Metaglossia: The Translation World

A global study of 48 languages shows that human speech follows a steady rhythm, with intonation units occurring every 1.6 seconds.

 

"People everywhere talk with the same rhythm, regardless of the language

 

Human speech follows a steady timing pattern that shows up across cultures. A new paper reports that people naturally package talk into short phrases that arrive about once every 1.6 seconds, regardless of the language being spoken.

 

That unit of delivery is not a syllable or a word. It is a prosodic chunk called an intonation unit, and its regular tempo shows up in everyday conversation, in children and adults, and in communities from many language families.

 

Speech rhythm is universal

 

The study was led by Dr. Maya Inbar with Professors Eitan Grossman and Ayelet N. Landau at the Hebrew University of Jerusalem, and Professor Landau also holds an appointment at University College London (UCL). Their collaboration draws linguistics, psychology, and cognitive neuroscience into the same frame.

 

“These findings suggest that the way we pace our speech isn’t just a cultural artifact, it’s deeply rooted in human cognition and biology,” said Dr. Inbar.

 

“Understanding this temporal structure helps bridge neuroscience, linguistics, and psychology,” said Prof. Landau.

 

An intonation unit (IU) is a short prosodic phrase marked by coordinated changes in pitch, loudness, and timing. It is the slice of speech that carries a small, coherent bit of information before the next slice begins.

 

These units help listeners keep track of ideas and time their replies. Cross-cultural research shows that turn-taking in conversation relies on subtle temporal cues, not only on grammar or vocabulary.

 

Speech rhythm found across languages

The team assembled 668 recordings across 48 languages from 27 families, drawing most of the material from the DoReCo language documentation archive, which houses high quality recordings of many small and endangered languages. They focused on spontaneous speech rather than scripted or read text.

 

They used an automatic method to flag prosodic boundaries and then validated the results against expert annotations in English, Hebrew, Russian, and Totoli.

 

The validation showed moderate to high agreement with human transcribers, giving confidence that the boundary detector worked across unrelated languages.

 

To test whether IU onsets line up with a slow periodic pattern in the speech signal, the team used a bias-free phase synchronization metric known as pairwise phase consistency.

 

This measure detects consistent timing of events relative to slow oscillations without overestimating effects when sample sizes change.

 

The analysis revealed a prominent rhythm near 0.6 Hz. That corresponds to one new IU roughly every 1.6 seconds, and this alignment held across all languages in the sample.

 

How this links to the brain

The 1 to 2 second window is a meaningful timescale in cognition. Prior work shows that neural activity tracks hierarchical structures in connected speech, from syllables and words to phrases and sentences, with distinct rhythms at each level.

 

A foundational review argues that low-frequency brain rhythms help package incoming information at the right temporal grain for comprehension.

 

That packaging supports the parsing of speech into units that are neither too small nor too large for memory and attention.

 

New physiological evidence connects IUs directly to brain responses. When listeners hear spontaneous narrative speech, EEG shows a specific response at IU boundaries that is distinct from reactions to lower-level acoustic features.

 

There is also a broader literature suggesting that slow neural dynamics guide self-paced behavior. Models of voluntary action describe gradual, subsecond to multisecond build ups that precede self-initiated movement, situating the IU timescale within a general framework for timing in the brain.

 

Rhythm differs from syllable speed

The IU rhythm is different from the tempo of syllables. Syllable-level rhythms often cluster in the theta range, about 4 to 8 cycles per second, and listeners and speakers are tuned to that band for efficient perception and production.

 

The new work shows that local changes in syllable rate only weakly predict IU timing, and average syllable rates across languages do not explain cross-language variation in IU rate. That makes IUs a higher-level planning unit, not just a side effect of talking faster or slower.

 

Speech rhythm helps learning

Prosodic phrasing gives learners early cues for carving speech into manageable pieces. Infants exploit rhythmic and intonational structure to segment continuous speech and build phonological and lexical knowledge.

 

The same structure eases turn-taking in conversation. When speakers keep to a steady IU pace, it becomes simpler to anticipate a likely endpoint and start a reply with minimal gaps or overlaps.

 

Speech technology can benefit from this timing principle. Automatic speech recognition and spoken-language understanding systems often track the envelope, a summary of intensity over time, and cortical recordings show that the brain uses sharp envelope edges as landmarks aligned with syllable onsets.

 

Incorporating IU-scale timing into text-to-speech could make synthetic voices easier to follow, especially in noisy settings or long-form listening.

 

Systems that predict and respect an IU cadence may reduce listener fatigue and support better comprehension during hands-free use.

 

Future research directions

The corpus was broad but did not capture repeated recordings from the same individuals, so speaker-level variability remains an open question.

 

Future work that samples multiple sessions per person could reveal how stable a speaker’s IU timing is across contexts.

 

Another priority is connecting IU timing with physiology during natural conversation, not only during listening.

 

Combining boundary-sensitive analysis with brain and body measures, such as breathing and heart rhythms, could clarify how the timing of talk relates to the timing of action and memory across daily life.

 

The study is published in Proceedings of the National Academy of Sciences."

Jordan Joseph

08-22-2025

https://www.earth.com/news/people-everywhere-talk-with-the-same-speech-rhythm-in-all-languages/

#Metaglossia

#metaglossia_mundus

In an interview with PEN America, writer and translator Deepa Bhasthi shares what translation means in a multilingual society like India.

 

"Language as Culture, History, and Stories: Deepa Bhasthi on the Heart of Translation

Translation

Writing as Craft

Amulya Hiremath

August 26, 2025

 

The hillside town of Madikeri, India, where Deepa Bhasthi was born and continues to reside, does not have a single bookstore, but her grandfather had left her a rich inheritance — his library. And her grandmother was a fantastic storyteller. Spending her days reading Russian classics at 10, it was long before Bhasthi realized they were actually works in translation. “Forget finding the translator’s name on the cover, you wouldn’t find it anywhere in the book, in most cases,” she said in conversation with PEN America.

 

Bhasthi, a writer and translator, won the 2025 International Booker Prize, along with writer Banu Mushtaq, for Heart Lamp, a collection of short stories originally written in Kannada, a southern Indian language. This was the first time the prestigious prize had been awarded to a short story collection and a first win for the language. The same work had won an English PEN’s PEN Translates award supported by PEN Presents, a program designed to give publishers better access to titles from underrepresented languages and regions.

 

Talking to PEN America’s communications consultant, Amulya Hiremath, Bhasthi shared what translation means in a multilingual society like India, the politics of language amidst growing mother tongue extremism, and who gets to translate what text.

 

What brought you to translation? Do you remember the first translated work that you read?

It has to be something from Russian, and it took me many years to even understand that all the Tolstoys and Pushkins I was reading were in translation.

 

What brought me into translation was entirely by accident. In 2012, [it was] Kodagina Gowramma’s birth centenary year. I knew her name but had never read her stories. I was absolutely ignorant about what translation entailed, and thought I wanted to translate her stories. It was 10 years when the book actually came out. In the process, I realized that my relationship with Kannada, which is my mother tongue, was changing. Those of us who study entirely in the English-medium education system, we end up turning to English more than we do our own languages. While translating I was thinking a lot more in Kannada, using words which I hadn’t used in a long time. I might have stumbled upon translation accidentally, but I stay because it brings me closer to my language than anything else could have.

 

Congratulations on the International Booker! Tell us about Heart Lamp and how it came about. What was challenging and what surprised you the most about the project?

Banu and I have a mutual friend. She asked him if he knew someone, and then he connected us, and she got in touch, asking if I was interested in translating. I read a few of her stories, and I thought these were stories I wanted to work with.

 

The entire practice of translation itself is a bit of a torture. Banu and I are from very different cultural and religious backgrounds. I’m not a practicing Hindu. But then caste in India is inescapable, and it colors everything that you do. I wanted to be extra, extra careful about not messing up the cultural nuances that are in her stories, especially given where we are as a country right now, where the minorities othered to such an extent that they are either caricatured or reduced to a non-existent, non-human, dehumanizing project. I spent a great deal of time familiarizing myself with Islamic culture, as much as I could as an outsider—I read a lot, I watched a lot of television series, I listened to a lot of music. This is what Daisy Rockwell, the American translator, calls invisible force fields that go around. So a language, yes, it’s a tool of communication, but it’s also culture, it’s also history, it’s also the stories of a community. There’s so much that goes into the making of a language. So these are the force fields that get into the translation as well, because it’s not about finding a substitute for each word in one language to the other.

 

What does it mean to translate in a society where everyone is multilingual?

It’s very interesting. One, because of the way socio-linguistics work. Secondly, the place that we are in as a country today, where everything can spark a conflict or a war. Language has always been a very touchy subject—it’s easily within reach for politicians and for activists and for the establishment, to use and abuse it as a weapon. It is a weapon. Language has been always used as a weapon. Right from the time of the British, when Macaulay brought in the English education practice, through now, when we have this imposition of Hindi. It is a very interesting field, but it’s not as innocent as one would like to think of it as. And because for us multilinguality is such a common occurrence at least in Karnataka—people understand five, six, languages, it’s not a big deal—it took me aback when I first realized that people find this strange. Which is why, in Heart Lamp, the idea that Banu uses several languages did not come across as a very unusual occurrence, because these are our everyday lived experiences to pick words and phrases from different languages and use them, sometimes in the same sentence. But I understand it makes for a very unusual reading experience, for a Western reader, which is also saying that they need to read more.

 

A language, yes, it’s a tool of communication, but it’s also culture, it’s also history, it’s also the stories of a community. There’s so much that goes into the making of a language. So these are the force fields that get into the translation as well, because it’s not about finding a substitute for each word in one language to the other.

Tell us a little bit about how many languages were involved in Heart Lamp, because in India, it’s not just about translating from language A to language B?

So there is Dakhni, which is a kind of Urdu, but it is a mix of Kannada, Persian, Telugu, and all kinds of different languages. It’s often seen as an uncultured version of Urdu, but that’s certainly not the case. It is a language in itself. So there is Dakhni, which is the language that Banu speaks at home. The Kannada that she uses is more from the plains, so there were words and phrases which I didn’t immediately understand. There is a difference in the way Kannada is spoken in the region where she lives and where I live. But again, it’s not really unusual, because every 50 or 100 kilometers, there is a huge difference in the language. Her set of languages were different from the set of languages that I would typically have access to. But the idea of living in these multiple linguistic cultures was not really unusual, so that part was not challenging.

 

You’ve talked about the universality of the female experience and how that appealed to you in translating this, what’s the universality of the experience in translation?

I suppose, the idea that English is, whether we like it or not, a global language now, and once you take something into the English language experience, there is a greater accessibility that people have to the work. That is an unavoidable truth, mainly because of the nature of how the English language itself has evolved. Although English, the way it is spoken in Karnataka is widely different from the English that is spoken in some country in Africa, yet we somehow invariably end up sharing the language in all its textures and all its accents. We can still read a text from Africa and they can read something from Karnataka because it is in English. So the language itself brings in the universality.

 

You also talk a lot about decolonizing the language, and one of the ways you do that is by rejecting the italicization of words from Kannada retained in the text. Tell us more about that.

This is something I’ve been thinking about a lot, I might call it the decolonization of English, but it’s also an argument of who is an outsider and who is an insider when it comes to migration, whether it is of people or of cultures or language, when does someone become native? It’s to reject English as this foreign object that is spoiling Indian culture. Language is such an easy weapon to pick up for political projects, because it is such an emotional subject for so many people. But English, whether we like it or not, is the language that we use to reach not just a global audience, but to allow a global audience to reach us as well. It is rather silly and defeats the purpose of a modernizing, developing world to say that we don’t need English. A lot of countries which were previously colonized, we have made language so much of our own. English has been bent and molded and twisted and turned to suit what we want to say. There are a lot of Indianisms. Like, for example, “you do one thing” is a very Indian way of saying.

 

That’s where the idea of translating with an accent also came from. Because you could feel terribly guilty about using English, which came to this country under such violent circumstances, but at the same time, languages have always had violence ingrained in them. Every time a language came, whether with invaders or with merchants, there’s always been an exchange between languages. Languages have always conversed with each other. That’s how we have so many words borrowed and lent to each other. To reject English just on the basis of the fact that it wasn’t born within Indian boundaries is a rather silly way to look at it. If we completely removed Persian and Arabic words from several languages, half of Hindi wouldn’t exist. English does have an intensely cannibalistic quality to it. But at the same time, languages are not weak entities. They will survive. That’s how culture has always worked throughout history. I can’t remember where I read this, but it said, language is way greater than any of us who want to preserve it.

 

It’s always been changing, borrowing and lending words from other languages. So language will survive. I think the best that we can do as individuals is to embody whatever language you supposedly want to preserve and conserve. Unless something is used, it doesn’t remain; it’s as simple as that.

There is a growing language extremism in South India. What does it mean to protect the language and why does this sentiment run so high?

