 Your new post is loading...
"
Home Tech News AI Paper Summary Can AI Understand Subtext? A New AI Approach to Natural Language Inference
Can AI Understand Subtext? A New AI Approach to Natural Language Inference
By Aswin Ak- February 1, 2025
Understanding implicit meaning is a fundamental aspect of human communication. Yet, current Natural Language Inference (NLI) models struggle to recognize implied entailments—statements that are logically inferred but not explicitly stated. Most current NLI datasets are focused on explicit entailments, making the models insufficiently equipped to deal with scenarios where meaning is indirectly expressed. This limitation bars the development of applications such as conversational AI, summarization, and context-sensitive decision-making, where the ability to infer unspoken implications is crucial. To mitigate this shortcoming, a dataset and approach that systematically incorporates implied entailments in NLI tasks are needed.
Current NLI benchmarks like SNLI, MNLI, ANLI, and WANLI are largely dominated by explicit entailments, with implied entailments making up a negligible proportion of the dataset. Therefore, state-of-the-art models trained on these datasets tend to mislabel implied entailments as neutral or contradictory. Previous efforts in introducing an understanding of implicature have been focused on structured inputs like indirect question-answering or pre-defined logical relations, which do not generalize to free-form reasoning settings. Even large models like GPT-4 exhibit a significant performance gap between explicit and implicit entailment detection, which calls for a more comprehensive approach.
🚨 Recommended Open-Source AI Platform: ‘IntellAgent is a An Open-Source Multi-Agent Framework to Evaluate Complex Conversational AI System' (Promoted)
Google Deepmind and University of Pennsylvania researchers have proposed the Implied NLI (INLI) dataset to bridge the gap between the explicit and implicit entailments in natural language inference (NLI) models. Their paper proposes a systematic method of incorporating implied meaning in NLI training using structured implicature frameworks from current datasets such as LUDWIG, CIRCA, NORMBANK, and SOCIALCHEM to transform these frameworks into pairs of ⟨premise, implied entailment⟩. In addition, each premise is also paired with explicit entailments, neutral hypotheses, and contradictions to create an inclusive dataset for model training. A groundbreaking few-shot prompting method using Gemini-Pro ensures the generation of high-quality implicit entailments while, concurrently, reducing annotation expenses and ensuring data integrity. Incorporating implicit meaning in NLI tasks enables the differentiation between explicit and implicit entailments by models with higher precision.
The creation of the INLI dataset is a two-stage procedure. First, existing structured datasets with implicatures such as indirect replies and social norms are restructured into an ⟨implied entailment, premise⟩ format. In stage two, to ensure the strength of the dataset, explicit entailments, neutral statements, and contradictions are generated through controlled manipulation of the implied entailments. The dataset comprises 40,000 hypotheses (implied, explicit, neutral, and contradictory) for 10,000 premises, offering a diverse and balanced training set. Fine-tuning experiments using T5-XXL models employ a range of learning rates (1e-6, 5e-6, 1e-5) over 50,000 training steps to improve the identification of implicit entailments.
Models fine-tuned on INLI show a dramatic improvement in detecting implied entailments, with an optimal accuracy of 92.5% compared to 50–71% accuracy for models fine-tuned on typical NLI datasets. Fine-tuned models generalize well to unseen datasets with high accuracy, scoring 94.5% on NORMBANK and 80.4% on SOCIALCHEM, establishing the robustness of INLI on varied domains. Furthermore, hypothesis-only baselines prove that models fine-tuned on INLI leverage both premise and hypothesis for inference, decreasing the likelihood of shallow pattern learning. These results establish the robustness of INLI in bridging explicit and implicit entailments, and in turn, substantially improving AI’s capacity for refined human communication.
This paper makes significant contributions to NLI by proposing the Implied NLI (INLI) dataset, which systematically introduces implied meaning to inference tasks. Employing structured implicature frames and alternative hypothesis generation, this approach improves model accuracy for detecting implicit entailments and facilitates improved generalization across domains. With strong empirical evidence to establish its robustness, INLI establishes a new benchmark for training AI models to identify implicit meaning, leading to more nuanced and context-aware natural language understanding."
https://www.marktechpost.com/2025/02/01/can-ai-understand-subtext-a-new-ai-approach-to-natural-language-inference/
"Rethinking Diversity: Intersections, Identities, and Belonging
Monday, April 28, 2025 09:00to19:00
The Department of Languages, Literatures, and Cultures at McGill University is delighted to announce the Call for Papers for its 4th annual graduate conference. This year’s theme, "Rethinking Diversity: Intersections, Identities, and Belonging", invites scholars to critically engage with the multifaceted concept of diversity across literature, culture, and society.
While often celebrated as a progressive value, diversity remains a contested and evolving concept. This conference aims to reimagine diversity not as a fixed static notion, but as a dynamic process shaped by the intersections of race, migration, sexuality, and gender. By engaging frameworks such as intersectionality, queer of color critique, and decolonial thought, we encourage participants to examine how systemic inequities are embedded and contested in cultural narratives and how they both encourage and challenge the superficial integration of marginalized voices.
Intersectionality reveals the interwoven nature of race, gender, and class, producing unique experiences of privilege and oppression. Queer of color critique interrogates the intersections of race and sexuality, offering a critical lens on dominant narratives. Meanwhile, decolonial perspectives invite us to rethink diversity’s historical ties to Eurocentrism and colonial legacies.
Diversity also invites dialogue across disciplines, opening pathways for innovative perspectives. This conference welcomes contributions that connect diversity with ecocriticism, trauma studies, indigenous studies, economic and political theory. Such interdisciplinary approaches encourage a richer exploration of how diversity manifests in various contexts, fostering new insights into its complexities and implications.
By investigating diversity, this conference seeks to move beyond surface-level representations and engage with broader implications for justice, inclusion, and equity. As bell hooks reminds us, diversity must be an active praxis; a commitment to fostering spaces where marginalized voices are not only included but empowered to shape the discourse.
Source Site:
/langlitcultures
Department and University Information
Languages, Literatures, and Cultures
680 Sherbrooke Street West
Room 425
Montreal, Quebec H3A 2M7
Tel: 514-398-3650
Fax: 514-398-1748
Email: info.llcu@mcgill.ca"
https://www.mcgill.ca/langlitcultures/channels/event/rethinking-diversity-intersections-identities-and-belonging-363043
"...Linden Editions, a new publishing house specialising in translated fiction, has nabbed the "breathtaking" novel from Gabriella Zalapi, translated from French to English by Adriana Hunter. Founders and publishers Tasja Dorkofikis, Nermin Mollaoğlu and Geraldine D’Amico acquired English language rights to Ilaria from Charlotte Seymore of Johnson & Alcock on behalf of The Other Press.
The novel was originally published by Zoe Editions in Geneva, where it was the winner of the Prix Femina des Lycéens 2024, Prix Millepages 2024 and Prix Blù Jean-Marc Roberts 2024. It will be published in the UK in 2026.
The book is told from the "dreamlike" perspective of an eight-year-old protagonist set in the 1980s. In the book, Ilaria is picked up from school by her father and taken across the border to begin a wandering journey around northern Italy.
Dorkofikis said: "Ilaria is an intimate and sensitive story of a young girl torn between two parents. All of us fell in love with Ilaria’s singular and powerful voice, her journey through Italy and the cast of characters around her."
Hunter added: "I so loved translating Ilaria that I was tempted to slow down towards the end – I just didn’t want to be parted from this endearing, bewildered child. I really admire Gabriella Zalapi’s restrained storytelling: the book is a masterclass in ‘show don’t tell’.""
https://www.thebookseller.com/rights/linden-editions-nabs-translation-of-breathtaking-novel-from-gabriella-zalapi
#metaglossia_mundus
Chains of smaller, specialized AI agents aren't just more efficient — they will help solve problems in ways we never imagined.
The AI narrative has reached a critical inflection point. The DeepSeek breakthrough — achieving state-of-the-art performance without relying on the most advanced chips — proves what many at NeurIPS in December had already declared: AI’s future isn’t about throwing more compute at problems — it’s about reimagining how these systems work with humans and our environment.
As a Stanford-educated computer scientist who’s witnessed both the promise and perils of AI development, I see this moment as even more transformative than the debut of ChatGPT. We’re entering what some call a “reasoning renaissance.” OpenAI’s o1, DeepSeek’s R1, and others are moving past brute-force scaling toward something more intelligent — and doing so with unprecedented efficiency.
Why Private Compute Should Be Part of Your AI Strategy - AI Impact Tour 2024
This shift couldn’t be more timely. During his NeurIPS keynote, former OpenAI chief scientist Ilya Sutskever declared that “pretraining will end” because while compute power grows, we’re constrained by finite internet data. DeepSeek’s breakthrough validates this perspective — the China company’s researchers achieved comparable performance to OpenAI’s o1 at a fraction of the cost, demonstrating that innovation, not just raw computing power, is the path forward.
Advanced AI without massive pre-training
World models are stepping up to fill this gap. World Labs’ recent $230 million raise to build AI systems that understand reality like humans do parallels DeepSeek’s approach, where their R1 model exhibits “Aha!” moments — stopping to re-evaluate problems just as humans do. These systems, inspired by human cognitive processes, promise to transform everything from environmental modeling to human-AI interaction.
We’re seeing early wins: Meta’s recent update to their Ray-Ban smart glasses enables continuous, contextual conversations with AI assistants without wake words, alongside real-time translation. This isn’t just a feature update — it’s a preview of how AI can enhance human capabilities without requiring massive pre-trained models.
However, this evolution comes with nuanced challenges. While DeepSeek has dramatically reduced costs through innovative training techniques, this efficiency breakthrough could paradoxically lead to increased overall resource consumption — a phenomenon known as Jevons Paradox, where technological efficiency improvements often result in increased rather than decreased resource use.
In AI’s case, cheaper training could mean more models being trained by more organizations, potentially increasing net energy consumption. But DeepSeek’s innovation is different: By demonstrating that state-of-the-art performance is possible without cutting-edge hardware, they’re not just making AI more efficient — they’re fundamentally changing how we approach model development.
This shift toward clever architecture over raw computing power could help us escape the Jevons Paradox trap, as the focus moves from “how much compute can we afford?” to “how intelligently can we design our systems?” As UCLA professor Guy Van Den Broeck notes, “The overall cost of language model reasoning is certainly not going down.” The environmental impact of these systems remains substantial, pushing the industry toward more efficient solutions — exactly the kind of innovation DeepSeek represents.
Prioritizing efficient architectures
This shift demands new approaches. DeepSeek’s success validates the fact that the future isn’t about building bigger models — it’s about building smarter, more efficient ones that work in harmony with human intelligence and environmental constraints.
Meta’s chief AI scientist Yann LeCun envisions future systems spending days or weeks thinking through complex problems, much like humans do. DeepSeek’s-R1 model, with its ability to pause and reconsider approaches, represents a step toward this vision. While resource-intensive, this approach could yield breakthroughs in climate change solutions, healthcare innovations and beyond. But as Carnegie Mellon’s Ameet Talwalkar wisely cautions, we must question anyone claiming certainty about where these technologies will lead us.
For enterprise leaders, this shift presents a clear path forward. We need to prioritize efficient architecture. One that can:
Deploy chains of specialized AI agents rather than single massive models.
