter Halley, critic Francesca Gavin, and Artforum.com senior editor Travis Jeppesen—examine the past, present, and future of abstract art.

On abstraction and its enduring legacies

By Isabel Wünsche

September 10, 2024 3:15 pm

Xiyao Wang, River, River, Could You Tell Me the Story of My Hometown No.1, 2022, acrylic, oil stick on canvas, 129 7/8 × 267 3/4''. Photo: Claire Dorn.

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In Representing and Interpreting Abstraction Today (Magütt Publishing, 2024), a volume of essays edited by Alessandro Ferraro, a range of authors—including artist Peter Halley, critic Francesca Gavin, and Artforum.com senior editor Travis Jeppesen—examine the past, present, and future of abstract art. In this exclusive excerpt, art historian Isabel Wünsche frames the emergence of two emerging voices in contemporary abstraction, Tarini Ahuja and Xiyao Wang, against the Eurocentric approach that previously predominated in historical discourse surrounding nonrepresentational painting.

 

 

ABSTRACTION AS A FORMAL APPROACH in the visual arts has provoked, perplexed, and inspired us now for more than one hundred years, and for almost as long, art historians have been offering interpretations and perspectives on its development and application. Historically, the emergence of abstract art has been linked to Romanticism and Impressionism as well as Jugendstil and Art Nouveau design. Theorists as well as practitioners have invested considerable time and effort in devising complex strategies intended to ratify its existence as a legitimate art form, in general, and, in particular, as one endowed with expressive powers and capable of evoking alternative levels of reality and consciousness. In recent years, however, the search for general principles has been more or less abandoned. Instead, the emphasis has been on the historical contexts within which abstract art is produced. In the twenty-first century, the engagement with new digital media and the application of digital visualization practices has sparked new investigations into the forms and functions of abstraction and the interpretation of abstract patterns.

 

A Universal Visual World Language: Abstract Art in the West

By the 1930s, abstraction as an artistic idiom had already acquired several influential promoters in the United States. Alfred H. Barr, founding director of the Museum of Modern Art in New York, was drawn to abstraction “for its insistence on the absolute,” its purity of style, originality of invention, and the influence of the artist within an international matrix. In the catalogue for the 1936 exhibition Cubism and Abstract Art, Barr charted the gradual evolution towards abstraction. He traced the development of modernist art chronologically, nationally, and stylistically from the 1890s to the present, indicating an inevitable teleological progression towards abstraction and distinguishing between geometrical and non-geometrical abstract art, thereby playing out the opposition between intellect and intuition, technology and nature, the geometric and the organic. With his systematic approach, which relieved formal analysis of any interpretative responsibility, Barr strongly influenced art history writing and art criticism well into the 1960s, not only paving the way for Clement Greenberg’s formalist theory of modern art, but also for the ideological role of abstract art in the cultural battles of the Cold War. Hilla Rebay, another early American proponent of abstract art and founding director of the Museum of Non-Objective Art in New York, celebrated abstraction in her 1938 essay The Value of Non-Objectivity:

The non-objective picture stands by itself as an entirely free creation, conceived out of the intuitive enjoyment of space. It is the visual essence of rhythmic balance in form, design, and color. […] The non-objective picture is far superior to all others in its influential potentiality, educational power, and spiritual value to humanity.

Through the efforts of critics such as Clement Greenberg and Harold Rosenberg, art collectors and educators, among them Katherine S. Dreier and Hilla Rebay, and art historians, including Alfred H. Barr in the United States, Michel Tapié in France, and Werner Haftmann in Germany, abstract art began to gain mainstream acceptance in the 1950s. By the end of the decade, Arnold Gehlen saw the expression of true freedom only in abstract painting, which, according to Werner Haftmann, in his 1954 book Malerei im 20. Jahrhundert (Painting of the Twentieth Century), had taken on a “global character” and established itself as universal art form.

This notion of abstract art as universal in nature found one of its most pronounced expressions in the 1958 publication Abstrakte Kunst – Eine Weltsprache (Abstract Art – A World Language) by Georg Poensgen and Leopold Zahn, who compared it to “that great revolution called the Renaissance:”

The development of modern art towards the abstract and universal, eliminating the external and the individual, has made possible, through a common effort and common vision, the realization of a collective style that, rising above the person and nation, in a very definite and real way, the highest, deepest, and most comprehensive claims of beauty.

Poensgen and Zahn celebrated the “new forms and form systems, these new color tones and signs that belong to the global signature of our century” and highlighted the development of abstraction in painting and sculpture from its precursors in the late work of William Turner, Impressionism and Post-Impressionism to Tachisme, Art Informel, and Abstract Expressionism. Their introduction is followed by brief biographies of 269 artists (including ten female artists), from Max Ackermann to Ossip Zadkine, supplemented by a chronological and geographical overview. A critical examination of the artists, movements, and their geographical distribution, however, is revealing; as it would appear that abstract art is in fact an exclusively western phenomenon.

 

 

 

The presumed role of abstract art as a universal visual language was founded upon various anthropological, psychological, and aesthetic considerations. Barr, in his 1936 chart, had identified “Japanese prints,” “Near-Eastern art,” and “Negro sculpture” as sources of inspiration in the development towards abstraction. Willi Baumeister, in his influential book Das Unbekannte in der Kunst (The Unknown in Art, 1947), postulates a parallel between the creative processes in nature and the process of artistic creation and maintains that the abstract artist, using elements from archaic and non-western cultures, is drawing on a universal cultural heritage. The Abstract Expressionists, who held that the authenticity of a work of art lay in its directness and immediacy of expression, often turned to ancient myth and archaic cultures for inspiration (as well as Jungian psychology). By allowing, even encouraging, the artist to draw inspiration from the diverse repertoire of other cultures and past epochs, from cave painting to calligraphy, abstractionists insisted upon a universal art-historical context. This was at a time when such thinking was governed by the unwavering belief that the world was moving inevitably forward with respect to the advancement of democracy, scientific-technical progress, and secularization, and abstract painting was the appropriate artistic expression of these modern realities. Writers such as Barr, Greenberg, Haftmann, Poensgen, and Zahn appropriated abstract art to posit the artistic and cultural superiority of the western world. By emphasizing the universal character of abstraction as a form of artistic expression, they implied that abstraction would soon become the dominant art form throughout the world, as it was an expression of modernity and progress. After the Second World War, abstract art proved crucial to narratives positing postwar American modernism as the heir to earlier Twentieth-century European modernism, thus serving to ratify American artistic and cultural hegemony.

 

 

Towards Individual Expression: Abstraction Outside the Western World

Abstraction, however, not only shaped European and American modernism in the Twentieth Century, it also left its mark in Latin America, the Arab world, Asia, Africa, and Australia. Thus, its narrative as a purely western phenomenon requires a closer examination.