Kannada has a written history of some 1500 years. And language constantly changes—we use a lot more English words these days in Kannada than our grandparents did, but that’s the nature of language. This idea of purity, which we Indians are obsessed with, is ridiculous, because there is nothing called a pure Kannada or a pure Tamil. It’s always been changing, borrowing and lending words from other languages. So language will survive. I think the best that we can do as individuals is to embody whatever language you supposedly want to preserve and conserve. Unless something is used, it doesn’t remain; it’s as simple as that.

 

I don’t think it is okay to completely reject the language and say you’ll stick to your mother tongue—we can be equally good in English and equally good in our mother tongues, or multiple languages. That is where this idea of decolonizing English also comes from, saying that with time, we accept this language as something that is born from and used in India. It doesn’t have to make sense to people in the UK or the US. I think the problem comes because we like to think of every language as just one. There are several Kannadas and not just one Kannada, which is the same for English as well.

 

In your essay “ante”, you ask, “Why translate at all? In fact, in the face of so many complexities, translating in India means dealing with the hierarchies of who gets to translate and what gets translated?” How did you arrive at answers for this in translating Heart Lamp?

I think it’s an ongoing negotiation that one needs to do with the language and the text in question. Everything is class and caste oriented in India. If I were to translate a Dalit text, I know I would get criticized for having a savior complex, or if I didn’t do it, then I would be criticized for working only with people from my community. For me, it is language that leads me, that sparks my first interest in possibly translating a work. The politics of the author and the politics of the book are certainly important. I don’t think I would ever translate something I’m vehemently against. But at the same time, if I feel like there is a possibility for me as a writer/translator, to do something with the language, to push the boundaries of both Kannada and English, then that’s something that I would take up.

 

Heart Lamp was supported by English PEN’s grant and prize before the big Booker. How important are grants, prizes, and recognition for literature in translation?

Certainly important because it brings the attention of publishers who would otherwise have probably no access to these stories as well the readership in the pre-publication stage. A grant or a prize is always very, very welcome. Writing itself is such a labor of love, and translation is even more so because there’s nothing by way of financial support for any of these things. A grant or prize buys you time, so they are superbly important. At the same time, I think it’s important to be aware of the very arbitrary nature of these grants and prizes. Just because something wins a major prize, it doesn’t mean that it is the absolute best in the world. There’s so many other things that go into it, for example, the jury—it is down to what they think and what their reading preferences are. It is important to be aware that not every work is about the prize it might potentially win.

 

What does the Booker mean for a language like Kannada, and what has surprised you the most about people’s response?

It has been wonderful, because it is one thing to be recognized internationally or by a readership that does not entirely know the history of the literary history of the language, but to come back home and have these people celebrate the win as if it’s a personal win for each and every one of them. I think that has been very overwhelming in a very wonderful way. I think that has its roots also in how Kannada often gets the short end of the stick compared even with just the southern part of the country—we are not as vocal about our language as the neighbors are, for example. Which is why I think there is this outpouring of love, because suddenly you have this language which is ignored, not just by its own speakers, but also on a national narrative. I don’t want to be very optimistic and say that there’ll be a lot more translations from Kannada because we know the extraordinary works we have in the language. But it has to come from a new generation of translators.

 

Translation and writing itself is a very isolating job, but then the writer is never in isolation entirely, we’re always reaching out into the world to read other things or to listen or immerse ourselves in other art works. And then you carry all the experiences of these various art forms, sit at the desk, and what happens is the weight of these forms also seep into the art that you make.

What would you say is a snapshot from India with regards to free speech, and have you experienced any censorship?

No, I haven’t experienced any. But I think the larger trend in the country has been going against the idea of cultural freedom and freedom of expression. It feels like the noose is kind of tightening around all our necks. It’s a very worrying trend. But I think cultural censorship has been around in one form or the other. When the censorship is at its worst, that’s when the dissent is also at its strongest. I think that the culture of dissent in India has been wonderful across centuries, and that is one of the things that I hold on to when I desperately need a sliver of hope—you read the news in the morning, and then you reach for whatever little bit of hope you can muster. And this culture of dissent that we’ve had is what I reach for.

 

In his interview with The Paris Review, Henry Miller said, “Most writing is done away from the typewriter, away from the desk.” Where does translation happen? What does your process look like?

It’s chaotic, I don’t really have a process. Miller was right, a lot of the work actually happens outside of the desk. What happens at the desk is very functional—you type out the words. I’m of the firm belief that everything that we learn, listen to, we or watch or experience in life, seeps into the creation that we shape. So in this case, a translation, or my own piece of writing comes from life, from having lived. And these things color the cultural productions that we make. Translation and writing itself is a very isolating job, but then the writer is never in isolation entirely, we’re always reaching out into the world to read other things or to listen or immerse ourselves in other art works. And then you carry all the experiences of these various art forms, sit at the desk, and what happens is the weight of these forms also seep into the art that you make. And this is where something like machine-led translation will never win, because a machine would just look at the language and then vomit out something in the other language. It doesn’t experience life. Which is why AI translations will not have the heart and the soul that humans bring into their art making. AI has its uses, certainly, no one is denying that. These are passing trends. Maybe I’m very old school and stupidly optimistic. I’m sure different iterations of these passing trends have always been around in history, but good art has always found ways to thrive, not just survive."

https://pen.org/deepa-bhasthi-on-the-heart-of-translation/

#Metaglossia

#metaglossia_mundus

"Google Discover Will Soon Let You Choose Multiple Languages

by Abhinav Anand | Aug 26, 2025 | News

 

How many of you actually use Google Discover to catch up on trends daily? I’d assume a lot. And how many of you speak multiple languages? This one’s for you. Google is testing a new feature in its Discover feed that will allow users to select multiple languages for content preferences.

 

Google will soon let you pick multiple languages for Discover feed

As of now, the Google Discover feed defaults to the device’s primary language, with limited options for customization. But fine folks over at Android Authority cracked open the Google app beta v16.33.64 and found hints of multiple language options. It introduces a language selection interface that allows users to choose multiple languages for their feed.

 

....The new “Discover feed languages” option will be available in the Google app’s Settings under the “Language & region” section. Screenshots show the changes in the current interface (L) and the upcoming version (R).

 

This way, people can create a Discover feed that matches their personal preferences. For people who speak or read multiple languages, this is a welcome update. I, for one, can actually read and write four languages, just don’t ask me which ones. I assume there are many people like me who would occasionally want to read something in other language(s) too.

 

While it’s not available for everyone yet, the test suggests that Google will release it soon. And actually, it’s high time they did. It will make it easier to see stories from different countries and perspectives, all in one place.

 

Google’s goal is to make Discover more personalized so users can spend less time searching and more time reading the news that matters to them. Speaking of personalization, if you like catching up on the latest updates on SammyGuru, you could also add us as your preferred source on Google Search."

https://sammyguru.com/google-discover-will-soon-let-you-choose-multiple-languages/

#Metaglossia 

#metaglossia_mundus 

"Welcome to Season Three of The Critic and Her Publics: On Translation.

 

In 1999, twelve distinguished writers gathered at Casa Ecco, a villa on Lake Como, to discuss the art of translation. Twenty-five years later, their ideas are still apt and powerful. Last October, Merve Emre convened a group of translators and publishers at the same villa to return to those ideas and to examine a field at an inflection point.

 

In this series, you’ll hear from the translators Maureen Freely, Daisy Rockwell, Virginia Jewiss, Jeremy Tiang, and Tiffany Tsao, as well as publishers Adam Levy (Transit Books) and Jacques Testard (Fitzcarraldo Editions).

 

In these first two episodes of Hawthornden’s Como Conversazione, we explore beginnings. We start with an exercise in practical translation: a discussion of seven different English interpretations of one, highly complicated sentence from Volume One of Marcel Proust’s In Search of Lost Time. Maureen Freely will speak first, followed by Daisy Rockwell, Virginia Jewiss, Jeremy Tiang, and finally Tiffany Tsao. It sounds like a lot to keep track of, but in the course of these conversations, you will get to know all of their voices very well. 

 

Then, as anyone who has been around kids knows, a good Lego build starts with a good base. In a translation, this is the first sentence of a text. First sentences are so often the most famous lines. They are a place for a translator to make their mark. They dictate the voice in which the book unfolds. But has the importance of the first sentence been overly inflated?..."

First Sentences and Translating Proust on The Critic and Her Publics

a week-long season on translation begins

By The Critic and Her Publics 

August 25, 2025

https://lithub.com/first-sentences-and-translating-proust/

#Metaglossia 

#metaglossia_mundus 

"The best recent translated fiction – review roundup

Discontent by Beatriz Serrano; Hunter by Shuang Xuetao; Blurred by Iris Wolff; Cooking in the Wrong Century by Teresa Präauer

 

 

Discontent by Beatriz Serrano, translated by Mara Faye Lethem (Harvill Secker, £14.99)

Ambivalence towards working life is the subject of this tremendously entertaining debut novel. “I only come into the office to lower my air-conditioning bill,” says 32-year-old Marisa. She’s “head of creative strategy” in a Madrid ad agency. “That’s a big deal,” says a friend. “No,” Marisa replies, “it just sounds like one.” She kills time between projects by posting trolling comments on dismal YouTube videos. Eventually she faces the worst horror of all: a team-building retreat, which she ends up dealing with in a masterfully perverse way. There’s pain underlying her quips (“No one knows who I really am”), but her story is peppered with pithy insights into the modern workplace, and plenty of vivid characters, such as the friend who’s “had work done”. “I’m filled with plastic,” she tells Marisa. “I’m the Atlantic Ocean.”

 

 

Hunter by Shuang Xuetao, translated by Jeremy Tiang (Granta, £12.99)

Set largely in the Chinese cities of Beijing and Shenyang, these diverse stories share a blend of urban grittiness and surreal strangeness. In one, a man accompanies his father in an ambulance to hospital, but finds everyone else – including the driver – is asleep. In another, a man goes from stalking women to shooting squirrels; elsewhere, we encounter a remake of The Tempest, and a man who claims to be the last survivor from another planet. Motifs recur – actors, parents, people needing urgently to pee – bringing a sense of unity, however warped. The frequent surprises in these stories, which are darkly charming and hard to shake off, suggest Xuetao may have followed the advice of one of his own characters on writing: “Just sit there, smack your head and let the words flow out.”

 

 

Blurred by Iris Wolff, translated by Ruth Martin (Moth, £9.99)

This novel, with the breadth of an epic and the lightness of touch of a fairytale, is a pocket history of 20th-century Romania. At its heart is a boy, Samuel, though the story moves not through him but around him: viewpoints include his mother, who is driven by her passions (“the mind took time; the heart was quick”); his grandmother; and a childhood friend. The style is equally comfortable with cultural history (when a child dies, windows are opened, chairs upturned: “death must not feel at home here again too soon”), an action-packed escape in a crop-dusting plane or ironic commentary on the Ceausescu regime. “He loved his people so much […] he shielded [them] from pride by preventing them from having their own opinions.” All in all, the lives in this compact marvel of a book are presented “so vividly you think you remember them yourself”.

 

Cooking in the Wrong Century by Teresa Präauer, translated by Eleanor Updegraff (Pushkin, £14.99)

“In the beginning was the artichoke.” And so opens a dinner party evening somewhere in contemporary Europe. The participants are types – “the hostess”, “the American woman”, “the Swiss man” – and they lubricate the hours with plenty of sparkling Crémant (“they were now on the third bottle”). There’s a sensibility akin to Vincenzo Latronico’s Perfection in everyone’s obsession with names and cultural touchstones, as they share selfies on social media (#FoodPorn #BestFriendsForever). The tone of this moreish story swings between sadness and satire, whether the guests are parroting received opinions, celebrity-spotting (Hugh Grant “looks like an old woman these days”) or reflecting on “the shift from general lack to general surfeit during the course of the 20th century”. By the end of the evening, when things spiral outward and the police come calling, only one question remains. “Is there any more Crémant?”"

John Self

25 Aug 2025 12.00 BST

https://www.theguardian.com/books/2025/aug/25/the-best-recent-translated-fiction-review-roundup

#Metaglossia 

#metaglossia_mundus 

"As a literary translator who was born in Tokyo, raised in Los Angeles, and now ping-pongs between the two cities, I often find myself describing books (that I neither wrote nor translated) to readers of both English and Japanese. Part of this includes an attempt to offer a cultural snapshot to someone beyond the country or language it was published.

 

In Japan, I have reported back to curious readers on the skyrocketing popularity of Asako Yuzuki’s Butter in Polly Barton’s English translation (assuring them that the Japanese media is not exaggerating this time), or about the number of anxious fans awaiting the next Sayaka Murata translation by Ginny Tapley Takemori. To English readers, I find myself detailing the Akutagawa and Naoki Prizes and their impact in Japan’s literary world, sharing which award leans more literary (Akutagawa) and which toward propulsive plots (Naoki). Both birth bestsellers twice a year. I go on about Japanese powerhouse authors from the nineties and early aughts that need to be reintroduced in the way that Fumio Yamamoto finally is (joy!) in Brian Bergstrom’s translation of The Dilemmas of Working Women. All the while, I ask myself, why do I care so much about the story behind the story?

