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L'Université de Namur (UNamur) et le l'association Langue des signes de Belgique francophone (LSFB) ont lancé mardi la plateforme MOSI ("Du mot au signe"). Ce nouvel outil permet déjà de relier quelque 7.000 signes à des mots en quelques clics. MOSI s'appuie sur un dictionnaire enrichi depuis 2010 par l'association LSFB et un autre dictionnaire bilingue contextuel accessible en ligne depuis 2022 grâce au Laboratoire de langue des signes francophone de Belgique de l'UNamur (LSFB-Lab). Sur base de ces données, ce sont des milliers de mots qui peuvent être traduits et bientôt davantage encore grâce à la contribution de la communauté des signeurs.
"L'UNamur et l'ASBL LSFB mettent en ligne un outil de traduction de la langue des signes
L'Université de Namur (UNamur) et le l'association Langue des signes de Belgique francophone (LSFB) ont lancé mardi la plateforme MOSI ("Du mot au signe"). Ce nouvel outil permet déjà de relier quelque 7.000 signes à des mots en quelques clics. MOSI s'appuie sur un dictionnaire enrichi depuis 2010 par l'association LSFB et un autre dictionnaire bilingue contextuel accessible en ligne depuis 2022 grâce au Laboratoire de langue des signes francophone de Belgique de l'UNamur (LSFB-Lab). Sur base de ces données, ce sont des milliers de mots qui peuvent être traduits et bientôt davantage encore grâce à la contribution de la communauté des signeurs.
Publié le 13-05-2025 à 15h24
à Namur, Belgique
Concrètement, la première étape consiste à télécharger l'extension liée à son navigateur web sur le site www.mot-signe.be. Ensuite, lorsqu'on consulte une page web, il suffit de mettre un mot en surbrillance, puis de faire un clic droit pour le traduire. On voit alors apparaitre une vidéo avec le signe correspondant. Si un mot n'est pas encore traduit, l'utilisateur peut également enregistrer une vidéo et la publier pour enrichir la base de données.
MOSI a été développé en étroite collaboration avec l'ASBL Ecole&Surdité, fondée par des enseignants des classes bilingues inclusives de l'école Sainte-Marie, située à Namur. L'outil se destine en particulier aux élèves sourds qui apprennent le français, mais il s'adresse aussi à toute personne qui a besoin de traduire le français écrit en LSFB. Sur le plan professionnel, cela concerne notamment les enseignants, les logopèdes, les interprètes et toutes les personnes œuvrant dans le domaine de la surdité."
https://www.lalibre.be/dernieres-depeches/2025/05/13/lunamur-et-lasbl-lsfb-mettent-en-ligne-un-outil-de-traduction-de-la-langue-des-signes-AUSM4P4NE5CLLCNE27LB4674EE/
#metaglossia_mundus
Graduate Teaching Assistant (Translation Studies Glasgow)
Job details
Job description
Graduate Teaching Assistant (GTA) COLLEGE OF ARTS SCHOOL OF MODERN LANGUAGES & CULTURES GRADE 6 Job Purpose Within a clear and established teaching programme, contribute to the delivery of an excellent student experience by undertaking a range of teaching, assessment and administrative duties, principally at undergraduate level, to further the understanding of key course topics and assist students in drawing out key learning points from course materials. Main Duties and Responsibilities 1. Contribute to the planning, organisation and delivery of undergraduate teaching. 2. Deliver a range of teaching and assessment activities directed towards the delivery of subjects at undergraduate level. 3. Participate in a range of course administration duties, within required timescales, including effective communication of information, marking, assessment and timeous constructive feedback. 4. Assist with the development of appropriate teaching materials ensuring content and methods of delivery meet determined learning objectives. 5. Contribute to the effective use of learning technologies to support and enhance course delivery, course organisation, feedback and assessment. This may involve blended and/or online provision including the use of Moodle and other IT materials. 6. Apply specialist knowledge to teaching that best meet the needs of individuals and groups of learners, ensuring an inclusive and evidence-based approach that promotes student participation and learning outcome attainment. 7. Participate in the full assessment process using a variety of methods and techniques, including oral assessment, and provide effective, timely and appropriate feedback to students that supports their learning. 8. Assist with the supervision of student projects, dissertations, and any practical work, advising on skills, methods and techniques to assist the transfer of knowledge, and respond appropriately to the diverse range of learner support/ needs. 9. Engage in continuing professional development activities as appropriate. 10. Undertake any other reasonable duties as required by the Head of School. 11. To contribute to the enhancement of the University’s international profile in line with the University’s Strategic Plan. Qualifications A1. Honours degree (SCQF Level 10) relevant to the teaching area or have expertise in a relevant field, together with an understanding of the principles of teaching, learning and assessment. A2. Registered for and working towards the achievement of a PhD (MPhil/PhD) or PGT qualification in a relevant subject. Knowledge, Skills and Experience C1. Expert knowledge of the subject area. C2. Experience of delivering and supporting undergraduate or postgraduate students either in an online, distance learning or face to face environment. C3. Experience of supervising, mentoring or teaching students in practical and active learning environments. C4. Relevant administrative experience (e.g. student support, course administration etc.) C5. Excellent communication and presentation skills. C6. Ability to use IT and relevant software packages to support teaching and learning. C7. Proven ability to work independently and as part of a team. C8. Ability to work to deadlines. C9. Commitment to the University’s published values and professional behaviours. Closing Date 1st June 2025 @ 23.45pm https://www.jobs.gla.ac.uk/job/graduate-teaching-assistant-translation-studies-glasgow?source=google.com ##metaglossia_mundus
"We only launch a new language when we are confident that we can offer a better solution than what's already on the market, and that includes Arabic."
Breaking Boundaries: How DeepL's New Arabic Tool Aims to Lead AI Translation for MENA Businesses"We only launch a new language when we are confident that we can offer a better solution than what's already on the market, and that includes Arabic."
Opinions expressed by Entrepreneur contributors are their own. You're reading Entrepreneur Middle East, an international franchise of Entrepreneur Media. Image courtesy DeepLDavid Parry-Jones, Chief Revenue Officer, DeepL In January 2025, Germany-headquartered artificial intelligence (AI)-powered translation service provider DeepL revealed a study showing that 84% of professionals in the UAE and Saudi Arabia have integrated AI translation tools into their workflows. Now, put this statistic in the context of both nations' global economic milestones -which require efficient cross-border business communications and market access- and it immediately holds added value: in 2024, the UAE's total foreign trade stood at US$1.424 trillion (AED5.23 trillion), up 49% compared to its 2021 performance; while the Kingdom's non-oil exports alone in 2024 reached $137.3 billion (SAR515 billion), marking a 13% increase from 2023. As the Chief Revenue Officer at DeepL, David Parry-Jones has been able to closely observe the growing necessity for accurate translation tools. "In this recent study conducted to understand the increasing integration of AI-driven language technologies within organizations, we also found that 46% of professionals in the UAE and KSA reported that AI translation tools have helped them expand their business into new markets," he shares. "Additionally, our findings revealed that AI-driven tools are mostly applied to developing new language skills (UAE: 52%; KSA: 51%), boosting efficiency and saving time (UAE: 50%; KSA: 51%), and managing supplier relationships (UAE: 45%; KSA: 47%)." These, of course, are just two nations in a region that comprises over 20 Arabic-speaking countries. "Arabic is the fifth most spoken language globally and has long been one of the most requested by our users," Parry-Jones says. "The language is spoken in over 22 countries and plays an important role in global communication. However, its right-to-left script, unique characters, and structural complexity made integration somewhat more challenging. Despite this, we're now pleased to be unveiling document translation, joining our in-app and desktop translation solutions." Indeed, DeepL's Arabic Document Translation tool -launched officially on April 30, 2025- has been designed to simplify document translation for businesses and professionals that engage with Arabic-speaking markets across MENA. "Launching Arabic within the DeepL platform was a powerful step towards breaking down language barriers and connecting the world!" Parry-Jones adds. "We believe that Language AI is one of the most strategic investments a business can make. Some of the sectors that benefit the most from Language AI are retail, manufacturing and legal, where high quality and accurate translation is vital. In retail, it increases efficiency by developing multilingual marketing assets and customer service tools, translating internal systems, and enabling seamless international expansion. In the legal sector, AI translation services help international law firms overcome language barriers. Additionally, in manufacturing, AI translation allows global manufacturing facilities to ease their supply chain and distribution with accurate translation of customs documents, product descriptions and local regulations." Image source: DeepL Now, anyone with the slightest of linguistic interests would know that there are plenty of existing Arabic translation services already available. But the dire inaccuracies provided by these platforms have also been well documented in recent years. When DeepL's Arabic Document Translation Tool was announced in late April, it claimed to outperform GPT-4, Google, and Microsoft in translation quality– something Parry-Jones assures isn't an empty promise. "DeepL outperforms these models because our language model is purpose-built for translation, using proprietary training data collected over seven years," he explains. "Unlike general-purpose models like GPT-4, DeepL is tuned specifically for linguistic accuracy. In blind tests with language experts, DeepL's translations were preferred 1.3x more than Google's, 1.7x more than GPT-4's, and 2.3x more than Microsoft's. The model also requires significantly fewer edits, with Google needing twice as many, and GPT-4 three times more, to reach the same quality. We also rely on the expertise of thousands of hand-picked language specialists who "tutor" the model, resulting in best-in-class translation." DeepL's decision to integrate the expertise of human translators has been pivotal in ensuring that the AI-powered machine translation platform incorporates the plethora of regional dialects within the Arabic language– a move that has, again, helped in outperforming its competitors. "Our expert team of translators are involved in many stages of our research and development (R&D) process, from building models for a new language to improving existing ones," Parry-Jones continues. "By incorporating a human element in the initial phases of our research, we avoid the risk of our translations sounding robotic and help ensure that our translations pick up cultural nuances. This also applies during the evaluation stage; while synthetic evaluations deliver quick results, the ground truth is to ask those that have invented and mastered the use of language to provide feedback on translations - how accurate they are, how nuanced, how native the language feels. Only we humans can judge on that. To this day, some of our earliest adopters and users are translators. We have recently introduced a new product called Clarify that helps customers clear up ambiguities by suggesting alternatives and asking context-specific questions, ensuring translations capture the right meaning and nuance of what you're trying to say." But within the scope of business data translation comes the mammoth risk of security lapses or information leaks. "Our Pro customers' data is never stored or accessible to third parties!" Parry-Jones reveals. "In case of data breach, DeepL is legally required to notify users within 72 hours, guaranteeing maximum confidentiality for sensitive content like reports, patents, and customer data. As a company based in Germany, DeepL adheres to the GDPR -one of the strictest data protection and privacy laws worldwide- ensuring data remains protected and compliant. Our advanced encryption and adherences to global regulations, including ISO 27001 and GDPR standards, ensures peace of mind and enables confident multilingual communication across borders." Image source: DeepL Offering additional ease to users is the fact that DeepL's Arabic Document Translation Tool prioritizes popular formats such as Microsoft Word, Outlook, and PowerPoint as well as PDFS, while maintaining original layouts and fonts. It also allows users to edit their changes directly before downloading, allowing for increased control across supported file types. "We only launch a new language when we are confident that we can offer a better solution than what's already on the market, and that includes Arabic," Parry-Jones adds. This faith in the platform's performance has emanated from DeepL's company culture- and if Parry-Jones words are anything to go by, it is all set to carry the platform towards its future goals too. "Since our inception, we have been a research-driven company and will continue to invest heavily in our development as a company within the next few years to create specialized translation and writing solutions to businesses worldwide," he says. "Combining our depth of research with proprietary data accumulated over seven years, we're able to understand unique business needs and address them with our solutions. With the launch of Arabic document translation in April and with any future products we take to market, we look forward to seeing how Middle Eastern businesses are able to use Language AI to expand their business across borders thanks to seamless communication. Working with businesses in the region, we will continue to learn and iterate the offering to make sure it provides them with the tools they need to expand their business across borders." Related: INSEAD's Associate Professor Vikas Aggarwal on How Ecosystem Partnerships Shape MENA's Future in AI Aalia Mehreen Ahmed is the Features Editor at Entrepreneur Middle East. She is an MBA (Finance) graduate with past experience in the corporate sector. Ahmed is particularly keen on writing stories about people-centric leadership, female-owned startups, and entrepreneurs who've beaten significant odds to realize their goals. In her role as Features Editor, she has interviewed the likes of Dr. Jane Goodall, Sania Mirza, KL Rahul, and Najwa Zebian
https://www.entrepreneur.com/en-ae/growth-strategies/breaking-boundaries-how-deepls-new-arabic-document/491444
#metaglossia_mundus
""A new study, published in PNAS, led by researchers at the University of Oxford and the Allen Institute for AI (Ai2) has found that large language models (LLMs) – the AI systems behind chatbots like ChatGPT – generalise language patterns in a surprisingly human-like way: through analogy, rather than strict grammatical rules.
The research challenges a widespread assumption about LLMs: that these learn how to generate language primarily by inferring rules from their training data. Instead, the models rely heavily on stored examples and draw analogies when dealing with unfamiliar words, much as people do.
To explore how LLMs generate language, the study compared judgments made by humans with those made by GPT-J (an open-source large language model developed by EleutherAI in 2021) on a very common word formation pattern in English, which turns adjectives into nouns by adding the suffix '-ness' or '-ity'. For instance happy becomes happiness, and available becomes availability. The research team generated 200 made-up English adjectives that the LLM had never encountered before – words such as cormasive and friquish. GPT-J was asked to turn each one into a noun by choosing between -ness and -ity (for example, deciding between cormasivity and cormasiveness). The LLM’s responses were compared to the choices made by people, and to predictions made by two well-established cognitive models. One model generalises using rules, and another uses analogical reasoning based on similarity to stored examples.