Invest in systems that optimize for both performance and environmental impact.
Build infrastructure that supports iterative, human-in-the-loop development.
ADVERTISEMENT
Here’s what excites me: DeepSeek’s breakthrough proves that we’re moving past the era of “bigger is better” and into something far more interesting. With pretraining hitting its limits and innovative companies finding new ways to achieve more with less, there’s this incredible space opening up for creative solutions.
Smart chains of smaller, specialized agents aren’t just more efficient — they’re going to help us solve problems in ways we never imagined. For startups and enterprises willing to think differently, this is our moment to have fun with AI again, to build something that actually makes sense for both people and the planet.
Kiara Nirghin is an award-winning Stanford technologist, bestselling author and co-founder of Chima.
The arrival of the series' Catalan dubbing in the '90s marked a generation and helped many learn the language
Dragon Ball comic in Catalan at Arkham Comics in Barcelona / Pere Francesch
SHARE
ORIOL ESCUDÉ MACIÀ
|
@ORIOLSQD
|
BARCELONA
First published: FEBRUARY 1, 2025 11:14 AM
Latest update: FEBRUARY 1, 2025 11:41 AM
On a typical weekday afternoon in Catalonia in the 1990s, it was common to see people in bars glued to the television watching Japanese anime - a sight unimaginable today, except for football.
They were watching Bola de Drac, the Catalan version of Dragon Ball, Akira Toriyama’s legendary manga series. Its impact on Catalonia was immense, marking generations and becoming the single most influential show in promoting the Catalan language.
Originally published in Japan's weekly magazine Shōnen Jump from 1984 to 1995, the anime first aired in Catalan in 1990 on public broadcaster TV3 - on a day when it wasn't even scheduled.
Almost immediately, thousands of Catalans were hooked. TV3 initially bought just 26 episodes, not expecting much. But when they abruptly stopped broadcasting the show, they were flooded with complaints from disappointed viewers.
The original series had 153 episodes, and TV3 rushed to buy more when they realized they had an unexpected hit. Little did they know that decades later, Bola de Drac would still be remembered as a cultural phenomenon.
One of the images from the 'Dragon Ball' series on 3Cat / 3cat
Dragon Ball made Catalan 'sexy'
The series arrived at a time when access to entertainment was limited. There was no internet, and TV was one of the only sources of content available. Soon, Bola de Drac became a phenomenon, and everyone was talking about it.
"It was the first viral phenomenon of our generation," explains Oriol Estrada, an author and expert in Japanese culture who built a career inspired by Dragon Ball.
But perhaps the greatest impact Bola de Drac had on Catalonia was its role in popularizing the Catalan language.
At the time, Catalan was still recovering from decades of repression under Franco’s dictatorship and was not as normalized in public spaces as it is today.
In addition, many children and teenagers from Spanish-speaking families - descendants of the mass migrations to Catalonia in the 1960s and 1970s - grew up during this period. Many of them learned Catalan thanks to the Japanese anime.
A person dressed as Dragon Ball's Son Goku at the Comic Barcelona / Carola López
Estrada highlights that Dragon Ball made Catalan a "cool" and attractive language for many who were not used to speaking it.
"The key was that Dragon Ball was available in Catalan but not in Spanish. That alone motivated many people to see Catalan culture in a different light," explains Daniel Cassany, professor of Discourse Analysis in the Catalan language at Universitat Pompeu Fabra.
The love for Dragon Ball in Catalan was so strong that even when the series became available in Spanish in 1997, many Spanish-speaking fans continued watching the Catalan version.
"Horrendous. The Spanish version is not my Dragon Ball," says Blanca, a longtime fan who watched the series from its beginning until it stopped airing in 2001. The show also sparked her passion for comics and manga.
But Bola de Drac didn’t just help Spanish speakers in Catalonia learn Catalan—it also reached audiences beyond Catalonia.
One such case is David Broncano, a well-known Spanish TV presenter. He once revealed that he speaks Catalan because he could pick up TV3 from Jaén, in southern Spain, and learned the language despite never having set foot in Catalonia.
"This is what happens with fans of any cultural product: they become highly motivated, invest time in it, build a personal connection, and as a result, they learn the language," explains Cassany.
One of the pages from the Dragon Ball comic / Courtesy of Planeta Cómic
A dubbing that made history
Cap de suro! (Corkhead), Gamarús! (Idiot), Brètol! (Rascal), Setciències! (Know-it-all)! These are some of the most legendary insults from the Catalan version of Bola de Drac, one of the key elements that has endured over time.
The translation of the series remains one of the most iconic examples of Catalan dubbing. It was an outstanding adaptation, rich in vocabulary and full of funny, original expressions that quickly became unforgettable.
Since the anime was aimed at children, the translators couldn't use strong swearing. Instead, they turned to old, archaic Catalan insults that were no longer in common use.
This decision not only avoided controversy but also gave the dialogue a humorous and fresh tone while promoting the richness of the Catalan language.
"I was told to be very careful with the language because, without realizing it, we were teaching Catalan to many people. It was important to speak it properly," said Marc Zanni, the legendary adult voice of Son Goku, in an interview with the Catalan News Agency (ACN).
Marc and the other voice actors brought the script to life with incredible intonation and delivery, making the dialogues memorable. Many fans still recreate and remember them today as the voices of their childhood.
Relaunch on TV3
Celebrating the 35th anniversary since the first episode aired on TV3, the broadcaster is relaunching Bola de Drac once again.
Last November, the public TV’s streaming platform, 3Cat, brought back the series, along with Dragon Ball Z. In just over 10 days, the relaunch garnered over a million views.
The platform will also be releasing Dragon Ball Super in Catalan for the first time.
To learn more about Bola de Drac and its impact on the Catalan language and Japanese culture in Catalonia, listen to this episode of our podcast, Filling the Sink.
MANGA
ANIME
DRAGON BALL
A remake of Off launches this year, but its English localization has a long history thanks to the efforts of fans.
by Jay Castello
Feb 1, 2025, 5:00 PM GMT+1
In 2008, Mortis Ghost made a game with his friend, composer Alias Conrad Coldwood. It was a surreal roleplaying game about a baseball player fighting ghosts called Off. He shared it for free on a French-speaking forum, where it garnered a small audience. One player was a French artist who was inspired to make a piece of fan art, which she shared with her then-girlfriend. “I was very intrigued,” says Quinn K, now a writer and game developer. At the time, she was a 15-year-old living in Austria who had no idea how influential Off would be for her, nor she for Off.
00:02
02:00
Read More
After beating the game, K lay awake at night thinking about the ending. “Something had gotten its hooks in me,” she says. Wanting to show it to more friends, she resolved to translate the game from French to English — neither of which were her first language. “I wasn’t the right person for the job,” she says. “I was just the person that did it.”
Fan translation for games is often a tricky process, not just because of linguistics but also technical limitations and potential copyright claims by the original developers. But K knew it was possible to make her version work because there was already a partial translation, and when she contacted Ghost, he gave his approval. With the help of some friends in proofreading and asset creation, she put together a translation of the 10-ish-hour RPG by 2011. She posted it on the forums for a website called Starmen.net, which was popular among fans of the Mother / EarthBound series. K was partially inspired by a Mother 3 translation, and other Mother fans quickly connected with the similar vibes in Off.
After the initial release, K put out an improved version in 2012. By 2013, Off was an “astonishing success,” says Ghost, with users who discovered it on the Starmen forums spreading it via fan creations like art and cosplay to DeviantArt and Tumblr. On the latter, it was the sixth-most-talked-about game of the year, behind major franchises like Pokémon, Animal Crossing, Kingdom Hearts, The Legend of Zelda, and Mass Effect. Unlike those established hits, Off was free, spread only through word of mouth, and was still clearly finding a devoted audience.
Despite its popularity, K was aware that the translation wasn’t perfect. “A lot of people rip [it], and I get why,” she says. “It was full of very severe flaws, just born from the fact that I’m neither an English native speaker nor a French native speaker. So it was possible to make mistakes in both languages.” There were also other fans making their own translations or patches that added to K’s work. One of these, released in 2017 by artist Lady Saytenn, added an option for the player themselves to be referred to with they / them pronouns.
“It was full of very severe flaws”
“That inspired me so much,” says K. Having had a few years of space from Off, and having improved in both English and French as well as “grown a bit wiser as a person,” she embarked on making a third version of her translation. This time, she collaborated directly with Lady Saytenn, as well as another artist who created image assets, Rosie Brewster.
K categorizes the second translation as the one that “most millennials” have played, while the third reached a younger wave of fans. K says that she was actually surprised to find that many people who encountered Off through the third translation hold it in high regard because “back when it first came out, that translation was not particularly popular.”
Some changes were straightforward, like correcting pop culture references that K had been unaware of, as well as an error where she had interpreted the French word femme as “wife,” rather than “woman.” It can mean either, but K’s choice changed the implication of a key line, and Ghost let her know it wasn’t what he originally intended.
Image: Fangamer
However, some fans felt that the newest translation was overly sanitized; K says she deliberately made some characters “a little less crass” since “a big sign of an inexperienced translator is swearing a lot.” She also removed an instance of the R-slur, which upset “some edgy people.”
More nuanced was the shift to clearer language and a tendency to stick more closely to the original lines. The 2.0 translation had been vague and sometimes confusing in a way that players appreciated; it seemed to reflect the atmosphere of the game. “The little weirdnesses [in the 2.0 translation] really twist the knife on how strange and off putting the world of the game is,” says K.
“I’m excited to rediscover the game.”
But some of that was down to K’s imperfect French and English, so in the third version, she chose to clarify some lines, leading some players to feel that she had removed an aspect of whimsy and poetry that they had actually enjoyed.
These are tensions inherent to the act of translation, which is always adaptive. Now that Off is getting an official remaster, there will be a fourth version later this year, and it’s not clear how they’ll balance clarity and atmosphere, as well as its own adaptation, with K’s. The announcement was careful to acknowledge K’s work and says that the remaster will be “based on” K’s translation. She’s also been paid for what was once years of fan labor. But it does seem that the script is in the process of being readapted by professional localizers. (Publisher Fangamer did not respond to requests for confirmation.)
For K, the readaptation is a good thing. “The one thing I can say from everything I’ve seen of their updated version of the translation is they’ve improved it in every conceivable way,” she says. “I’m excited to rediscover the game.”
Image: Fangamer
On the other hand, “it’s a strange feeling to be most well known for the work that you did on somebody else’s work,” says K, who has made several of her own games and is now working on Blanksword, a roguelike RPG “very strongly inspired by Off.” Ghost, too, says he’s changed a lot in the 17 years since Off’s original release. “I am of course very proud to have produced a game that has touched so many people, but I think that the game now belongs much more to the community,” he says. He is currently working on a new game called Help.
The remake won’t just feature an improved script but will also have updated combat mechanics, new animations, and some additional content written by Ghost. The goal was to “completely preserve the original atmosphere, while polishing everything that could be [polished],” he says. As with all remakes, this will be a difficult balancing act; adding in the complex adaptive work of translation, there will always be divided opinions over which of the now four major versions is the best.
But K’s efforts undeniably made Off what it is today, and the remake acknowledging and building on that history is a rare step in an industry where fan translations are usually unacknowledged at best and taken down at worst.
https://www.theverge.com/games/603938/off-rpg-translation-interview
ALTA is a nonprofit arts membership association that provides resources, community, and professional affiliation to its members: individual translators, academic institutions, presses, and others working in literary translation.