 

Years before I would find myself in the astonishingly fortunate position of translating Mizuki Tsujimura’s bestselling novel Tsunagu (Go-Between) into English with the title Lost Souls Meet Under a Full Moon, I devoured a 2016 article on Lit Hub titled “10 Japanese Books by Women We’d Love to See in English,” a brilliant list of then-undiscovered novels compiled by translators Allison Markin Powell, Ginny Tapley Takemori, and Lucy North. This was before I became a literary translator, before I knew the trailblazing translators in person, back when I was simply a fan of Japanese novels, many of which I read decades ago as a teenager who raced to the PARCO bookstore in Kichijoji on family trips to Japan.

 

In my messy, heavily-postered teenage room back home, I had a hidden shelf devoted to paperbacks written in their original language by Banana Yoshimoto, Yoko Ogawa, Hiromi Kawakami, Kaori Ekuni—kept out of sight because no one at school could ever know that I spoke or read Japanese. All day long I switched back-and-forth from my American to Japanese selves, depending on the activity. Mall shopping, belting oldies in the car, going to baseball games, and fighting with my siblings were done by my American self. My Japanese self stepped in when it came time to attend Japanese school, flip through idol magazines, watch Japanese dramas, dream of hatsukoi (first love), eat umeboshi, and talk to my parents. The one thing the two sides had in common was reading—but only one language was read out in the open.

 

All day long I switched back-and-forth from my American to Japanese selves, depending on the activity.

Looking back now, I wish I’d been lucky enough to grow up reading Mizuki Tsujimura (though she too would have been a child then). Her insight would have helped me understand my discomfort, I think, to know that somewhere in the world, painfully shy teenagers who looked like me were also trying to find their place in a classroom filled with loud, fearless people.

 

I marvel now that of that reading list published in 2016, nine of the ten authors mentioned have or will soon be translated into English. The translated Japanese novel has come a long way in just under a decade, due in large part to the work and initiatives of translators such as Allison, Ginny, and Lucy.

 

One title in particular caught my eye as I went down the list: Tsunagu!

 

I want to live in a world where Tsunagu can be read in English, I thought. I’d read the novel in Japanese when it was first published in 2010 and had been riveted by Tsujimura’s storytelling. Ginny’s plot description in the article is spot-on: After his father killed his mother and committed suicide, Ayumi is brought up by his grandmother, Aiko. When he reaches high school, Aiko begins training him in the secret art of a spirit medium, facilitating one-off reunions between the living and the dead.

 

While many English readers may be quick to assume that Tsujimura’s novels are meant to heal, the word most often used to describe her work in Japan is sasaru. It means stab, sting, turn a knife in my heart.

 

While many English readers may be quick to assume that Tsujimura’s novels are meant to heal, the word most often used to describe her work in Japan is sasaru. It means stab, sting, turn a knife in my heart.

 

Since her debut in 2004, Mizuki Tsujimura has written over forty books in Japanese, three of which have been translated into English, with more on the way. In Japan, eight of her novels have been adapted into full-length feature films and her name comes up regularly in both pop culture and literary contexts. Tsujimura made her start as a mystery writer. She chose the pen name Tsujimura, borrowing the Tsuji kanji character from Yukito Ayatsuji, a master of the genre, whom she became enamored by in elementary school. (In high school she wrote over a hundred fan letters to the author, even receiving a handwritten reply.) She now considers him a mentor.

 

Last fall in Tokyo, I attended a rare event with the author at the famed Kinokuniya Hall Theater in Shinjuku commemorating her 20th anniversary as a novelist. Three hundred seats, filled in a flash. As the audience hung on her every word, my ears perked up when she shared her experience writing Tsunagu, which I happened to be translating.

 

She wrote the book early in her career when she had just entered her thirties, too soon to be writing about death, she says. In the novel, a high-schooler named Ayumi is ordered by his grandmother to take over her role as the go-between, setting up meetings between the living and the deceased for one night only. “I don’t plot out my stories before I start writing,” she says. “And I didn’t know where Tsunagu would take me initially. I just thought it might be interesting to explore situations in which a go-between meets with different clients.”

 

But gradually, she says, her character Ayumi began to struggle with his responsibility as the go-between. His job was to reunite the emotionally burdened with their loved ones, but what right did the living have to call on a dead person for their own comfort?

 

Tsujimura followed his need to understand. “Ayumi was conflicted by his position of being able to manipulate fate. And it was only by writing through his inner conflict that I understood why I was writing about death so early in my life and career,” she said. “Would the writing be easier if I knew what I wanted to write from the start? Possibly. But then I probably wouldn’t be able to write.”

 

For fifteen years, the novel has been passed from reader to reader in Japan, but it has become apparent in Tsujimura’s twenty-year career that her words aren’t just contained in the pages of a book, in a single language. Her books speak to the universal, and I’m honored to be able to bring her work to English readers. As a teenager who once ached for stories of young people like me, my oft-stung adult heart fills to think that we can now share Tsujimura’s tales with the people we’ve grown up with, grown up around, and grown apart from. For you, and your younger self, I hope you will read.

 

_________________________

 

 

 

Mizuki Tsujimura’s Lost Souls Meet Under A Full Moon, translated by Yuki Tejima, is available now from Scribner.

 

By Yuki Tejima

August 26, 2025

Yuki Tejima is a translator from Los Angeles who is currently based in Tokyo. Her translations from Japanese into English include Mizuki Tsujimura’s novels Lost Souls Meet Under a Full Moon and How to Hold Someone in Your Heart, Someone to Watch Over You by Kumi Kimura, When the Museum is Closed by Emi Yagi, Then Why'd You Ask Me to Come? by Risa Wataya, and the sequel to Tetsuko Kuroyanagi’s best-selling memoir Totto-chan: The Little Girl at the Window 2"

https://lithub.com/on-bringing-the-novels-of-mizuki-tsujimura-to-english-readers/

#Metaglossia 

#metaglossia_mundus 

"Associate Professor(s)/ Assistant Professor(s), Department of Translation

Employer

CHINESE UNIVERSITY OF HONG KONG

Location

Hong Kong

Closing date

31 Oct 2025

 

Applications are invited for:-

 

Department of Translation

 

Associate Professor(s)/ Assistant Professor(s)

 

(Ref: 250001HZ)(Closing date: October 31, 2025)

 

Established in 1972, the Department of Translation of CUHK was the first of its kind in Asia. After years of development, it now offers a full range of BA, MA, MPhil and PhD programmes. Our faculty members are committed to excellence in teaching and research in a variety of fields, including but not limited to translation history, translation and technology, digital humanities, translation theory, and practical translation (especially literary). The Department is also home to the Centre for Translation Technology, which has specialized projects undertaken by Centre members. Faculty members are active in securing research grants concerning various aspects of translation history, theory and practice, increasingly with a digital component.

 

Applicants should (i) possess a relevant PhD degree in translation or other related fields; and (ii) have relevant teaching experience and professional qualification(s). Priority consideration will be given to those with publications both of a scholarly nature and of actual translation, and who specialize in one or more of the following areas: a) digital humanities (including corpus-based studies, psycholinguistics studies, translation technology, and AI); b) interpreting studies; c) localization; and d) translation theory; but applicants in all areas of translation studies are welcome to apply.

 

The appointees will (a) teach undergraduate and/or postgraduate courses in the area(s) named above; (b) supervise research postgraduate students; (c) develop and participate in independent and/or collaborative research projects; and (d) undertake administrative duties.

 

Complete dossier should include (a) a cover letter, indicating the rank and mode of appointment you are applying for; (b) a CV, with a complete list of publications (attach the acceptance letter for an accepted but unpublished paper); (c) a research statement; (d) a teaching statement; (e) two writing samples, published or unpublished; (f) previous teaching evaluations if any; and (g) assistant professor applications should include three confidential reference letters; (h) associate professor applications should include three names of referees. Except items (g) or (h), the dossiers should be submitted online at the website of Human Resources Office, the Chinese University of Hong Kong (https://www.hro.cuhk.edu.hk/en-gb/career-opportunities). Letters of reference should be sent directly by mail to Chairperson, Department of Translation, 1/F Leung Kau Kui Building, The Chinese University of Hong Kong, Shatin, N.T., Hong Kong by referees or email at tra@cuhk.edu.hk. Applicants are responsible for the completion of their application materials. Incomplete applications will not be considered.

 

Appointments will normally be made on contract basis for up to three years initially commencing August 2026, which, subject to mutual agreement, may lead to longer-term appointment or substantiation.

 

Application Procedure

 

The University only accepts and considers applications submitted online for the post above. For more information and to apply online, please visit http://career.cuhk.edu.hk."

 

https://www.timeshighereducation.com/unijobs/listing/397825/associate-professor-s-assistant-professor-s-department-of-translation/

#Metaglossia 

#metaglossia_mundus 

"Écologies autochtones et futurs décoloniaux dans Tamazgha (Journal of Amazigh Studies)
Date de tombée (deadline) : 15 Octobre 2025
À : Claremont McKenna College

Publié le 24 Août 2025 par Marc Escola (Source : Boussad Berrichi)
Appel à contributions

Écologies autochtones et futurs décoloniaux dans Tamazgha (Afrique du nord)

Face à l’effondrement écologique accéléré, à la rareté croissante de l’eau et à l’expansion capitaliste non durable, Journal of Amazigh Studies souhaite explorer notre condition actuelle et mettre en avant les savoirs autochtones comme réponses essentielles à ces crises interconnectées.

Ce numéro se concentre sur les pratiques écologiques enracinées dans les communautés amazighes à travers Tamazgha (Afrique du nord) et la diaspora, en soulignant l’importance de la terre, de la mémoire et de la continuité culturelle. Il vise également à interroger de manière critique les réalités de la dégradation environnementale, les conséquences des décisions politiques et historiques — y compris les héritages coloniaux et postcoloniaux — et les injustices socio-écologiques persistantes qui se manifestent à travers le changement climatique, la sécheresse, les incendies de forêt, ainsi que l’érosion des droits collectifs à la terre et à l’eau.

Nous accueillons des propositions interdisciplinaires : études littéraires, linguistique, anthropologie, histoire, études cinématographiques et médiatiques, humanités environnementales, études autochtones, études de genre, géographie et domaines connexes. Nous invitons les universitaires, mais aussi les artistes, poètes, activistes et leaders communautaires à considérer l’espace de Tamazgha (Afrique du nord) comme un espace vivant — écologique, culturel et épistémologique. Nous encourageons particulièrement les propositions qui réinvestissent les savoirs liés à la terre, les cosmologies autochtones et les pratiques durables qui remettent en cause les logiques d’extraction, de colonialisme et de dépossession.

Les propositions peuvent porter sur les axes suivants--sans toutefois s’y limiter :

Écologies genrées et savoirs des femmes

Rôle des femmes dans les pratiques durables telles que les soins, l’agriculture, etc., ainsi que dans la préservation des savoirs médicinaux, culinaires et artisanaux. (Mettre en lumière les perspectives écoféministes et intergénérationnelles sur la justice et la souveraineté écologique.)

Littérature, cinéma et mémoire culturelle

Analyse des façons dont les romans, films et récits oraux représentent la terre, résistent à la dégradation écologique, critiquent les pratiques coloniales d’appropriation foncière et imaginent des futurs ancrés dans le soin du territoire. Les contributions peuvent explorer comment la mémoire culturelle s’exprime et se transmet à travers les textes, les archives, les rituels et les médias.

Langue, territoire et souveraineté des savoirs

Étude des liens profonds entre langue, territoire et identité. Cela inclut la revitalisation des langues amazighes comme actes écologiques et politiques, ainsi que le rôle de l’oralité, de l’éducation et des pédagogies enracinées dans la terre dans la transmission des savoirs autochtones.

Écopoétique, arts et traditions orales

Analyse des récits, de la littérature orale, de la poésie et du chant comme réservoirs de mémoire écologique et outils de résistance. Les pratiques artistiques et matérielles — telles que le tissage, l’artisanat, les arts visuels et la performance — peuvent être explorées comme expressions de conscience environnementale et de résilience culturelle.

Réseaux autochtones mondiaux

Exploration des liens entre les communautés amazighes et d’autres peuples autochtones du Sud global et de la diaspora, à travers des luttes écologiques communes, des pratiques culturelles partagées et des solidarités politiques transnationales.