The results revealed that the LLM’s behaviour resembled human analogical reasoning. Rather than using rules, it based its answers on similarities to real words it had 'seen' during training – much as people do when thinking about new words. For instance, friquish is turned into friquishness on the basis of its similarity to words like selfish, whereas the outcome for cormasive is influenced by word pairs such as sensitive, sensitivity.
The study also found pervasive and subtle influences of how often word forms had appeared in the training data. The LLM’s responses on nearly 50,000 real English adjectives were probed, and its predictions matched the statistical patterns in its training data with striking precision. The LLM behaved as if it had formed a memory trace from every individual example of every word it has encountered during training. Drawing on these stored ‘memories’ to make linguistic decisions, it appeared to handle anything new by asking itself: 'What does this remind me of?'
The study also revealed a key difference between how human beings and LLMs form analogies over examples. Humans acquire a mental dictionary – a mental store of all the word forms that they consider to be meaningful words in their language, regardless of how often they occur. They easily recognize that forms like friquish and cormasive are not words of English at this time. To deal with these potential neologisms, they make analogical generalisations based on the variety of known words in their mental dictionaries.
The LLMs, in contrast, generalise directly over all the specific instances of words in the training set, without unifying instances of the same word into a single dictionary entry.
Senior author Janet Pierrehumbert, Professor of Language Modelling in the Department of Engineering Science at the University of Oxford, said: 'Although LLMs can generate language in a very impressive manner, it turns out that they do not think as abstractly as humans do. This probably contributes to the fact that their training requires so much more language data than humans need to learn a language.'
Co-lead author Dr Valentin Hofman (Ai2 and University of Washington) said: 'This study is a great example of synergy between Linguistics and AI as research areas. The findings give us a clearer picture of what’s going on inside LLMs when they generate language, and will support future advances in robust, efficient, and explainable AI.'
The study also involved researchers from LMU Munich and Carnegie Mellon University."
https://www.ox.ac.uk/news/2025-05-12-humans-chatgpt-favours-examples-and-memories-not-rules-generate-language
#metaglossia_mundus
Wild chimpanzees alter the meaning of single calls when embedding them into diverse call combinations, mirroring linguistic operations in human language
"The origins of language
Wild chimpanzees alter the meaning of single calls when embedding them into diverse call combinations, mirroring linguistic operations in human language
MAY 09, 2025
Language
Chimpanzees Asanti and Akuna vocalising. A new study shows that wild chimpanzees use a variety of call combinations to expand messaging.
© Liran Samuni, Taï Chimpanzee Project
To the point
Chimpanzees are capable of complex communication: The human capacity for language may not be as unique as previously thought. Chimpanzees have a complex communication system that allows them to combine calls to create new meanings, similar to human language.
Combining calls creatively: Chimpanzees use four ways to change meaning when combining single calls into two-call combinations, including compositional and non-compositional combinations, and they use a large variety of call combinations in a wide range of contexts.
Origins of language: The discovery of a complex communication system in chimpanzees has important implications for understanding the evolution of human language, suggesting that complex combinatorial abilities may have been present in the common ancestor of humans and great apes, and highlighting the need for further research into the complexity of animal communication and its relationship to human language.
Humans are the only species on earth known to use language. They do this by combining sounds into words and words into sentences, creating infinite meanings. This process is based on linguistic rules that define how the meaning of calls is understood in different sentence structures. For example, the word “ape” can be combined with other words to form compositional sentences that add meaning: “the ape eats” or append meaning: “big ape”, and non-compositional idiomatic sentences that create a completely new meaning: “go ape”. A key component of language is syntax, which determines how the order of words affects meaning, for instance how “go ape” and “ape goes” convey different meanings.
One fundamental question in science is to understand where this extraordinary capacity for language originates from. Researchers often use the comparative approach to trace the evolutionary origins of human language by comparing the vocal production of other animals, particularly primates, with that of humans. Unlike humans, other primates typically rely on single calls (referred to as call types), and while some species combine calls, these combinations are only a few per species and mostly serve to alert others to the presence of predators. This suggests that their communication systems may be too restricted to be a precursor to the complex, open-ended combinatorial system that is human language. However, we may not have a full picture of the linguistic capacities of our closest living relatives, particularly how they might use call combinations to significantly expand their meaning.
Studying the meaning of chimpanzee vocalisations
Researchers from the Max Planck Institutes for Evolutionary Anthropology and for Cognitive and Brain Sciences in Leipzig, Germany, and from the Cognitive Neuroscience Center Marc Jeannerod (CNRS/Université Claude Bernard Lyon 1) and Neuroscience Research Center (CNRS/Inserm/Université Claude Bernard Lyon 1) in Lyon, France recorded thousands of vocalisations from three groups of wild chimpanzees in the Taï National Park in Ivory Coast. They examined how the meanings of 12 different chimpanzee calls changed when they were combined into two-call combinations. “Generating new or combined meanings by combining words is a hallmark of human language, and it is crucial to investigate whether a similar capacity exists in our closest living relatives, chimpanzees and bonobos, in order to decipher the origins of human language,” says Catherine Crockford, senior author of the study. “Recording chimpanzee vocalisations over several years in their natural environment is essential in order to document their full communicative capabilities, a task that is becoming increasingly challenging due to growing human threats to wild chimpanzee populations”, says Roman Wittig, co-author of the study and director of the Taï Chimpanzee Project.
Chimpanzees' complex communication system
The researchers recorded thousands of vocalisations from three groups of wild chimpanzees in the Taï National Park in Ivory Coast.
© Liran Samuni, Taï Chimpanzee Project
The study reveals four ways in which chimpanzees alter meanings when combining single calls into 16 different two-call combinations, analogous to the key linguistic principles in human language. Chimpanzees used compositional combinations that added meaning (e.g., A = feeding, B = resting, AB = feeding + resting) and clarified meaning (e.g., A = feeding or travelling, B = aggression, AB = travelling). They also used non-compositional idiomatic combinations that created entirely new meanings (e.g., A = resting, B = affiliation, AB = nesting). Crucially, unlike previous studies which have mostly reported call combinations in limited situations such as predator encounters, the chimpanzees in this study expanded their meanings through the versatile combination of most of their single calls into a large diversity of call combinations used in a wide range of contexts.
“Our findings suggest a highly generative vocal communication system, unprecedented in the animal kingdom, which echoes recent findings in bonobos suggesting that complex combinatorial capacities were already present in the common ancestor of humans and these two great ape species,” says Cédric Girard-Buttoz, first author on the study. He adds: “This changes the views of the last century which considered communication in the great apes to be fixed and linked to emotional states, and therefore unable to tell us anything about the evolution of language. Instead, we see clear indications here that most call types in the repertoire can shift or combine their meaning when combined with other call types. The complexity of this system suggests either that there is indeed something special about hominid communication – that complex communication was already emerging in our last common ancestor, shared with our closest living relatives – or that we have underestimated the complexity of communication in other animals as well, which requires further study.”"
https://www.mpg.de/24666339/0506-evan-the-origins-of-language-150495-x
"The power of translation services in patient care
When communication barriers impede care, Penn nurses play a role in bridging language and cultural gaps.
Aparticular patient in the emergency room at the Hospital of the University of Pennsylvania wasn’t assigned to resource nurse Monica Phann, but colleagues had asked for her help because the man and his wife had limited English proficiency, and they couldn’t immediately locate a translator. Phann grew up speaking Khmer with her parents and grandparents in South Philadelphia.
View large image
Image: Doug Chayka
“When I stepped in, they let go of all their formalities and [the patient was] finally able to say, ‘yes, I don’t feel good, and I need to be able to have someone understand the pain that I’m in,’” Phann recalls.
With her as a go-between, the hospital team was able to run the appropriate tests and quickly diagnose the patient with lung cancer. He started radiation treatment within a week. Though the diagnosis was unsettling, Phann knew she had made a positive impact on his course of care.
“When there’s a language barrier, patients aren’t able to fully express what they’ve been feeling. It was really empowering to see how eliminating that barrier allowed this patient to then get further care,” Phann says. “It speaks to how powerful it is to have bilingual or multilingual nurses when other resources aren’t available. We need more of us at the bedside.”
Around the country, Penn Nursing alumni are using multilingualism to improve patient outcomes in hospitals, doctor’s offices, and community health settings. They reduce longer lengths of stay and readmissions and increase patient satisfaction. They foster trust with patients and their families, and serve as strong advocates for multilingual patients and those with limited English proficiency.
“We live in a multilingual world. I say this to colleagues in the United States and in Latin America. We have to develop those skills,” says School of Nursing professor and Margaret Bond Simon Dean of Nursing Antonia M. Villarruel.
Federal law requires free translation services be offered to those who need it—in person or remotely through, for example, a videoconference on a tablet. And even multilingual providers call on certified medical interpreters to navigate complex topics. However, Villarruel says, when a nurse converses and tends to basic needs in the patient’s native language, “there’s a benefit to that one-on-one connection. To be able to say ‘hi, how are you’ humanizes care.”
Bilingual nurse scientists also contribute with more inclusive research. For decades, studies left out people who aren’t fluent in English. Penn Nursing faculty and alumni are addressing that gap, designing solutions with everyone in mind.
Still, multilingual day-to-day communication is valuable, says Phann. “You’re not always going to be able to predict that you need a translator or an interpreter at the bedside. When I started working in the health care system, I realized that my languages were a huge bonus … and needed in this world.”
This story is by Janine White.
https://penntoday.upenn.edu/news/penn-nursing-translation-services-patient-care
#metaglossia_mundus
NDO - L'auditorium de l'Université de Hanoi était rempli, dans l'après-midi du 10 mai, de générations d'étudiants du département de langue russe de différentes périodes. Ils se sont réunis dans de beaux costumes, arborant les drapeaux vietnamien et russe, pour chanter ensemble lors d'une cérémonie très spéciale : rendre hommage au professeur et traducteur Le Duc Man, ancien professeur du département de langue russe.
"Le professeur et traducteur Le Duc Man est celui qui a traduit avec diligence des dizaines de chansons vietnamiennes célèbres en russe. Non seulement M. Man a traduit les paroles et le sens, mais il a également soigneusement choisi la langue afin que les paroles conservent leur sens et leur mélodie d'origine une fois traduites en russe, de sorte que lorsqu'elles sont chantées, la chanson sonne comme si elle était écrite en russe et non comme une traduction.
Le programme « Chansons vietnamiennes avec paroles russes » présente des chansons vietnamiennes qui existent depuis des années, traduites en russe par M. Le Duc Man, organisé par un groupe d'anciens étudiants du Département de langue russe en collaboration avec des unités de l'Université de Hanoi, à l'occasion du 75e anniversaire de l'établissement des relations diplomatiques entre le Vietnam et la Russie (30 janvier 1950 - 30 janvier 2025), l'anniversaire de la victoire de Dien Bien Phu le 7 mai et la victoire sur le fascisme le 9 mai.
Le traducteur Le Duc Man est né en 1941 à Duy Tien, Ha Nam, c'est un excellent professeur, poète et traducteur célèbre. Il a travaillé à l’Université de Hanoi de 1966 à 2002.
Doté d’un profond amour et d’une profonde compréhension de la musique et de la poésie, le professeur et traducteur Le Duc Man a commencé à traduire des chansons vietnamiennes en russe dans les années 1990. Au départ, ce n'était qu'un passe-temps personnel, mais il a ensuite transformé la traduction de chansons en un travail systématique.
Les chansons qu'il a traduites en russe comprennent des chansons composées par de nombreux musiciens vietnamiens célèbres, avec des mélodies familières au public, des chansons d'avant-guerre, des chansons révolutionnaires, des chansons lyriques, jusqu'aux chansons appréciées des jeunes d'aujourd'hui telles que : la chanson de Ho Chi Minh, la nuit dernière, j'ai rêvé de rencontrer l'oncle Ho, la chanson de l'espoir, la marche vers Hanoi, la chanson d'amour, la chanson d'amour du nord-ouest, le bateau et la mer, te souviens-tu encore ou as-tu oublié, l'automne à Hanoi, la poussière de craie, chaque jour je choisis une joie, le premier printemps, se donner la main dans un grand cercle, cette terre est à nous, bonjour le Vietnam, un tour du Vietnam, renaissance..."
https://www.vietnam.vn/fr/tri-an-nguoi-chuyen-ngu-hon-60-ca-khuc-viet-sang-tieng-nga
#metaglossia_mundus
"Prix Cheikh Hamad pour la traduction – 11e édition : 287 candidatures provenant de 32 pays
Doha, le 10 mai /QNA/ Le Prix Cheikh Hamad pour la traduction et la compréhension internationale a clôturé les candidatures pour sa 11ᵉ édition (2025), avec un total impressionnant de 287 dossiers en compétition pour les différentes catégories du prestigieux prix.
Dans un communiqué rendu public ce samedi, le comité organisateur a révélé que cette édition marque une progression de 5% par rapport à l'exercice précédent, avec 26% de candidatures émanant d'institutions et une représentation féminine notable de 30%. Les propositions reçues, d'une remarquable diversité géographique, proviennent de 32 pays différents et couvrent la totalité des langues éligibles cette année.
Cette édition se singularise par une innovation majeure : l'introduction, pour la première fois dans l'histoire du prix, de trois langues majeures - l'anglais, l'allemand et le turc - accompagnées de deux langues moins représentées : l'albanais et le thaï. Cette évolution stratégique témoigne de l'ambition du prix d'élargir son influence à l'échelle mondiale tout en mettant en valeur la richesse des expressions linguistiques et culturelles."
https://qna.org.qa/fr-FR/news/news-details?id=prix-cheikh-hamad-pour-la-traduction-11e-edition-287-candidatures-provenant-de-32-pays&date=10/05/2025
#metaglossia_mundus
Manifestations, événements et animations : le 26 juin 2025, Médiathèque de la Canopée, à Paris (Paris) - horaires, tarifs, renseignements.