BU MFA IN LITERARY TRANSLATIONEducation Feb 15, 2025 GULF COAST – PRINT EDITIONSubmissions Mar 1, 2025 QC LITERARY TRANSLATION MFAEducation Apr 15, 2025
Here, nonmembers view a subset of the
"Google Translate could soon add a new feature that might make it easier for users to obtain contextual information about translations.
Evidence spotted in the latest Google Translate release suggests it may add a new “Ask a question” FAB to the translation result.
The feature seems to be in the early stages of development, so it might be a while before it reaches users.
Google appears to be developing a new AI-powered feature for the Google Translate app that could help users learn more about translations.
You're reading an Authority Insights story on Android Authority. Discover Authority Insights for more exclusive reports, app teardowns, leaks, and in-depth tech coverage you won't find anywhere else.
An APK teardown helps predict features that may arrive on a service in the future based on work-in-progress code. However, it is possible that such predicted features may not make it to a public release.
We’ve spotted mentions of the upcoming feature in the latest Google Translate release (version 9.1.76.720631521.2), which suggest that it may appear as a floating action button (FAB) labeled “Ask a question” alongside translation results. Although we haven’t seen any strings revealing how this feature may work on release, we suspect it could be an AI-powered feature to help users get contextual information about translations.
The ability to ask Gemini questions related to translations could prove to be quite useful. It might help users get clarification on ambiguous translations, understand cultural nuances, learn about grammar and sentence structure, or get help with specific use cases.
At the moment, we can’t say for sure whether the upcoming feature will offer such capabilities, as it appears to be in its early stages of development. We’ll keep an eye on future Google Translate releases and let you know as soon as we learn more."
https://www.androidauthority.com/google-translate-ask-a-question-apk-3522073/
By Pranob Mehrotra
January 31, 2025
#metaglossia_mundus
"Saudi Arabia’s Literature, Publishing, and Translation Commission is participating in the 2025 New Delhi World Book Fair (NDWBF), held in Delhi, India, from February 1 to 9.
The commission’s participation is part of its ongoing efforts to strengthen cultural cooperation between the Kingdom and India.
Through this engagement, the commission aims to highlight Saudi Arabia’s position in the global cultural and literary landscape, raise awareness about its cultural heritage, and showcase its publications and contributions to the international literary scene. Additionally, it seeks to promote cultural and intellectual exchange between the two countries.
The commission’s pavilion at NDWBF features several sections that highlight its literary and cultural initiatives and programs, including the "Tarjem" initiative, which showcases the Saudi translation movement.
The pavilion also boasts dedicated sections for the King Salman Global Academy for the Arabic Language and the King Fahd National Library.
The Kingdom previously participated as the guest of honor at the 2024 New Delhi World Book Fair, in which it organized various programs and events reflecting the richness of Saudi Arabia’s cultural and creative landscape."
https://english.aawsat.com/culture/5107663-saudi-literature-publishing-and-translation-commission-participates-2025-new-delhi
#metaglossia_mundus
"L’Organisation Internationale de la Francophonie (OIF) et l’Organisation Arabe pour l’Éducation, la Culture et les Sciences (ALECSO) ont annoncé l’ouverture des candidatures pour la 18e édition du Prix de la traduction Ibn Khaldoun – Léopold Sédar Senghor pour la session 2025. Les candidats doivent déposer leurs dossiers avant le 30 juin 2025.
Ce prix récompense les traducteurs et traductrices qui excellent dans la traduction du français vers l’arabe et de l’arabe vers le français d’ouvrages relevant de la littérature, des sciences humaines et sociales. Il met en lumière leur travail, qui contribue au dialogue entre les cultures.
Qui peut participer ?
Les traducteurs et traductrices qui remplissent les conditions du règlement du Prix peuvent soumettre leur candidature. Les universités, les instituts d’enseignement supérieur, les centres d’études et de recherche du monde arabe et de l’espace francophone, les associations et unions nationales des pays arabes et de l’espace francophone, ainsi que les personnalités renommées dans les domaines concernés et les maisons d’édition peuvent également proposer des candidatures.
Informations pratiques
Les organisateurs mettent à disposition tous les détails concernant les modalités et conditions de participation via le lien suivant : https://ow.ly/rqlp50UQh0e.
Le lauréat 2024
Pour rappel, le jury a décerné le Prix de la traduction Ibn Khaldoun – Léopold Sédar Senghor pour la session 2024 à l’autrice Souad Labbize (Algérie-France-Tunisie). Elle a traduit en français le roman Le Désastre de la maison des notables, de l’autrice tunisienne Amira Ghenim (Éditions Philippe Rey, France / Barzakh, Algérie, 2024). Cette œuvre retrace plus de cinquante ans d’histoire tunisienne – de la lutte pour l’indépendance jusqu’à la révolution de 2011 – et met en lumière les combats pour les droits des femmes."
https://www.leconomistemaghrebin.com/2025/02/02/le-prix-ibn-khaldoun-senghor-un-concours-au-service-du-dialogue-des-cultures/
#metaglossia_mundus
March 31 and April 1, 2025 at Inalco, 65 rue des Grands Moulins 75013 Paris Une nouvelle représentation de la littérature taïwanaise : Traduire, transformer, interpréter © Feng-en CHANG
From 30 March to 1 April 2025
Inalco, 65 Rue des Grands Moulin, 75013, Paris - Auditorium
From the last century to the present day, the Taiwanese government and relevant academic and cultural institutions have continued to promote the link between Taiwanese literary works and foreign literary networks through literary translation policies and author exchange activities, and more and more works by Taiwanese authors have been translated into different languages to build bridges of "intercultural dialogue" with other cultures and countries. Thanks to foreign translations, foreign readers increasingly understand "what Taiwanese literature is all about". The "special characteristics of Taiwanese literature" have begun to expand and deepen with each passing year. The development and creation of "Taiwanese literature" is also part of the "know-how system" developed by Taiwan and its culture. The translation of literary works and the related export policy have created a means, a platform and an opportunity to revitalize contacts between Taiwan and other countries for "dialogue", "sharing" and "exchange". Over the years, literary studies specialists have organized a number of academic and cultural events in France on the theme of "Taiwanese literature", which have produced a large number of research results and benefits from the point of view of translations, writers' biographies, literary history and literary analysis, among other research topics. Therefore, in order to avoid repeating statements and models that have already been explored, in addition to broadening the perspective of reflection on the development of Taiwanese literature, Moreover, with the declaration of modernity and the concept of progress in the twentieth century, the twenty-first century has been built with the development of high technology and digital devices. Contemporary life resembles the models described and imagined in science fiction literature, where everyday life is filled with digital products and images. The direct relationship between people is progressively focused on a small dialogue window. A palm-sized object, like a creation from Roland Barthes' mythology, satisfies and realizes man's desire for convenience. The quest for "convenience" has led "contemporaries" to reconstruct the mode of interaction between "people and things". People gradually drifted away and forgot, or never deeply understood, the process and feeling of reading an academic book by turning a page with their fingertips. Therefore, following on from the question raised above, this symposium also aims to bring together academics from different fields to discuss how to motivate contemporary people to know and read literary works, and then to establish a normal interactive relationship with literature. Starting from the two qualities of the concept of "turning/transforming", which present two dynamisms of change and innovation, the symposium will expand the concept to include "translation", "transmutation" and "interpretation", which express different levels of thought and tendencies of concern, but can inspire, transform and cooperate with each other. The concepts of "translation" continue to be used in the same way as the concept of "transcreation". The meaning of "translation" is in line with the current interpretation of the term in Taiwan, particularly in the field of literature, where it expresses the manifestation of interconnection and dialogue in interdisciplinary media. The embodiment and outcome of "translation" can range from "translation" and "foreign translation" to its commercialization, focusing on the possibility of "transforming" Taiwanese literature and integrating it with other media. The term "trans-art" also carries the mission and pursuit of "transformation" and focuses on the possibilities of "literary" works and "art" intersecting with multimedia and cross-media, and how they can become the origin and elements of cross-cultural communication and inspiration for cross-cultural creativity. Taiwanese literary works have been transformed into works of art for many years, but the focus here is on presenting new contemporary "trans-art" works, paying particular attention to the "intercultural" creative process, modes of transformation and resulting networks of exchange. In this context, the term "intercultural" encompasses reflections on interactions between different ethnic groups, fields, art media and languages in Taiwan, rather than exchanges with other cultures or organizations. Finally, the term "translation" emphasizes the "narrative" power of the word "translation", and the process of "transformation" is also an opportunity, a right and a performance that allows each participant and each medium to "interpret" and "reinterpret". In the projects and results of the "translation" or "transmutation" process, new directions and approaches to the discourse of "Taiwanese" literature have been developed and discovered, particularly new arguments developed in Taiwan. How do these perspectives and new creations fit into the network of contemporary "world literature" The symposium may cover the following topics:
The current state of cooperation between contemporary Taiwanese literature and other media.
Analysis of the structure, form and content of works resulting from translation or transcreation.
The power of innovation and contemporary trends in translation and transartistic creation.
Origins, processes, attempts and discursive development of translation and transcreation.
V. Examination of cases of cooperation between Taiwanese literature and other cultures in translation or transmigration.
Cultural policies accompanying translation and transmigration projects.
New interpretative phenomena in works of translation or transmigration.
The benefits of translation and transcreation
New discourses in contemporary Taiwanese literature and the phenomenon of Taiwanization.
Conference languages: French, English, Taiwanese, Chinese, Taiwanese Hakka, Taiwanese Austronesian languages ORGANIZATION Chanyueh Liu (INALCO) CONTACT chan-yueh.liu@inalco.fr
By Steven L. Shields
In recent years, periodic updates of the Oxford English Dictionary have added many Korean-language words, albeit romanized, to fit the English language. The OED is the leading authority on the English language's vocabulary. Intended to trace the history of the English language, the dictionary was first published in 1884. A second full edition was published in 1989, comprising 20 volumes. The third edition is underway, which Oxford University Press has said will not be printed but will be available only electronically. More than 500,000 words are included, with information on etymology, archaic usage and current usage.
It's not my purpose to list all the Korean-sourced words added to the OED in recent years (a couple dozen). The globalization of K-culture has significantly affected English speakers' use of such vocabulary. We can be certain that English is not the only language affected by globalization. Languages evolve over time as outside cultural forces come into play. Such evolution is multidirectional.
When I first came to Korea in the 1970s, many borrowed Japanese expressions were still used in everyday Korean conversations. Of course, since the 1950-53 Korean War era, many English words have also come into common usage. More and more, with its decidedly Western and U.S. orientation, English words crop up constantly in daily conversation. Korea's phonetic alphabet makes such a transformation easily possible.
I recently lectured to a group of high school students at a "foreign language" high school near Seoul. These young people asked me to reflect on my experiences of my almost 50-year-long journey with the Korean language and culture. The group of students, more than 100 in all, is the "cream of the crop" of Korean high school students.
As we examined the intersection between language and culture, I began to understand that sometimes, the intersection is more like a collision, for there are no traffic signals. As much as some would like to think their culture and ethnicity have developed in a vacuum without outside influence, nothing could be further from the truth.