—

Normes pour les propositions d’articles :

·         Les propositions d’articles doivent être rédigées en tamazight, en anglais ou en français

·         La proposition doit se résumer à 500 mots maximum (ou une page) accompagnée d’une brève biographie avec le nom complet de l’auteur.e, une adresse électronique et affiliation

·         Les manuscrits doivent se conformer au style d'écriture académique du MLA (9e édition)

·         Le nombre de mots pour les articles de recherche et les essais critiques sont de 6 000 à 10 000

·         Toutes les propositions d’article doivent être envoyées sous forme de document Word à JAS avant le 15 octobre 2025. 

—

Dates importantes :

·         Soumission de proposition: 15 octobre 2025

·         Notice d’acceptation: 30 octobre 2025 

·         Date limite de soumission des articles : le 1er mars 2026

·         Publication: 1er avril, 2027

 

Veuillez noter que toutes les contributions seront soumises à un processus d’évaluation par des pairs (en double aveugle) pour garantir la qualité et l'intégrité de la publication. Pour toute demande de renseignements ou précisions, veuillez contacter l’équipe JAS. Les manuscrits soumis ne doivent pas avoir été publiés antérieurement ni être à l'étude ou publiés ailleurs pendant leur évaluation pour cette revue.
Pour toute demande ou précision, veuillez contacter JAS.

 

 

=============================================================

 

Call for Papers

Indigenous Ecologies and Decolonial Futures in Tamazgha (North Africa)

In the face of accelerating ecological collapse, water scarcity, and unsustainable capitalist expansion, the Journal of Amazigh Studies seeks to explore our current condition and foreground   indigenous knowledge as a vital response to these interconnected crises.

This volume focuses on ecological practices rooted in Amazigh communities across Tamazgha (North Africa) and the diaspora, emphasizing the importance of land, memory, and cultural continuity. It also seeks to critically engage with the realities of environmental degradation, the consequences of political and historical decision-making—including colonial and postcolonial legacies—and the persistent socio-ecological injustices manifested in climate change, drought, wildfires, and the erosion of communal land and water rights. 

We welcome interdisciplinary submissions from literary studies, linguistics, anthropology, history, film and media studies, environmental humanities, Indigenous studies, gender studies, geography, and related fields. We invite scholars, but also artists, poets, activists, and community leaders to engage with Tamazgha (North Africa) as a living ecological, cultural, and epistemological landscape. We especially encourage submissions that reclaim land-based knowledge, Indigenous cosmologies, and sustainable practices that challenge the logics of extraction, colonialism, and dispossession.

We welcome submissions that address, but are not limited to, the following interconnected areas:

 

Gendered Ecologies and Women’s Knowledge 

Role of women in sustainable practices such as healing, agriculture, midwifery, and food systems, as well as the preservation of medicinal, culinary, and artisanal traditions. (highlight ecofeminist and intergenerational perspectives on reproductive justice and ecological sovereignty).

 

Literature, film, and cultural memory

Analyze how novels, films, and oral narratives represent the land, resist ecological degradation, critique colonial land practices, and imagine futures grounded in care for place. Contributions may address how cultural memory is expressed and preserved through texts, archives, rituals, and media.

 

Language, Land, and Knowledge Sovereignty

Investigate the deep interconnections between language, territory, and identity. This includes the revitalization of Amazigh languages as ecological and political acts, and the role of orality, education, and land-based pedagogy in preserving and transmitting Indigenous knowledge.

 

Ecopoetic, Arts, and Oral Traditions

Examine storytelling, oral literature, poetry, and song as repositories of ecological memory and tools of resistance. Artistic and material practices such as weaving, craftwork, visual media, and performance may be explored as expressions of environmental consciousness and cultural resilience.

 

Global Indigenous Networks

Explore how Amazigh communities are connected to, and in dialogue with, other Indigenous peoples across the Global South and diaspora through shared ecological struggles, cultural practices, and political solidarities.

 

Submissions are welcome in Tamazight, French, and English, with a word count of 5,000 to 10,000 words (excluding the bibliography). Interested contributors should start by submitting a 400-word abstract or proposal by (insert date). All contributors must adhere to the MLA style format. Abstracts should be sent via email to journalofamazighstudies@gmail.com

 

Submission Guidelines

 

·         Submissions should be written in either Tamazight, English, or French

·         Include an abstract of no more than 500 words (or one page) and a brief biography with full name, email address, and affiliation

·         Manuscripts should follow academic MLA 9th edition writing styles

·         Word count for research papers and critical essays: 6,000 - 10,000 words

·         Submissions must be sent as a Word document to Contact JAS by October 15, 2025

Important Dates

·         Submission deadline: October 15, 2025

·         Notification of acceptance:  October 30, 2025

·         Full articles are expected by March 1st, 2026

·         Publication: April 1st, 2027

·         

Please note that all submissions will undergo a blind peer-review process to ensure the quality and integrity of the publication.

For any inquiries or clarifications, please Contact the JAS team"
https://www.fabula.org/actualites/129048/ecologies-autochtones-et-futurs-decoloniaux-dans-tamazgha-afrique-du-nord.html
#Metaglossia
#metaglossia_mundus

"This study explores Machine Translationese (MTese) -- the linguistic peculiarities of machine translation outputs -- focusing on the under-researched English-to-Chinese language pair in news texts. We construct a large dataset consisting of 4 sub-corpora and employ a comprehensive five-layer feature set. Then, a chi-square ranking algorithm is applied for feature selection in both classification and clustering tasks. Our findings confirm the presence of MTese in both Neural Machine Translation systems (NMTs) and Large Language Models (LLMs). Original Chinese texts are nearly perfectly distinguishable from both LLM and NMT outputs. Notable linguistic patterns in MT outputs are shorter sentence lengths and increased use of adversative conjunctions. Comparing LLMs and NMTs, we achieve approximately 70% classification accuracy, with LLMs exhibiting greater lexical diversity and NMTs using more brackets. Additionally, translation-specific LLMs show lower lexical diversity but higher usage of causal conjunctions compared to generic LLMs. Lastly, we find no significant differences between LLMs developed by Chinese firms and their foreign counterparts."
Decoding Machine Translationese in English-Chinese News: LLMs vs. NMTs
June 2025

DOI: 10.48550/arXiv.2506.22050

License: CC BY-NC-ND 4.0

Published version

Decoding Machine Translationese in English-Chinese News: LLMs vs. NMTs

Delu Daniel Kong
Lieve Macken
https://www.researchgate.net/publication/393148446_Decoding_Machine_Translationese_in_English-Chinese_News_LLMs_vs_NMTs
#Metaglossia
#metaglossia_mundus

"24 Arabic tales reach global readers

RIYADH: The King Abdulaziz Public Library has published 24 children’s stories translated from Arabic into English, French and Chinese.

The initiative was carried out in collaboration with Princess Nourah bint Abdulrahman University as part of a cultural translation project, the Saudi Press Agency reported on Sunday.

According to the library, one of the stories translated into French is a tale centered on Saudi coffee titled “Hours Pour Le Café Saoudien.”

A large collection of children’s stories written by various authors specializing in children’s literature was also translated into Chinese.

The project aims to share cultural and human values rooted in Arabic literature with a global audience, the SPA reported.

It also seeks to elevate Saudi and Arabic literature on the international stage by providing engaging, age-appropriate content for children of all ages.

The translation of these stories is part of a broader effort to build bridges of communication between cultures and peoples, aligning with the goals of Vision 2030 to enrich global culture with Arabic intellectual and creative output."
ARAB NEWS
24 August 2025
Short Url
https://arab.news/6upkt
https://www.arabnews.com/node/2612884/amp
#Metaglossia
#metaglossia_mundus

"Czech author’s debut novel translated into 27 languages

23.08.2025

IRYNA BATUREVYCH

 

The debut novel “Deconstruction of Memory” (Rozložíš pamět, or “Memory Burn”) by Marek Torčík, published in October 2023, has already been translated into 27 languages and is available in over 30 countries, including almost all European countries.

 

Meanwhile, one of the most translated Ukrainian novels, “Internat” by Serhiy Zhadan, rights for which are held by the German publisher Suhrkamp, has been translated into 28 languages.

 

According to Pavlina Juračkova, editor and rights manager, this is not the limit for the sales of rights, but publishing house Paseka has “hit the limit” of its translation capacity. At the same time, the publisher does not see translation to English as possible.

 

“At 3:37, the novel’s protagonist is awakened by a phone call, and a late-night conversation with their mother stirs a whirlwind of memories. It takes them back to when they were teenagers in the Moravian town of Přerov, to the experiences of a queer youth growing up in a conservative industrial city, and in a family that always lacks money. This world punishes you for being different,” reads the annotation.

 

The novel begins with a quote from the novel “The Hour of the Star” by a Brazilian author of Jewish-Ukrainian descent, Clarice Lispector (the Ukrainian translation was published by Anetta Antonenko Publishing): “Is there anyone who has never asked themselves at least once: am I a monster, or is this what it means to be human?”

 

The Czech title of the novel reflects the protagonist’s desire to “deconstruct memory into pieces,” analyzing not only their memories (of their mother, father, grandfather, bowling, alcoholism, and coming out), but also the family’s “collective memory.”

 

In 2024, the novel received multiple awards, including the Czech literary prize Magnesia Litera and the Jiří Orten Award, which is awarded to young poets and writers under 30. Furthermore, one of its translations received the Susanna Roth Award.

 

The editor believes that its international popularity was boosted by the local themes that connect with global issues, as well as the personal narrative that mirrors modern social challenges.

 

The rise in the book’s popularity happened partly during a period of increasing challenges to freedom of speech and human rights in the US and Europe, including bans on books accused of “promoting homosexuality” and restrictions on holding Pride events.

 

“In recent years, many topics, previously overlooked or underrepresented, have started to receive more and more attention, and groups that were historically marginalized are gaining greater visibility through public discussions. This shift has led to varied reactions, including some resistance to these changes and attempts to restrict certain content,” notes Juračkova. “However, it is important to support honest voices that offer alternative perspectives and contribute to a more inclusive public dialogue. This applies not only to ‘Deconstruction of Memory’, but also to other important books.”

 

Torčík is a Prague-based poetry and prose writer and cultural journalist, holding a Master’s degree in English Literature and Culture from Charles University in Prague. Torčík’s debut poetry collection, “Rhizomy” (Roots), was published in 2016. Following the success of “Deconstruction of Memory,” the author is preparing a second novel set in the remote corners of northern Moravia, where history and myths resurface as reflections of the present.

 

Paseka publishing house releases both Czech and foreign authors translated into Czech, covering fiction, nonfiction, and children’s literature. Since its founding in 1989, Paseka has introduced over 1,600 titles to readers and currently produces around 40 new titles annually. Among its authors are Alice Munro, Salman Rushdie, Timothy Snyder, Susan Sontag, and others.

 

Rights sales began in 2022, and since then, 100 licenses have already been sold.

 

Copy editing: Joy Tataryn"

https://chytomo.com/en/czech-author-s-debut-novel-translated-into-27-languages/

#Metaglossia 

#metaglossia_mundus 

"Irlande : des passages bibliques remplacés par des textes inclusifs

23 AOÛT 2025

 

Le nouveau lectionnaire pour la messe en Irlande utilisera un langage plus inclusif dans les lectures bibliques, ce qui devrait « attirer plus profondément les fidèles vers la Parole de Dieu », selon le P. Neil Xavier O’Donoghue, secrétaire exécutif de la liturgie des évêques irlandais.

 

Un expert a expliqué que les changements apportés aux lectures de la messe auront un langage « plus inclusif » et n’excluront pas les femmes comme dans les traductions précédentes.

 

Basé sur la Revised New Jerusalem Bible de 2019, le texte actualisé remplacera le lectionnaire basé sur la Jerusalem Bible, qui est utilisé depuis plus de cinquante ans. Parmi les changements figurent le remplacement de certaines occurrences de « homme » ou « hommes » par des expressions telles que « hommes et femmes », « sœurs et frères » ou « personnes », par exemple.

 

Le P. O’Donoghue a ajouté que la traduction est « plus inclusive, elle n’est pas “woke” », mais, commente InfoCatolica avec justesse, il est évident que seule un tel idéologie peut mener à bien un projet de cette nature.

 

L’expert a encore expliqué : « Quand il faut utiliser le mot “homme”, on utilise “homme”. Mais parfois, on utilise autre chose. C’est une utilisation plus réfléchie de la langue. »

 

Et de conclure : « Je ne pense pas que la traduction de la RNJB soit woke. Je pense qu’il est tout simplement normal en anglais standard de dire qu’il y a une différence entre “frères” et “frères et sœurs”. Si je demande “combien as-tu de frères et sœurs ?”, on comprend une question différente de “combien as-tu de frères ?”. Je dirais que la traduction de la RNJB tient davantage compte du fait que la Bible s’adresse aussi bien aux hommes qu’aux femmes. »

 

La consultation publique en Irlande a montré un fort soutien à cette approche, avec plus de 150 contributions individuelles et la quasi-totalité des 20 organisations qui ont répondu en faveur de l’utilisation d’un langage inclusif lorsque cela est approprié.