"Table ronde « les enjeux de la traduction littéraire en Langue des Signes Française »
Le 26/06/2025
Médiathèque de la Canopée | Paris
Gratuit
Dans le cadre du Mois Parisien du Handicap, la médiathèque vous propose une table ronde de discussions et débats autour des enjeux de la traduction littéraire en Langue des Signes Française !
Au cours de cette table ronde, et à travers les expériences de nos intervenants, nous aborderons plusieurs aspects de la traduction littéraire, mettant en lumière ses défis et la richesse de cette pratique. Quelles sont notamment les spécificités de la traduction en Langue des Signes Française (LSF) ? Ses particularités linguistiques, syntaxiques et grammaticales propres à la LSF. Quels sont les différents types de traductions : support vidéo ou performance en direct ? Qu'en est-il de la sensibilité artistique pour traduire la poésie ou le romanesque ? Comment transmettre complètement une performance littéraire ?
Les intervenants :
Félix Bianciotto : Il est interprète LSF-Français depuis deux ans. Il a participé à plusieurs projets d’interprétation littéraire, notamment vers la LSF, avec l’association Arts Résonances, lors du festival annuel de poésie contemporaine Voix Vives à Sète, ou vers le français dans le cadre de résidences de traduction collective de poètes sourds, notamment de Levent Beskardes. Il a également interprété des extraits du roman Les méduses n’ont pas d’oreilles d’Adèle Rosenfeld, dans une représentation avec le danseur Jules Turlet.
François Brajou : est un poète et traducteur sourd. Après un mémoire de Master Traduction et Interprétation LISH de Paris 8 intitulé « La traduction poétique de Charles Baudelaire en langue des signes française ». François Brajou s'emploie à promouvoir la Langue des Signes Française à travers des créations de poésignes (poème en LSF) et poèmes en français.
Delphine Leleu : est une artiste française qui s'investit dans la création de spectacles inclusifs depuis de nombreuses années. En 2009, elle a mis en scène la pièce Oscar et la Dame rose d'Eric Emmanuel Schmitt ; en 2018, elle a contribué à l'adaptation du Petit Prince d'Antoine de Saint-Exupéry, mise en scène par Hrysto.
Christelle Pépin : Son travail de traduction vers la Langue des Signes Française (LSF) prend deux formes : la traduction simultanée, comme pour la pièce Village des sourds, permettant à une comédienne de jouer en LSF ; et la traduction complète, comme lors du festival Sourland 6, où elle a traduit des interviews en les ciblant pour un public sourd. Ces pratiques illustrent une traduction qui dépasse le simple transfert linguistique, en intégrant une dimension culturelle et structurelle en restant fidèle à l’intention et au sens du discours original...
Entrée gratuite, réservation conseillée...👇🏿👇🏿👇🏿
https://www.jds.fr/paris/manifestations/table-ronde-les-enjeux-de-la-traduction-litteraire-en-langue-des-signes-francaise-969537_A
#metaglossia_mundus
"Dictionnaire berbère tachelḥiyt - français" published on 31 Mar 2025 by Brill.
"Dictionnaire berbère tachelḥiyt - français établi sur la base d’ouvrages publiés et non-publiés, d’études et documents divers, de thèses universitaires, d’archives, et de recherches sur le terrain
Author: Harry Stroomer
Tashelhiyt Berber is spoken in Morocco. With approximately eight to ten million speakers it is the world’s largest Berber language. The lexical data for this work were collected, over almost forty years, from a great number of publications and from various archives. These data were studied and checked by the author and enriched by lexical data from the author’s own fieldwork. In this dictionary Tashelhiyt Berber words and phrase are presented in alphabetic order and written in a clear Latin transcription. Meanings of words and phrases are given in French. All lexical data in this work are fully referenced. This book is the first comprehensive dictionary for Tashelhiyt Berber.See Less
ISBN: 9789004716445..."
https://lnkd.in/e45-Xb4t
#metaglossia_mundus
"VANCOUVER, Colombie-Britannique--(BUSINESS WIRE)--LAT Multilingue Traduction et Marketing inc. a le plaisir d’annoncer la nomination de Julie Wong-Gravend au poste de présidente, en vigueur immédiatement. Elle succède à Lise Alain, qui prend sa retraite après une riche carrière en tant que fondatrice et présidente. Lise continuera de soutenir l’entreprise à titre de conseillère.
« Julie est une force motrice chez LAT depuis près de dix ans, indique Lise Alain. Sa connaissance approfondie du secteur, sa vision stratégique et son dévouement à notre mission font d’elle la dirigeante idéale pour guider LAT vers l’avenir. Je lui fais entièrement confiance pour continuer à développer l’entreprise avec détermination et passion. »
Au fil des ans, Julie a noué des relations solides et fondées sur la confiance avec des clients d’un large éventail de domaines, contribuant de manière considérable à la croissance de LAT tout en favorisant une culture d’équipe inclusive et collaborative.
« Je suis honorée et heureuse d’accepter ce rôle, déclare Julie Wong-Gravend. Depuis 26 ans, LAT permet aux entreprises de prospérer dans des marchés multilingues. C’est avec fierté que je continuerai ce travail avec notre incroyable équipe pour aider nos clients à tisser des liens avec des communautés diverses, d’une manière à la fois significative et efficace. »
Dans son rôle précédent de vice-présidente, Julie a supervisé l’équipe de traduction de LAT et a joué un rôle clé dans l’évolution stratégique de l’entreprise. En tant que membre agréée de l’OTTIAQ, l’ordre professionnel des traducteurs du Québec, elle a également dirigé avec succès des projets d’adaptation et de transcréation de marketing de grande portée.
À propos de LAT Multilingue
Fondée en 1999, LAT Multilingue est une entreprise détenue par des femmes, certifiée ISO et B Corp, spécialisée dans la traduction, l’adaptation culturelle et le marketing multiculturel. Grâce à ses bureaux à Vancouver, Montréal et Toronto, LAT aide les organisations de toutes tailles à tisser des liens authentiques avec divers publics en Amérique du Nord. En combinant l’expertise linguistique à des stratégies prenant en compte la diversité culturelle, LAT offre une qualité fiable, des résultats significatifs et un engagement à l’égard de pratiques commerciales éthiques et inclusives."
https://www.businesswire.com/news/home/20250508627786/fr
#metaglossia_mundus
Eina, baas, dwaal, lekker, sommer and wors are only some of the South Africanisms that have managed to toyi-toyi into the 10th edition of the Concise Oxford Dictionary.
"Oxford Dictionary adds lank SA slang
Robert Greig
|
Published 25 years ago
2min
Who said English was a single language? Rather, says Oxford University Press (OUP), in launching its 10th Concise Oxford Dictionary, it is many languages in many places.
About 150 South African words make their first official entry, along with Australianisms, Americanisms and Canadianisms, in the new edition launched in Britain this week. In total, there are 1 486 new words.
Why a new edition?
OUP explains: "During the past 50 years, the dramatic expansion of English worldwide has led to an explosion in the discovery of new words, forms of usage, and meaning.
"English is not a language, it's many languages: English is spoken in different ways around the world."
Many new South African entries have Afrikaans sources. Some are slang, like "I'm going to stay at his house", meaning "I'm going to live there".
Some are ejaculatory, like eina, and some come from tsotsitaal, like stroller, meaning a vagrant. Others reflect political changes, like tricameral.
These are some of the new entrants: baas, bond (league or association), bundu, dingus, dwaal, hamba, lank (excellent or plentiful), lekker, outie, robot (for automatic traffic lights), slim (for crafty or unscrupulous), sommer (for just, simply), toyi-toyi, tsotsi, and wors.
From other countries, these are some of the new words.
bawbee: coin of low value (Scotland)
bazoo: mouth (United States)
bindlestiff: tramp (United States)
brummie: flashy, counterfeit, cheap (Australia/New Zealand)
cereology: the study and investigation of crop circle phenomena
consilience: agreement in approach to a topic across academic subjects, especially between science and the humanities
daggy: scruffy, unfashionable (Australia/New Zealand)
dockominium: an apartment on the waterfront with private mooring (US)
enculturation: acquisition of the norms of a foreign culture
fizgig: police informer (US)
fossick: rummage around (Australia/New Zealand)
glaikit: stupid, foolish, or thoughtless (Scots, North English)
greenwash: disinformation put out by a group or organisation to make it appear as if it's environmentally responsible
howff: a favourite haunt, especially a pub (Scots)
illywhacker: small-time confidence trickster (Australia)
kundalini: yoga term for latent female energy at base of spine
lagniappe: bonus or gratuity (North American)
monopsony: market situation where there is only one buyer
Pentagonese: cryptic language supposedly used by the high-ranking military (US)
phreaking: hacking into telecommunications systems
splatterpunk: literary genre full of explicit violence or pornography
tamburitza: long-necked mandolin (Croatia)
trustafarian: rich young person who adopts ethnic lifestyle in non-affluent urban area
zorbing: sport that involves rolling down hills inside a large transparent ball."
https://iol.co.za/news/south-africa/1999-08-07-oxford-dictionary-adds-lank-sa-slang/
#metaglossia_mundus
Would we get a different view of translation if we turned to translators themselves?
THE TRANSLATOR’S DILEMMA: THINKING VERSUS DOING?
5.7.2025
LITERATURE IN TRANSLATION
BY LAWRENCE VENUTI
"What passes for translation commentary today can be pretty dismal—i.e., of questionable value as well as depressing, particularly if translation is your métier. Reviews, perhaps the most egregious example, make minimal acknowledgment of a translator’s intervention, even of their existence. Worse, when reviewers do comment on a translator’s work, their notion of translation is so simplistic as to be demoralizing.
Take the New Yorker’s 2020 review of Guido Morselli’s novel Dissipatio H.G., translated from Italian by Frederika Randall. The reviewer understands translation as seamless reproduction: “Randall … manages to get across, in English, the bleakness of Morselli’s restraint.” The translator is praised, clearly, but “the bleakness of Morselli’s restraint” isn’t exactly the Italian novel. The phrase evidently describes a meaning contained in the Italian, possibly linked to the author’s style, yet it is so abstract, not grounded on any linguistic or textual features, that it is obviously the reviewer’s interpretation. Hence the praise is self-congratulatory: the translator’s work is esteemed, but only insofar as it agrees with the reviewer’s reading (whether of the Italian text or the English version isn’t indicated). Translation is imagined as mechanical transfer, so transparent as to be invisible, not particularly resourceful or creative, certainly not an interpretive act in its own right.
Would we get a different view of translation, one that is both more illuminating and more appreciative, if we turned to translators themselves? Since the start of the new millennium, we’ve been given plenty of opportunities for an inside look, a veritable spate of books about translation written by professional translators, where “professional” means “with substantial lists of translated books to their credit,” some working at it full-time, others working in various other capacities as well—academics, poets, fiction writers, editors.
These translators are also pros, lest we forget, because they get paid for their translations. Some list translation among various sources of income; others translate as their livelihood, a situation that coincides with a certain precarity because English remains a language that translates relatively little, especially in the United States. Here translations make up a tiny fraction—far less than one percent—of total annual book output, which currently tops three million titles with self-published books far exceeding those published by trade and university presses.
Nevertheless, to be considered a pro, you must translate large quantities. Anthea Bell (1936–2018), the British translator of Asterix and W. G. Sebald, published approximately 250 book-length translations; the American poet Richard Howard (1929–2022), who translated Baudelaire and Proust, Camus and Sartre, Abdelkebir Khatibi and Gilles Deleuze, published over 200. Bell and Howard left little commentary about their voluminous work as translators, the odd essay or preface, some interviews, nothing compared to the sustained attention given to translation in Lydia Davis’s Essays Two: On Proust, Translation, Foreign Languages, and the City of Arles (2021) or Daniel Hahn’s Catching Fire: A Translation Diary (2022) or Damion Searls’s The Philosophy of Translation (2024).
All three translators qualify as professionals just in terms of productivity. Davis has written an acclaimed body of experimental short fiction over several decades, but she has also translated some 20 literary works from French and Dutch. Hahn and Searls have each Englished over 60 books from multiple languages—Spanish, Portuguese, and French in Hahn’s case, German, Norwegian, Dutch, and French in Searls’s. Despite how busy translating they are, they still managed to squeeze out an entire book-length account of it: they must feel driven to tell us about what they do. Can their ruminations have any impact on, say, the low level to which reviewing translations has sunk? Can knowing how they translate enhance our appreciation of their translation projects, maybe in an upbeat way that boosts the status of their profession (and their own)? Or will their revelations make us suspicious, if not paranoid, readers of their work, raising doubts about the interpretations they might be inscribing in their source texts sub rosa?
Lydia Davis’s Essays Two collects fascinating discussions of her translations of French fiction writers like Flaubert and Proust. She attends to specific verbal choices, although she is likely to pull up short when the analysis really starts to get interesting. In the first volume of Proust’s magnum opus, À la recherche du temps perdu, as the narrator elaborately describes a stained-glass window depicting a mountain of pink snow, he uses the phrase “des flocons éclairés par quelque aurore,” which Davis translates: “snowflakes illuminated by some aurora.” She pronounces the English word “aurora” to be “the perfect equivalent” of the French word “aurore,” which had been translated as either “sunrise” or “dawn” by Proust’s previous English translators: C. K. Scott Moncrieff (1924–30) and his revisers, Terence Kilmartin (1981) and D. J. Enright (1992). Davis points out that their choices, along with “daybreak,” usually translate a different French word, “aube.” She decided to use “aurora” because of definitions she found in a particular dictionary, Le Petit Robert:
the aube is the first light that begins to whiten the horizon; the aurore is the brilliant pink, rosy, or yellow-gold gleam that appears in the sky following the aube; then the sun itself appears.