The English language, as we know it today, is the product of a millennia-long confrontation between warring empires, invasions, ever-changing political alliances and both emigration and immigration. For centuries, the church that prevailed in most of Europe, known today as the Roman Catholic Church, insisted on using Latin regardless of the common vernacular. Church authorities had power over kings and princes and could make the rules. The Bible was available only in Latin. Vernacular translations were forbidden on pain of death. Prayers, songs etc., during worship were done in Latin.
Unsurprisingly, many European languages, English included, have extensive vocabularies based on Latin words. Before the heavy Latin influence, the Angles and the Saxons had their own languages, which morphed into the Anglo-Saxon language about 1,000 or so years ago. As the British Isles became Christianized, the Latin language exerted its influence. But Germanic languages still played a big role. By the time of Queen Elizabeth I in the mid-1500s, French was the commonly spoken language of diplomacy, and educated people in England could use the language easily. The official title of the British monarch is "Dei Gratia Rex…" "By the grace of God, King." "Rex" is Latin for king ("Regina" for queen). Institutions of higher learning, even many in Korea, have adopted mottos using the Latin language.
Over the several thousand years of history on the Korean Peninsula, there have been dozens of statelets and tribal confederations, which eventually morphed into kingdoms and, finally, the republic. But throughout those many long years, wars have been fought up and down the peninsula. Outside forces from mainland Asia, including the many kingdoms of China and the northern invaders from Mongolia and Manchuria. Baekje and Silla fought each other, and Goguryeo fought on one side and then another. And so goes the course of human history. In every case, the cultures and idiosyncrasies of language affected the others. (Dispel all imaginations of a unified language spoken on the peninsula in ancient times!)
So, the Korean language's time has come. After all the outside forces, wars, imperialists and colonialists have passed, Korea is now "invading" the cultures and languages of the rest of the world. We see this in food culture, music styles, cosmetics, automobiles, electronics etc. The list is long. The OED's recognition of Korean vocabulary is a timely response to the extension of Korea's rich heritage worldwide.
Language is not and never has been static. From the earliest spoken communication, expressions have been developed within the context of the speaker group's cultural environment. Be it the many words for snow in the languages of the northernmost parts of the world or the several words for rice in Asia — in each case, dependent on the condition of the snow or the rice (light, fluffy snow, heavy wet snow, rice seedlings, rice kernels, cooked rice). As humans continue to grow, evolve, learn and mix with others, our languages will change so we can communicate as effectively as possible.
Rev. Steven L. Shields, FRAS
https://m.koreatimes.co.kr/pages/article.asp?newsIdx=390802
"Institution fortement ancrée dans les sociétés comme en atteste son histoire, le mariage est un temps fort dans la vie d’un couple, qui doit obéir aux traditions d’un pays. Même si les pays restent attachés à leurs valeurs, les femmes optent de plus en plus vers une forte occidentalisation, pour leur tenue de cérémonie. C’est avec une influence non négligeable que la robe blanche s’impose dans de nombreux continents.
Selon les zones géographiques, les femmes refusent de choisir entre tradition et modernité, en portant une robe traditionnelle folklorique et une robe de mariée classique ou en « occidentalisant » la tenue de cérémonie traditionnelle. voici un voyage au travers les 5 continents des plus belles robes de mariage.
La robe de mariage en Asie
L’Asie reste le continent le plus ancré dans les traditions ancestrales en lien avec le mariage. Même si l’empreinte de l’Occident représentant la modernité est de plus en plus présente, les jeunes mariés continuent à perpétuer les coutumes, qui traversent les âges. Voici une escapade en Asie au travers différentes robes de mariées.
L’Inde
L’Inde est le pays où le mariage est le plus marqué. La fête que l’on appelle le Thirumanam peut durer jusqu’à 12 jours. La religion hindoue oblige à marquer un grand nombre de rituels, que vous pouvez découvrir ici afin de respecter le puja, le culte.
Très codifié, le mariage commence avant la cérémonie. L’homme et la femme sont séparés, pour fêter cela chacun de leur côté. Au cours du Mehndi, toutes les femmes et notamment la future mariée, se font peindre les paumes des mains au henné, avec des dessins circulaires très sophistiqués. Les hommes, quant à eux, se réunissent, lors de la Tika, pour mettre du pigment rouge sur le front du futur mari, pour représenter son engagement.
Le jour du mariage, les femmes portent un sari rouge vermillon, dont la couleur symbolise la fête. Richement décoré, il est souvent brodé de dorures. La mariée peut avoir cette couleur appliquée sur la raie de ses cheveux, grâce à de la poudre, que l’on appelle le sindoor.
Les bijoux font partie intégrante de la tenue et représentent de manière visible, la dot de la future mariée. L’or est certes le métal le plus précieux, mais également le plus populaire, grâce à ses vertus purifiantes. Les femmes indiennes ont le nez percé et portent un anneau relié jusqu’aux cheveux par une chaine. Bijou de mariage par excellence, le tilki se porte dans le cuir de chevelu et se termine par un pendentif sur le front. La mariée porte également deux autres types de bijoux qui lui sont traditionnellement réservés : le mangalsutra, qui est un collier aux perles noires et des payals, qui sont des chaines de cheville. Si le bindi est populaire, il n’est pas forcément porté par la mariée, vu que son époux doit marquer son front d'un poddu, un point rouge.
L’homme a une tenue nettement plus sobre, un costume traditionnel indien blanc, le vetti, et un chapeau de cérémonie. Les fleurs ont une grande importance au cours de la fête : les mariés portent un collier de fleurs et les invités leur lancent des pétales.
La Chine
Le mariage en Chine s’occidentalise de plus en plus. Les femmes délaissent la tenue traditionnelle au profit d’une robe blanche et d’une fête très coûteuse. Sur le continent asiatique, c’est le peuple chinois qui aurait le plus tendance à mettre de côté ses traditions et à vouloir copier les mariages des stars. Toutefois, le mariage traditionnel fait partie du patrimoine, auquel les Chinois restent attachés. Il existe plusieurs coutumes, comme celle de se marier un jour faste selon le calendrier et l’astrologie chinoise. La mariée porte un vêtement traditionnel han, le hanfu, de couleur rouge, qui symbolise le bonheur au sein du couple et sa longévité.
Le hanfu est composé de 2 éléments : une jupe longue taille haute qui arrive sous la poitrine et une sorte de cache-cœur, avec des manches très évasés. La mariée porte également une coiffure, sur un chignon, avec des épingles ornées de pierres semi-précieuses, comme le jade, représentant la vertu en Chine.
Les tenues des mariés sont souvent très décorées, avec des fils d’or et d’argent. Les motifs peuvent être des fleurs ou représenter des animaux légendaires comme le dragon et le phénix, qui représentent le pouvoir et l’équilibre entre l’homme et la femme. Le mariage chinois est donc rempli de symboles, au travers plusieurs éléments vestimentaires.
Le Japon
La culture nippone est empreinte de traditions, qu’il convient de respecter. Ce pays de contraste voue un culte à la religion shinto. La femme porte plusieurs kimonos blancs superposés les uns sur les autres, que l’on appelle shiromuku. Le blanc symbolise à la fois la pureté et la souplesse de caractère, pour s’intégrer à la famille de son époux.
La pièce maîtresse de l’habit traditionnel reste la coiffe de la mariée, le tsuno-kakushi. Cette dernière est sensée cacher les cornes de la mariée qui pourrait être jalouse.Même si cette tendance diminue, la femme peut être maquillée à la manière d’une geisha, avec un teint blanc, maquillé à la poudre de riz, les yeux maquillées en noir et une bouche dessinée à moitié. Un teint pâle et une petite bouche sont des signes de distinction et d’élégance.
La Mongolie
Au pays des yourtes, le mariage est une fête très importante, pour l’union de 2 familles. Très codifiée, la cérémonie est classée comme un vestige culturel immatériel, par l'UNESCO. Elle dure 3 jours et 3 nuits, durant lesquelles il y a des chants, des danses, des rituels, et surtout un grand banquet, où sont séparés les aliments rouges et blancs. Le mariage est fêté dans une yourte, cadeau de famille de l’époux, afin que le couple s’installe suite à la cérémonie.
La mariée porte une robe en soie, sur un pantalon. Cintrée, cette tenue est de couleur rouge, emblème du continent asiatique. Très imposant, le voile rouge de la mariée cache intégralement son visage. L’homme ne peut lever le voile qu’après avoir réussi un saut au-dessus d’un grand feu.
Le Vietnam
Le mariage au Vietnam est très ritualisé. Au moment de la demande en mariage de l’homme, la femme reçoit une lettre de son prétendant, accompagnée de nombreux cadeaux. Cette lettre a une telle valeur qu’elle la garde jusqu’à sa mort.
La mariée porte une tenue traditionnelle vietnamienne, l'áo dài, composée de deux pièces : une robe à col mao près du corps, fendue sur les côtés, à partir de la taille et un pantalon ample et fluide en soie. Si pour les étudiantes, c’est un uniforme obligatoire en blanc, la mariée la porte en rouge, pour respecter le code des couleurs de son pays. Elle est coiffée d’un chapeau en forme de couronne.
La Corée du sud
Le mariage coréen se déroule en 6 étapes, qui sont succèdent, de la célébration aux ancêtres à la nuit de noces, qui scelle réellement le mariage, en passant par la cérémonie de l’oie, qui doit pondre beaucoup comme signe de fécondité.
La mariée porte une tenue de cérémonie très colorée, en soie, avec des broderies dorées, appelée Hollyebok ou Hwarot. Cette robe de mariée coréenne comporte 2 éléments principaux : un chima, qui est une longue jupe évasée de forme porte-feuilles très imposante et un jeogori, qui est une veste courte aux manches très longues et évasées. La coiffure de la mariée est particulièrement imposante. Elle forme une sorte de nœud très impressionnant au-dessus de la tête, que l’on appelle le Maedeup.
La robe de mariée en Afrique
Avec des traditions ancestrales, l’Afrique n’évolue que près peu en matière de mariage. Si selon les pays, les tenues sont réinterprétées, les racines africaines sont profondément ancrées. La robe blanche occidentale n’a pas réellement percé à la différence du continent asiatique qui, peu à peu, est influencé par une vague occidentale.
Le Kenya
La tradition est particulièrement prégnante dans la culture masaï. La mariée doit aller vers le village de de son époux, en procession, avec un rythme très lent. Un nouveau prénom lui est choisi. Son mariage n’est valable que lorsqu’elle est reçue par sa belle-mère, à l’entrée de sa hutte. Si la polygamie est acceptée pour l’homme, elle n’est pas autorisée pour la femme, qui ne doit se marier qu’une fois.
L’ornement corporel est très important dans la tribu masaï, ce qui contribue largement à leur identité ethnique. C’est donc naturel, pour leur mariage, que les femmes portent des vêtements brodés de perles de verre et des parures de bijoux très imposantes comme de lourds disques de perles colorées en guise de colliers. Les boucles d’oreilles très volumineuses élargissent le lobe des oreilles. Sur leurs cheveux quasiment rasés, elles portent une coiffe en perles.
Le Sénégal
Dans les pays comme le Sénégal, le Ghana ou le Gabon, le mariage coutumier africain est très en vogue. La mariée porte un boubou africain, appelé wolog au Gabon et dagomba au Ghana. En coton, ce vêtement ample est unisexe.