A largely Eurocentric approach results in a distorted value system in which some works are more authentic than others. Such thinking, with respect to western primacy in artistic creation further enhances notions of primary vs. secondary, influencing vs. influenced, center-periphery and other “western vs. the others” dichotomies in modernist and avant-garde art.

The emergence of modernist art in the West was the result of efforts to come to terms with the rapid new developments in urban, industrial, and secular life during the Nineteenth Century. Artistic production in countries such as China and India was largely untouched by the paradigms of first one- and then multi-point perspective and the illusion of three-dimensionality that arose in the Renaissance. Instead, an awareness of the formal and expressive possibilities of the media and techniques in use had been a commonplace understanding for Chinese ink painters and Indian miniature painters over many centuries. Thus, the radicalism of the European and American avant-garde was alien to artists in the East. This becomes evident when one looks, for example, at artistic production of modernist art scenes in Bombay, India and Shanghai, China.

In India, European modernism was a distinctive influence on the Progressive Artists’ Group, founded by young artists based in Bombay, among them Francis Newton Souza, Sayed Haider Raza, and Maqbool Fida Husain, in 1947, the year in which India gained independence. The members of the group rejected the colonial academic style and the nationalist art of the Bengal School and embraced instead international modernist art practices. They pursued various new styles, ranging from Expressionism to pure abstraction and the depiction of traditional Indian art elements and media. Balancing international modernism and an indigenous nationalism, the members of the group strove to create a new equation between “modern” and “Indian” in line with India’s modern, secular vision and became one of the most influential art movements in India.

One of the painters associated with the Progressive Artists’ Group in Bombay and today one of the most prominent representatives of abstraction in modern Indian art is Vasudei Santu Gaitonde (1924–2001). He studied at the Sir Jamsethji Jijibhai School of Art in Bombay, where he was introduced to Indian mural painting and miniature painting as well as European modernism, including the works of Henri Matisse, Pablo Picasso, Georges Braque, Wassily Kandinsky, and Paul Klee. Gaitonde experimented widely, using various techniques, including oil painting, watercolor, and mixed media and began to create his own non-representational works in the 1950s. Building upon his engagement with Zen Buddhism and ancient calligraphy, he used a layering process to create atmospheric works, whose surfaces he enriched with spontaneous calligraphic textures. His paintings are meditations on color, form, texture in which he considered Indian aesthetic theory, maintaining that a complete artistic experience requires the viewer to be both a rasika (one who experiences intuitively) and a rasajna (one who learns analytically). Thus, he was able to create a unique identity for himself and, with his cosmopolitan worldview and approach to abstraction, he inspired young artists to experiment with this art form.

In early Twentieth-century China, artists were likewise attracted by the diversity of European styles they encountered, from academic realism to expressionism. Abstraction, however, was poorly received, a situation that only gradually changed with the introduction of the gestural brushwork of the Abstract Expressionists, which among many artists resonated with the traditional language of Chinese ink painting. In the late 1970s and 1980s, Wu Guanzhong (1919–2010) was one of several artists in China desiring to move beyond the long tradition of Chinese landscape painting. He began to draw inspiration from western abstract art in order to create works that would capture the “essence” of the form. By marrying eastern tradition with western influences, he eventually found his own path to abstraction. Wu Guanzhong had studied both Chinese and western painting at Hangzhou National Academy of Art from 1936 to 1942. In 1947, he received a government scholarship to study at the Ecole Nationale Supérieure des Beaux Arts in Paris, where he took a great interest in modern French art, particularly Post-Impressionism, and also familiarized himself with the principles of aesthetic formalism. After his return to China, he introduced aspects of western art to his students at the Central Academy of Fine Art in Beijing, where he taught from 1950 to 1953 (at the time, the academy was dominated by socialist realism). His life and career were dramatically interrupted by the Chinese Cultural Revolution; only after Mao Zedong’s death in 1976, he was able to return to painting and his formalist approach to art. Focusing on formal beauty in the arrangement of color and form, he strove to use eastern rhythms in conjunction with a western approach to painting, combining oil painting and ink drawing—with the goal of “nationaliz[ing] oil painting and moderniz[ing] Chinese painting,” which in his view were “two sides of the same face.”

In the 1980s, artists in Shanghai searching for an individual artistic language were drawn to abstraction, which offered a means of opposition to mainstream art. Many of the Shanghai artists worked with mixed media, combining oil on canvas and ink on rice paper. Using pictorial elements such as lines, dots, and shapes, their abstract works offered multiple layers of interpretation and could be understood in either an eastern or a western historical and philosophical context. The artists greatly influenced younger artists emerging in the mid-to late 1980s who went on to form the ‘85 New Wave Movement. By the late 1980s, abstract art practices in China had become a growing search for a “purified language,” representing both the initial resistance to mainstream art and the general transformation process of the society.

Between Cultural Tradition and Artistic Innovation: Contemporary Abstract Voices

The cross-cultural dialogue in abstraction today is perhaps captured best in the work of non-western artists positioned between their own cultural traditions and their intensive studies of western art practices. In conclusion, I want to look at the work of two emerging voices in contemporary abstraction, Tarini Ahuja and Xiyao Wang, born and educated in India and China respectively. Each is exhibiting internationally, thus they are a part of the global art world of the 21st Century. Tarini Ahuja’s development as a painter was shaped by the work of the Progressive Artists’ Group of Mumbai, but also by the painterly approaches of western abstract artists such as Wassily Kandinsky, Joan Mitchell, Jackson Pollock, Mark Rothko, and Cy Twombly.

Born in New Delhi in 1990, she pursued her undergraduate studies at Lasalle College of the Arts in Singapore and then continued her artistic training at Goldsmith’s, University of London, where she graduated with a BA (Hons) in Fine Arts in 2013. Abstraction, she has indicated, offers her a way to capture in her paintings the ephemeral, fleeting moments of everyday life. Her approach is informed by Eastern philosophy, above all the Japanese concept of mono no aware—an awareness of the impermanence of things and the powerful emotions this notion generates with our awareness of the transient lives we lead, and the memorable moments contained in them.

In her first solo exhibition at the India International Centre in New Delhi in 2015, she explored the Japanese concept of wabi-sabi, a world view and aesthetic approach that centers on an acceptance of nature’s fragility, transience, and imperfection. Thus, the beauty of wabi-sabi lies in its ambiguity; it is a way to find beauty and harmony in what is simple, modest, and mysterious. In her most recent, second solo exhibition in New Delhi, she explored the musical notion of adagio, a tempo marking indicating a passage to be played slowly, leisurely, and gracefully. Adagio as a creative principle enables her to slow down the artistic process and reflect upon her approach of working with her hands, making marks that are luscious and intuitive.