The English word, Davis writes, “means the same as the French: the redness of the sky just before the sun rises.” I was disappointed that she didn’t cite an English dictionary to show the words are really “the same.” But this omission doesn’t stop her from concluding, confidently, that aurora “does add something else of its own to a text—its surprise, its novelty, and of course its perfect match to the French original.”
Yet if the English translation “adds something else of its own,” can it really be called “the perfect equivalent”? Wouldn’t some addition mean that the words don’t match, there’s some overspill or remainder in the translating language, a ragged edge between the translation and its source text? If “something else” is added, it goes beyond any strict equivalence, and the English is doing something different from the French. Davis doesn’t seem aware that her choice has fixed the meaning of the French word by excluding other semantic possibilities, especially after consulting a dictionary. If she had consulted a variety of dictionaries, she might have interpreted the word differently. French-English dictionaries vary. So do French ones. The Trésor de la langue française informatisé (1971–94) gives virtually the same meaning as Davis for “aurore”: “Moment qui suit l’aube et précède immédiatement le lever du soleil, où l’horizon présente des lueurs brillantes et rosées” (the moment that follows dawn and immediately precedes sunrise, when the horizon shows brilliant pink glimmers). Cambridge’s Global French-English Learner’s Dictionary (2018), however, defines “aurore” simply as “moment òu le soleil se lève” (the moment when the sun rises). Then it translates the word as “dawn.”
BROWSE
ARABIC ≠ LATIN: SACRED LANGUAGE IN A SECULAR...
BY HENRY CLEMENTS
What makes Davis’s choice interesting happens only in English. “Aurora” is a poetical archaism that dates back to the 15th century, whereas the French “aurore” is not archaic but current usage, whether now or in Proust’s period. The English word carries a range of resonances, mythological as well as astronomical, although they include the generic “dawn” as well as Davis’s meaning: “aurora” can signify “the colour of the sky at the point of sun-rise; a rich orange hue,” according to the OED, which cites the Elements of Dyeing (1791): “silks to be dyed of an aurora or orange colour.” This text is itself an English translation from French, William Hamilton’s version of the chemist Claude-Louis Berthollet’s dyeing manual, so that Davis has in effect adopted an 18th century translator’s solution for the French word.
The age of “aurora” must surely be part of the surprise and novelty that Davis mentions, a lexical obsolescence that suddenly turns into newness, starting with its deviation from the choices made by the previous Proust translators (“sunrise,” “dawn”). “Aurora,” Davis believes, “will not be very expressive” because “it has not accumulated the same emotional and metaphorical associations for us as dawn.” But “aurora” feels new precisely because it is old and because it circumvents those “associations,” which now seem so banal, drained of feeling or resonance by overuse, reduced to the romantic or the sensational. “Aurora” is just so much more evocative than “dawn” would be, especially in the context: a breathlessly intricate account of a stained-glass church window that depicts a mountain of pink snow, “snowflakes illuminated by some aurora.” The word not only names an atmospheric phenomenon, and a moment in the day, but it’s a color, a particular shade of glass, aestheticized to the point of preciosity in this passage, the church setting giving it an ethereal or spiritual quality. Davis’s poetical translation participates in the image of Proust as the gay aesthete, a fin de siècle sexual stereotype.
She doesn’t talk much about the effects of “aurora,” the way it nuances the narrator’s tone or voice, tracing a personality. She is distracted by the idea of establishing a perfect match. So she can’t explain what is so striking about her choice. A poetical archaism can only seem like a surprising novelty when the cultural norm imposed on translation consists of the current standard dialect of the translating language, the form of the language that is the most commonly used and therefore the most familiar. Davis’s “aurora” breaks that norm of everyday English to stage a reading of Proust that wasn’t new when she did it (2004), but that hadn’t yet been done in English translation.
Daniel Hahn’s “diary” covers roughly three months during which he translated a novel by the Chilean writer Diamela Eltit, Never Did the Fire (2022). He describes it as drawing back the curtain on his “process,” mostly his writing decisions and why he made them. He offers a glimpse of what it means to be a professional translator today, moving from one book to the next, revising one translation while proofreading the galleys for another, keeping an eye on the bottom line: cost efficiency. “In practical terms,” he makes clear, “my working process cannot possibly afford my having a diligent little conversation with myself about each individual word, weighing up every pro and con, etc.” His diary resembles what used to be called “think-aloud protocols,” empirical research that had translators verbalize their thoughts about their translation decisions as they were being made. Hahn’s exposition has a blow-by-blow quality, as if we’re getting the straight dope without embroidery, immediately, while it’s happening. The whole thing was posted online, apparently, and Hahn mentions other translators chiming in on the translation problems he was encountering. His book represents the world of professional literary translation, or a sizable segment of it.
The introductory chapter, written after the diary was completed, gathers Hahn’s ideas about translation and writing. It makes conceptual statements, but it isn’t really theoretical speculation and doesn’t cite any theorists, at least not explicitly. Readers familiar with the history of translation theory and commentary might notice covert references to commonplace notions. When Hahn opines, “You might think of translating as writing the book I believe the author would have written if they’d been writing a book in English,” he echoes early modern translators like John Dryden who in his 1697 version of the Aeneid “endeavor’d to make Virgil speak such English as he would himself have spoken, if he had been born in England, and in this present age.” Here the translator presides improbably over some sort of weird ventriloquism, or reincarnation, or transmigration of souls (while Hahn channels Dryden?), magically erasing differences of language, identity, culture, history. And when Hahn declares that “If fidelity is a useful notion at all, what I am seeking is fidelity to what I imagine to be the source text’s effect” (his italics), he insinuates Eugene Nida’s “principle of equivalent effect” (circa 1960s), where the goal is to ensure (somehow) that a reader’s response to a translation is the same as a reader’s response to the source text—regardless of when, where, how, and by whom the reading is done.
Hahn seems to know that these theoretical clichés are false: perfect equivalence between two languages doesn’t exist. When he asks, “Is the work’s re-expression really the same thing as its source?” he answers, “No, nor could it ever be,” treating what he does as “sleight of hand,” an illusion of linguistic transparency that enables a translation to pass for the original composition it translates. He insists that “readers should feel they’re getting unmediated access to a work of art, even if they know—once you’ve brought the house lights back up—that they aren’t.”
WOULD WE GET A DIFFERENT VIEW OF TRANSLATION, ONE THAT IS BOTH MORE ILLUMINATING AND MORE APPRECIATIVE, IF WE TURNED TO TRANSLATORS THEMSELVES?
Why, according to Hahn, doesn’t a translation give readers direct access to the source text? “Since every language works differently,” he points out, “every language encodes slightly different information into its words, beyond their simple meaning.” This makes translation “impossible,” in his view. But untranslatability doesn’t repress his blind ambition to translate or, as he puts it, to keep “aspiring to a pre-existing perfection” (pre-Babelian?), writing translations that “aspire to be impossibly the same as another text.” He expresses this frustrated idealism with affable, even teddy-bearish resignation. “I create a new thing,” he writes, “one that’s identical to the original book, except for all the words.”
Hahn considers translators to be “individual interpretative readers and individual creative writers” (his italics). His verbal choices, he asserts, “will be based mostly on the specific context (how the word fits into the narrator’s train of thought, the rhythm of her sentences and things like that).” Yet he describes Eltit’s narrative “voice” as “curiously hard-to-pin-down,” and he confesses that her novel is one “I’m not sure I do understand.” Not surprisingly, then, his diary presents only vague, elliptical interpretations of the Spanish text. Whether they result in a translation that is creatively written would be difficult to assess.
Hahn’s translation process, by his own admission, is not so much intended action as automatic writing, largely unconscious:
I don’t stop to think about it—I go with what feels right, and while I probably could explain the decision if I chose to turn back and look at it, most of the time I don’t allow it any such deliberate intention.
This frank account inevitably makes one wonder what Hahn’s translations have done to their source texts. Whatever transformations he might have wrought would, in any case, be concealed beneath the illusionistic transparency he prizes in a translation, giving the impression of unmediated access to the original. If he ever got called out, he could always say he didn’t “allow it any such deliberate intention.”
In Damion Searls’s The Philosophy of Translation, the professional translator is just the opposite, exceedingly deliberate in both reading and writing. Searls’s own deliberations, however, are filled with peculiar demurrals over what kind of book he is writing and how he defines and practices translation. He claims to be doing “philosophy,” speculation that is more personal than “theory,” which he sees as “academic” and “naturally” in “tension with practice.” He includes himself among the “practitioners” who “don’t want to be told they have an ‘implicit’ theory in their head that some theorist knows more about than they do.” Yet he weaves a discourse about translation that convincingly synthesizes phenomenology and Russian formalism (Maurice Merleau-Ponty, Viktor Shklovsky) with Mikhail Bakhtin’s concept of dialogism. In other words, Searls’s engagement with translation is couched in High Theory, and his exposition sometimes reads like an article in an academic journal, circa 1980s, when an influx of Continental theoretical discourses washed over humanities departments in US colleges and universities. This apparent contradiction makes me curious about why Searls is so prickly about theory. Is his distress over theoretical accounts of translation caused by some that were aimed at his own work? Or is he just in denial about the translator’s unconscious?
Searls locates his thinking about translation in a specific theoretical tradition, “the so-called Western tradition,” or “basically Greek-Latin-French-English-German-Russian.” He feels this entails an acceptance of the “German Romantic understanding” of translation, which he criticizes for viewing language as coterminous with ethnicity, so that it judges translations as either ethnocentric—assimilating the source text to the receiving culture (“domesticating”)—or ethnodeviant—registering linguistic and cultural differences in receptors (“foreignizing”). Deep down, however, Searls is really a foreignizer: he connects Friedrich Schleiermacher’s notion of the translator (“who is well acquainted with the foreign language, yet to whom it remains nonetheless foreign”—in Susan Bernofsky’s version) with Shklovsky’s defamiliarization in art. In the end, Searls confesses to “a wavering adherence to the German Romantic model.”
He divides his book into two halves that turn out to be contradictory in their approach to translation. In the first half he develops a concept of literary language as an innovative deviation or “arc” away from the “baseline” of everyday language use. “Reading like a translator,” Searls’s mantra, is reading for this arc in the source text—and then reproducing it in the translation. Searls illustrates the idea with his own translation of Uwe Johnson’s 1,700-page novel Anniversaries (2021): “the translator has to tease out what’s an aspect of Johnson’s particular writing from what’s merely the default German baseline and then capture what Johnson is doing to and with the German language.” That word “capture” waves a red flag: if the translator must reproduce a specific stylistic “aspect” of the source text, then the translation process can’t avoid the appearance of mechanical substitution, a matter of engineering a perfect fit, a strict equivalence.
The second half of Searls’s book abandons this instrumentalism by opening up everything to variation. “Each translator translates a different thing,” he writes, “in precisely the same way that each reader of a given book reads a different book.” There can be as many translations of a source text as there can be interpretations of it. “No one translates a text,” Searls observes, “they translate their reading of the text, and everyone has different reading experiences.” This view assigns the translator an omnipotence that can seem brutal in its treatment of the source material: “What’s important to preserve,” Searls says flat-out, “depends on what the translator finds in the original.” The translator’s power takes the form of remaining “attentive to how the translating language works, overriding any demand for ‘equivalence’ with how the original language works.” In the long run, the play’s the thing, the impact of the translation, not its relation to the source text.
In emphasizing the translator as reader, Searls seeks to distinguish translation from “’analyzing’ or ‘understanding’ the original,” arguing that “reading” carries less “authority” than “interpretation.” But this view seems like an unwillingness to take responsibility for reading, for its relations to other, competing readings, its place in the world. Searls believes that “a translation is not so much an interpretation of the original text as its own special kind of strangeness-reinforcing writing.” But isn’t it rather the strength of the translator’s interpretation—gauged against other, more familiar readings—that creates a sense of foreignness in a translation, that arc of literary innovation jumping away from the normative baseline, as in Davis’s use of “aurora” instead of “dawn”?
Searls seems to assume a hermeneutic model of translation. He characterizes M. D. Herter Norton’s 1930s versions of Rilke’s poetry as laying down “her vision of who he is. For her, he is the canonical Great Man, one who speaks to us all.” What we want to know, however, is: By what verbal means did she inscribe her interpretation of the “monumental” Rilke in her translation? And why did it get marginalized in the flood of other versions that make him the most frequently (re)translated modern poet in English? Searls mentions different Rilke translations by the likes of the Sackville-Wests, J. B. Leishman, and Stephen Spender, but we never hear about their “vision” of Rilke, only the verse forms they chose. Translation, it would seem, is nothing if not a conflict of interpretations, some stranger than others. But even to make that point, a translator needs not just to enumerate verbal choices but to articulate precisely how a source text is being interpreted.
BROWSE
A TRANSLATION THE SIZE OF THE WORLD
BY RYAN CARROLL
In a conversation about her work posted last year on the Granta website, Julia Sanches, a young translator from Portuguese, Spanish, and Catalan (with nearly 30 books so far), made a telling remark: “sometimes,” she said, “it’s hard to think about the thing you’re doing when you’re busy doing it.” Don’t be misled: Sanches is not suggesting that her translation process doesn’t involve thinking. She had just said, in fact, that “it depends less on the language than the book, the author and how they use the language in question.” For her, translation is more than a matter of matching words and phrases: the translator constructs contexts in which to interpret the source text, framing verbal choices not with the word, phrase, or sentence but with the entire “book,” placing it in the oeuvre or career of an “author,” and analyzing its “use” of language. What seems to trouble her is not the effort to think while doing, but the difficulty of moving back and forth between different kinds of thinking: practical intuition versus hermeneutic reasoning.