Lors du mariage, la femme porte un boubou de cérémonie richement décoré, fait de différents tissus, avec un effet patchwork, auquel est assorti un turban noué à l’africaine et quelques bijoux de perles. Il est très fréquent que le boubou de la femme soit assorti à celui de l’homme, pour une parfaite harmonie.
Très coloré, le boubou inspire beaucoup la haute couture pour donner un côté ethnique à une collection. Il se décline sous forme de robe. De plus en plus de femmes optent pour une version moderne du boubou qui, grâce au tissu bariolé, garde son identité ethnique.
Si la tribu masaï utilise le pagne africain, dans son sens le plus traditionnel, comme une pièce de tissu très colorée à motifs, ce dernier peut faire de magnifiques robes de mariage, dans plusieurs pays de l’Afrique (Niger, Cameroun, Bénin, Gambie, Mauritanie), sous forme de boubou ou de tenues aux coupes plus occidentales.
Le Magrheb
Au Maghreb, le mariage, le fatha, est une fête importante qui demande de nombreux préparatifs durant plusieurs mois. La majorité des mariages sont musulmans. Avant le mariage, l’homme et ses parents se rendent chez les parents de la future mariée, pour célébrer les fiançailles, le khetba.Avant la cérémonie, en présence d’un Iman, la mariée se prépare au cours de 2 rituels, une mise en beauté au hammam, avec des soins du visage, du corps et une épilation et une soirée au henné, durant laquelle les mains de la femme sont peintes.Au cours de la journée du mariage, la mariée doit changer de robes de nombreuses fois traditionnellement, jusqu’à 7 reprises. Cette tradition s’appelle la tasdira. Les robes de mariée étant trop onéreuses pour être achetées en plusieurs exemplaires, les femmes louent des robes pour honorer cette coutume.
Voici quelques exemples de robes portées en Algérie essentiellement, au Maroc, en Tunisie et en Turquie. A chaque tenue, il faut des bijoux assortis. La mariée change de bijoux autant de fois qu’elle change de tenue au cours de la soirée. Les bijoux orientaux sont souvent des parures complètes, avec diadème, boucles d’oreilles, collier et bracelet.
Le caftan ou kaftan est une longue robe cintrée avec des manches évasées. Pour le mariage, le caftan est richement brodé et peut être coloré. Décoré de perles, de strass et de sequins, le caftan de cérémonie est fait dans des tissus nobles : taffetas, soie, satin …
Le karakou est traditionnellement une tenue de 2 pièces : un sarouel et une veste richement brodée, à la manière des toréadors. Réservé au mariage en Algérie, cet habillement se modernise peu à peu et se décline en jupe ou avec un haut façon bustier.
Pour son défilé, le jour de son mariage, la femme peut porter le melhfa, qui est une accumulation de robes très amples sur le corps. De couleur sombre, il est rehaussé par des broderies plutôt sobres. La pièce maîtresse est le carré de tissu qui couvre le haut du corps.
Le binouar est une robe fleurie et légèrement décolletée. Longue et sans manches, il fait partie d’une tradition, notamment sur les borderies, la coupe, la façon de le porter et surtout la particularité d’être taillé dans un tissu onéreux, le charb ezdaf.
La kessoua est une tenue typique de Tunisie, composée de 2 éléments : la fouta, la jupe large et longue très volumineuse et la blouza, qui est un bustier court qui laisse apparaître le ventre.
La robe kabyle est un habit traditionnel de la Kabylie, région du nord de l’Algérie. Les femmes portaient des robes en laine, avec un léger décolleté en V. Aujourd’hui, cette tenue est réservée au mariage et fait partie des pièces du trousseau de la mariée, indispensable pour les femmes originaires de cette région.
Aujourd’hui, la femme kabyle porte cette tenue de cérémonie colorée, avec un tablier noué à la taille. L’ammarya est un peu le clou du défilé de la soirée de noces. Portée par ses proches, dans un ammayra, la mariée arrive en cortège, vêtue d’une robe blanche et d’un diadème.
Réservée auparavant aux mariages mixtes, la robe blanche occidentale est de plus en plus en vogue. Elle est portée à la fin de mariage, à l’aube.
Pour la confession musulmane, la robe blanche peut inclure un khimar (un voile) ou un niqab pour cacher le visage.
Se marier en Europe : quel habillement pour la cérémonie ?
En Europe, la longue robe blanche est une tradition depuis le début du XXème siècle. En effet, le mariage de la reine Victoria, en 1840, va être un tournant dans l’histoire de la robe de mariée. Toutes les princesses d’Europe vont copier son modèle de robe durant la seconde moitié du XIXème siècle. Ce modèle de robe va se démocratiser dès les années 1900. Pour plus de détails, rendez-vous sur l’histoire de la robe de mariée. Si les pays de l’Europe du Nord sont plus classiques, les tenues de mariage sont différentes dans les pays méditerranéens et notamment ceux de l’Europe de l’Est.
L’Espagne
Le mariage espagnol a de nombreuses traditions : par exemple, la coutume veut que le futur marié donne à sa femme 13 pièces, que celle-ci devra avoir le jour de son mariage. La fleur d’oranger est la fleur par excellence pour la cérémonie. En décoration de table, en couronne dans les cheveux ou dans le bouquet, elle symbolise la fécondité et le bonheur au sein du couple.
Traditionnellement, la robe de mariée espagnole était une robe en soie noire, agrémentée de légers volants en organza et en taffetas, clairement inspirée de tenue de danse de flamenco. La tenue est complétée par un châle noir espagnol et d’une mantille de dentelle noire, qui couvre à la fois la tête et les épaules. Autrefois, la mantille servait de couvre-chef aux femmes catholiques, pour se rendre à l’Eglise. Les hommes portaient un gilet court noir, un boléro, sur une chemise blanche. Si cette coutume est ancrée en Andalousie, les femmes espagnoles portent aujourd’hui des robes blanches traditionnelles ou ressemblant aux tenues des flamenquistas, en blanc et/ou rouge.
La Roumanie
Aujourd’hui, la Roumanie est l’un des pays de l’Union Européenne où le mariage reste une institution fondamentale pour un couple. Dans ce pays majoritairement orthodoxe, le mariage est un sacrement, où le pourcentage de divorce reste très faible.Autrefois, les femmes devaient coudre et surtout tricoter leur tenue de mariage, vu que cette dernière était en laine. Elles portaient une jupe en laine, une chemise blanche et un gilet en peau de bête. Une couronne d’épis de blé, sur la tête, complètait l’habit de cérémonie, en symbole d’accomplissement du couple, de bonheur et de fécondité physique.
Aujourd’hui, les femmes roumaines portent des robes de mariée blanches de toutes les formes : princesse, bustier, empire, fourreau…
La Russie
Si les femmes russes portent également des robes longues blanches de mariage, la tradition russe, avant le XXème siècle, était, pour la mariée de s’habiller avec une sarafane. Cet habit est traditionnellement une robe à bretelles, avec plusieurs pans de tissus, qui forme un drapé. Pour le mariage, la femme choisit des tissus nobles, comme la soie ou le brocard de velours.
Caractéristique de la tenue, le kokochnik est une coiffe traditionnelle russe, richement décorée qui cache la chevelure. Majestueuse, elle est brodée de fils d’or et décorée de perles ainsi que de pierres précieuses.
Quelle robe de mariage en Amérique ?
De l’autre côté de l’Atlantique, le mariage reste une institution et devient de plus en plus une cérémonie grandiose. Si en France, le métier de wedding planners émerge, en Amérique du Nord, presque 90% des mariages sont organisés par un professionnel, dans les moindres détails. Les pays d’Amérique du Sud et Centrale sont plus attachés à leurs traditions.
Les Etats Unis
Le mariage américain mélange modernité et traditions. Ainsi, la mariée doit découper son voile à la fin de la fête, pour donner un morceau à chaque femme célibataire présente. Elle doit également porter « Something new, something old, something blue, something borrowed », c’est-à-dire un objet neuf, vieux, bleu et emprunté. Cette tradition d’origine anglaise est très respectée aux USA. La communauté Amish, aux Etats-Unis, vit hors du temps. Elle a un mode de vie comparable à celui du XVIIIème siècle. Elle refuse la modernité et le progrès pour vivre de manière ancestrale. Très croyante, pour elle, le mariage est un sacrement de la plus haute importance. Pourtant, le mariage se fait dans la plus grande sobriété.
La future mariée confectionne elle-même sa robe dans un tissu bleu, avec une forme de tablier. Le haut, caractéristique des robes amish, qui forme un V inversé, à la manière d’une cape, est le halstuch. Elle porte également une coiffe toute simple. La culture amérindienne fait du mariage une union hautement spirituelle, qui se déroule en 3 étapes : la cérémonie de la couverture, du feu et du panier. La mariée porte une longue robe, idéalement en daim, brodée de perles, avec des franges. Les plumes ont une grande importance : selon l’oiseau, elles ont une signification différente. Pour le mariage, les plumes de cygne sont idéales, car elles symbolisent l’union conjugale.
Bon nombre de créateurs haute couture s’inspirent du mariage amérindien, avec des bijoux attrape-rêves et des coiffes en plumes.
Les Antilles
Si les Antilles sont un petit bout de France, au sein des Caraïbes, proches du continent américain, leur mariage créole ne manque pas d’exotisme. La fête est marquée par la danse du zouk et les plats traditionnels, que sont notamment les accras de morue, le gratin de christophines ou de bananes plantain et les crabes farcis.
Aujourd’hui, la mariée porte une robe blanche, ce qui montre l’évolution des traditions, car aux Antilles, le blanc est la couleur du deuil. Bon nombre de femmes continuent à porter une robe traditionnelle créole, colorée avec du madras, ce tissu à carreaux rouges, jaunes et oranges. Avec de larges volants, la robe est volumineuse. La mariée doit également porter un voile et des gants blancs.
Le Mexique
Au Mexique, la tradition était que lors de leur mariage, les femmes portent des robes immenses avec de larges volants, ornés de rubans de couleurs très vives, à la manière de celles des danseuses mexicaines.
Les femmes mexicaines, pour mêler modernité et coutumes, s’habillent aujourd’hui d’une robe de mariée occidentale, en ajoutant des bijoux colorés et un grand plaid typique. Elles peuvent également adapter leur robe, comme en Espagne, avec des inspirations de flamenco et de danse mexicaine.
Un mariage sous les tropiques : une tenue de mariée en Océanie
L’Indonésie
En Indonésie, les tenues des mariés sont très chargées, avec une prédominance de rouge. La mariée porte une énorme coiffe sur la tête, souvent dorée et agrémentée de fleurs blanches, ainsi que de bijoux.
Les mariés doivent recevoir les vœux de bonheur de chaque invité, après la cérémonie et avant le banquet.
L’Australie
Le mariage en terre australe est clairement marqué par la colonisation par la Grande-Bretagne. Les traditions sont anglaises et c’est donc tout naturellement que la mariée porte une robe blanche et le marié un costume. Le mariage en Australie se déroule uniquement à l’Eglise. Il n’y a pas de distinction entre mariage civil et religieux. Le couple signe le registre des mariages à l’Eglise, ce qui le reconnaît comme valable. L’Australie a une dimension multiculturelle : il n’est pas rare qu’un couple reçoive sa bénédiction d’un prêtre maori, tradition de la Nouvelle Zélande.