Ahuja’s focus is on the creative process; the act of painting is a deep exploration of the mesmeric language of abstraction. She generally begins with an elaborate outline of color schemes and compositions, which allows her to explore various scenarios and formal problems. She builds structures and simultaneously obliterates them, intuitively layering paint. In this process, color is a crucial element in her work and an ever-evolving source of inspiration. She spends days creating elaborate palettes and mapping out color tones to capture in her dreamlike polychromatic works the fleeting moments of everyday experiences. Ahuja paints with complete sense of awareness and constant reflection. She enjoys the tactile nature of painting and the paradox of an approach where impulse and control, calm and chaos, go hand in hand. Acknowledging a direct link between slowness and memory, she explores in her paintings ideas such as stillness, impermanence, and restraint, which she captures with sensuous lines and intuitive marks. Furthermore, she sees abstract painting as an alternative approach to dealing with the intense medial realities of the digital age. Abstract painting offers an alternative, a way to slow things down and invite us to reflect on the physical presence.

For Xiyao Wang, abstract painting is also the most adequate and direct form of expression; it is movement captured onto large canvases, expressing a feeling of boundlessness and joie de vivre. Born into an artist’s family in Chongqing, China, in 1992, Xiyao Wang pursued dance, poetry, and the visual arts from an early age. From 2010 to 2014, she studied printmaking at the Sichuan Fine Arts Institute, where she received classical art training including a wide variety of technical skills as well as an introduction to Chinese and western art history. Her first encounter with western modernism was a catalogue of works by Paul Klee which she received as renumeration for one of her prints in 2013. Her subsequent encounter with Neo-Expressionism provided her with an artistic approach that would enable her to transfer her own feelings and thoughts onto the canvas. In 2014, she moved to Germany, where she continued her studies at the Hochschule für Bildende Künste (HFBK) in Hamburg under Werner Büttner, one of the protagonists of Neo-Expressionism, and Thilo Heinzmann, and also studied in performance artist Jochen Dehn’s class. A recipient of a Karl H. Ditze Foundation and DAAD PROMOS scholarship in 2018, she continued her studies in the MFA program at the State University of New York at Purchase, using her study trip to intensively engage with Abstract Expressionism, which became a major influence upon her own development as a painter. She completed her studies in painting under Anselm Reyle in Hamburg, receiving her MFA in 2020, and currently lives in Berlin.

Here, too, the artist’s main concern is with the creative process: for Xiyao Wang this usually originates from a point of intense inspiration, triggered either by external impressions or by her own thoughts and feelings. The inspiration defines her choice of artistic means and leads directly to her exploration of color, line, and form. Immersing herself in the creative process on the large-scale canvas in front of her, she feels free from all constraint and lets the lines develop and weave together as if in a constant state of flow, transformation, and flight. She has described her artistic work as a nearly bodiless process, as if her soul were suspended in the air. Her works arise from the dialogue between the expressive gestures of her body as she paints, and the resulting marks generated on the large canvases.

Xiyao Wang combines various techniques such as oil and acrylic painting, charcoal, graphite, and oil sticks. The artistic language of her expressive multi-colored lines, layered onto compact pastel-colored or pure white backgrounds, produces lyrical arrangements that evoke natural movement and atmospheric effects reminiscent of wide-open landscapes. The movement of her lines extends beyond the boundaries of the canvas, thus turning her paintings into meditations on weightlessness and infinity. Her profound knowledge of both eastern and western artistic traditions enables her to simultaneously draw inspiration from Taoism, but also dance, music, and the martial arts. She succeeds in marrying a Neo-Expressionist approach to painting with eastern artistic traditions. The large scale of her canvases allows her to break free but also sweeps the viewers along and invites them to unlock their own imaginative spaces, freely discover her work for themselves, and associate it with their own thoughts and feelings. For both artists, abstraction is a way to free the spirit and find their own individual artistic language. Building upon their native cultural and intellectual traditions and drawing inspiration from western art movements, focusing particularly on color schemes and the expressivity of the line, they have developed cross-cultural approaches to abstraction that speak to both western and non-western audiences.

Isabel Wünsche is Professor of art and art History at Constructor University Bremen since 2001."

#metaglossia_mundus

10/09/2024 par Redaction Connectionivoirienne

"La Chaire UNESCO de Bioéthique, dirigée par le Professeur Lazare POAMÉ, en collaboration avec la Commission Nationale Ivoirienne pour l’UNESCO, organise le mardi 10 septembre 2024, au siège de la Chaire UNESCO de Bioéthique à l’Université Alassane Ouattara de Bouaké en Côte d’Ivoire, la cérémonie officielle de lancement du Concours de Traduction de la Recommandation de l’UNESCO sur l’Éthique de l’Intelligence Artificielle ( IA).

Cet événement marquera le début de la phase 2 du projet « Semer les graines d’éthique dans l’esprit des populations », visant à vulgariser les recommandations de l’UNESCO sur l’éthique de l’IA par leur traduction en langues africaines locales, notamment le baoulé, le bété, le malinké et le sénoufo.

 

La rencontre comprendra une présentation du projet « Semer les graines d’éthique dans l’esprit des populations », une description des axes du Concours de Traduction de la Recommandation de l’UNESCO sur l’éthique de l’IA, ainsi qu’une séance d’échanges avec les étudiants et enseignants-chercheurs.

Cette initiative unique vise à intégrer les principes éthiques liés à l’IA dans les cultures locales, permettant aux populations d’accéder à ces concepts dans leur propre langue. Les langues baoulé, bété, malinké et sénoufo ont été choisies pour cette édition, renforçant ainsi l’engagement de la Côte d’Ivoire en faveur d’une  intelligence artificielle éthique et inclusive

Cet événement historique verra la participation active de la communauté académique et des passionnés des nouvelles technologies, invités à y prendre part activement."

#metaglossia_mundus: https://connectionivoirienne.net/2024/09/10/promouvoir-lethique-de-lia-en-langues-locales-une-initiative-de-la-chaire-unesco-de-bioethique/

 

"AE Learning is important in making Nigerian languages, particularly Yoruba, Igbo, and Hausa, accessible to everyone.

11th September 2024

By Olaniyi Apanpa

Afro-European Business Services Ltd, a UK-based digital technology company, has launched AE Learning, a new digital product aimed at promoting Nigerian languages and cultural heritage globally.

The Chief Executive Officer, Oluseun Durowoju, said the product is designed to foster multi-cultural integration by teaching native Nigerian and African languages to individuals eager to learn from scratch or deepen their understanding of various languages and cultures.