This movement also seems to trouble the professional translators who authored the books under review. They share an emphasis on translation practice that threatens to push issues of interpretation into the background, or merely suppress them. Even translators willing to comment at length, to draw on research and develop theoretical arguments, are reluctant to articulate the interpretive angles they take in their work. This elevates intuition over argument, discussion, debate. Readers, including reviewers, would appreciate translations more deeply if translators talked about what makes their translations different from—not similar to—the source texts they translate. That difference results from the translator’s interpretation, the act that enables a text to be rewritten in a different language for a different culture. This can’t be understood with an instrumental discourse, where the ideal translation is imagined to be the seamless reproduction of a source-text invariant, “preserving the essence of the original,” as it is commonly put, even when the essence is held to be untranslatable. No, to understand translation in a way that matters, we need to think of it as endless interpretation, endlessly variable, endlessly innovative.
This article was commissioned by Bécquer Seguín."
https://www.publicbooks.org/the-translators-dilemma-thinking-versus-doing/
"Political pressures may have driven the federal agency to backtrack on its decision to suspend automated weather translations.
Miguel J. Rodriguez Carillo / AFP via Getty Images
PublishedMay 06, 202 At the beginning of last month, the National Weather Service, or NWS, discontinued its automated emergency-weather translation services in Spanish, Chinese, Vietnamese, Tagalog, and Samoan. The agency had decided not to renew its contract with Lilt, an AI-translation platform. Then, just about three weeks after the contract lapsed, the National Oceanic and Atmospheric Administration, of which the NWS is a subagency, shared an update: The automated translation services would be back up and running as of Monday, April 28. The agency’s back-and-forth turned April into a monthlong test case: How would communities around the U.S. fare without adequate information during extreme weather events? In the span of a single week, belts of Louisiana were battered by flash flooding, while severe storms brought deadly hail and heavy rain to parts of Oklahoma and Texas, and a succession of destructive tornadoes touched down in nine states. Alarms flashed across screens and blared on radios warning people to get to safety. Many of those messages, however, were issued only in English. One thing that’s certain is that the increasing frequency and strength, due to climate change, of these events will make life harder for people everywhere. NOAA’s decision sparked an uproar across the country, as advocates and policymakers spoke out against the Trump administration — and the millions of people it put at undue risk. Monica Bozeman, who leads the National Weather Service’s automated language translations, told Grist that the agency’s contract with Lilt has been renewed for another year. A week after NOAA’s update, however, that restoration is still underway. “We are in the process of standing back up the last few translation sites,” said Bozeman. The agency confirmed that Lilt’s software will once again generate translations for 30 of its regional weather forecast offices throughout the nation, in addition to the National Hurricane Center. The Lilt models automatically translate urgent updates and warnings from the NWS, which are then posted on websites like weather.gov and hurricanes.gov, and voiced over NOAA’s weather radio. The agency is still “working to restart AI translations,” said Bozeman, to populate those websites and broadcasts. “The NWS is committed to enhancing the accessibility of vital, lifesaving weather information by making urgent weather alerts available to the public in multiple languages,” Bozeman said. “Utilizing artificial intelligence allows us to keep up with this level of demand.” When asked about the NWS shuttering radio translations in the southern region, as previously first reported by Grist, Bozeman said the agency is “working to turn on that capability for the NOAA Weather Radio to broadcast the translated information coming from Lilt AI translations at the affected sites.” Neither Bozeman nor a national NOAA spokesperson addressed Grist’s requests for further information. For instance, the agency has remained tight-lipped about why translation services were suspended in the first place and has not clarified why it moved to reinstate the contract. It also did not provide a timeline on when to expect all stalled translations to be restored to their former capacity or address whether the ongoing workforce cuts have impeded progress. Representatives from Lilt did not respond to a request for comment for this article. Analysts say the reasons for the initial decision may be linked to what they see as the administration’s “act first, ask questions later” approach to policy. Public response is also likely to have helped propel the weather agency’s sudden backtrack. “What I’m noticing with this administration is a huge trend where certain pressures really work on them when it comes to walking back the things that they’re doing,” said Priya Pandey, a policy analyst at the Center for Law and Social Policy. Those include economic levers, as seen with tariffs, she noted, as well as the court of public opinion. “Republican Congress members that have some of these weather centers in their districts were putting pressure on the administration to look into this and look into the impacts of the rollbacks on NOAA.” The New York Times reported that as of May 2, about 10 percent of the weather service’s total staff have been terminated or accepted buyout offers. Now it appears that more turbulence is in store for the agency: President Donald Trump’s budget proposal includes significant cuts to NOAA’s budget and the dismantling of its research arm. Five former NWS leaders wrote in a letter dated Friday that they feared the cuts would lead to understaffing in weather forecast offices and “needless loss of life.” With the exceptions of New York and Hawaiʻi, which mandate their own statewide emergency translation services, few other states have adopted similar comprehensive models enforcing multilingual information accessibility in the event of a disaster. Pandey thinks that could very well change, as the federal government’s anti-immigrant approach could prompt some states to adopt their own inclusive emergency management policies while also ramping up the need for community-led efforts. The executive order that Trump signed in March that designated English as the country’s official language and rescinded a Clinton-era mandate for federally funded agencies and entities to provide language aid to non-English speakers, said Pandey, “doesn’t prohibit people from translating things outright.” Still, she noted, the order does make what used to be a prerequisite entirely voluntary and provides government institutions such as the NWS or NOAA, in addition to state and county-level emergency management operations, the ability to “outright ignore providing translations.” In the days following the initial announcement from the NWS, the Nebraska Commission on Latino-Americans doubled down on its commitment to provide translated extreme weather alerts to residents statewide. Executive Director María Arriaga told Grist the “pivotal” decision exposed how vulnerable non-English-speaking communities become “when translation infrastructure disappears overnight” and pushed the commission into action. They’ve since accelerated conversations with state agencies to develop the framework for a multilingual emergency information plan, initially serving Spanish speakers, with the goal to also support residents who speak K’iche’, Arabic, and Vietnamese. “While we are not a weather agency, we step in as a connector, disseminating accurate and timely information where we see that essential communication is missing or inaccessible,” said Arriaga. “Language should never be a barrier when lives are at stake.” Kate Yoder contributed reporting to this story."
By Ayurella Horn-MullerStaff Writer
PublishedMay 06, 2025
https://grist.org/extreme-weather/the-national-weather-service-reinstated-translation-alerts-what-happened/
#metaglossia_mundus
"The Commission’s Directorate-General for Translation (DGT) has decided to use the CEF eDelivery building block to provide a highly secure means of using their machine translation tool.
DGT's machine translation tool - CEF eTranslation - performs state-of-the-art machine translation to and from any official EU language. It is freely available to public administration employees and all European SMEs.
The Commission has been working continuously to improve this service, adding Russian and Mandarin to its available languages, and including domain-specific translation engines that are particularly suited to translating certain styles of text (legal, health-related, etc.).
Now, DGT is looking to improve its service further by adding an optional layer of extra security for those accessing eTranslation.
How does eDelivery help?
The eDelivery building block provides the technical specifications and standards needed to build a secure, interoperable and reliable communication channel or network using AS4 Access Points.
DGT has chosen to use eDelivery in their eTranslation tool through EU Send, its associated Managed Service provided by the Directorate-General for Informatics, DIGIT. This allows for the secure, reliable exchange of data between the machine translation platform and other systems. By using eDelivery for secure data exchange, eTranslation can now enjoy the following benefits:
Additional security and confidentiality for the data translated;
Automatically encrypted messages;
Automatic recovery of information if the transmission is interrupted;
eDelivery AS4 Access Points are fully interoperable, allowing eTranslation to be seamlessly integrated with other systems.
If you need to exchange documents and data reliably, securely and seamlessly, use the eDelivery building block to build your solution.
The building blocks
DGT’s decision to use eDelivery as a Managed Service in its machine translation tool shows how powerful the CEF building blocks can be when used in combination to develop a digital system.
The INEA 2020-2 open call for eArchiving is making €1 million available to projects looking to adopt solutions and standards from the CEF eArchiving building block in their digital archive(s). This call encourages proposals promoting synergy between eArchiving and other building blocks, such as CEF eDelivery.
Visit the INEA website to find out more about funding opportunities. You can find useful tips for writing a strong proposal by looking at the recording and presentations from the 2020-2 CEF Telecom Virtual Info Day.
Building Blocks were developed by the European Commission to support seamless digital interactions across borders, fostering connectivity, security, and efficiency for citizens and businesses across Europe."
https://ec.europa.eu/digital-building-blocks/sites/pages/viewpage.action?pageId=533365202
#metaglossia_mundus
"How to be more creative — using science
MAY 6, 20253:00 AM ET
13-Minute Listen
TRANSCRIPT
EMILY KWONG: You're listening to Short Wave from NPR.
BERLY MCCOY: Hi, Short Wavers, Berly McCoy filling the host chair today. And I'd like you to meet psychologist Zorana Ivcevic Pringle. When Zorana was an undergraduate, she was searching for a thesis topic. To spark ideas, she was reading everything she could get her hands on. And she stumbled across work from the 1960s during the Space Age about creativity. She read that creative people often have personality traits that don't seem to go together.
ZORANA IVCEVIC PRINGLE: Creative individuals, at times, can be extroverted, other times, very introverted. They can be playful, but also very serious about their work. Can seem naive and see things with fresh eyes, but also be very focused in their work.
MCCOY: In the two decades Zorana has been studying creativity, she's realized that even though creative people are unique, it's not because they're born with it. But that idea that some people are creative and some people aren't, what scientists call a "fixed mindset," can stop creativity in its tracks.
PRINGLE: Oftentimes, just the fact that we don't think of ourselves as creative is going to prevent us from ever attempting it.
MCCOY: But this idea is pervasive. We can sometimes think it's only the Einsteins or Beyoncés of the world who are creative.
PRINGLE: Scientists call those people Big-C creators, Big-C as big, influential, creativity eminent creators. But they are not the only ones. Creativity exists on a continuum for what we call mini-c creativity and the process of learning--
MCCOY: One example of mini-c might be your unique way of learning times tables.
PRINGLE: --little-c in everyday interactions and activities--
MCCOY: Like gifting your friend a present.
PRINGLE: --and Pro-c that is professional creativity in our work contexts.
MCCOY: Like designing new software, writing a novel, or making a science podcast. So even if you aren't Big-C level like Beyoncé, you and anyone can always start by opting in to being creative, which Zorana learned the hard way after years of limiting herself.
PRINGLE: I concluded that I was not creative. But I also know that somebody else, a best friend of mine, who was creative, and I wanted whatever she had. I wanted to understand how was she able to do things that I did not think that I could do at the time. In retrospect, I think I was able to do it, but that I was not willing to make that choice.
MCCOY: That has changed, and it culminated into a very creative thing-- a book called The Creativity Choice about how creative people can stick with an idea. So today on the show, the science of creativity. We talk about how psychologists study it and the choices people make to grow their creativity. You're listening to Short Wave, the science podcast from NPR.
[MUSIC PLAYING]
MCCOY: OK, Zorana, so now let's talk about how you go about studying and measuring something so vague and mysterious as creativity. How do scientists study it?
PRINGLE: Scientists have lots of different tools to study creativity. So if we think of creativity in its most basic form of coming up with original and appropriate or effective ideas, scientists have developed tests, oftentimes called tests of creative thinking or tests of divergent thinking. And an example of this test, probably the most frequently asked question, is, how do we use a simple everyday object in new and different ways? So how can you use a brick? The instruction simply asks for as many answers as you can think of. And then we can look at how many different ideas you can come up with, and then we can look at the originality of those ideas. When we are first asked the question, our mind goes to the most obvious answer. Well, we could build something with it. But then, as you exhaust those more obvious answers, you get into the area of originality. There, you can come up with things that are really interesting. So you can grind a brick and make pigments from it. You can use it for a miniature mural. And you can go on and on with answers that are going to be rare.
MCCOY: So this is the brick test. That's one way scientists can study creativity. What if they want to ask more complicated questions? What are some of those complicated questions? And then how would scientists go about measuring that?
PRINGLE: One method we can use is called experience sampling method. And what that means is that we want to see what people's experience is at different times on working on their creative project. Technically, how we do it these days, we use our smartphones, and there are apps that send notifications at random times during the day to complete a series of questions depending on the research question and what we are interested in studying. And at the end of the process, we have the final product that we can then evaluate for how creative it was. And it's a judgment on a scale of, well, this is not creative at all, to, this is very creative. And there is a continuum there. And when we have a group of people who are experts in some way, so if they are judging pieces of art-- they are artists or art critics or art professors, for example-- we find that people tend to agree. When we see creativity, we recognize it, even independently looking at it. Of course, there are limits to this technique, but it is very, to me, quite surprisingly robust.
MCCOY: Hmm, interesting. And one of the ways you write that people can build their creative skills is by being aware of their emotions and working with them to problem-solve and even regulate those emotions. So how does building your emotional intelligence muscles feed into creativity?
PRINGLE: Different emotions have these different connections between thinking and feeling. And if we know the connections about thinking and feeling, we can use it to our advantage.
MCCOY: OK. Can you give me an example of that, using an emotion to our advantage?
PRINGLE: So imagine you are happy. You are happy, and you can now be playful. You can be silly. And in these emotional states, you are better able to think in ways that are original, that are going beyond what is obvious, that are unconventional. But if you are in a more subdued or even grumpy mood, now, you are better able at critical thinking.
MCCOY: So the flip side of creativity is creative blocks. To illustrate this, can you tell me about the candle test?
PRINGLE: The candle test is very, very hard. So when researchers administer a candle test, they bring a person into a room, and they see a desk. On the desk are several objects-- a candle. There is a book of matches and a box of thumbtacks.
[MUSIC PLAYING]
PRINGLE: The task that the person has is to affix this candle to the wall so that wax does not drip on the table.
MCCOY: OK, so spoiler alert, if you want to try this, don't keep listening right now.
PRINGLE: But there is a trick, actually, a very simple trick, that completely flips the number of people who are successful at solving this problem. Instead of 20% success rate, a simple change in instructions is resulting in 80% success rate in solving the problem.