 

Cette déviation woke va aussi s’exporter

Le projet de lectionnaire est une initiative conjointe des conférences épiscopales d’Irlande, d’Australie et de Nouvelle-Zélande. Les évêques des trois pays ont été invités à examiner et à commenter les textes préliminaires, actuellement révisés par un groupe de travail composé d’experts en Ecriture et en liturgie.

 

Le P. O’Donoghue a souligné que le texte actualisé vise à favoriser un lien plus profond avec les Ecritures : « L’idée est que les catholiques grandissent dans leur appréciation de la Parole de Dieu, qu’ils aient une rencontre plus profonde avec le Christ dans la Parole de Dieu lorsqu’ils assistent à la messe. Le nouveau lectionnaire est une occasion de formation liturgique. »

 

Une profonde erreur de perspective

Saint Jean Chrysostome a eu cette belle formule : la sainte Ecriture est comme une lettre envoyée par un Père à ses enfants qui pérégrinent sur terre. Voudrait-on changer les termes d’une lettre ancienne, parce qu’ils ne cadrent pas avec les lubies du moment ?

 

Mais le problème principal est que la sainte Ecriture est une Révélation de Dieu, un donné, situé dans le temps, même si son contenu s’adresse à tous. Changer les formules, c’est s’attaquer à l’inspiration du Saint Esprit qui nous les a livrées telles quelles.

 

C’est considérer que l’Esprit qui les a « dictées », inspirées selon le langage théologique, n’était pas capable d’embrasser tous les temps et de considérer le nôtre. Autrement dit, le censurer.

 

C’est enfin montrer que l’on est incapable d’expliquer droitement la Sainte Ecriture et de l’assumer telle qu’elle est, c’est-à-dire, sans inclusion. Chaque époque, même depuis les Apôtres, nécessite une telle explication. Ce n’est pas en changeant ou en transformant le texte qu’il est possible d’y arriver.

 

(Sources : Irish Catholic/InfoCatólica – FSSPX.Actualités)"

https://fsspx.news/fr/news/irlande-des-passages-bibliques-remplaces-par-des-textes-inclusifs-54016

#Metaglossia 

#metaglossia_mundus 

"Abstract: The book Linguistics for Translators, coauthored by Ali Almanna and Juliane House, represents an in-depth exploration of how linguistic theory intersects with translation practices. Its goal is to equip translators with a comprehensive understanding of key linguistic domains. It covers essential areas of linguistics, including phonetics, morphology, syntax, semantics, pragmatics, and discourse analysis, illustrating how each field contributes to more accurate and effective translations. The authors present practical examples and highlight multilingual perspectives, focusing on languages such as English, German, Arabic, French, and Chinese, thus enabling them to identify the challenges and nuances associated with translating between languages that feature different syntactic, morphological, and phonological systems. This work emphasizes the importance of understanding sociolinguistic variations and cultural contexts, and it offers strategies that can be used to manage dialects, registers, and idiomatic expressions while maintaining the intended meaning and tone across different languages. It also explores cognitive linguistics, particularly with respect to how language reflects thought processes, which can help translators preserve the conceptual and metaphorical meanings of source texts. While this book excels in its presentation of linguistic theories and their applications, it also has certain limitations, including a strong emphasis on theoretical concepts, which may be challenging for readers seeking more practical translation exercises. Additionally, this book’s coverage is somewhat narrow with respect to modern technological tools, including computer-assisted translation, machine translation (MT), and artificial intelligence (AI) translation, which are increasingly relevant in the translation industry. Overall, by encouraging readers to consider both the cultural norms and cognitive patterns that shape language use, this work serves as a valuable resource for translators, as it provides theoretical insights and practical examples that help them navigate idiomatic expressions, cultural references, and conceptual differences across languages to produce more accurate, culturally sensitive, and cognitively informed translations."

Review

Open access

Published: 22 August 2025

Book review: Linguistics for Translators by Ali Almanna and Juliane House

Zhengbing Liu 

Humanities and Social Sciences Communications volume 12, Article number: 1373 (2025) Cite this article

https://www.nature.com/articles/s41599-025-05738-3

#Metaglossia 

#metaglossia_mundus 

"The multilingual edge: How local languages can future-proof India’s education
Education / By Subha Sankar Chatterjee / August 23, 2025

Walk into a primary school in a small town in Odisha, or a village in Madhya Pradesh, and you will notice a quiet but powerful struggle. Children often encounter their first lessons in English or Hindi, languages alien to their homes. For many, learning becomes not a process of discovery but a daily exercise in translation. Comprehension falters, curiosity is dulled, and dropout rates climb. This is the paradox of India’s education system: in a nation with over 22 official languages and hundreds of spoken tongues, we continue to imagine excellence primarily through the prism of English. Yet if India is to future-proof its education system and unlock its demographic dividend truly, the answer may not be more English, but more multilingualism.

India’s obsession with English as the language of aspiration has served us well in certain contexts. It has opened global doors for our IT industry, created a cosmopolitan managerial class, and connected us to international business. But the downside has been equally stark. Over 70% of Indian children in government schools still struggle to achieve grade-level reading proficiency by age 10, according to ASER surveys. Much of this is because they are taught in a language they do not speak at home. Cognitive science has an unambiguous verdict on this – children learn best in their mother tongue, especially in the foundational years. Starting education in an unfamiliar language can delay literacy, distort comprehension, and weaken critical thinking. It creates learners who can “read without understanding”—a phenomenon all too visible in classrooms today.

What if, instead of treating local languages as obstacles, we treated them as assets? Research worldwide shows that multilingual children have higher problem-solving ability, better memory, and greater adaptability. In a world where adaptability is the ultimate skill, India’s linguistic diversity could become our hidden superpower. Embedding regional languages alongside English can create a dual advantage. Children learn foundational concepts in their mother tongue, ensuring clarity and confidence, while gradually acquiring English as a bridge to global opportunities. This is not about rejecting English – it is about sequencing learning so that comprehension precedes fluency.

The National Education Policy of 2020 took an important step in this direction by recommending mother tongue or regional language as the medium of instruction at least until Grade 5. This was a recognition that linguistic diversity is not a barrier but a bridge. But policy alone is not enough. It requires curriculum redesign, teacher training, and digital innovation. Imagine AI-powered textbooks that can instantly switch between Hindi, Bengali, or Marathi to explain a concept. Picture learning apps that allow a child in a tribal belt of Jharkhand to master science in Santhali before transitioning to English terminology. These are not futuristic dreams – they are within reach if India invests in multilingual educational technology at scale.

This shift is not just about pedagogy; it is also about dignity. Language is identity. When a child hears their mother tongue in the classroom, it signals recognition of who they are. It embeds inclusion into education. It bridges rural-urban divides, giving first-generation learners confidence that they too, belong in the nation’s growth story. This is particularly critical for future workforce readiness. As India seeks to become a ten trillion-dollar economy, it will need to unlock talent beyond the metropolitan elite. A multilingual education model ensures that potential is not restricted to those who happen to grow up speaking English.

Global debates on education often revolve around STEM, AI, and skills of the future. But the foundation for all of this lies in comprehension. Without clarity of understanding, no amount of coding classes or robotics labs will create innovators. A multilingual model ensures that comprehension is universal, not elite. Far from being a handicap, India’s linguistic diversity could become our competitive edge. By institutionalising multilingual education, we will not only bridge foundational gaps but also create a workforce that is cognitively sharper, culturally grounded, and globally agile.

There are, of course, challenges. Teacher capacity is limited, and many educators themselves are not trained to switch comfortably across languages. Developing high-quality learning material in multiple languages requires investment and creativity. Parents, too, sometimes resist mother-tongue education, fearing it will disadvantage their children in competitive exams or global careers. These fears are understandable, but they are also misplaced. Evidence suggests that children who gain strong literacy in their first language actually acquire English faster later on. What matters is not choosing one language over another, but ensuring that the sequence of learning respects the child’s cognitive development.

The debate is not ‘English versus local languages.’ It is about recognising that true fluency comes from confidence in one’s first language, coupled with mastery of a global second language. India’s future-ready education system must therefore be multilingual by design, not by default. It must give every child the ability to think deeply in their mother tongue, to communicate seamlessly in English, and to appreciate the richness of India’s linguistic mosaic. Such an education model is not just about producing employable graduates; it is about nurturing empowered citizens who can innovate locally and compete globally.

The way forward will demand partnership between government, technology innovators, publishers, and civil society. It will need creative use of AI and digital platforms to reduce costs and scale access. It will call for a cultural shift where parents and policymakers alike view local languages not as burdens but as bridges. And it will require a narrative that redefines aspiration – not as leaving one’s mother tongue behind, but as carrying it proudly into the future.

In the end, a child who thinks in their mother tongue and works in English will not just be employable – they will be empowered. That is how India can transform its linguistic diversity into an educational dividend, and its classrooms into engines of inclusive growth."
https://etedge-insights.com/industry/education/the-multilingual-edge-how-local-languages-can-future-proof-indias-education/
#Metaglossia
#metaglossia_mundus

"The Sign Languages Interpreters Association of Fiji (SLIAF) has been launched and is aimed at empowering members who have been described as ‘the silent bridges between worlds’.

 

The launching event held at the Tanoa Hotel in Suva brought stakeholders together to unveil a mission they’ve planned and put together for two decades.

 

Association’s board chairperson Claudette Wilson said for decades, Fijian interpreters have been the silent bridges between worlds.

 

“Ours is a story of love, sacrifice and unyielding advocacy from performing our duties in church pews to Parliament and today we honour that journey.

 

“As interpreters, we did not just translate words, we dismantled barriers and ensure access across the education sector, justice, media and the community.”"

Sign language interpreters form a new association

By Serafina Silaitoga

https://www.fijitimes.com.fj/sign-language-interpreters-form-a-new-association/

#Metaglossia 

#metaglossia_mundus 

"DeafBlind mentors and interpreters come to Newport to practice an emerging language based solely on touch
AUGUST 21, 2025

Protactile is a language based solely on touch. When two DeafBlind people are conversing, they use all four arms and physical contact is maintained the whole time.

By SHAYLA ESCUDERO/Lincoln Chronicle

NEWPORT – Inside Newport’s Visual Arts Center, a group of 30 people sit with their chairs facing one another, knees together, hands together and tracing over each other’s palms, chest, legs and back. The room is mostly silent, but nearly everyone is in conversation.

All are using an emerging language – a method of communication solely based on touch.

When Jason “Jaz” Herbers’ vision began to change, it took the joy out of American Sign Language. All the facial expressions and signs he learned and loved as a Deaf person fell flat as a DeafBlind person.

Historically, DeafBlind people have been limited to using interpreters or used sign language that left gaps in communication. But Protactile, an emerging language that only took shape over the last 20 years, changed how Herbers and other DeafBlind people communicate.

“It gives us more information and we are in direct communication,” Herbers, a DeafBlind teacher from Ohio said. “It gives us autonomy.”

What began in the Pacific Northwest, has now spread all over the United States.

Approximately 25 interpreters and 20 DeafBlind mentors flew to Oregon the past two weeks from all over the United States to attend training sessions as part of a Western Oregon University grant. The training program, which included a stop in Newport, gave interpreters a chance to put their skills into practice.

Connecting

Silva-Kopec
When Lesley Silva-Kopec uses the Protactile expression for beach, her hands trace a rolling wave on the forearm of the person she is speaking with. Then, she places her hands over their upper chest, wiggling her fingers like sunbursts.

That’s one of her favorite expressions, but there are so many she loves. When she first saw a video of people using Protactile, she described the moment as mesmerizing.

When two people are conversing, they use all four arms and physical contact is maintained the whole time. One hand is often used to give feedback, called back channeling, to show you are listening– the equivalent of maintaining eye contact or nodding in the sighted world.

For Silva-Kopec, a DeafBlind educator from New York, it’s difficult to describe the differences between American Sign Language and Protactile because it’s a difference you feel – it’s visceral and transcends words.

“I’m able to reciprocate emotion, to connect more,” she said, “I can feel how others feel when they touch me.”

Silva-Kopec uses Protactile with her husband, who is also DeafBlind, and feels that she is able to connect on a deeper level with him because of it. But she doesn’t just feel more connected to other DeafBlind people, she feels more connected to herself.

“I feel like sometimes touch is a universal way to connect with people,” Silva-Kopec said.

Shayla Escudero / Lincoln Chronicle
Jelica Nuccio, right, one of the founders of Protactile, an emerging language for DeafBlind people, greets a visitor during a visit to Newport this week.
Emerging language
Facing the ocean on Tuesday, interpreters and DeafBlind educators clustered in groups, hands placed on Jelica Nuccio’s soft beige shawl, eager to greet the woman who helped create the language they cherish.