La Polynésie Française
Le mariage de tradition polynésienne, l’otemanu, se déroule souvent sur la plage. Le prêtre tahitien, le tahua, bénit la cérémonie. Les mariés sont suivis en pirogue par les invités jusqu’au lieu de la fête.
Les mariés portent des tenues légères blanches, avec des colliers de coquillages et des couronnes de fleurs. La mariée peut avoir un tifaifai, qui est une grande pièce de tissu réalisée avec une grande minutie. Cette sorte de patchwork à la polynésienne demande un grand-savoir, pour la réalisation de de dessins complexes."
"BY LINDILE SIFILE - 31 January 2025 - 07:32
Lungiswa Ngaphi, the woman who has captured the nation's imagination through her linguistic prowess in the sexual harassment inquiry involving a judge, is now looking at furthering her career beyond describing emojis.
The poker-faced Ngaphi has become the latest internet sensation as the isiXhosa-English interpreter at a tribunal where Eastern Cape Judge President Selby Mbenenge stands accused of sexually harassing his junior staff member Andiswa Mengo.
While the lewd and sometime pornographic details of the interactions between Mbenenge and his accuser have shocked the country, it is Ngaphi's translation and interpretations expertise which, at times, came across as cringeworthy to Xhosa speakers, that also got the public's attention...
Ngaphi's creativity in inventing words and phrases to describe things like emojis, which previously did not have a direct interpretation in vernacular, has now made Ngaphi become known as usisi wonodolazana, which loosely means "the lady of the dolls".
"In my profession we deal with people's lives. My job is to make sure that my interpretation is as close as possible to what the source was trying to convey to the receiver. The oath I took says I can't discuss the cases I'm sitting on, I can't add or omit information when I translate because I can be accused of taking sides when I try to sugarcoat crude language," she explained.
In Mbenenge's case, Ngaphi was compelled to use a crude word to refer to the judge's private parts, which some people on social media found to be distasteful.
She related to Sowetan how she received a call from her aunt in Gqeberha, Eastern Cape, after she used the p-word and sh*t during her translation at Mbenenge's case.
"My aunt said she had been watching the proceedings on TV with my grandmother and once I said those two words my grandmother apparently got up and left the room pretending to be going to take a shower," she explained while laughing.
"In that situation the language that the accuser and the respondent were using between themselves was at times very raw. If I were to sugarcoat it, I would have been scrutinised for being sympathetic towards one of the characters in the matter. I had to protect my integrity and my profession and not misrepresent the truth," she added.
Ngaphi, who is turning 45 years old next month, got into court interpretation out of desperation for a stable job as her qualification in broadcasting was not taking shape. She was hired as a switchboard operator at a magistrate's court in Gqeberha in 2004, and within nine months she was hired to be a court interpreter at the same court.
"I love it. It allowed me to learn more about languages through reading more and develop my own terminology," she said..."
#metaglossia_mundus
https://www.sowetanlive.co.za/news/2025-01-31-court-interpreter-lungiswa-ngaphi-tells-it-like-it-is/
"...Odile Demange a traduit en français des ouvrages d’auteurs à succès tels que Ken Follett, Salman Rushdie, Michelle Obama… Elle vit à Domme, en Dordogne. Un isolement heureux pour celle qui se dit « sauvage »
Sa maison de pierre jaune est accrochée sur les hauteurs de Domme, au-dessus de cette « vigoureuse avancée des falaises » dont Augiéras disait qu’elle oblige la Dordogne, 200 mètres plus bas, à faire de larges méandres. La rue ressemble à un chemin. De l’autre côté, le bâtiment épouse la pente, s’égaye entre murets et jardins. À l’intérieur, des recoins, des escaliers, une cheminée et, tout en haut, une vaste pièce lumineuse tapissée de livres. C’est là qu’Odile Demange travaille : « Tout le monde n’a pas la même paix que moi ici. »
Son métier ? Traductrice. Elle attend le prochain Ken Follet (en mars pour parution à l’automne), dont elle a signé la traduction de son opus sur Notre-Dame de Paris. « Il l’avait rédigé sous le coup de l’émotion, en 2019, après l’incendie. » Ses 150 000 euros de droits d’auteur, le Britannique les a remis à la Fondation du patrimoine pour la restauration non pas de Notre-Dame, mais de la cathédrale Saint-Samson de Dol-de-Bretagne. Il se chuchote que la Fondation a aussi attiré son attention sur les remparts… de Domme.
De sa pièce de travail, tapissée de livres, le regard de la traductrice embrasse la vallée de Domme
Loïc Mazalrey
Plus de 250 ouvrages traduits, essais, biographies et romans, mais aussi de la poésie, des correspondances (notamment celle de Kafka), des livrets d’opéra…"
Par Isabelle de Montvert-Chaussy
Publié le 31/01/2025 à 17h28.
https://www.sudouest.fr/culture/litterature/critique-litteraire/ken-follett-michelle-obama-salman-rushdie-a-domme-en-dordogne-odile-demange-a-traduit-250-livres-et-des-auteurs-de-renom-22571270.php#
Date: 04 Feb - 04 Feb 2025
Time: 16:00 - 17:30
Venue: Neill Lecture Theatre, Trinity Long Room Hub
A seminar by Dr Clemens Ruthner and Prof Mary Cosgrove (Department of German, TCD) as a part of the School of Language, Literatures and Cultural Studies Seminar Series (SLLCS).
Prof Mary Cosgrove will be in conversation with Dr Clemens Ruthner (both TCD Dept of German Studies) on the occasion of his most recent book publication Die Kultur und ihre Ungeheuer, Vienna, Turia+Kant, 2024.
How “monstrous” is the cultural change in the modern age, where literature and other genres have become “creative industries”? What role do the canon and other cultural boundaries play in this? These are the central questions that drive the theoretical texts in Clemens Ruthners book Die Kultur und ihre Ungeheuer. The starting point is a theory of the fantastic in literature and a definition of liminality as a secret driving force for the constant self-renewal of culture in the in-between zones and at the margins: it generates borderline values and is thus structurally always latently otherworldly. The ethical consequences of this aesthetic of border-crossing are increasingly a challenge for politics.
Dr Clemens Ruthner is an Associate Professor in German and a Fellow at Trinity College Dublin, since 2022 Director of the TCD Center for European Studies . His research focuses on Austrian literature, the late Habsburg monarchy (postcolonial studies), otherness and cultural theory.
The School of Languages, Literatures and Cultural Studies Seminar Series (SLLCS) promotes Literary and Cultural Studies, including political and social thought, narratology and imagology, film, textual and visual studies, questions surrounding language learning and translation studies, and also practice-led research. We encourage comparative, interdisciplinary and transdisciplinary research, as our intellectual inquiry is in the service of national and international debate and knowledge advancement, particularly on the construction of identity and otherness in literature and culture. The seminar series provides a forum for the dissemination and exchange of current and developing research from staff and postgraduate researchers within the school, and also from national and international guest speakers.
Please indicate if you have any access requirements, such as ISL/English interpreting, so that we can facilitate you in attending this event. Contact: ahmedm4@tcd.ie
By Katey HearthJanuary 31, 2025
International (MNN) — You probably have God’s Word at your fingertips in countless ways, whether through a traditional print Bible, audio Bible, or Bible app. Deaf communities aren’t quite so privileged.
“Reading is a sound-based activity,” Rob Myers of DOOR International says. “We grew up with a language and then learned to read it, but that’s not true for Deaf people. While Deaf people may be around written Scripture, many of them have been missing information about that Scripture for many years.”
Deaf communities need God’s Word in a native sign language instead of written Bibles. More about that here.
“There are almost 400 different sign languages. Less than half of them have active translation projects started yet,” Myers says.
There’s a collective effort underway to produce more sign language Bible translations.
“We have connections to 70- to 80 percent of the translation projects that are happening out in the field in one way or another, and we’re grateful to be able to collaborate with partners and support efforts that are happening,” Myers says.
“Everybody recognizes we need to increase the speed at which sign language translation is happening, and no matter what, we need to make sure that we keep or increase the quality of translation,” he adds.
“It’s critical that it (the translation) be good quality because you’re setting theology for generations.”
Translation consultants play a critical role in the process. “Translation consultants will walk alongside teams of native signers, and together, they’ll ensure that the quality and accuracy of that translation is spot on,” Myers explains.
DOOR initiated the Translation Resources Development (TRD) project in 2021, which wrapped up in early 2023. This groundbreaking two-year project offers over 30 hours of training material, empowering Deaf ministry with vital resources for sign language translation teams.
(Photo, caption courtesy of DOOR International)
In 2025, DOOR wants to streamline its training for Deaf and Hearing translation consultants, bringing it from many years down to three.
“We’d love to see Deaf translation consultants be trained and deployed into the field because they connect the best with other Deaf teams,” Myers adds.
“We’re also focused on increasing the number of video resources in sign language for translators and translation consultants, resources that … further explain the Scripture, that help those teams translate quickly and grasp the deep meaning.”
Centuries of oppression keep the Deaf isolated and away from the Gospel truth. Prayer helps remove obstacles like these, and DOOR is always looking for more prayer partners. Download the latest DOOR prayer calendar to intercede for Deaf communities and ministry workers.
“This is a significant endeavor. It will require some focused time from our leaders, so we ask people to pray that they can maintain that focus,” Myers says.
Peirene Press and Two Lines Press are teaming up to produce and publish the winner of this year's Stevns Translation Prize.
"By Porter Anderson, Editor-in-Chief | @Porter_Anderson
Deadline to Enter: April
In a transatlantic partnership called, the United Kingdom’s Peirene Press and the United States’ Two Lines Press at San Francisco’s Center for the Art of Translation have created the Stevns Translation Prize to support emerging translators in their first translation of a full-length work of fiction.
The pattern chosen is that each year, a different language and book will be selected, and entrants will be invited to translate an extract. The winner is to be offered a contract to translate the entire book with the support of a mentorship with an experienced translator and up to six weeks of work time in the French Pyrenees—and apparently French is the language chosen for this year’s kickoff of the program.
Established in 2018 with the support of benefactor Martha Stevns—that is the correct spelling of her surname—the prize is open to any translator older than 18 who has not yet published a full work of fiction in translation.
The winning translator will receive a £3,700 (US$4,606) commission to translate Avant que j’oublie by Anne Pauly (Éditions Verdier, 2019, winner of the Prix du Livre Inter and Prix Robert Walser and shortlisted for the Prix Goncourt, the Prix Femina, and the Prix Wepler.
This year, the effect of the dual administration of the prize package is intended to ensure publication in both the UK and North America.
The prize package also includes a month-long translation retreat in an 18th-century mill house in the foothills of the French Pyrenees; a six-month mentorship with an established literary translator, and travel expenses of up to $1000.)
This year’s mentorship will be translator Adriana Hunter, who will be joined in selecting the Stevns Prize translator by Rotterdam-based writer, editor, and translator Kate Briggs, and by Shakespeare and Company bookshop (Paris) senior bookseller leading the bookstore’s French literature in English sections..."
https://publishingperspectives.com/2025/01/literary-translation/
#metaglossia_mundus
I was born and raised in New Jersey, but I’ve lived in other states for about 17 of my years. The longest was when I took a job offer in Detroit and spent 12 years in a land where sneakers were called tennis shoes, convenience stores were referred to as party stores, and soda was known as pop.