Durowoju emphasised the importance of AE Learning in making Nigerian languages, particularly Yoruba, Igbo, and Hausa, accessible to everyone.

He noted that the company plans to expand to other African languages in the future, ensuring these languages are easy to learn and enjoyable for both Nigerian-born individuals and those with ties to Nigeria, including children abroad and even within the country.

“We’re committed to making these languages effortless and fun to learn. Whether you’re a child born outside Nigeria or someone interested in Nigerian heritage, AE Learning will make it accessible,” Durowoju said.

Related News

He further explained that AE Learning aims to elevate African languages as essential tools for addressing global challenges.

“Our languages are the vehicles for driving crucial messages about environmental awareness, local business promotion, and global acceptance. We want the world to understand African languages and culture better, promoting harmony and integration,” he added

 

Speaking on the platform’s potential, Senior Product Manager, Oluseyi Sodiya, described AE Learning as a timely innovation aimed at breaking language barriers and fostering peaceful coexistence.

“It will enhance business interactions, social engagements, and multicultural relationships,” Sodiya said.

He also announced an introductory offer for early users, where the first 100 subscribers will receive two additional months free after signing up for a two-month plan."

#metaglossia_mundus: https://punchng.com/uk-firm-launches-ae-learning-to-promote-nigerian-languages/

 

"Traduction, enquête, pédagogie, technologies. Fort d’une longue expérience de la traduction, l’auteur présente un examen critique des grands courants théoriques de la traduction pragmatique.Il en tire des recommandations méthodologiques concernant la qualité des traductions professionnelles.Pour l’auteur, le principal outil de contrôle de la qualité réside dans une approche pédagogique de la révision, approche pertinente aussi bien en milieu professionnel que dans l’enseignement.Enfin, conscient des progrès fulgurants des nouvelles technologies, il présidera l’introduction de la traduction automatique neuronale (TAN) dans son service. Mais, dans une démarche méthodologique visant à éviter les biais cognitifs nuisant à la qualité des résultats, le choix des textes figurant dans le corpus alimentant le moteur de TAN est revenu aux réviseurs du service et non aux seuls informaticiens de la plateforme de TAN.

 

Translation, inquiry, pedagogy, technologies. Based on its long experience of translation, the author presents a critical revieuw of the main theories on pragmatic translation.This leads him to propose methodological recommendations concerning quality of professional translation.According to him, the main the min instrument for controlling quality consists in a pedagogical approach of revision which can both apply to professional and teaching environments.Last but not least, being conscious of the tremendous progress of new technologies, he contributed to the introduction of neuronal machine translation (NMT) in his service However, in a methodological approach aiming at at preventing cognitive bias deteriorating the quality of NMT results, the choice of texts to be introduced in the corpus of the NAT system has been attributed to the senior revisers of the translation unit and not to the NMT service provider.

 

Note de l’éditeur

Publié avec le soutien de la Société française de Traductologie, Université de Paris Nanterre

Éditeur : Presses universitaires du Septentrion

Lieu d’édition : Villeneuve d’Ascq

Publication sur OpenEdition Books : 10 septembre 2024

Collection : Traductologie

Année d’édition : 2024

Nombre de pages : 140"

#metaglossia_mundus: https://books.openedition.org/septentrion/178596#anchor-resume

 

"Harpur faculty revive Ladino, traditionally spoken by Sephardic Jews

By Steve Seepersaud

September 10, 2024

Spanish and Hebrew are two languages you probably wouldn’t link in terms of sound, appearance or cultural history. So, it may surprise you that a language exists that sounds like Spanish and has historically used varieties of the Hebrew alphabet.

At its peak, Ladino — the language of Sephardic Jews — was spoken by about 250,000 people. After teetering on the brink of extinction, Ladino is not only still alive, but it’s attracting an increasing number of people who want to learn and speak it.

This revival is partly because of the collaboration of two Harpur College faculty members. In 2020, Bryan Kirschen ’07, MA ’08, and Dina Danon created the Ladino Collaboratory — also known as the Ladino Lab — with the help of a grant from Binghamton University’s Institute for Advanced Studies in the Humanities. This three-year initiative was intended to train students to read and speak Ladino, and introduce them to others who speak the language.

When Sephardic Jews were expelled from Spain in 1492, they dispersed throughout the eastern Mediterranean region to lands that were part of the Ottoman Empire, establishing communities in cities in what are now modern-day Greece and Turkey.

“Because the Ottomans were historically not interested in homogeneity, the empire had many ethnicities and many languages,” says Danon, associate professor of Judaic studies and history. “People preserved their cultural particulars in the lands of the Ottomans. Jews could speak the language they brought with them. Over centuries, Ladino evolved. As it came into contact with Turkish, French and Italian, there were regional variations of the language, and it managed to survive for hundreds of years in exile.”

 

“Sephardim were often multilingual, and Ladino was a vibrant living language at the center of their linguistic production,” adds Kirschen, chair of the Department of Romance Languages and Literatures, and associate professor of Spanish and linguistics. “While genocide and assimilation have escalated the degree of endangerment of Ladino, the language is still used in a variety of domains. Within academia, we have a platform to share the voices of minoritized groups. In particular, younger generations are showing interest in a language that has been pushed aside for generations.”

The COVID-19 pandemic might seem like an odd historical reference point for a language that has endured for centuries. Ironically, the lockdowns provided an opportunity for Ladino to spread its reach. Kirschen and Danon initially created the concept for the Ladino Lab before the pandemic, with programming to be delivered in person. After the pandemic hit, they introduced an apprenticeship program that paired participants with partners across America with whom they would converse over Zoom.

 

“Ladino has received a considerable uptick of attention and interest since 1992, which was the 500-year commemoration of the expulsion of the Jews from Spain,” Kirschen says. “In more recent years, the pandemic created many new opportunities to offer additional resources online. Before that, much of the activity in Ladino was limited to communities with Sephardic populations.”

 

The three-year duration of the grant has concluded and the Ladino Lab is on pause. In the meantime, Kirschen is incorporating Ladino into upper-level Spanish courses and Danon introduces students to Ladino in Sephardic history classes. They are planning the next phase of the lab to meet the needs of a growing number of students who want to learn the language and history of the Sephardim.

“Ladino was a language I heard around the house and something I came to study as an adult,” Danon reflects. “I was familiar with Ladino as a child, so part of it is a personal quest for preservation. The Holocaust almost completely erased Ladino off the map. We at Binghamton can continue it. Ladino is still alive, and we can engage people in all sectors of the campus. It’s meaningful to me both on a scholarly and personal level.”