In 2007, when Nuccio served as the first DeafBlind director of the DeafBlind Service Center in Seattle, she began to advocate for DeafBlind people to communicate with each other without the use of interpreters. They established a space where all communication that happened would be by touch and started training DeafBlind people to use it.

“That’s when the concept of touch was introduced but it hadn’t become a language yet,” she said. “That happened through years of community coming together.”

Nuccio didn’t set out to create a language, but it happened anyway.

“I didn’t expect it, it was shocking to know that through data collection and research we found out a language was developing.”

Protactile changed with time and American Sign Language signs were replaced with tactile signs. Now, linguists argue Protactile is its own language, with grammatical structures and expressions separate from American Sign Language.

For some DeafBlind people, Protactile felt like a missing piece had finally fallen into place.

“I had grown up in the deaf community but I felt lost, like something was missing,” said Rhonda Voight-Campbell, a DeafBlind educator from New York. “When I learned Protactile I finally felt connected to the DeafBlind community.”

Now living in Monmouth, Nuccio runs Tactile Communications, which builds curriculum and trains people in Protactile. Several of the DeafBlind educators learned or now work for Nuccio’s organization.

Recently, people came all the way from France to learn, Nuccio said. They spoke French Sign Language which was a bit of a barrier but found common ground. And now they will bring back what they had learned to their DeafBlind community in France, she said.

With time, she believes Protactile will spread even more outside the United States.

Shayla Escudero / Lincoln Chronicle
Interpreters and DeafBlind educators from all over the United States came to Oregon and Newport this week for Protactile training. One of the stops was in Nye Beach overlooking the Pacific Ocean, where interpreters received training and practiced using what they learned.
Visiting Newport to train
In 2021, Western Oregon University was awarded a five-year federal grant through the U.S. Department of Education to train sign language interpreters working with DeafBlind individuals who use the new language.The grant is based on the Rehabilitation Acts of 1973 and 1974, a landmark law that prohibits disability discrimination in programs conducted by federal agencies.

Shayla Escudero / Lincoln Chronicle
Members of the DeafBlind community touch the sculpture in Newport’s Don Davis Park entitled The Absence of Emptiness during a visit and workshop this week. The tactile sculpture has several people carved into wood, with varying texture.
The grant was in part awarded in recognition that DeafBlind people are underemployed and the lack of interpreters is a barrier, said CM Hall. She is the co-director of WOU’s Protactile Language Interpreting National Education program and a Newport city councilor.

DeafBlind educators from all over the United States come to the university to train interpreters, and stopping in Newport allows them a chance to apply what they learn.

“Newport is full of tactile sensations, you can feel the ocean, smell the taffy on the Bayfront, it really perks up the senses,” Hall said.

Newport also has a lot of tactile art. At Nye Beach, their hands followed the markings of relief wood sculpted faces. Along the Bayfront, their hands slid over the ridges of the tire sculptures of the animals in front of Ripley’s Believe it Or Not.

Interpreters put their skills to use from interpreting presentations by Newport City Manager Nina Vetter to interactions along Bayfront stores.

The grant is in its fourth year and has one more year left of funding. But, with the Trump Administration’s pullback of federal grants, there is uncertainty in the air.

“It’s the last day of possibly the last year of the training program,” Herbers said.

It’s a cause for contemplation. As a DeafBlind educator, Herbers worries about DeafBlind people losing their autonomy if they do not access the language and if interpreters aren’t learning directly from DeafBlind people.

He also believes that the sighted world has a lot of work to break down the stigma of touch. DeafBlind people would be cut off from the world without touch – it is how Herbers gets his information. But sighted people may not be used to this type of communication.

“I think that for many people touch is still very taboo,” Herbers said. “ I just want people to be open minded.”

Shayla Escudero covers Lincoln County government, education, Newport, housing and social services for Lincoln Chronicle and can be reached at Shayla@LincolnChronicle.org"

https://lincolnchronicle.org/62643-2/
#Metaglossia
#metaglossia_mundus

"ABSTRACT: The advancement of machine interpreting (MI) has the potential to revolutionise the field of interpreting. However, concerns persist regarding the capacity of MI to accurately convey emotions in original discourse, especially in high-stakes settings such as press conferences. To address this, the present study investigates the sentiment mediation in human interpreting (HI) and MI when rendering source speeches during press conferences. Employing the Linguistic Inquiry and Word Count (LIWC), specifically LIWC2015 and LIWC-22, a comprehensive sentiment analysis was conducted on a self-built corpus comprising Chinese source speeches and their corresponding English interpreting produced by human interpreters and machines. The findings reveal that both HI and MI demonstrate a comparable capacity to convey sentiments, with MI exhibiting human-like patterns in handling emotional content in original discourse. However, compared to human interpreters, MI plays a more active role in attenuating negative emotions while accentuating positive emotions. These results underscore the enhanced ability of AI-powered MI to emulate human interactions and generate renditions that align with human values, highlighting its potential to effectively facilitate cross-linguistic communication. The study contributes to the growing body of research on the impact of interpreting technology on communication dynamics and the evolving nature of interpreting in the AI era."

Can artificial intelligence mirror the human’s emotions? A comparative sentiment analysis of human and machine interpreting in press conferences
Wenkang Zhang,Yao Yao,Rui Xie &Dechao Lic Department of Chinese and Bilingual Studies, The Hong Kong Polytechnic University, Kowloon, Hong Kong SAR
Correspondence
ctdechao@polyu.edu.hk
View further author information
Received 22 Nov 2024, Accepted 05 Aug 2025, Published online: 21 Aug 2025
Cite this article
https://doi.org/10.1080/0144929X.2025.2546975

https://www.tandfonline.com/doi/full/10.1080/0144929X.2025.2546975?mi=kigznk
#Metaglossia
#metaglossia_mundus

"Women in translation: 5 voices redefining global literature

As August is celebrated globally as the Month for Women in Translation, it is a moment to honour the women who have redefined the craft and its possibilities.

 

Written by Aanya Mehta

Updated: August 22, 2025 12:16 PM IST

 

Deepa Bhasthi and Daisy Rockwell's respective Booker wins encouraged interest in Indian translations.

For a long time, my understanding of literature was confined to reading the “classics” of the English language, essentially works that belonged to a canon of prestige and authority. But my perception has shifted. The emergence and growing recognition of Indian texts in English translation has broadened the field of what it means to read, to belong, and to access stories. While some thinkers still debate the authenticity of translations, it is a fact that translated works expand accessibility, deepen our understanding of cultures, and create a wider reach for future generations.

 

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As August is celebrated globally as the Month for Women in Translation, it is a moment to honour the women who have redefined the craft and its possibilities. Here are five remarkable translators who continue to inspire and influence the literary world:

 

Daisy Rockwell

Daisy Rockwell is best known for her English rendering of Geetanjali Shree’s Tomb of Sand. (bookerprize.com)

An American translator and painter, Daisy Rockwell is best known for her English rendering of Geetanjali Shree’s Tomb of Sand, which won the 2022 International Booker Prize. Rockwell has often spoken about the challenges of translating novels steeped in regional dialects, cultural nuance, and linguistic play. Her choice of title, Tomb of Sand, she once explained, was meant to give readers “an open door.” That openness defines her work: she allows readers to belong to a story without ever forcing entry. Beyond Tomb of Sand, she has translated major Hindi and Urdu writers, including Upendranath Ashk and Bhisham Sahni, cementing her place as one of the most important bridges between South Asian literature and the world.

 

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Lakshmi Holmström

Lakshmi Holmström’s translation of Bama’s Karukki, an autobiographical novel by a Dalit Christian woman, remains a powerful testament to literature as resistance. (Source: RLF)

Lakshmi Holmström was a pioneer in bringing Tamil voices to English readers. Her translation of Bama’s Karukku, a landmark autobiographical novel by a Dalit Christian woman, remains a powerful testament to literature as resistance. Holmström’s ability to retain the rhythm, idioms, and cultural depth of Tamil speech made her translations both authentic and accessible. She also translated Ashokamitran and other modern Tamil classics, ensuring that Tamil literature gained recognition on international platforms. Her work not only preserved voices from the margins but also reshaped how Indian literature is perceived globally.

 

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Jennifer Croft

Jennifer Croft, an American translator, co-won the 2018 International Booker Prize for Flights.

Jennifer Croft, an American translator, is celebrated for her work with Polish Nobel laureate Olga Tokarczuk. She co-won the 2018 International Booker Prize for Flights, a genre-defying novel of fragments, meditations, and philosophical wanderings. Croft’s translation skillfully balanced Tokarczuk’s playfulness and complexity with clarity for English readers. She later translated Tokarczuk’s The Books of Jacob, as well as works from Spanish and Ukrainian, extending her reach across multiple linguistic traditions. Croft embodies the translator as both interpreter and artist, attuned to rhythm and form as much as meaning.

 

Deborah Smith

Deborah Smith’s translation of The Vegetarian won the 2016 International Booker Prize. (Source: bookerprize.com)

Deborah Smith, a British translator, gained international recognition for introducing South Korean author Han Kang to the English-speaking world. Her translation of The Vegetarian won the 2016 International Booker Prize, propelling Han Kang into global prominence. Smith’s work is noted for its lyrical precision and ability to preserve both mystery and clarity in Han Kang’s prose. At the same time, her style has sparked debates about the translator’s role as co-creator, raising important questions about fidelity, interpretation, and creativity in translation. She has since translated more of Han Kang’s work and founded Tilted Axis Press, a publishing house dedicated to translated literature.

 

Also Read | International Booker Prize 2025: ‘I call myself a writer-translator with a hyphen in between’, says Deepa Bhasthi

Deepa Bhasthi

Deepa Bhasthi recently brought Banu Mushtaq’s The Heart Lamp into English. (Source: Bookerprize.com)

One of the most compelling contemporary voices in translation, Indian translator Deepa Bhasthi recently brought Banu Mushtaq’s The Heart Lamp into English. The novel, which portrays the struggles of a Muslim woman’s community in Karnataka, reflects Bhasthi’s philosophy of decolonizing language. She has spoken about deliberately avoiding italicized “foreign” words, instead retaining Kannada expressions in their natural form to preserve linguistic integrity. Her translator’s note in the new edition emphasizes why certain words must remain untouched: they carry a cultural and emotional weight that cannot—and should not—be erased. In doing so, Bhasthi asserts translation as an act of both preservation and defiance."

https://indianexpress.com/article/books-and-literature/women-in-translation-5-voices-10196974/

#Metaglossia 

#metaglossia_mundus 

"Global TV without subtitles: How audio translators are powering multilingual streaming

August 18, 2025

 

In a time of unprecedented connectivity, the barriers between cultures have never been more permeable. The streaming explosion worldwide has spawned an insatiable hunger for content that knows no borders. What was once a specialised pursuit among film aficionados has become a mass entertainment activity. The stumbling block has always been the language barrier.

 

Subtitles, as effective as they are, ask the audience to shift their focus from the visual narrative to reading what’s on the screen. It’s a less immersive and more passive experience, particularly for those who struggle with reading and those who are visually impaired. The development of artificial intelligence is now providing a forceful solution, one that is poised to dismantle these language barriers in a way that is both seamless and natural to watch. This is the future of media consumption, where technology provides a genuine global cinematic language.

 

Streaming services have long known the tremendous value in making their material available to global audiences. The popularity of non-English language shows has increased dramatically, reflecting an international demand for varied storytelling. Indeed, a study by Ampere Analysis revealed that frequent watching of non-English language content grew 24 per cent among a specific audience in a number of English-speaking nations over a span of four years. This phenomenon is not limited to a single geographical area or genre, with Korean dramas, for instance, experiencing a 35 per cent increase in frequent watching. The problem, then, has been how to keep up with this demand and provide content that feels every bit as real as the original. This is where AI-based tools step in.

 

By using advanced algorithms, these tools can transcribe and translate dialogue automatically. Not just a basic translation, these sophisticated audio translators examine the vocal features of the original voice, from tone and pitch to emotional expression, and reproduce a new audio track in another language with those same subtleties intact. This procedure, also known as AI dubbing, is not just a computerised voice reading from a script; it is a sophisticated, multi-step process for generating a realistic and emotionally engaging experience. Continue reading to know more.

 

The Technology Behind the Magic

 

The AI audio translation process is a wonder of contemporary technology. It starts with automatic speech recognition, wherein the AI translates the original spoken words into text. This is a critical initial step that has gotten extremely precise because of deep learning algorithms that have been trained on huge databases. After transcribing, the text is run through a neural machine translation system, which renders the conversation in the target language. Yet the most innovative part is the last step: voice cloning and text-to-speech synthesis.