MCCOY: What's the change?
PRINGLE: The change is not to present these materials as the box of thumbtacks, but saying "a box and thumbtacks." If you say "box of thumbtacks," people perceive it as a unit. They do not see there is a box and there are thumbtacks.
MCCOY: OK.
PRINGLE: If you say "box and thumbtacks," now you have removed that unit and broken it into two separate pieces.
MCCOY: OK. And so, in your book, you say this is an example of reconstructing the problem. You give the example of your book, of how you got stuck and how you got unstuck. What was that like, one, and what do you think other people could from that example?
PRINGLE: Lots of people get stuck at some point during their creative process. And I actually hit a wall when writing a chapter about creative blocks, which is rather funny. I had a creative block about writing about the creative block.
MCCOY: Fitting.
PRINGLE: So what I did is I printed out my draft chapter that was not working and cut-- physically cut with scissors units of meaning and then started arranging them. And at one point, they fit into place, like a puzzle fitting into place. I think it is important to start with the moment where we give ourselves a break. What happens when we are experiencing a creative block is something very emotional. What would you say in this situation if a friend was experiencing it?
PRINGLE: And another way of broadening our thinking is working on reconstructing the problem, saying, let me examine the problem in a different way. Maybe there is an aspect of it I haven't looked at yet. And then if we have a mindset of we can do something about it, we can grow in our ability, we can develop it, different kind of decisions happen.
MCCOY: Zorana, thank you so much for talking to me today about creativity.
PRINGLE: Thank you.
MCCOY: Zorana's book, The Creativity Choice-- The Science of Making Decisions to Turn Ideas Into Actions, is out now. And Short Wavers, thank you for listening. Make sure you never miss an episode by following us on your favorite podcast platform. It really helps our show. And if you have a science question, send us an email at shortwave@npr.org. This episode was produced by Rachel Carlson, edited by our showrunner Rebecca Ramirez, and fact-checked by Tyler Jones. The audio engineer was Robert Rodriguez. Beth Donovan is our senior director, and Collin Campbell is our senior vice president of podcasting strategy. I'm Berly McCoy. Thank you for listening to Short Wave, the science podcast from NPR."
https://www.npr.org/transcripts/1266983726
#metaglossia_mundus
Términos en español y latín, que escucharemos y leeremos en toda esta etapa que se abre el 7 de mayor con el cónclave de cardenales.
"Términos en español y latín, que escucharemos y leeremos en toda esta etapa que se abre el 7 de mayor con el cónclave de cardenales.
28/04/2025 | 10:42Redacción Cadena 3
A
Acceptasne electionem
Frase en latín ("¿Aceptas tu elección canónica como Sumo Pontífice?") pronunciada por el cardenal decano al candidato electo tras alcanzar la mayoría de dos tercios. El elegido confirma su aceptación y elige su nombre papal.
C
Camarlengo
Cardenal que administra los bienes y derechos temporales de la Santa Sede durante la Sede Vacante. Verifica la muerte del Papa, sella sus aposentos y organiza el cónclave. Actualmente, es el cardenal Kevin Farrell.
Capilla Sixtina
Lugar en el Vaticano donde se celebra el cónclave. Los cardenales votan aislados, bajo los frescos de Miguel Ángel, tras el cierre con el "Extra omnes".
Cardenal elector
Cardenal menor de 80 años al inicio de la Sede Vacante, con derecho a votar en el cónclave. En 2025, se espera que participen unos 133 cardenales de 73 países, el cónclave más internacional hasta la fecha.
Casa Santa Marta
Residencia vaticana donde se alojan los cardenales durante el cónclave, construida por Juan Pablo II para reemplazar los alojamientos improvisados del Palacio Apostólico.
Cónclave
Del latín cum clave ("con llave"), reunión cerrada de cardenales electores en la Capilla Sixtina para elegir al Papa, entre 15 y 20 días tras la muerte o renuncia del pontífice. Regida por estrictas normas de secreto, fue formalizada en 1274 por Gregorio X.
Colegio Cardenalicio
Cuerpo de todos los cardenales, dividido en obispos, presbíteros y diáconos. Gestiona asuntos limitados de la Santa Sede durante la Sede Vacante. En 2025, tiene 252 cardenales, 135 electores.
Congregaciones generales
Reuniones previas al cónclave donde los cardenales discuten el perfil del futuro Papa y preparativos administrativos. Se realizan en el Palacio Apostólico bajo secreto.
D
Decano del Colegio Cardenalicio
Cardenal de mayor antigüedad que preside el cónclave, convoca a los cardenales y pregunta al electo si acepta. En 2025, es el cardenal Giovanni Battista Re.
E
Escrutinio
Método de votación en el cónclave. Los cardenales escriben el nombre de su candidato en una papeleta con Eligo in Summum Pontificem ("Elijo como Sumo Pontífice"). Se necesitan dos tercios de los votos.
Extra omnes
Frase en latín ("todos fuera") pronunciada por el Maestro de las Celebraciones Litúrgicas Pontificias para ordenar la salida de no electores de la Capilla Sixtina, iniciando la clausura.
F
Fumata
Humo de la chimenea de la Capilla Sixtina tras cada votación. La fumata negra (humo negro, con perclorato de potasio, antraceno y azufre) indica no elección; la fumata blanca (humo blanco, con clorato de potasio, lactosa y colofonia) anuncia al nuevo Papa, con campanas desde 2005..."
Very más👇🏿👇🏿👇🏿
https://www.cadena3.com/noticia/internacionales/diccionario-para-entender-la-eleccion-del-papa_418308
#metaglossia_mundus
"Quatre Belges sur dix n’utilisent jamais l’intelligence artificielle (IA) dans leur travail, ressort-il d’un sondage mené par le Cefora, le fonds sectoriel pour les travailleurs de la commission paritaire 200, cité dans La Libre Belgique mardi.
Quelque 40 % des sondés ont indiqué qu’ils n’utilisaient jamais l’IA dans leur travail et 25 % qu’ils n’avaient même aucune connaissance en la matière. Seuls 8 % l’utilisent quotidiennement. Ils le font essentiellement pour de la traduction, de la recherche et de la synthèse d’information et pour rédiger et corriger des textes.
“Mais de nombreux travailleurs l’utilisent sans en avoir conscience (...) Une traduction sur Google, un correcteur orthographique… tout cela, c’est déjà de l’intelligence artificielle”, mentionne Olivier Lambert.
Selon l’étude de Cefora, qui représente plus de 500.000 employés et 60.000 entreprises en Belgique, 66 % travailleurs recherchent activement des formations en IA. Les sujets qui les intéressent particulièrement: la façon dont elle peut les aider à accroître leur productivité, la rédaction de textes dans une autre langue ou tout simplement comprendre comment elle fonctionne."
E.L 06-05-25, 08:21
Source: BELGA
https://www.7sur7.be/tech/de-nombreux-travailleurs-belges-utilisent-lia-sans-en-avoir-conscience~a57e7639/?referrer=https%3A%2F%2Fwww.google.com%2F
#metaglossia_mundus
"Cet auteur polonais aux 10 millions de lecteurs est pour la première fois traduit en français, et cela va plaire aux fans de polars
Paru le 26 mars 2025 chez City, voici le premier roman traduit en français d’une superstar du polar et du thriller dans son pays d’origine, la Pologne. Un best-seller que Netflix n’a pas manqué d’adapter.
Jade Olivier
Il est un véritable phénomène d’édition en Pologne, où il est né en 1987. Remigiusz Mróz, juriste de profession, était en 2019 l’auteur numéro 1 dans le cœur des lecteurs de son pays d’origine et avait écoulé près de 875 000 exemplaires de ses romans en 2022. Le secret de ses intrigues ? Du crime, bien sûr… mais aussi de l’empathie : « Être avocat aide à réaliser que les coupables sont également des personnes - des personnes comme vous et moi, que l’on croise tous les jours, confie-t-il sur son site officiel. […] Les monstres nous ressemblent car ils sont comme nous. » Au total, pas moins de 10 millions de ses ouvrages se sont écoulés dans sa langue natale.
« Pénitence » de Remigiusz Mróz : une enquête démarre sur les chapeaux de roues
Et le public français peut maintenant lui aussi découvrir une de ses enquêtes à succès puisque Pénitence, traduit par Erik Veaux, est disponible en grand format. L’occasion de faire la connaissance d’un commissaire de police qui est loin de n’avoir que des amis : ingérable, plus que lourd avec la gent féminine, Wiktor Forst est le personnage principal de ce polar qui débute par la découverte d’un corps pendu dans les Tatras, zone montagneuse, nu sur une croix, une pièce de monnaie ancienne dans la bouche. Mais l’enquête ne se passe pas vraiment comme prévue : après le faux pas de trop, voici Wiktor Forst suspendu de ses fonctions et activement attendu par ses supérieurs pour une convocation. Aux côtés de la journaliste Olga Szrebska, qui rêve d’obtenir un prix de journalisme grâce à cette affaire énigmatique, il part en cavale… avant de réaliser que toute cette histoire les dépasse largement.
« Pénitence » de Remigiusz Mróz a été adapté sur Netflix en janvier 2024
Mais les abonnés à la plateforme Netflix ont eux aussi déjà rencontré ce flic à la grande gueule : le roman Pénitence a été adapté en une série de six épisodes en janvier 2024, intitulée Detective Forst. C’est alors un succès immédiat, la production polonaise se hissant dans le top 10 des programmes les plus visionnés moins d’une semaine après sa sortie. Il ne s’agit toutefois pas de la première fois pour Remigiusz Mróz : dès 2018, sa saga littéraire autour de l’avocate Joanna Chyłka est elle aussi adaptée en série, dont les cinq saisons sont disponibles sur Max. Avec, peut-être un jour, une traduction des romans dans la langue de Molière ?"
https://www.femina.fr/article/cet-auteur-polonais-aux-10-millions-de-lecteurs-est-pour-la-premiere-fois-traduit-en-francais-et-cela-va-plaire-aux-fans-de-pola
#metaglossia_mundus
Translator Tran Tien Cao Dang, a quiet yet memorable figure in publishing, reflects with candour and depth on the culture of reading.
"Tran Tien Cao Dang, one of the quiet yet memorable figures in publishing, offers his thoughtful and seasoned reflections on the culture of reading.
Translator Tran Tien Cao Dang stands out as one of the publishing world’s unassumingly extraordinary figures, someone who has devoted his life to books and embraced a path that is unhurried yet profoundly rich in purpose. Raised in a family that cherished literature and later immersed in the world of editing and translation himself, he regards reading as a spiritual necessity. Reading is a means to sustain inner equilibrium rather than something to be pursued for specific gains; a discipline to cultivate beauty and intellect. In his exchange with Tatler, Tran Tien Cao Dang shares thoughtful and nuanced perspectives on reading culture—a notion that feels familiar, yet still yearns to be properly redefined in today’s world, where the velocity of information consumption often eclipses depth.
See more: Translator Bui Xuan Linh: “Taking the reader as the centre, we will visualise what the reader expects”
ABOVE Raised in a family that cherished literature and later immersed in the world of editing and translation, he regards reading as a spiritual necessity (photo: Ky Anh Tran)
Tran Tien Cao Dang, we often hear and refer to the term “reading culture”. In your view, what does it mean in this context?
I think the term has been explored extensively, and there’s a broad understanding of what it entails. Reading culture, as I see it, is reading for its own sake—not for profit, not for immediate utility. Reading simply because it brings joy, restores balance, and awakens a sense of beauty. Put plainly: reading without expectation. That, to me, is reading culture.
So it wouldn’t include books on specialised knowledge?
That needs to be clearly distinguished. For example, an engineer reading about technical machinery, an accountant studying material relevant to their profession, or a lawyer researching international law—these are acts of reading in service of their work. They are intended to enhance professional understanding and often carry a sense of obligation. That sort of reading, with its practical and material aims, doesn’t fall within what I consider reading culture. The kind of reading I refer to—literary reading, reading for its own pleasure—exists purely to satisfy a spiritual hunger.
Reading culture is often spoken of as something cultivated. But can it be innate? Can someone be born with it?
I believe it’s both.
Of course, as you said, reading culture is something to be nurtured. On a personal level, say within the family, if the parents possess a love and awareness of literature, their children are very likely to inherit it. I’m living proof of that. My mother taught literature, and from the time I was five or six, she would read poetry aloud to me—excerpts from The Tale of Kieu, Chinh Phu Ngam, and so on. I grew up surrounded by books, and reading became second nature.
On a broader scale, this also lies within society’s hands. A society must develop in all dimensions—not only in terms of economics or governance, but also culturally. That wider development naturally raises the collective intellect and reading culture. Encouraging reading is just one way to support this. And of course, that’s not a task to leave solely to individuals. It must involve the government and those in leadership. If left only to the people, it will remain confined to smaller groups.
Back to your question, in addition to being nurtured by family and encouraged by society, there are still special cases where a love of reading emerges suddenly—like a revelation.
One such case is a friend of mine, a former editor. He was born in Rach Gia into a wealthy family, but there was nothing in his upbringing remotely linked to literature. He himself had never picked up a book throughout his high school years. But when he moved to the city, he stepped into a bookshop and, surrounded by shelves, experienced an awakening. Something stirred, and a deep interest in literature arose from within him. It changed the course of his life—he became a committed, even fervent reader, drawn not just to read widely but with great depth.
What do you mean by ‘deep reading’?
It’s when we engage with a work and don’t stop there. For instance, reading Flaubert doesn’t end with Sentimental Education or Madame Bovary. We go on to read his contemporaries, examine critiques of his work, and delve into commentary on the critic himself.