“For many, Ladino is more than just a language; it’s a movement,” Kirschen says. “Several of our students have continued conversations by phone or Zoom with their Ladino-speaking partners, which is very meaningful. While some members of our lab were Sephardic, most were not. Part of our goal is to educate students of different backgrounds on diverse historical, cultural and linguistic ways of being Jewish and speaking varieties of Spanish.”

Posted in: Harpur"

#metaglossia_mundus: https://www.binghamton.edu/news/story/5123/saving-a-language-from-extinction

 

''By adopting WANA to describe the vast interconnected geographical region, we can better honor its rich diversity and the people who call it home.

The shift from MENA to WANA is more than just a name change. It represents a broader movement toward decolonizing our language and perspectives.

Written byWalid El Houri

Posted 11 September 2024 13:49 GMT

 

A copy of Muhammad Al-Idrisi's world map by ‘Alî ibn Hasan al-Hûfî al-Qâsimî's from 1456. The original map dates back to 1154. South is at the top of the map. Image from Wikimedia Commons. Public Domain.

The term “Middle East and North Africa” (MENA) has long been used to describe a vast and diverse region stretching from Morocco in the west, to Iran in the east. However, the term’s Eurocentrism has been criticized, and in recent years we have seen a growing momentum to replace MENA with terms like SWANA (Southwest Asia and North Africa) or WANA (West Asia and North Africa).

As part of our mission of amplifying voices from across the globe, and in recognition of the importance of language, at Global Voices we have decided to adopt the term WANA instead of MENA as a way to challenge such outdated and colonial terminologies.

This shift reflects an increasing awareness of colonial legacies and a desire to dismantle them across the globe. Decolonizing language and terminology to speak about the world and its peoples is part of this process.

‘Middle of where, east of what?’

“Middle East” is a term rooted in European colonialism, coined in the 19th century. It reflects a Eurocentric view, placing Europe at the center of the world map and labeling the regions to its east according to their distance from that center.

Using Middle East perpetuates this colonial mindset by continuing to frame the region through that lens. The addition of “North Africa” to create MENA does little to address this issue, as it still links two regions — one described based on its own continental geography and the other based on its relation to Europe — under a single umbrella that fails to recognize their distinct identities and historical experiences.

An Arabic debate?

In Arabic, the term used to describe the region varies and often depends on political contexts. The most commonly used is in fact “الشرق الأوسط,” which translates directly to the Eurocentric “Middle East.” Though other terms like “غرب آسيا” meaning “West Asia,” are sometimes used as a decolonial choice in academic and political discourse, they are not nearly as commonly used as “Middle East.” West Asia is however mostly encountered in United Nations reports, as well as sporting events or regional championships.

The other commonly used terms are “الوطن العربي,” translated as “the Arab Homeland,” or “العالم العربي,” translated as “the Arab World,” that are frequently used to emphasize the shared linguistic, cultural, and historical ties among Arab peoples in the 22 states that form the Arab League. This contested terminology excludes both the non-Arabic speaking states in the broader WANA region, but, most importantly, the many non-Arab groups who form an intrinsic part of the region’s diverse peoples, such as Kurds, Amazighs, Armenians, Assyrians and many others. “Muslim World” is another term often used to describe a wider region, which in turn excludes the many non-Muslim groups who exist within this geography, and many Muslim groups who are outside it.

Though Arabic debates about language use in relation to identity, geography, and decolonization are happening, they remain less influential in their mainstream impact than their counterparts in English. The same can be said about other major languages such as French, Spanish or even Mandarin who continue to predominantly use terms equivalent to “Middle East” instead of more geographically accurate terms like West Asia. Nonetheless, debates, even if limited, are happening.

Why SWANA or WANA?

One of the key arguments for adopting SWANA or WANA is the geographic accuracy these terms provide. “Southwest Asia” and “West Asia,” like “North Africa,” are geographical descriptions of a region, positioning it within its continental context. These terms de-center the European perspective and instead focus on the region’s own geography.

The use of WANA has gained traction among decolonial scholars and activists who seek to challenge the Eurocentrism or Orientalism carried by terms like MENA, Arab world, Muslim world, etc. used to describe these vast and diverse regions.

The purely geographical designation of SWANA or WANA is able to acknowledge the diversity within these regions, as well as the proximity and connections between its parts.

These geographical terms allow for a more nuanced understanding of identity, one that is not limited by colonial or cultural categorizations. By adopting WANA to describe the vast interconnected geographical region, we can better honor its rich diversity and the people who call it home."

#metaglossia_mundus

Why cultural diversity and open mindsets are the basis for innovation and growth

By Simone Belko Last updated Sep 9, 2024

Intercultural competence promotes communication, cooperation and innovation in the global economy and creates an inclusive corporate culture.

How can companies be truly successful in a globalized world? Intercultural competence is the answer. It not only promotes effective communication and collaboration between different cultures, but also creates an innovative, inclusive corporate culture. Find out how this skill strengthens corporate success in global markets and enables a creative and productive working environment.

Index

• 1. What is intercultural competence?
• 2. Intercultural competence and diversity
• 3. Intercultural competence and innovation
• Conclusion on intercultural competence

1. What is intercultural competence?

Intercultural competence is the ability to communicate and collaborate effectively and respectfully with people from different cultural backgrounds. This skill is becoming increasingly important in a networked world in which location, time, country and language barriers can be overcome more and more easily with the help of technology. In international companies, English has long been the corporate language in order to integrate foreign specialists. Outsourcing and offshoring to save costs requires smooth communication with people from other cultures in different time zones. Different expectations, working styles and mindsets have to be brought together and managed, which are not always obvious.

How do you create a heightened awareness of cultural differences? Intercultural competence involves understanding that as an individual you are operating within a universe of contradictory cultural and historical conditions. These influences can include different conceptions of reality and divergent historical, political, geographical and social backgrounds.

This means that, in addition to basic character skills, knowledge of modernization, globalization and the transformation of society through technology and science is necessary for a change of perspective. Without knowledge, there can be no understanding of different attitudes and behaviors. This also includes a fundamental understanding of ethical, philosophical and religious principles.

An essential component of intercultural competence is the ability to critically reflect on one’s own cultural background. What understanding of roles has shaped me? Which values are particularly important to me and why? Much of what we learned in our childhood has solidified into automated behavior patterns that we no longer even notice in later life. But this conditioning significantly determines our thought process and therefore also how we see the world.

External perspectives on our own lives can reveal this conditioning: This can sometimes be painful because we have to say goodbye to cherished truths. But if you open yourself up to this, it can also bring new insights. Only those who understand their own background and question the associated values and norms can view foreign perspectives on their own in an enriching light.

2. Intercultural competence and diversity

Conflicts between cultures usually arise from misunderstandings. Every culture and every language is part of an institutional order that creates accepted and standardized imagery. Those who know these different systems of order and can relate them to each other have a clear advantage.