 

Current AI can now produce extremely natural and expressive speech. Unlike computer voices of the past that droned on without expression, these machines are capable of real intonation and rhythm reproduction. The best of these go one step further by mimicking the voice of the original speaker. This is to say that a viewer can listen to the translated dialogue from a voice that almost exactly resembles the on-screen actor, providing an immersive experience generally out of reach of traditional dubbing. The tech also synchronises the new audio with on-screen action and lip movements, a tedious task now being automated to an impressive extent. This capacity to preserve the integrity of the initial performance, but present it in a viewer’s home language, is what makes the tech so revolutionary for international streaming.

 

The Benefits for Viewers and Creators

 

The transition from conventional subtitling and hand-dubbing to audio translation powered by AI brings tremendous advantages to audiences and the industry alike. For audiences, the key benefit is a more naturalistic and immersive experience. Being able to watch a movie or a program without constantly reading subtitles enables more attention to the visual narrative and film craft. This is particularly useful for fast-moving or visually intensive scenes when reading may be a distraction. Dubbed content also opens up access to a wider age group, including children and those who are visually impaired or dyslexic. Emotional connection with the characters tends to be stronger when their dialogue is listened to in one’s own language, making the content more appealing and evocative.

 

For both creators and streaming services, the advantages are no less important. AI dubbing speed and cost savings are game changers. Legacy dubbing is a time-consuming and costly endeavor requiring the hiring of voiceover talent, recording studio time, and careful post-production editing. AI automation slashes this time dramatically, enabling new content to be localised and rolled out in various languages at once alongside the original release. This enables platforms to reach new markets quickly and provide a broader library of multilingual content. The technology is scalable, so even huge back catalogues of old movies and shows can be dubbed in less time and at lower expense, making vast amounts of content available to global audiences.

 

Addressing the Challenges and the Human Element

 

Though it has revolutionary possibilities, AI audio translation does have its pitfalls. The technology needs to be able to accurately deliver the subtle nuances of human language, such as idioms, slang, and cultural humor, which are hard to translate in a literal sense. One misstep of translation can change the meaning and effect of a scene. The objective is not merely to swap the words but to preserve the cultural and emotional content of the original conversation. It is here that a hybrid model, which integrates AI automation with human know-how, is the most effective approach.

 

AI-generated translations are fine-tuned by human linguists and editors. They make sure that the translated script is culturally correct and that the end audio output sounds natural and authentic. The human-machine collaboration makes sure that the quality does not suffer, and the minute storytelling nuances do not get lost. This is what takes the technology from just being a translation tool to truly being a creative resource. It demonstrates that while AI can automate the heavy lifting, the final polish and creative integrity of the content still require a human touch.

 

Conclusion: The Future of Multilingual Streaming

 

The future of international television is certainly multilingual. As streaming services battle for international viewership, providing content in a viewer’s native language will become the norm and not an indulgence. Audio translation technology will become a vital part of an effective localisation content strategy. In the future, the technology will keep evolving, with voice cloning, emotion synthesis, and lip-sync accuracy getting better. You will soon have live translation abilities, and live broadcasts and events will be instantly dubbed in all different languages. This is going to be a giant leap forward for international news, sports, and live entertainment.

 

Do you enjoy consuming foreign content? What is your opinion about watching content without subtitles but in your language? Share your thoughts."

 

https://www.advanced-television.com/2025/08/18/global-tv-without-subtitles-how-audio-translators-are-powering-multilingual-streaming/

#Metaglossia 

#metaglossia_mundus 

"Kurds demand recognition of their language in Syria’s constitution

Securing Kurdish rights in Syria’s new constitution requires recognition of their identity and mother tongue, alongside guarantees for all communities.

 19 Aug 2025, 12:12

 

NURŞAN EBDÎ

Kobanê – Amid Syria’s political transition following the fall of the regime and the rise of the interim government, marginalized communities are pressing for constitutional guarantees. At the forefront are Kurds, who argue that recognition of their mother tongue is essential to preserving their identity and securing their rights.

 

‘Mother tongue is history and identity’

Ronida Ali, an administrator at the Kurdish Language Institute in Kobani, said that building a decentralized, democratic Syria requires constitutional recognition of all communities, identities, languages, and religions.

 

She argued that despite the change in government, policies toward the Kurds remain largely the same. “They continue to reject Kurdish achievements, our identity, and our language. The refusal to provide legal guarantees for Kurds in the new Syrian constitution reflects the broader policies of dominant states toward minorities,” she said.

 

Ali stressed that despite massacres, forced displacement, and decades of denial, Kurds have continued to resist and safeguard their language and identity. “Mother tongue is history and identity. When hegemonic powers seek to erase a community, they first target its language and culture,” she added.

 

Condemning the interim government for excluding Kurds from constitutional recognition, she said: “The Kurdish people have fought and made huge sacrifices for the gains they now defend. We will not allow these achievements to be taken away.”

 

Ali emphasized that Kurds are not demanding special privileges, but equality. “We demand recognition of our language, just as Arabic is recognized. This must apply to all communities in Syria — Kurds, Arabs, Assyrians, and Syriacs. What we seek is peace, democracy, and a free Syria that embraces everyone.”

 

Defending culture and language

Ali underlined the responsibility of Kurdish communities to safeguard and develop their language in order to secure their rights in a new Syria...

 

She recalled that for more than a century, Kurds across the four parts of Kurdistan have faced massacres and systematic repression aimed at erasing their identity. “After the July 19 Revolution, also known as the Women’s Revolution, we gained the strength to resist authoritarianism and secure many achievements through sacrifice. These cannot be surrendered or taken from us,” she said.

 

Citing Abdullah Öcalan’s call for peace and a democratic society, Ali urged Syria’s new authorities to end conflict and embrace political dialogue. “It is time for peace, democracy, and negotiations to build a free, democratic Syria inclusive of all its components.”"

https://perma.cc/JR9L-7KN8

#Metaglossia 

#metaglossia_mundus 

 

Chartered Psychologist Zeynep Yaşar on being a psychologist and a translator.

"‘I am not just translating words, I am translating worlds’

20 August 2025

As a clinical psychologist, author and translator, I have spent the past years moving between multiple settings –private practice, humanitarian fieldwork and collaborative projects in child protection and psychosocial support. Whether sitting across from a patient in therapy or working alongside teams addressing systemic forms of harm, I have come to see language not only as a tool, but as a threshold. I find myself continually moving between languages – some spoken, some silent, some hidden deep in the folds of psychic life.

Words often return to me during both therapy sessions and long nights spent shaping translated manuscripts. Just as a translator listens for what lies between the lines, a psychologist listens for what lies beneath the words. Both seek meaning in the margins.

The analyst as Übersetzer

In psychoanalysis, translation is not a metaphor; it is method. Freud speaks of dreams as translations of unconscious thoughts, and of interpretation as the analyst's effort to translate latent meanings into conscious understanding. In this framework, the analyst functions not only as a listener, but as a Übersetzer. I use this German word deliberately, echoing Sigmund Freud's own language, in which translation (Übersetzung) is central to both dreams and interpretation. While Übersetzer is a gender-neutral or masculine form, its feminine counterpart, Übersetzerin, remains present by implication. In this text, I allow the term to hold both, gesturing toward the figure of the female translator as a ferrywoman between inner and outer worlds, the known and the unsymbolised. This choice mirrors my own position as a woman therapist and translator, carrying meaning across psychic and linguistic borders.

This work often feels like standing at the edge of language, trying to find words for what resists symbolisation. I believe that therapists, like translators, work at the frontier of meaning. In other words, a therapist functions as a kind of intermediary or guide between the unknown (the patient's deep inner world, the unconscious) and the known (consciousness, meaning expressed in words).

Carrying words, carrying worlds

I am currently working as the translation editor of The Heart Lamp, Banu Mushtaq's Booker Prize-winning novel, a powerful and poetic narrative that brings to light the experiences of women living under systemic oppression. While the novel is set in India and rooted in specific cultural and political contexts, its emotional truths transcend geography. Working on this text has deepened my understanding that although the forms of gender-based suffering may differ from one place to another, the underlying wounds often echo the same themes, silencing, displacement, resilience. The pain of a woman in India reverberates with the sorrow of a woman in Turkey or the quiet despair of someone in the UK.

This is not only a human reality but also a psychic one: a kind of emotional translation that occurs within us as readers, listeners, and therapists. As I immersed myself in The Heart Lamp, I experienced firsthand how literature, just like therapy, can translate the unconscious suffering of one individual or group into something that others can feel, understand, and carry.

The process reminded me that deep empathy is itself a form of translation: a movement between inner and outer, self and other, local and universal. As I navigate the political weight of terms like 'empowerment','embodiment' or 'testimony', I am constantly aware that I am not just translating words, I am translating worlds. Each sentence bears traces of someone's pain, survival and history.

In translating, I find myself pausing, asking: What is the responsibility of carrying someone else's experience across linguistic and cultural thresholds? Isn't this the very question that arises in every therapeutic encounter as well?

When I was writing my own book, a work born out of years of clinical practice and field research, centered on the gendered oppression of widowhood, I encountered a similar act of translation. I wasn't translating someone else's words across languages, but I was translating something equally intricate: the emotional, intellectual, and somatic residues of all I had witnessed. The stories I had heard from patients, survivors, and displaced individuals echoed within me long after they had been spoken. Writing became a way of making sense of those echoes. I found myself translating from inner to outer, from fragmented sensations into narrative form. In doing so, I realised that the act of writing, like the act of therapy, requires the transformation of what is deeply felt but not yet formulated.

What began as a book about others' experiences gradually became a space where my own internal world found voice and structure. In this way, authorship became its own kind of therapeutic translation, one in which I did not merely put something into the world, but allowed the world I had absorbed to find its form through me.

This interplay between fidelity and resonance is central to both. In translation, we often face the challenge of choosing between several meanings a word might carry, each valid, but only one fitting the texture of the whole. We ask: which interpretation best serves the integrity of the text? Similarly, in therapy, we must choose which meanings to reflect back, when to remain silent and when to translate a patient's fragmented speech or embodied silence into something that can be metabolised. The goal is not to impose coherence, but to offer a version of their inner world that feels both truthful and tolerable. Just as a translator must serve the spirit of the text more than its literal form, the therapist must translate what is heard and also what is not heard into the language most attuned to the patient's needs and truth.

Both in therapy and in translation, we are confronted with the limits of representation. The patient, like the author, offers a fragmented narrative, an interrupted syntax of memory, fantasy, and silence. Our task is not to 'correct' or 'complete' it, but to stay with its ambiguity. I often think of the patient's symptom as a text written in an unfamiliar script. We sit together, decoding, sometimes awkwardly, sometimes poetically, until meaning emerges, hesitantly and always in translation.

Deciphering the unspoken

Sigmund Freud describes dreams as written in a pictographic language that must be deciphered. He compared the work of interpretation to the deciphering of hieroglyphs, a process of symbolic translation between hidden and manifest content. In this analogy, the psychotherapist is not unlike the archaeologist or the literary translator,searching for the missing key, aware that there is no perfect equivalence, only approximations. There is always a remainder, something that resists being put into words.

The process also calls for the analyst's own unconscious to participate. As Freud noted, interpretations are not simply objective formulations, they are transferences themselves, shaped by the unconscious of the therapist. Likewise, a translation is never neutral. My own voice, my cultural lenses, and my affective responses inevitably shape the final text. The same is true when I listen to a patient. I translate not from a place of detachment but of shared humanity and informed subjectivity. This dual role, psychologist and translator, has taught me that fidelity is not about literal accuracy but about holding complexity.

Whether I am translating a chapter on reproductive justice or witnessing a patient's retelling of childhood trauma, I ask myself: What is being said? What is being avoided? What wants to be heard, and what cannot yet be borne?

All healing is an act of translation

In both crafts, patience is key. So is humility. There is no final translation, no ultimate interpretation. There are only attempts, sometimes stumbling, sometimes transformative, to get closer to maybe what Donald Winnicott called 'feeling real', the authentic experience of self, alive and connected. And often, the truest moments emerge not from what is clearly articulated but from the pauses, the hesitations, the fragments, just as in translation, meaning often resides not only in the word itself but in what it carries behind it; its resonances, silences and the unspoken echoes it gathers from lived experience.

I do not believe the aim is to eliminate ambiguity. Rather, it is to accompany it. Just as a good translation does not erase the trace of the original, a good therapy does not overwrite the patient's truth. It amplifies it. It allows it to resonate in another key, to be heard anew, a new shape in another language.