It was weird, but I assimilated.
Karla Sofía Gascón criticized for resurfaced social posts amid Oscar nomination
On air, I admitted I wasn’t a native but I adopted the language as best I could. It’s part of broadcasting. Still, it felt odd to me every time I spoke of my love of Diet Mountain Dew “pop.” Made me want to throw on my “tennis shoes” and run!
It’s a big country. We have huge regional differences socially, politically, and even with language. Yet you don’t even have to leave the borders of the Garden State for battle lines to be drawn. Look at the war between pork roll and Taylor ham. And how close to the coast do you have to live before going “down the shore” becomes going “to the beach?”
Even in our own state we can’t agree on what things should be called. Why shouldn’t it be that way across the country? Oh, it is.
Stacker.com did a deep dive into regional language differences and came up with 25 things Americans can’t agree on what to call. Scroll through and see what you’d identify with.
For example, No. 4 is firefly or lightning bug. I grew up in Union County, New Jersey and it was always lightning bugs.
Or No. 5 on the list you’ll see carriage or buggy for that four-wheeled shopping thing you push around a grocery store. Really? Because where I was raised they were called carts. Shopping carts.
Here’s the list. Be warned, number 21 may make you cringe.
LOOK: 25 things that have different names depending on where you live in the US
Stacker compiled a list of 25 different things that have region-specific names using news, dictionary, and academic sources.
Pop, tonic, coke, and soda
Soft drinks have some of the most varied terminology between regions. The drinks are most often referred to as "pop" in northern states, "tonic" in south Boston, "coke" in the southern states, and "soda," developed from "soda water" and named for the sodium salts dissolved in the drink, elsewhere. Coca-Cola, which was invented in Atlanta, became so popular in the area that Southerners began using coke as a generic name for all soft drinks.
Sneakers, tennis shoes, or gym shoes
While most Americans refer to them as "tennis shoes," residents of New England and Florida tend to call athletic shoes "sneakers," and some in Chicago and Cincinnati refer to them as "gym shoes." The term "sneakers" came into use around 1895, referring to the noiseless tread of the rubber-soled shoes—which allows the wearer to sneak up on others.
Water fountain, drinking fountain, or bubbler
Across Southern, Midwestern, and Northeastern states, it's a water fountain; in the Western states, it's a drinking fountain; and in Rhode Island, Massachusetts, and parts of Wisconsin, it's a "bubbler," a term first used in Milwaukee newspapers in the early 20th century. It is thought to have spread in popularity in part because of marketing materials from the Kohler Company, which manufactured a bubbling valve to provide a continuous flow of water for drinking.
Firefly or lightning bug
If you reside in a Western state, you probably recognize the scientifically identified Lampyridae more commonly as a firefly. If you are from a Southern or Midwestern state, you may know it as a lightning bug. Both nicknames refer to the species' bioluminescent underbellies.
Carriage or buggy
A grocery cart is commonly called a "carriage" in Northeastern states, while many in the South and Midwest instead use the word "buggy." Buggy was first used in London in the late 18th century as slang for four-wheeled carriages pulled by horses. In the decades since, it has been used to describe a variety of similarly structured vehicles used to cart humans, goods, or both.
You may also like: Bizarre slang words and phrases from every state
Lollipop or sucker
"Lollipop" is the Northeastern term of choice for candy on a stick, while Southerners and Midwesterners are more partial to "sucker." The former is thought to have begun as a Northern English slang term for "tongue slap," invented by Brits selling the candy on the streets.
Heel, end, crust, or butt
The piece at the end of a loaf of bread goes by many names across the United States—"heel" across every region; "end" in New England, the Midwest, and Southeast; "crust" in the northern states; and "butt" in some parts of the East Coast and Great Lakes area. While heel, end, and butt all make straightforward physical comparisons, "crust" requires a bit of explanation. It derives from the 13th-century French word "crouste" and Latin word "crusta," meaning "rind," "shell," and "bark."
Milkshake or frappe
"Milkshake" is universally used across the United States, except in New England, where the same drink is referred to as a "frappe." You may still hear the term milkshake in New England, but there, it refers specifically to chocolate milk, not the blended ice cream beverage. It is unclear when and why the term frappe made its way into the Northeastern lexicon, but it is speculated that French Canadian workers in New Hampshire and Massachusetts may have had an influence.
Roundabout, traffic circle, or rotary
What those in the West and in the South call a "roundabout," those in the East and Midwest would recognize as a "traffic circle," while still others in the Northeast would say "rotary." Outside of the Northeast, the word "rotary" is most commonly associated with Rotary Clubs, and the origin of that term also provides insight into its use in driving terminology. The first Rotary Club was founded in Chicago in 1905 and so-named for its rotation of meeting places, the same physical movement enacted in traffic.
Sprinkles or jimmies
"Sprinkles" would be a totally ubiquitous word for this dessert topping, if it weren't for the New England term "jimmies." There are many inaccurate urban legends surrounding the origin of the Boston-area nickname, including that it emerged from the Jimmy Fund, a youth cancer charity, or various ice cream shop patrons who were particular fans of the treat. In reality, it is more likely that the name came from the Just Born candy company and the employee who created the confection.
You may also like: Best beers from every state
Carry-in or potluck
It's not unusual to receive an invitation to a dinner where every guest brings a dish to share, but what state you live in can change what it's called. Throughout the country, it's commonly known as a "potluck," a familiar term. But in the states of Ohio, Missouri, Indiana, Illinois, and Michigan, it can also be referred to as a "carry-in." The origin of the potluck goes all the way back to the Middle Ages, when it was first used to describe inns that fed unexpected guests the leftovers from a pot; this was referred to as eating from the "luck of the pot."
Frosting or icing
Most Americans recognize either "frosting" or "icing," as the sweet stuff atop a cake, but the term frosting is slightly more common on the Pacific coast, in the Northeast, and in the Midwest. Icing is so-called because of how sugar granules resemble ice pellets.
Submarine or hoagie
There are many terms for a sandwich made on a long loaf of bread, including "po' boy" and "hero," but the most popular names are "submarine" and "hoagie." Calling these sandwiches "subs" is most popular nationwide, while "hoagie" is most commonly used in Pennsylvania. The name is thought to have come from Italian immigrants in Philadelphia working at the Hog Island shipyard during the first World War. They dubbed their sandwiches "hoggies," which later evolved into hoagies.
Freeways or highways
Most people in the United States call them "highways"—but those on the West Coast are more likely to call them "freeways." The two terms are slightly different. While every freeway is a highway, the reverse is not true. A freeway is a highway on which high-speed traffic is permitted, while a highway is a general term for multilane thoroughfares that may or may not have lower speed limits than a freeway.
Crayfish, crawfish, or crawdad
To those in northern states, they're crayfish; to those in the South and on the East Coast, they're crawfish; and finally, to those in the Midwest, California, and Oregon, they're crawdads. The word crayfish evolved from the Middle English word "crevis." Crawdads are also called "crawdaddies" or "crawdabs" in some areas.
You may also like: Most fast food friendly states in America
Gravy or sauce
Most Americans define '"gravy" specifically as the broth-based dressing that is poured over turkey and mashed potatoes at Thanksgiving. Among communities of Italian Americans across the country, however, "gravy" can refer to tomato sauce used in pasta dishes. One theory is that Italian immigrants new to the United States may have started using the word "gravy" to assimilate into American culture.
Cicada, August fly, or jar fly
They are from the family Cicadidae, but they're commonly known as August flies in the Northeast and Midwest; jar flies in Appalachia; and cicadas elsewhere. The word "cicada" is Latin for tree cricket, referring to the species' trademark buzzing noise. August fly was once popularly used to identify the bug since it was most audible in August.
Yard sale, garage sale, tag sale, or rummage sale
Most Americans call it a yard sale or garage sale, but in some areas of Massachusetts, Connecticut, or eastern Wiscsonsin, the names "tag sale" or "rummage sale" could be used instead. Rummage sale was first used to refer to sales meant to raise money for charity in the 1960s, before being applied more generally. Throughout the 1970s, an increasing number of sales being held in front yards and from inside homeowners' garages led to the terms "garage sale" and "yard sale" increasing in popularity.
Garbage can or trash can
Both names for these receptacles are popularly used, but those in the Pacific Northwest tend to use garbage can while those in Southern states favor trash can. "Trash" was originally used to refer to sticks, twigs, and other debris found under trees. On the other hand, "garbage" came into use in the 15th century to refer to excess parts of a fowl not able to be used in meals.
Semitruck, tractor-trailer, or 18-wheeler
Your choice of a hyphenated term largely depends on your region. In the Northeast, most call it a tractor-trailer; in the South, an 18-wheeler; and in other areas, it is known as a semitruck. It may seem like a misnomer to call this large vehicle a semitruck, seemingly indicating it is of partial size only, but this term is actually short for "semitrailer truck" or "semitractor-trailer." This refers to the fact that while a regular trailer has four wheels and can be pulled by another vehicle in front of it, a semitrailer only has rear wheels and must be attached to the back wheels of a tractor to move.
You may also like: Pets banned in every state
Pothole, chughole, or chuckhole
Whether you call it a pothole, as in the Northeastern states; chughole, as in the South, especially Kentucky; or chuckhole, if you live in California, Nevada, Ohio, Pennsylvania, Indiana or Florida, the headache experienced from driving over one is likely the same. Chuckhole may have been born from "chock," a word used in the 16th century meaning to "give a blow under the chin."
Goosebumps or duck bumps
The small bumps that appear on the skin when one is cold or frightened got their name because they look similar to poultry skin after it has been plucked of feathers. So although people across America call them "goosebumps," and those in northern states call them "duck bumps," they could just as easily call them "turkey bumps" or "chicken bumps."
Stone, pit, or kernel
What's in a peach? If you live in central or southern Atlanta, or any of the Gulf states, you'll find a "kernel" buried in the center of a peach. But those who eat their peaches in the Pacific Northwest or in northern states, get rid of their "pits." While those across the country refer to the seeds as "stones," the term is most commonly used in the Midwest states. Regardless of the term you use, it's good to know that you can grow your own peach tree right from your favorite kitchen.
Liquor store, party store, packie, or state store
The wide variety of liquor laws from state to state has historically influenced whether it is referred to as a "liquor store," a "packy" (in New England and South Carolina), a "state store" (in Pennsylvania(, or a "party store" (in Michigan). "Party store" developed as a term in states that allowed for privatization of liquor sales. "Packie" refers to the "package stores" of the late 1800s, which wrapped up shipments of alcohol to make use of a legal loophole forbidding police to seize alcohol still in its original package.
Faucet or spigot
To those in northern states, water is poured into a glass through a faucet; to those in southern states, it's called a spigot. The former term came from a medieval French word "fausset," which referred to the pegs used to open vent airways.
Read More: 25 things called different names across U.S., even NJ can’t agree | https://nj1015.com/25-things-called-different-names-across-u-s-even-nj-cant-agree/?utm_source=tsmclip&utm_medium=referral
The NAAC executive committee chairman said the books will be available in 22 Indian languages in two years as a major translation project is underway.
Amaravathi: Dr Anil Sahasrabudhe, Chairman of the National Educational Technology Forum, has revealed the central government’s plans to use artificial intelligence (AI) in making higher education books available in 22 Indian languages within the next two years.