Diversity in companies refers to the diversity of the workforce not only in terms of culture, but also in terms of gender, age, ethnic origin, religion, sexual orientation and other characteristics. Intercultural competence plays a central role in promoting and utilizing this diversity. A company that promotes intercultural competence creates an environment in which employees are sensitized to understanding different points of view. They should thus be better able to react professionally, calmly and empathetically to conflicts and, first and foremost, to question possible cultural misunderstandings. This can also be helpful in other types of conflict, as it trains them to put themselves in the shoes of the other party and understand the problem from their perspective.

Diversity has been proven to increase corporate success. The ability to recognize and appreciate cultural differences leads to a more inclusive corporate culture. This allows employees to feel safe and valued, which in turn increases their satisfaction and productivity. In addition, a diverse and interculturally competent team can develop creative and innovative solutions as they can draw from a wider range of experiences and perspectives.

Another benefit is the improvement of international business relations. Companies that promote intercultural competence are better able to operate in global markets. They can understand and accommodate cultural differences in negotiating styles, business etiquette and customer preferences, leading to more successful international partnerships and business deals. In addition, companies can better position themselves strategically, professionally and communicatively for a planned internationalization if they are aware of common pitfalls in intercultural cooperation in advance and prepare themselves accordingly.

3. Intercultural competence and innovation

Focusing on diversity by bringing different cultures together is not an easy model to implement and is not suitable for all companies. Successfully implementing a diversity strategy requires an understanding of innovation that most traditional companies do not have.

It sees innovation not as an exception but as the rule and integrates open innovation networks in which different stakeholders are involved from the outset. It pursues a bottom-up strategy that uses agile, customer-oriented and data-supported insights from operations in iterative processes to align them with the management strategy. It relies on unusual, risky and untested thinking models outside the norm instead of chasing the zeitgeist. This is the only way to achieve a genuine knowledge advantage beyond conventions and established interpretations.

Smooth collaboration works best in local, small networks – the so-called social fabric – which is characterized by similarities in characteristics such as wealth, level of education, but also ethnicity or regional culture. If you want to harness diversity here, you first need to train an understanding of intercultural competence, critical thinking and diversity of perspectives.

To achieve this, educational institutions and companies need to focus more on promoting creative processes instead of passing on canonized knowledge. Canonized knowledge quickly becomes outdated in a world that generates an abundance of information and new specialized knowledge at an unprecedented speed. On the other hand, those who are able to critically assess and make judgments themselves will continue to be superior to computers and so-called artificial intelligence in the future.

Conclusion on intercultural competence

Intercultural competence is indispensable in today’s globalized and diverse working world. It enables companies to fully exploit the benefits of diversity and drive innovation. Only through the targeted promotion of intercultural skills can misunderstandings be minimized, an inclusive corporate culture created and international business relationships successfully shaped.

Companies that recognize this and integrate it into their strategies not only position themselves more successfully on the global market, but also create a working environment in which creativity and collaboration can flourish. In a rapidly changing world, intercultural competence is therefore not only an advantage, but a necessity for sustainable success.

Simone Belko

Simone Belko is a media scientist and European studies scholar with a strong focus on digital literacy. With experience in journalism, PR, marketing, IT and training she has excelled in Germany and abroad. As a manager for digital products in the online games and FinTech industry she gained deep insights into online platforms and communities. Simone is the author of "Digital Consciousness" ("Das digitale Bewusstsein") and currently works at Otto GmbH, leveraging her expertise in business transformation.

#metaglossia_mundus: https://morethandigital.info/en/intercultural-competence-a-success-factor-in-a-globalised-economy/

 

Ghanaian Pidgin English: morphology and syntax was published in A Handbook of Varieties of English on page 2058.

Magnus Huber1. IntroductionGhanaian Pidgin English (GhP) is part of the West African Pidgin (WAP) contin-uum, which includes the varieties spoken in Sierra Leone (Krio), Ghana, Nigeria, and Cameroon. There are many similarities between the restructured Englishes spoken in these countries, which can to a large part be explained by the fact that the pidgins spoken in Ghana, Nigeria, and Cameroon are offshoots of Krio (see Huber 1999: 75–134 for details). For this reason, the following sections will place special emphasis on those aspects where GhP differs from the other WAPs, in particular Nigerian Pidgin (NigP). Readers are therefore advised to consult the articles by Elugbe and Faraclas (this volume) to get a full contrastive view of NigP and GhP.Abbreviations used in this chapter are as follows: ABIL = ability (mood); CAUS = causative; COMPL = completive aspect; COP = copula; COMP = complemen-tizer; DEF = defi nite article; DEM = demonstrative; EMPH = emphasizer; FOC = focus marker; INCOMPL = incompletive aspect (progressive, habitual); INDEF = indefi nite article; INT = intentionalis; IRR = irrealis mood (future, conditional); NEG = negator; PLF = plural free subject pronoun; PLB = plural bound subject pronoun; PL = nominal plural; PLOB = plural bound object pronoun; SGB = sin-gular free subject pronoun; SB = singular bound pronoun; SEQ = sequential tense; SGOB = singular bound object pronoun; SGPOSS = singular possessive pronoun; SGREFL = singular refl exive pronoun; TOP = topicalizer.

Why cultural diversity and open mindsets are the basis for innovation and growth

By Simone Belko Last updated Sep 9, 2024

Intercultural competence promotes communication, cooperation and innovation in the global economy and creates an inclusive corporate culture.

How can companies be truly successful in a globalized world? Intercultural competence is the answer. It not only promotes effective communication and collaboration between different cultures, but also creates an innovative, inclusive corporate culture. Find out how this skill strengthens corporate success in global markets and enables a creative and productive working environment.

Index

• 1. What is intercultural competence?
• 2. Intercultural competence and diversity
• 3. Intercultural competence and innovation
• Conclusion on intercultural competence

1. What is intercultural competence?

Intercultural competence is the ability to communicate and collaborate effectively and respectfully with people from different cultural backgrounds. This skill is becoming increasingly important in a networked world in which location, time, country and language barriers can be overcome more and more easily with the help of technology. In international companies, English has long been the corporate language in order to integrate foreign specialists. Outsourcing and offshoring to save costs requires smooth communication with people from other cultures in different time zones. Different expectations, working styles and mindsets have to be brought together and managed, which are not always obvious.

How do you create a heightened awareness of cultural differences? Intercultural competence involves understanding that as an individual you are operating within a universe of contradictory cultural and historical conditions. These influences can include different conceptions of reality and divergent historical, political, geographical and social backgrounds.