Perhaps, in the end, all healing is an act of translation. And perhaps every act of translation, when done with care, becomes a form of healing."
https://www.bps.org.uk/psychologist/i-am-not-just-translating-words-i-am-translating-worlds
#Metaglossia
#metaglossia_mundus

"Google Meet propose une traduction vocale en temps réel – Vidéo

21 AOÛT

(Adnkronos) – Google Workspace a annoncé, dans un communiqué de presse officiel, la disponibilité générale de la traduction vocale en temps réel pour Google Meet, une innovation qui promet de révolutionner la communication des équipes multilingues. Cette nouvelle fonctionnalité est déjà progressivement déployée, en commençant par la combinaison linguistique anglais-italien. Surmonter les barrières linguistiques est l'un des défis les plus importants de la collaboration internationale. Les réunions, les séances de brainstorming et les rencontres avec des clients et partenaires internationaux nécessitent souvent l'intervention d'un interprète ou génèrent des malentendus qui freinent la productivité. Avec l'introduction de cette technologie, Google vise à simplifier et à optimiser la communication. Contrairement aux simples traducteurs de texte, la nouvelle fonctionnalité Google Meet utilise une intelligence artificielle sophistiquée pour traduire la parole quasi instantanément. L'originalité de cette technologie ne se limite pas à la conversion des mots, mais s'étend à la capacité de préserver le ton, la cadence et les nuances émotionnelles de l'orateur. Voici la vidéo de démonstration. Le résultat : un dialogue étonnamment fluide et authentique, permettant aux participants de se concentrer pleinement sur le contenu de la conversation plutôt que sur les difficultés linguistiques. Cette innovation constitue une avancée significative vers une expérience d'appel vidéo plus naturelle, simulant la fluidité d'une conversation en personne. La fonction de traduction vocale est conçue pour favoriser la productivité dans des contextes très variés. Qu'il s'agisse de réunions d'équipe avec des membres situés dans des fuseaux horaires différents, de sessions de formation avec des participants internationaux ou de négociations avec des partenaires étrangers, la technologie Google Meet rend ces interactions plus efficaces et moins stressantes. 

La nouvelle fonctionnalité est progressivement déployée à l'échelle mondiale et sera accessible aux utilisateurs disposant d'un abonnement Google AI Pro et Ultra. Pour ceux qui souhaitent un aperçu du fonctionnement de la technologie, une vidéo de démonstration illustrant son efficacité est déjà disponible. —tecnologiawebinfo@adnkronos.com (Infos Web)"

https://www.prpchannel.com/fr/google-meet-rende-disponibile-la-traduzione-vocale-in-tempo-reale-il-video/

#Metaglossia 

#metaglossia_mundus 

From French 101 to a Fulbright year in France, this UGA alumnus dedicated his career to teaching and interpreting French novelist Marcel Proust's work.

 

"More than a century ago, French novelist Marcel Proust began writing what would one day be considered the longest novel ever written,In Search of Lost Time, a sprawling multi-volume masterpiece with more than a million words. Renowned for its lushly introspective and elaborate prose, the work poses a formidable challenge to any reader. But for William Carter AB ’63, MA ’67, teaching and interpreting Proust’s novel became a lifelong passion.

 

 

 

 

Carter’s journey began far from the salons of Paris. Born in small-town Jesup, he discovered a love of language at the University of Georgia. For many, French 101 is a blur of irregular verbs. For Carter, it became a singular passion.

 

 

 

 

“I loved it immediately,” he says. “I wasn’t even sure what I wanted to major in when I came to UGA, but once I took that first class, I never looked back.”

 

 

 

 

In 1965, Carter won a Fulbright scholarship and traveled to France to study at the Université de Strasbourg. There, he immersed himself in the language. He also met his wife of almost 60 years, Lynn Goudreau, a fellow Fulbright scholar. They went back to the United States together. After completing his master’s at UGA, Carter took a job teaching at Indiana University while he completed his Ph.D. in French.

 

 

 

 

It was during his Fulbright year in France that Carter met his lifelong subject.

 

 

 

 

 “I couldn’t help but be drawn to Proust,” Carter says. “When I read his writing, it’s like music. It’s just beautiful.”

 

 

 

 

Few living people know Marcel Proust (pronounced “Proost”) better than Carter. He has spent decades in conversation with this 20th century French novelist, decoding his famously layered prose and helping English-speaking audiences access it without diluting its complexity.

 

 

 

 

Great works of literature aren’t just words on a page. They’re about us, about the reader, about the human experience. [Proust’s] work is a many-layered thing that you want to read over and over again. And that’s why we keep coming back to it.”

 

 

 

 

WILLIAM CAUSEY CARTER, AUTHOR OF MARCEL PROUST: A LIFE

 

At the University of Alabama at Birmingham, where he spent the bulk of his career, Carter taught French courses on Proust. His lectures were known for bringing Proust’s revelations of late 19th century France and the World War I era to life.

 

 

 

 

“When in France, I would take slides of places Proust wrote about and use them in lectures,” he says, blending the visual and literary to capture the essence of Proust’s world.

 

 

 

 

Carter soon set out to create what renowned literary critic Harold Bloom called the definitive English-language biography of his favorite author. Marcel Proust: A Life, published by Yale University Press in 2000, became a New York Times Notable Book of the Year. In 2024, it made the New York Times Book Review’s list of best nonfiction books from 2000 to 2023. This work established Carter as one of the leading Proustian scholars in the world.

 

 

 

 

But Carter didn’t stop at the written word. In 1993, he co-produced Marcel Proust: A Writer’s Life, a PBS documentary that brought Proust’s Parisian world to the screen. And when the celebrated early 20th-century English translation of In Search of Lost Time by C.K. Scott Moncrieff entered the public domain, Yale University Press tapped Carter once more—this time to produce a revised and annotated edition of the novel.

 

 

 

 

The task was monumental: six volumes, hundreds of pages each, with every word weighed against the original French. But this labor of love was worth every sentence to Carter.

 

 

 

 

“Great works of literature aren’t just words on a page,” he says. “They’re about us, about the reader, about the human experience. His work is a many-layered thing that you want to read over and over again. And that’s why we keep coming back to it.”

 

 

 

 

Now in his 80s, Carter continues to write and lecture in English and French, maintaining his ties with the literary world. He has also served on the editorial board of the Proust Journal (Bulletin Marcel Proust) in France for nearly 50 years.

 

 

 

 

After a lifetime of writing and translating, Carter’s dedication affirms what Proust himself suggested, that “the real voyage of discovery lies not in seeking new landscapes, but in having new eyes.”

 

 

 

 

“At the very end of In Search of Lost Time,” Carter says, “the narrator uses the analogy of a pair of glasses to talk about the book he’s writing. He says that if they enable you to see and understandthe world better, fine. But if not, throw the glasses away and get another pair.”

 

 

 

 

This story appears in the Fall 2025 issue of Georgia Magazine."

 

Jayne Roberts

 

Aug 21, 2025

 

https://news.uga.edu/georgia-magazine-articles/william-carter-a-life-in-translation/

 

#Metaglossia 

 

#metaglossia_mundus 

Meta AI voice translations for Reels go global! Start with English & Spanish, check eligibility, explore tips, and reach new audiences.

 

"Meta has rolled out its AI-powered voice translation feature for videos on Instagram and Facebook globally. The tool not only translates your voice into another language but can also lip-sync your video so it looks and sounds natural. Right now, the feature works in English and Spanish, with more languages coming soon.

 

What’s the Meta AI Voice Translation Feature?

This free tool uses your voice and tone to automatically dub your reels on Facebook and Instagram in another language. The ultimate goal? Helping creators reach audiences beyond their native language and expand their reach.

 

The AI adjusts your mouth movements to match the new language, so viewers barely notice it’s been translated. And creators remain in full control. You can turn off translations or remove them anytime.

 

Until now, the feature was limited to select creators in the US and Latin America. With this global roll-out, it’s becoming available worldwide (though with a few exceptions — more on that later).

 

How to Use Meta AI Translations

Getting started is easy:

 

Before publishing your reel, click “Translate your voice with Meta AI.”

Toggle the button to turn on translations, and decide if you want lip-syncing enabled.

Click “Share now.”

Your reel is now available in English and Spanish.

 

You can also review translations before they go live. Enable the review toggle, and you’ll get a notification (or check the Professional Dashboard) to approve the translation. Meta reassures:

 

“Accepting or rejecting the translation will not impact your original, non-translated reel.”

 

How Will Translated Reels Appear?

Translated reels are shown to viewers in their preferred language, with a note that Meta AI did the translation.

 

Viewers can control what they see by selecting “Don’t translate” in the audio and language section within the three-dot menu.

 

Want a sneak peek at Meta AI voice translations in action? Check out Instagram head Adam Mosseri speaking in Spanish:

 

Who is Eligible?

The feature is available to:

Facebook creators (with a Page or professional mode turned on) with at least 1,000 followers

All Instagram public accounts.

Where Is Meta AI Translations Available?

In theory, Meta AI translations should be available anywhere Meta AI is offered. But if you check the eligibility page closely, there are some exceptions.

 

Even though Meta AI is live in the European Union, the translations feature is not available in the EU.

 

You also won’t find it in the UK, South Korea, Brazil, Australia, Turkey, South Africa, Nigeria, and two states in the US: Texas, and Illinois.

 

4 Tips to Get the Most Out of Meta AI Translations

Meta suggests some best practices when it comes to AI translations:

 

Face the camera: Speak clearly and avoid covering your mouth. Translations work best when your lips are visible.

Two speakers max: On Facebook, the tool supports up to two speakers. If more than one person is talking, avoid overlapping dialogue for better accuracy.

Reduce background noise: Minimise loud music or other distractions so the AI can focus on your voice.

Be consistent: You’re building a new audience in a new language. Give them time to get to know your content and your style.

Facebook creators can now upload up to 20 of their own dubbed audio tracks to a reel, making it easier to reach audiences beyond English- or Spanish-speaking markets. You’ll find this in the “Closed captions and translations” section of the Meta Business Suite.

 

You can add these translations before or after publishing.

 

Even though Meta AI has faced backlash since its launch and rapid growth (mainly because it can’t really be turned off), it does come with some exciting features, like the AI voice translations. What’s your take: a powerful reach boost or a bit scary? Share your thoughts in the comments.

 

Kata , 21 August 2025"

 

https://metricool.com/meta-ai-translations/

#Metaglossia

#metaglossia_mundus

"Plus besoin d’aligner trois ans de cours du soir intensifs avant de créer une version en espagnol ou en anglais d’un Reel sur Instagram ! Meta vient de lancer une nouvelle fonction de traduction vocale par IA, disponible dès maintenant sur Facebook et Instagram. L’outil permet de doubler vos vidéos dans une autre langue, tout en gardant sa propre voix.

Cette fonction de doublage conserve non seulement la voix, mais aussi l’accent et le ton histoire que le résultat paraisse un minimum naturel. Cerise sur le gâteau, une option de synchronisation labiale ajuste les lèvres pour que tout colle parfaitement à la nouvelle bande-son.

Des doublages automatiques pour élargir l’audience
Pour l’instant, seuls l’anglais et l’espagnol sont concernés, mais Meta promet d’ajouter d’autres langues au fil du temps. Comme le résume Adam Mosseri, patron d’Instagram : « Beaucoup de créateurs ont une audience potentielle énorme, mais la langue est un obstacle. Si on peut les aider à franchir cette barrière, tout le monde est gagnant. »

Comment ça marche ? Cette fonction n’a rien de bien sorcier : avant de poster un Reel, il suffit de cliquer sur l’option « Traduire votre voix avec Meta AI », d’activer ou non la synchro labiale, puis de partager. La traduction s’ajoute automatiquement et peut être pré-visualisée. Pas satisfait ? Il est possible de la couper à tout moment, sans toucher à la vidéo originale. Les spectateurs verront un petit bandeau indiquant qu’il s’agit d’un contenu traduit par Meta AI, et ceux qui préfèrent les versions brutes pourront désactiver l’option dans leurs réglages.

La fonction est ouverte aux créateurs Facebook avec au moins 1.000 abonnés, ainsi qu’à tous les comptes publics sur Instagram. Et pour suivre l’efficacité du doublage, un nouvel indicateur dans les statistiques permet de voir combien de vues proviennent de chaque langue.

Meta va plus loin en autorisant les créateurs à téléverser jusqu’à 20 pistes audio doublées de leur propre voix sur un Reel. Une bonne nouvelle pour ceux qui veulent contrôler eux-mêmes leurs traductions, avant ou après publication. L’idée reste toujours la même, c’est de rendre un contenu compréhensible au-delà du cercle linguistique habituel du créateur.

Pour optimiser le résultat, Meta conseille de parler face caméra, clairement, sans couvrir sa bouche ni s’entourer de trop de bruit. L’outil ne gère que deux intervenants à la fois, donc on évitera de parler en chœur. Quant aux prochaines langues disponibles, mystère… mais il ne fait aucun doute que la liste s’allongera.

Cette nouveauté est une manière pour Meta de pousser encore plus loin l’intégration de l’IA dans ses services. Pour le pire comme pour le meilleur..."
Par Olivier le 20 août 2025 à 8h30
https://www.journaldugeek.com/2025/08/20/meta-double-les-voix-des-createurs-sur-facebook-et-instagram-avec-lia/
#metaglossia_mundus
#Metaglossia