I genuinely admire that friend of mine. He reads in a way that is almost curatorial. One year, he might focus entirely on Russian literature—Dostoevsky, Chekhov, Nabokov—then move on to immerse himself in Japanese literature, and so forth. What’s remarkable is that this came from nowhere—no background, no prompting. A need to nourish the soul and expand aesthetic sensibility was suddenly awakened within him, without any obvious trigger.
Yet, as this story shows, real bookshops in our country remain mostly in the larger cities. In smaller towns and rural areas, they often resemble textbook or stationery outlets.
This speaks volumes about the role of state support for reading, which I still see as lacking. The infrastructure to inspire this kind of discovery is not evenly spread. Much more can and should be done.
Your friend’s story brings to mind Plato’s allegory of the cave. But it seems there are many who don’t appear to seek out ‘spiritual nourishment’.
I wouldn’t say they don’t have needs. It may be more accurate to say that their desires are confined to entertainment. But what’s essential to grasp here is that the aspiration for higher things—the pursuit of beauty, the impulse to explore deeper layers of thought, the determination to stretch beyond what we already know—is precisely what sets us apart as human. When we reduce ourselves to seeking only diversion, we neglect those very qualities that define us.
ABOVE I believe we’re caught in an illusion, one crafted by vested interests (photo: Ky Anh Tran)
Do you think that one of the reasons people read—specifically literary works, as we’ve been discussing—has to do with economic conditions? It’s something we’re all aware of. We need to be “well-fed” before we can think about enjoying beauty, appreciating literature, or tending to the soul. Yet I’ve noticed a paradox: in the past, our grandparents lived with far greater hardship than we do today, but they read more, and their awareness of the value of reading was much stronger. Could it be that those of us now living in more peaceful, stable times are in some way less than they were?
I believe we’re caught in an illusion, one crafted by vested interests.
We’re told we must live faster—faster for what? Faster to get more. But how much is enough? And what is this “getting”, really? Is it anything concrete, or just a list of fleeting goals—a new phone, a few nights at a luxury resort? This obsession with speed has altered how we read. Abridged versions, summarised texts—they’re everywhere now, not only in Vietnam but across the world. You can pick up a summary of Hamlet more easily than the actual play, and people will opt for that.
And it isn’t just literature. Cinema, too, is being diluted. I find this deeply worrying.
In such a world, literature becomes one of our few defences against illusion.
I’m reminded of the title The Melancholy of Existence. But here’s what truly unsettles me: some works of literature themselves contribute to illusion.
What kind of works do you mean?
To put it simply, they’re the kind that, once finished, leave the reader with no questions. No disturbance. They make the world feel undisturbed, life cheerful, and society orderly. These books gently lull us into accepting an illusion of normality.
When the reader’s mind is strong enough, the fractures of modern life become impossible to ignore.
A real literary work should provoke questions. It should unsettle the truths we think we know. It should ignite a hunger for deeper spiritual and intellectual exploration.
Read more: The World Without End – A Graphic Survey of the History of Consumption and the Illusion of Development
There are some rather extreme opinions that reading romance novels doesn’t count as reading literature. Do you think that’s too harsh?
I don’t see it that way. To be playful—literature and cinema are like food. There are all kinds, and it depends on the “palate” of the reader or viewer. Not everyone connects with Kafka or Dostoevsky. Some might prefer Tolstoy, or even just enjoy Marc Levy—and that’s perfectly fine.
But on a broader scale, this raises a cultural concern.
In a country with a thriving literary culture, all genres of writing circulate in healthy balance. Lighter, “instant noodle” works have their place, and they’ll always be there. But alongside them, classic literature and profound writing must also flourish. Sadly, in Vietnam, that balance is seriously off. That’s why reading groups are so vital.
You also host literary talks. May I ask what you hope to achieve with them? Is it to gather a like-minded community—perhaps small, but deeply engaged—or are you hoping to spark something in those who are less familiar with literature, to awaken in them a love of reading?
A good question. But I’ll admit, I don’t expect anything as grand as revelation.
I’m aware that these sessions often attract only a few attendees—sometimes fewer than ten. But that doesn’t matter. What matters is that those who come feel a burning need to seek something higher. Aesthetics. Spirit. Beauty. Without that inner pull, they wouldn’t come at all.
That said, I also see that not everyone is in the same place. Some arrive with less urgency. Some are merely curious. Others attend because it’s part of their role.
So, my goal is simple: to “draw in” as many people as I can—those who have shown even the slightest interest—and bring them a little deeper into the world of literature with me.
ABOVE I see that not everyone is in the same place. Some arrive with less urgency. Some are merely curious. Others attend because it’s part of their role (photo: Ky Anh Tran)
But reading seems, by nature, to be a solitary pursuit. Do book groups risk encroaching on that quiet sanctuary?
You’re right—reading, like writing, is inherently solitary. One writes best when entirely alone. I don’t oppose communal efforts such as creative camps, but to be candid, the outcomes of those sessions are usually just good—not great. A true masterpiece must arise from the author’s solitude, shaped by their individual voice. The same applies to reading. It should be an intimate act, one where we quietly engage with our own thoughts and inner responses.
Some reading groups follow a format where participants read and then gather to discuss. With all due respect, I believe this approach subtly diverges from the essence of reading. It risks dissecting the text too clinically—emphasising logic at the expense of personal feeling, which is just as vital.
Yet this solitary state is only the beginning—the first part of the journey. What follows is a desire for resonance. After completing a book, the reader seeks out echoes of their own response. Think of the triangle: Author—Work—Reader. The author crafts the work; the work reaches the reader. That connection alone creates an intersection. But when the triangle is complete, something more profound can occur: the reader may perceive layers that even the author had not foreseen. And that insight is real—it is not a misreading. From these personal discoveries, a reader often feels compelled to seek kindred spirits, to share, to extend what they’ve uncovered.
So yes, reading begins in solitude—but companionship naturally follows.
I said earlier this conversation would focus on your identity as a reader, but it would be remiss not to touch on your role as a translator—another vital part of your life. When you translate a literary work, does it affect your ability to enjoy it emotionally as a reader might?
For me, translation is an act of rewriting. I don’t experience the joy of the reader—but I do get to share in the writer’s thrill. Most of the books I’ve translated were ones I read long ago: The Khazar Dictionary, 2666, Seven Madmen, and others. But there are exceptions. The Wind-Up Bird Chronicle by Haruki Murakami, for instance—I translated it while reading it for the first time. The enjoyment is different. It isn’t the pure pleasure of reading, but a kind of intense exhilaration.
A true reader sees the whole—absorbing the entire forest, not merely a handful of trees. That, to me, is the mark of a discerning reader
- Translator Tran Tien Cao Dang -
Tran Tien Cao Dang, you are also a writer. Writing and reading are both demanding pursuits, and we each have only so many hours in the day. Suppose you were forced to choose just one—reading or writing. Which would you keep? I’ve wanted to ask since reading If on a Winter’s Night a Traveller by Italo Calvino, which you translated.
That’s a brilliant question. And oddly comforting, because I’ve never had to make that choice. Reading and writing are, for me, like two sides of the same leaf—inseparable. I am utterly devoted to reading, but the need to write also tugs at me constantly. It’s as if there’s a story inside me that insists on being born. So I will always strive to do both.
But if I truly had to choose—well, I wouldn’t. I’d rather give up everything than surrender one for the other.
If you couldn’t read or write, what would you do instead?
I already know the answer. I would open an animal rescue centre. Not just for cats—all animals in need of help, care, and healing.
Back to writing. As a voracious reader, have you ever been so overwhelmed by the towering achievements of human literature that you felt tempted to “break your pen” and give up writing altogether?
It’s a feeling familiar to any writer who reads widely.
But ultimately, it comes down to how deeply rooted that “writer’s core” is within you. If it’s strong enough, it will meet the challenge head-on. It will press forward, even in the shadow of Goethe, Dostoevsky, Tolstoy, Kafka, and so many other literary giants. It might say: I may not reach your summit, but I will reach my own.
It’s a bit like athletics. When a young athlete from our country starts out, if they aim immediately for a world record, it can feel crushing. But if they first aim to break the national record, that ambition feels more attainable—and they keep going, and going.
I remember a saying that has stayed with me: the final step depends on the first. Just take each step with care, and hold the destination in your heart.
A final question, if I may. Do you believe there’s such a thing as a “professional reader”?
It’s a fascinating question—though not an easy one.
We don’t usually speak of “professional reading”, do we? Because, as we tend to understand it, reading isn’t something done for payment. I’d be more inclined to speak of a good reader. And a good reader isn’t necessarily someone who devours vast numbers of books—but someone who reads with depth.
By depth, I mean the kind of reading we spoke about at the beginning. Not only engaging with a single work, but exploring the author’s body of work, reading their contemporaries, seeking out criticism, and diving into context.
Which brings me to something else—criticism. I sometimes think that a good reader needn’t take on the role of a critic. A good reader allows themselves to receive and perceive, without constantly imposing a critical framework. Worse still is when that critical approach relies on only one lens—whether it’s postcolonialism, gender theory, semiotics, or deconstruction. These perspectives are not inherently wrong, of course, but clinging to just one can become limiting. It narrows rather than expands our encounter with literature. And literature, above all, demands openness and agility.
A good reader, in the end, sees the whole picture—not just a few trees, but the entire forest.
https://www.tatlerasia.com/power-purpose/impact/translator-tran-tien-cao-dang-on-literary-and-reading
#metaglossia_mundus
"Adieu au chercheur culturel Huu Ngoc
05/05/2025 10:33 Le chroniqueur culturel Huu Ngoc est né en 1918 à Hanoï et est l’origine du district de Thuân Thành, province septentrionale de Bac Ninh. Considéré comme parmi les plus distingués intellectuels vietnamiens et un des chercheurs culturels les plus remarquables, il a quitté le monde à l'âge de 107 ans. >> Le 10e Grand Prix "Bùi Xuân Phai - Pour l’amour de Hanoï" décerné au chroniqueur culturel Huu Ngoc >> Huu Ngoc sort son nouvel ouvrage sur les grands hommes du monde >> Décès du grand écrivain Huu Ngoc, pont culturel entre le Vietnam et le monde Le chercheur culturel Huu Ngoc. Photo : ST/CVN Huu Ngoc était une "passerelle" reliant les connaissances et les cultures vietnamienne et internationale. Parlant couramment plusieurs langues étrangères telles que le français, l’anglais, l’allemand et le chinois, il a écrit et compilé avec diligence plus de 30 ouvrages précieux sur la culture vietnamienne, en anglais et en français, contribuant grandement à la promotion de l’image et de la richesse de la culture nationale auprès des amis internationaux. En outre, avec érudition, sérieux et une passion admirable, il a également présenté la culture vietnamienne au monde à travers des articles publiés dans des magazines des journaux, etc. En 2020, à l’âge de 102 ans, Huu Ngoc continue à travailler avec enthousiasme et publie le livre Cảo thơm lần giở (Se replonger dans les textes prestigieux), composé de deux volumes, totalisant près de 1.000 pages. Ces ouvrages présentent la vie et la pensée de plus de 180 grands hommes du monde, toutes époques et domaines confondus : religion, culture, philosophie, sciences, littérature, arts, éthique, sociologie, histoire, psychologie et science politique. L’ouvrage "Cảo thơm lần giở" du chroniqueur culturel Huu Ngoc publié en 2020. Photo : CTV/CVN Ce n’est pas seulement un grand ouvrage sur le plan académique, mais aussi le fruit de toute une vie de recherche et de "transmission" de la culture vietnamienne au monde, et inversement. Prix prestigieux Ce chroniqueur culturel est aussi le traducteur de nombreuses œuvres littéraires et culturelles étrangères de l'anglais et du français vers le vietnamien, dont la plus importante est le livre classique Les contes de Grimm. Parmi ses œuvres culturelles typiques, on peut citer Esquisse pour un portrait culturel français, Ciel nordique, Culture suédoise, Profil culturel américain, Esquisse pour un portrait de la culture vietnamienne et À la découverte de la culture vietnamienne. Il a occupé de nombreux postes de rédacteur en chef de nombreux journaux en français et en anglais, notamment le journal francophone L'Étincelle - journal de propagande pendant la guerre d’Indochine, les magazines Le Vietnam marche et Études vietnamiennes. Il a également occupé le poste de directeur de la Maison d'édition en langues étrangères pendant de nombreuses années. Avec des contributions inlassables tout au long de sa carrière, Huu Ngoc s’est vu décerner de nombreux prix prestigieux tels que les Ordres de l'indépendance et de l’exploit de l’État vietnamien, l’Ordre des palmes académiques de France, l'Ordre de l'étoile suédoise du Nord de la Suède, le Prix d'or du livre du Vietnam 2006, le Prix 2008 du Groupe des ambassades, délégations et institutions francophones (GADIF) au Vietnam, le Prix de bronze du livre du Vietnam 2015, le Prix national du livre du Vietnam 2017, le premier Prix national 2015 pour l'information étrangère, le Grand Prix "Bùi Xuân Phai - Pour l'amour de Hanoï 2017"... Les funérailles du chercheur culturel Huu Ngoc auront lieu à 13h00 lundi 5 mai à la maison funéraire de l'hôpital 198, situé au 58, rue Trân Binh, arrondissement de Câu Giây, Hanoï. Hoàng Phuong/CVN https://lecourrier.vn/adieu-au-chercheur-culturel-huu-ngoc/1282407.html #metaglossia_mundus
"May 5th | World Portuguese Language Day – Portugal
Posted on 04 May 2025.World Portuguese Language Day is celebrated annually on May 5th, in about 50 countries, to honor the global significance of the Portuguese language and the diverse cultures of Lusophone (Portuguese-speaking) countries.
On this day, various cultural events and activities are organized worldwide to raise awareness of the importance of Portuguese as a global language and encourage people to learn the language.
The events include lectures, literature readings, cultural shows, art exhibitions, plays, musical performances, competitions, and other cultural events to highlight the use and spread of the Portuguese language worldwide.