This means that, in addition to basic character skills, knowledge of modernization, globalization and the transformation of society through technology and science is necessary for a change of perspective. Without knowledge, there can be no understanding of different attitudes and behaviors. This also includes a fundamental understanding of ethical, philosophical and religious principles.

An essential component of intercultural competence is the ability to critically reflect on one’s own cultural background. What understanding of roles has shaped me? Which values are particularly important to me and why? Much of what we learned in our childhood has solidified into automated behavior patterns that we no longer even notice in later life. But this conditioning significantly determines our thought process and therefore also how we see the world.

External perspectives on our own lives can reveal this conditioning: This can sometimes be painful because we have to say goodbye to cherished truths. But if you open yourself up to this, it can also bring new insights. Only those who understand their own background and question the associated values and norms can view foreign perspectives on their own in an enriching light.

2. Intercultural competence and diversity

Conflicts between cultures usually arise from misunderstandings. Every culture and every language is part of an institutional order that creates accepted and standardized imagery. Those who know these different systems of order and can relate them to each other have a clear advantage.

Diversity in companies refers to the diversity of the workforce not only in terms of culture, but also in terms of gender, age, ethnic origin, religion, sexual orientation and other characteristics. Intercultural competence plays a central role in promoting and utilizing this diversity. A company that promotes intercultural competence creates an environment in which employees are sensitized to understanding different points of view. They should thus be better able to react professionally, calmly and empathetically to conflicts and, first and foremost, to question possible cultural misunderstandings. This can also be helpful in other types of conflict, as it trains them to put themselves in the shoes of the other party and understand the problem from their perspective.

Diversity has been proven to increase corporate success. The ability to recognize and appreciate cultural differences leads to a more inclusive corporate culture. This allows employees to feel safe and valued, which in turn increases their satisfaction and productivity. In addition, a diverse and interculturally competent team can develop creative and innovative solutions as they can draw from a wider range of experiences and perspectives.

Another benefit is the improvement of international business relations. Companies that promote intercultural competence are better able to operate in global markets. They can understand and accommodate cultural differences in negotiating styles, business etiquette and customer preferences, leading to more successful international partnerships and business deals. In addition, companies can better position themselves strategically, professionally and communicatively for a planned internationalization if they are aware of common pitfalls in intercultural cooperation in advance and prepare themselves accordingly.

3. Intercultural competence and innovation

Focusing on diversity by bringing different cultures together is not an easy model to implement and is not suitable for all companies. Successfully implementing a diversity strategy requires an understanding of innovation that most traditional companies do not have.

It sees innovation not as an exception but as the rule and integrates open innovation networks in which different stakeholders are involved from the outset. It pursues a bottom-up strategy that uses agile, customer-oriented and data-supported insights from operations in iterative processes to align them with the management strategy. It relies on unusual, risky and untested thinking models outside the norm instead of chasing the zeitgeist. This is the only way to achieve a genuine knowledge advantage beyond conventions and established interpretations.

Smooth collaboration works best in local, small networks – the so-called social fabric – which is characterized by similarities in characteristics such as wealth, level of education, but also ethnicity or regional culture. If you want to harness diversity here, you first need to train an understanding of intercultural competence, critical thinking and diversity of perspectives.

To achieve this, educational institutions and companies need to focus more on promoting creative processes instead of passing on canonized knowledge. Canonized knowledge quickly becomes outdated in a world that generates an abundance of information and new specialized knowledge at an unprecedented speed. On the other hand, those who are able to critically assess and make judgments themselves will continue to be superior to computers and so-called artificial intelligence in the future.

Conclusion on intercultural competence

Intercultural competence is indispensable in today’s globalized and diverse working world. It enables companies to fully exploit the benefits of diversity and drive innovation. Only through the targeted promotion of intercultural skills can misunderstandings be minimized, an inclusive corporate culture created and international business relationships successfully shaped.

Companies that recognize this and integrate it into their strategies not only position themselves more successfully on the global market, but also create a working environment in which creativity and collaboration can flourish. In a rapidly changing world, intercultural competence is therefore not only an advantage, but a necessity for sustainable success.

Simone Belko

•  
•  
•  

 

Simone Belko is a media scientist and European studies scholar with a strong focus on digital literacy. With experience in journalism, PR, marketing, IT and training she has excelled in Germany and abroad. As a manager for digital products in the online games and FinTech industry she gained deep insights into online platforms and communities. Simone is the author of "Digital Consciousness" ("Das digitale Bewusstsein") and currently works at Otto GmbH, leveraging her expertise in business transformation.

#metaglossia_mundus: https://morethandigital.info/en/intercultural-competence-a-success-factor-in-a-globalised-economy/

 

The 21st International Congress of Linguists commenced at 11 a.m. on Sunday at the MTP Poznań Expo. The event is held every five years in a different country. This year, the Congress is co-organised by Adam Mickiewicz University, Poznań.

- "The theme of the Congress in 2024 in Poznań is Languages - Communities - Technologies Languages - Communities - Technologies". - says Prof. Katarzyna Dziubalska-Kołaczyk, AMU Vice-Rector for Research and Chair of the ICL 2024 Organising Committee - "The theme covers, firstly, a broad range of research fields within linguistics such as phonetics and phonology, history of language, lexicology and lexicography, corpus linguistics, translation studies, syntax and morphology, and so on. Conversely, it deals with interdisciplinary topics extending disciplines such as sociology, psychology, computer science and medicine. The linguists participating in the Congress will tackle socially relevant subjects, e.g. the role of language for artificial intelligence, linguistic diversity, ways of documenting languages and the threat to the world's languages, multilingualism - responding to the question of whether it is worth learning more than one language, or how language and emotions are processed in the human brain. A group of sign language interpreters will cover the session on sign languages," - Prof Dziubalska-Kołaczyk concluded.

The Congress opened on Sunday 8, September and will continue until 14 September. More information on the event can be found at https://icl2024poznan.pl/

Interpreters Unlimited Named One of America's Top 100 Small Businesses

09-09-2024 09:30 AM CET | 

Press release from: Interpreters Unlimited

 

The U.S. Chamber of Commerce and CO-, its award-winning digital platform for small businesses, has announced that Interpreters Unlimited (IU) was chosen for the CO-100: America's Top 100 Small Businesses list.

IU was selected out of more than 14,000 companies by an esteemed panel of judges for its overall growth driven by cutting-edge ideas, resilience, and strong employee culture. This exclusive honor recognizes IU and their significant contributions to the economy, community, and its commitment to excellence.

The CO-100 list includes a diverse array of small businesses of all sizes and industries located in 31 states and Washington, D.C. A leading Language Service Provider specializing in foreign language interpretation, American Sign Language, and document translation, IU is proud to stand alongside other exceptional businesses on the list, representing the best of American entrepreneurship and innovation.