According to estimates by UNESCO, Portuguese is one of the fastest-growing European languages globally after English. It is the sixth most spoken language in the world, spoken by approximately 260 million people, and the third most spoken in the Western world. It is the official language of Portugal, Brazil, Angola, Mozambique, Cape Verde, Guinea-Bissau, São Tomé and Príncipe, and East Timor.
Portuguese is the most spoken language in the Southern Hemisphere. Brazil, with a population of over 207 million, is the largest Portuguese-speaking nation. Portuguese is also spoken in Goa in India and the territory of Macau in China. A Lusophone is someone who speaks Portuguese.
According to US Census data, the U.S. government classifies Portuguese as a “critical language.” Over 700,000 people speak Portuguese at home, largely shaped by waves of immigration from Portugal, the Azores, Madeira, Brazil, and Lusophone Africa. Portuguese has a growing presence in New England, where it is the third most widely spoken language after English and Spanish.
Portuguese is one of the official languages of the European Union and of several international organizations, such as the Community of Portuguese Language Countries, and the Union of South American Nations, recognized as a working language of the African Union, Mercosur, and the Organization of Ibero-American States. An important language for diplomacy, trade, and communication, Portuguese is also the fifth most used language on the Internet and is the fourth most used on Facebook.
The future of Portuguese as a world language looks promising, as its speakers continue to increase in number, especially in Brazil, South America. Brazil is projected to become the fifth-largest economy in the world by 2030, and Portuguese is projected to be spoken in 2050 by about 400 million people, and in 2100 by more than 500 million people, when the population of Angola will increase to more than 170 million and Mozambique to more than 130 million people.
Its continued growth and importance in business and international relations make Portuguese a valuable language to learn and one with a bright future as a global language.
The World Portuguese Language Day on May 5th was established by the Community of Portuguese Language Countries (CPLP) in 2009, an intergovernmental organization that has been in official partnership with UNESCO since 2000, to promote the Portuguese language and its cultural heritage. Founded in 1996, the CPLP is an international organization made up of Lusophone countries, where Portuguese is the official language, to promote cooperation and solidarity among its members.
The date was officially recognized in 2019, on the occasion of the 40th session of UNESCO’s General Conference, which officially proclaimed May 5th, of each year, as “World Portuguese Language Day” as a “major language of international communication, as well as a global language of science, culture, economics, and diplomacy.”
https://portuguese-american-journal.com/may-5th-world-portuguese-language-day-portugal-2/
#metaglossia_mundus
Pornographie à Babel/Pornography in Babel (Anvers, Belgique)
Date de tombée (deadline) : 30 Juin 2025
À : Université d'Anvers/University of Antwerp
Voir sur Twitter
Publié le 05 Mai 2025 par Marc Escola (Source : Philippe Vanhoof)
PORNOGRAPHIE À BABEL
Traduction, sexualité, obscénité
Conférence internationale bilingue
23–24 octobre 2025, Université d’Anvers, Belgique
À de maintes reprises, la littérature « pornographique » – du grec ancien πορνη (prostituée) et γραφω (écriture/peinture) – a été vilipendée pour sa nature brutale, transgressive et obscène. Alternant des passages érotiques et philosophiques, elle se prête une double lecture : l’une littéraire, l’autre aphrodisiaque. Cette ambivalence, à la fois thématique et suggestive, lui vaut d’être souvent la cible de vives critiques dans des débats sociétaux, où elle devient le terrain d’affrontements idéologiques, sinon un objet caché et relégué au non-dit. Véhiculant des représentations sexuelles aux formes diverses, elle a néanmoins commencé à s’imposer progressivement dans le champ académique, où des chercheureuses tentent d’examiner les modalités de ces représentations et les ressorts qui les sous-tendent. Ce faisant, la « pornologie » remet en question la complexité du pornographique sans chercher à le défendre ou à le condamner sur le plan moral (Hubier, 2021).
C’est dans cette optique qu’il convient de s’interroger sur ce qui constitue véritablement l’essence de la littérature pornographique, une fois mise entre parenthèses sa réception sociocritique. Certes, cette littérature brave le champ du dicible en jouant souvent la carte du vulgaire et de l’obscène, mais son réalisme stylistique marqué sert nettement à rendre le récit plus palpable et évocateur, qu’il s’agisse de susciter l’excitation, le choc ou la violence. Les textes pornographiques et les pensées hétérodoxes qu’ils renferment nous invitent à réfléchir aux stratégies qu’ils déploient pour détourner la censure et défier les idéologies dominantes. N'est-ce pas précisément parce qu’elle est aux prises avec le pouvoir que la littérature pornographique se voit censurée, voire interdite, et qu’elle est contrainte de passer sous le manteau ? Ou qu’elle est requalifiée en « littérature érotique » dans les paratextes afin de ne pas trop blesser la pudeur ? Par ces détours euphémiques et ces appellations édulcorées l’on démontre combien cette littérature reste sous l’emprise des normes sociales et du regard que porte sur lui son lectorat. Sa définition, en constante évolution, reflète les mutations des tabous sexuels à travers le temps – pensons par exemple à la pathologisation psychanalytique des fétiches ou encore à la tension que Foucault identifie entre ars erotica et scientia sexualis(1976).
Porteuse de sexualité et de volupté, la littérature pornographique s’est répandue aux quatre coins du monde, même jusqu’à Babel, symbole de la traduction. En franchissant – et bien souvent transgressant – de multiples frontières culturelles, elle a été traduite et adaptée. Or ce voyage transculturel soulève une question délicate : comment « traduire pour faire jouir » (Boulanger, 2013) ? Comment traduire la poétique transgressive de la littérature pornographique ? Traduire le pornographique, c’est inévitablement s’inscrire dans un rapport avec le discours dominant et les représentations mouvantes des sexes (et du sexe), genres, sexualités, corps et identités. De là, évidemment, que la traduction du pornographique exige une attention particulière à la langue cible et à la culture d’arrivée. Si la traduction est censée refléter une imagination sexuelle « équivalente », elle nous incite à nous questionner sur les manières dont les cultures façonnent ce qui est ressenti comme érotique, voire pornographique. Les choix lexicaux et le champ sémantique mis en œuvre dans la traduction jouent, par conséquent, un rôle primordial dans la reconstruction de la charge érotique du texte. Se pose également la question de la relation entre traduction et double lecture de la littérature pornographique : selon les stratégies de traduction mis en œuvre et l’appareil péritextuel accompagnant la traduction, celle-ci peut privilégier une lecture littéraire ou, au contraire, aphrodisiaque. Dans la lignée des réflexions de Toury (1995), comment l’acceptabilité de la traduction pornographique s’ajuste-t-elle à ce que la culture d’arrivée considère comme recevable ?
Aussi pourrait-on, à l’instar de Kaminski (2018), se demander si cet entremêlement culturel et idéologique ne ferait pas glisser la traduction pornographique vers l’adaptation pornographique. En effet, adapter, faire circuler et éditer en traduction des textes pornographiques, et donc des textes à forte charge transgressive, requiert parfois la mise en place de stratégies novatrices pour recontextualiser l’œuvre dans la culture cible : dans quelle mesure les paratextes dévoilent-ils des prises de position au sein des débats sociétaux et idéologiques dont fait l’objet la littérature pornographique ? L’intérêt porté à la réception de ces textes traduits est susceptible de révéler pourquoi l’on traduit des textes que l’on tend, par ailleurs, à dissimuler. Si cette littérature est, par essence, transgressive, ne peut-on argumenter dès lors que le fait de la traduire constitue en soi un acte transgressif ?
Dans le prolongement de ces réflexions, les contributeurices sont encouragé.e.s à repenser les traductions de littérature pornographique en fonction de sa double lecture, à envisager ces textes traduits sous un angle philosophique, à interroger les manières dont la traduction reformule ou reconfigure les notions du pornographique, de l’obscène et de la sexualité au-delà des frontières culturelles, et à reconsidérer l’impact de la sexualisation de la culture sur la production littéraire et traductive. Bien que le colloque soit bilingue français-anglais, nous accueillerons des communications sur des études de cas portant sur toutes combinaisons linguistiques, de n’importe quelle période historique, ainsi que des propositions de communication théoriques ou méthodologiques.
Nous accueillerons avec intérêt des propositions portant sur les thèmes suivants (liste indicative et non exhaustive) :
Théorie et méthodologie de la traduction du pornographique
Circulation/sociologie/marginalisation de la littérature pornographique en traduction
Histoire/émergence de la littérature pornographique en traduction
Traductions et adaptations érotiques/pornographiques
Pratiques de la traduction d’œuvres/de passages pornographiques
Traduire la langue érotique : stylistique, discours, sémiose, imaginaire, désir
Littérature pornographique en traduction et censure, discours, pouvoir, idéologie
Rôles des traducteurices de littérature pornographique, paratextes, édition
Manipulation de sexe(s), sexualités, genres, corps, identités en traduction
Obscénité, transgression, perversion, vulgarité, grivoiserie, obsession, tabou en traduction
Traduction féministe/activiste et littérature pornographique
Littérature pornographique en traduction et chair, lecture corporelle, lecture érotique, performativité
Philosophie de la traduction du pornographique : ontologie, épistémologie, herméneutique, phénoménologie, praxéologie, éthique
Keynotes
Frédéric Lagrange (Sorbonne Université, CEREJ)
Pauline Henry-Tierney (Newcastle University)
Petra Van Brabandt (Sint Lucas Anvers)
Will McMorran (Queen Mary University of London)
Comité scientifique
Philippe Vanhoof, Katrien Lievois, Kris Peeters (Université d’Anvers, unité de recherche TricS).
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Modalités de l’envoi des communications
Les propositions de communications en français ou en anglais de 500 mots au maximum (références incluses) accompagnées d’une courte notice bio-bibliographique seront téléversées via ce formulaire au plus tard le 30 juin 2025 : https://forms.gle/yRCAC6gQcfmWRrRh7.
La durée prévue des communications est de 20 minutes, suivies de 10 minutes de discussion. Le comité scientifique notifiera sa décision aux intervenant.e.s avant le 15 juillet 2025. En cas de questions et pour toute information complémentaire, n’hésitez pas à vous adresser à Philippe Vanhoof : (philippe.vanhoof@uantwerpen.be).
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Bibliographie sélective
Boulanger, P.-P. (2013). « Traduire pour faire jouir ». In P.-P. Boulanger (dir.), Traduire le texte érotique, Presses de l’Université du Québec, coll. « Figura », 41–56.
Coleman, L., & Held, J. (eds). (2014). The Philosophy of Pornography: Contemporary Perspectives. Rowman & Littlefield.
Colligan, C. (2024). Translating Pornography: The Case of Henriette Doucé. In B. J. Baer & S. Bassi, The Routledge Handbook of Translation and Sexuality, Routledge, 210–229.
Foucault, M. (1976). Histoire de la sexualité I : La volonté de savoir. Gallimard.
Henry-Tierney, P. (2023). Translating Transgressive Texts: Gender, Sexuality and the Body in Contemporary Women’s Writing in French. Routledge.
Hibbs, S., Şerban, A., & Vincent-Arnaud, N. (dirs.). (2018). Corps et traduction, corps en traduction. Lambert-Lucas.
Hubier, S. (2021). Pornologie. Le murmure.
Kaminski, J. (ed.). (2018). Erotic Literature in Translation and Adaptation. Legenda.
Lagrange, F., & Savina, C. (dirs). (2020). Les Mots du désir : La langue de l’érotisme arabe et sa traduction. Diacritiques Éditions.
Maingueneau, D. (2007). La littérature pornographique. Armand Collin.
McMorran, W. (2017). The Marquis de Sade in English, 1800-1850. Modern Language Review, 112(3), 549–566.
Santaemilia, J. (ed.). (2005). Gender, Sex and Translation: The Manipulation of Identities. St. Jerome Publishing.
Sontag, S. (1967). The Pornographic Imagination. In S. Sontag, Styles of Radical Will, Farrar, Strauss and Garrax, 1969, 205–233.
Toury, G. (1995). Descriptive Translation Studies and Beyond. John Benjamins.
Van Brabandt, P., & Maes, H. (2021). Kunst of pornografie? Een filosofische verkenning. ASP Editions.
Responsable :
Philippe Vanhoof (Université d'Anvers)
Url de référence :
https://www.uantwerpen.be/en/conferences/pornography-in-babel/
Adresse :
Université d'Anvers/University of Antwerp
#metaglossia_mundus
Microsoft has announced that the pioneering online video calling service that's been around for more than two decades will go offline on Monday.
"...Microsoft, which owns Skype, announced in February that the service would be available until May 5 and urged users to switch over to the free version of Microsoft Teams, its communication platform that features the ability to video call.
"Skype has been an integral part of shaping modern communications and supporting countless meaningful moments, and we are honored to have been part of the journey," Jeff Teper, Microsoft's president of collaborative apps and platforms, said in a blog post earlier this year.
Skype, founded in 2003 by Niklas Zennström and Janus Friis, began as a service offering phone calls over the internet. Later, it also let users video call each other and send private messages — all for free. It was among the first video conferencing apps and exploded in popularity, at one point boasting more than 300 million users, according to the Washington Post.
In 2005, eBay purchased Skype for $2.6 billion. eBay then sold its controlling interest to a group of investors in 2009, who in turn sold the video calling service to Microsoft.
But Skype's user base has dwindled in recent years, as the app has faced growing competition from video calling and messaging alternatives such as Zoom, WhatsApp and Slack. The app went from roughly 40 million users in early 2020 to 36 million in 2023.
Microsoft says Skype users can automatically migrate all of their chats and contacts directly to Teams."
By
Joe Hernandez,
Scott Neuman
May 5, 20253:39 PM ET
https://www.npr.org/2025/05/05/nx-s1-5387436/skype-shutting-down
#metaglossia_mundus
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