"As the world's largest business organization representing companies of all sizes and industries, we understand what makes a business great," said Jeanette Mulvey, Vice President and Editor-in-Chief of CO- by the U.S. Chamber of Commerce. "The CO-100 founders, owners, entrepreneurs, and employees showcase the exceptional talent and innovation within the American business community."

Since its founding, Interpreters Unlimited has been at the forefront of delivering high-quality language services to a diverse range of clients, including educational institutions, healthcare providers, government agencies, and businesses across the nation. By ensuring that language is never a barrier to communication, IU has played a pivotal role in supporting the needs of Limited English Proficient and Deaf and Hard-of-Hearing communities.

The CO-100 award highlights IU's ongoing efforts to innovate and adapt in an ever-changing marketplace. With proprietary technologies that streamline service delivery, such as their client web portal and Auto Scheduling feature, IU has set new standards for efficiency and customer satisfaction in the language services industry.

In addition to its business achievements, Interpreters Unlimited is deeply committed to giving back to the community including pro bono language services for the NORAD Tracks Santa program and supporting local causes from combatting homelessness to providing resources for refugee families to name a few.

"We are incredibly honored to be named to the U.S. Chamber of Commerce CO-100 list," said Sayed Ali, President of Interpreters Unlimited. "This recognition reflects our team's dedication to providing exceptional language services that bridge communication gaps and foster inclusivity. It also underscores our commitment to making a positive impact on the communities we serve."

For more information about Interpreters Unlimited, Inc., please visit www.interpreters.com or call 800-726-9891.

Interpreters Unlimited
8943 Calliandra Rd
San Diego, CA 92126
Press Contact: Marc Westray
marc.westray@interpreters.com

The IU Group of companies include: Interpreters Unlimited, Accessible Communication for the Deaf, Albors & Alnet, Arkansas Spanish Interpreters and Translators, and IU GlobeLink, LLC, and are headquartered in San Diego, California as a minority-owned company. IU Group is committed to providing equal opportunity in the work environment with its diverse team to aid in supplying linguistic and cultural interpretation services to clients. A combined 70 years in the industry has demonstrated a surplus of leadership and best practices, which has helped establish its respected role in the language services community. Its services include interpretation, document translation and non-emergency medical transportation.

This release was published on openPR.

#metaglossia_mundus: https://www.openpr.com/news/3648234/interpreters-unlimited-named-one-of-america-s-top-100-small

Timekettle W4 Pro launches at IFA 2024 to revolutionize cross-language business communications

Timekettle W4 Pro AI Interpreter Earbuds provide instant two-way translation for face-to-face or remote communication in 40 languages.

Sep 9, 2024 2:04 am PDT

Timekettle has unveiled its W4 Pro AI Interpreter Earbuds at the IFA 2024 tradeshow in Berlin, the first open-fit translator buds with support for audio and video translation, a specialized vocabulary database, and premium sound quality.

The new product is an upgrade over the company’s W3 translator buds, with a more ergonomic open-fit design, upgraded audio hardware, enhanced battery life, and advanced real-time translation capabilities that promise more engaging and effective multilingual conversations.

With instant startup, the W4 Pro is professional, fast and efficient. Dedicated translation modes can meet all your business needs, whether you are meeting face-to-face, remotely over a video call, or in a group boardroom setting.

Their usefulness also extends outside the working day, with the W4 Pro able to assist with all manner of foreign living scenarios, from studying abroad to making new friends, organizing doctor appointments and even ordering food in restaurants.

What problem does Timekettle W4 Pro solve?

Translation software is ideal for communicating with business colleagues in other languages over email, but face-to-face meetings can still be problematic, fraught with misunderstandings, inaccuracies, and awkward silences as the software tries to play catch up with what’s going on in the room. Meanwhile, handheld translator devices can be impersonal and ineffective.

Timekettle aims to change this with its W4 Pro buds. Dubbed ‘AI Interpreter Earbuds’, Timekettle says its earbuds function as your personal global business assistant, and act as a real-life ‘Babel Fish’ to enable free communication across languages.

For those who are not familiar with that Hitchhiker’s Guide to the Galaxy reference, the W4 Pro is a headset that can initiate automatic two-way translation in both conversational and business meeting settings, allowing you to understand those ‘alien’ languages. Real-time translation smooths interactions and enables more natural and instantaneous cross-language communication.

The company’s evolving HybridComm technology leans on AI to provide a seamless multi-user experience. Unlike many alternatives, the experience is hands-free, which means you can maintain eye contact throughout. In removing the obstacles and allowing chatter to flow more freely, the W4 Pro stands to enable deeper connections and more meaningful conversations.

Timekettle supports real-time translation in 40 languages and 93 accents. The W4 Pro’s upgraded three-mic array, enhanced voice recognition and vector noise cancellation (VNC) combat background noise to ensure voices are picked up clearly, with up to 95% accuracy in translations. A personal glossary also lets you add business jargon and other custom terms for more precise translations.

Timekettle W4 Pro translation modes

Timekettle’s W4 Pro has three translation modes to allow for multiple business scenarios:

• One-on-one:Best for two-way conversations, Timekettle’s dual-interpretation system combines both voices into a single feed to allow for real-time translation and more naturally flowing conversation.
• Listen & Play:Best for multilingual meetings, the W4 Pro can seamlessly switch between listening and speaking at the click of a button. AI-powered rapid sentence parsing aids information absorption and retention. Plus, you can automatically save the audio, and use AI Memo to collect handy post-meeting notes. New in W4 Pro is the ability to simultaneously process audio in five different languages.
• Media Translation:Best for video calls, unexpected phone calls and streaming media, this mode provides video translation with real-time subtitles and helpful after-event summaries.

Timekettle

Timekettle W4 Pro hardware

These are premium buds, capable of delivering high-end, crystal clear sound quality, whether you are listening to translated audio or music.

The W4 Pro has an open-ear design, measuring 80.1×57.7×25.4mm and weighing 16.1g, making it comfortable to wear for extended periods.

Timekettle

A 110mAh battery in each bud is good for six hours of translation or 12 hours of audio playback. Expect them to recharge in an hour when packed in the supplied charging case, which can charge the buds two times. When that’s empty, it’ll take 1.5 hours to recharge over USB-C.

Connecting over Bluetooth 5.3, you’ll need to pair the W4 Pro with a smartphone running Android 10/iOS 14 or later. The companion app can additionally perform offline translation from English, Chinese, Japanese, German, French, Spanish, Russian or Korean into English or Chinese.

#metaglossia_mundus: https://www.pcworld.com/article/2445815/timekettle-w4-pro.html