Speaking to ETV Bharat Dr Sahasrabudhe highlighted the importance of teaching in the mother tongue to bring innovations in education.
“Countries like Japan, Germany, and Korea, which lead in engineering and technology, achieve this success because they think and learn in their native languages,” he said.
The NAAC executive committee chairman said that all higher education books, including those belonging to engineering, medical, and legal fields, will be available in Indian languages as a major translation project is underway. “The translation program is being supported with the help of artificial intelligence to translate the books into 22 Indian languages,” he said.
Dr Sahasrabudhe said some books had already been made available, and the use of AI would expedite the project. “The translation work is expected to be completed in two years, and students can access the online lessons from top professors in their mother tongue at affordable costs,” he said.
Benefits of Education in Mother Tongue
Dr Sahasrabudhe stated that the mother tongue was crucial for learning, as children naturally grab their first words from their parents at home.
“When children are forced to switch to English medium too early, especially from nursery to upper kindergarten, they experience a language shock, which impacts their development,” he said, stressing the inclusion of mother tongue in teaching and developmental programs.
Mother Tongue in Higher Studies
Dr Sahasrabudhe recommended that children should be taught in their mother tongue until higher studies, as only 5% of the population in India may speak English at home, while the rest converse in languages like Kannada, Marathi, and Telugu. “This will prevent students from experiencing an inferiority complex even if they lack proficiency in English. This will also give them equal opportunities in all fields,” Dr Sahasrabudhe said.
He claimed that at least 29% of the population reached a higher education level, which is set to rise to 50% through the New Education Policy (NEP). However, he said the target might take 50 years to achieve.
The Role of States
Dr Sahasrabudhe said the initiative would succeed if everyone worked together, and it is not feasible for everyone to study in English.
“Priority should be given to mother tongue education at all levels. The English language should not be ignored; it should not be a barrier to accessing education in one’s language,” he said.
Globally Impact Education in Mother Tongue
According to Dr. Sahasrabudhe, India's capacity to compete internationally will not be hampered by its lack of proficiency in English. He gave the examples of Germany, where higher education is taught in German, and Japan, where engineering is taught in Japanese, both of which have achieved great strides in technology.
He also mentioned China and Spain, where students have made major contributions to global breakthroughs while studying in their home tongues. According to Dr Sahasrabudhe, if education is given in the home tongue, India can also innovate and compete on a global scale.
Bill calling for tougher rules on migration widely criticised for undermining ‘firewall’ against working with far right.
...Germany is set to hold snap elections on February 23 after the collapse of Chancellor Olaf Scholz’s coalition last year. Opposition leader Friedrich Merz has put demands for a more restrictive approach to migration at the centre of his campaign since a deadly knife attack last week by a rejected asylum-seeker.
On Wednesday, conservatives from his Christian Democratic Union/Christian Social Union in Bavaria (CDU/CSU) passed a non-binding motion calling for an immigration crackdown, with backing by the AfD.
This move was widely criticised by the public and politicians who said it endangered mainstream parties’ “firewall” against far-right parties.
Even former German Chancellor Angela Merkel, who rarely comments on politics since her retirement, slammed Merz’s decision as “wrong”. Thousands of protesters also gathered on Thursday outside the headquarters in Berlin of Merz’s CDU. Other demonstrations were held elsewhere in Germany.
In The Philosophy of Translation, Damion Searls investigates the essential differences—and similarities—between the task of the translator and of the writer.
LILY MEYER
By just about any measure, Damion Searls, an American translator of German, Norwegian, French, and Dutch, is one of the leading practitioners of his art. He has translated the works of widely acknowledged masters (Hermann Hesse, Rainer Maria Rilke), writers who ought to be (Ingeborg Bachmann, Dubravka Ugrešić), and two recent Nobel laureates (Jon Fosse and Patrick Modiano). He ranges across eras and prose styles—Searls has translated as much contemporary fiction as he has 19th-century philosophy—but what unites his books is the elegance of his translations: Even his version of Ludwig Wittgenstein’s famously dense Tractatus Logico-Philosophicus is stylish. Marjorie Perloff, a Wittgenstein scholar who’s translated the philosopher herself, praised Searls’s Tractatus for capturing the “literariness of the text,” a compliment one could easily give to any of his 60-plus books. Considering Searls’s success in and commitment to translation, it comes as a surprise that he starts his latest book, The Philosophy of Translation, by declaring that translation isn’t all that much different than any other form of writing. “Writing as a translator,” he argues, “is pretty much the same as any other kind of writing.”
The Philosophy of Translation
BY DAMION SEARLS
Searls’s point is that all writers, translators included, have the same tools. If I’m trying to produce a novel in English, whether that novel is an original or a translation, then the English language is my medium, just as oil paint was for Claude Monet. It follows, then, that I’m as constrained by English—by its rules, its conventions, the linguistic habits of its speakers—as Monet was by his chosen canvases and brushes. Searls admits that translators deal with the “especially strong constraint” of the tight relationship between the original text and the new one, but the latter is still, well, new. At the end of the day, the translator’s job, the essential aspect of moving a text from one language to another, is to write a new book—and write it well.
But Searls’s book isn’t called The Philosophy of Writing, and his claim is not that translation isn’t unique, but that the writing aspect of it isn’t. What differentiates translation from the other literary arts, he argues, is the way translators read. The Philosophy of Translation is a meditation on what it means to read like a translator, which means, really, that it’s an ode to close reading. Searls writes in his introduction that, rather than adopting the imperious stance of theory—a discipline that too often “suggest[s] the foolishness or impossibility of trying to engage in the practice” without it—he hopes that practicing translators will “find these ideas suggestive, illuminating, or at least lovely.” As a practicing translator myself, I certainly did, and yet what I most enjoyed about The Philosophy of Translation was something more implicit in its mission. Without claiming that he set out to do so, Searls has written a philosophy of what, how, and why to read.
Searls treats reading as a translator not as an approach to certain books, something to be switched on at the desk and off on the couch, but as a stance toward literature that treats reading as “something like moving through the world.” This stance requires you to read carefully and trust your judgment and interpretations; Searls is blunt about the fact that translators “decide what’s important and what’s less important, then re-create what they’ve decided is important.” Book critics, incidentally, do the same—a reviewer who can’t pick and choose just writes summaries—and, like a good critic, translators must maintain a sense of humility. “I feel that I read deeply and well,” Searls writes, “but not that my reading outranks or preempts other readings.” Relatedly, he accepts that his taste is shaped by the provinciality that a translator cannot help but notice. Reading and interacting with literature from around the world is an exceptional reminder that “any genuine claim to universality [is] anything but laughable.” It’s simply not possible for anyone to know more than a fraction of the languages, literatures, and schools of thought that are out there. Reading as a translator means remembering that, and seeing it not as a failure or an impoverishment but as a part of life.
Acknowledging that unfamiliarity is natural means understanding that something new doesn’t have to be alien or strange. An “underappreciated aspect of the translator’s experience,” Searls argues, “is that, subjectively speaking, nothing we read is foreign.” Initially, he presents this thought as an elementary fact. When he sits down to read a Fosse novel in Norwegian, it can’t be foreign to him: There it is, a physical book in his hands, its sentences going into his brain—what could be foreign about that? Really, though, he’s making a philosophical point, one that he fleshes out by briefly visiting millennia of translation history. In antiquity, he writes, translators were expected simply to convey knowledge. Nobody expected books to be translated word for word or even line for line; praising the “literariness” of a translation would have been unheard of. This started to change in the Renaissance, when translators were expected to bring both “content and form, body and soul” into the new language—a vision that made translation into a literary art, not an intellectual utility. Starting with the rise of German Romanticism in the late 18th century, translation also became a form of nation-building. Writers and philosophers—especially Friedrich Schleiermacher, whose writing on translation Searls discusses at length—attached an identitarian value to their work, arguing that a country’s books, both translated and not, built its soul. Somewhat contradictorily, though, the German Romantics also believed that language is “intimately coterminous with the [writer’s] mind and body”—i.e., that if I wrote in a language other than English, I’d not only write different words from these, I’d use them to express different emotions and thoughts. This is a tough idea for a translator to contend with, and Searls doesn’t buy it. While not dismissing out of hand the capacity that language has to shape cognition, he feels, fundamentally, that we aren’t as different from each other as the German Romantic vision of language would suggest, and we certainly shouldn’t read or translate as if we were. Searls’s theory is that reading as a translator means rejecting the idea of foreignness wherever and however we can. This is a major realignment of how we see translation and its practitioners.
Perhaps the most frequently used image of translation is that of a person crossing a bridge. In this visual metaphor, the translator journeys alone from Language A to Language B, gets a book, and brings it back into Language A. The problem with this idea, as Searls writes more than once, is that “once you posit a gap, you can’t bridge it.” If we see translators as a go-between connecting literatures, or cultures, that don’t touch, then we approach translations with a feeling of difference that, in the worst case, can resemble a linguistic variation on stranger danger. Searls proposes another approach: “Rather than beginning from an assumption of two separated contexts, we should view the translator as someone in a diverse community who reads a text in one language and produces a text in a different language.” No bridge, no gap, no journey—nobody’s a stranger here.
So what does a translator do in order to produce a new text in a different language? Searls uses a variety of examples from both his work and other translators’ to illuminate the process. He discusses rhythm and register, two elements of a source text that are often impossible to reproduce, as well as the eternal difficulty of imparting background knowledge to readers who may have little to none. (Does he assume, when translating German, that his American audience will understand that “Kaiserstrasse” means “Kaiser Street?” Not necessarily!) In a chapter on synonym use—it’s a convention, in English, to rely heavily on synonyms rather than using the same word twice in one passage—he compares Emily Wilson’s lavishly varied retranslation of the Odyssey to Marian Schwartz’s aggressively repetitive retranslation of Anna Karenina to demonstrate a point that becomes central: For Searls, translators “don’t translate words of a language, they translate uses of a language.” By the latter, he means a mix of emotion, context, and connotation that seems—and is—highly complicated, and yet becomes intuitive in the practice of translation. Repeating words is a use; so is varying them. When we do the latter, of course, we continue to change our use of language. The word madre always means mother, for instance, but I use it one way to describe the mother superior of a convent, a second way to talk about my mother-in-law, and a third to tell you a story about my own mom.
Searls roots this argument in the French philosopher Maurice Merleau-Ponty’s The Phenomenology of Perception, comparing the way a translator moves through a text to the way any person moves through the world. If I see a chair—as per Merleau-Ponty’s phenomenology—I know I can sit in it. If I see the word madre—as per Searls—I know I can translate it as mother. What matters is that we use those two words the same way, just as we use a chair the same way in Spain and the United States. I’m currently translating the Spanish writer Clara Usón’s novel The Shy Assassin, which contains a long, wrenching passage about a narrator’s troubled relationship with her unhappy, alcoholic mother, a woman who silently resents that the Francoist Spanish society in which she came of age gave her no option but to be a housewife. I know I can translate this section using words and phrases that evoke the same emotions I felt and the same images I imagined while reading that passage for the first time. Or I could turn it into a passage about how close the narrator is to her dad, just as I could set the chair on fire—but then I wouldn’t be translating, just as I wouldn’t be sitting in the chair.
Key to this vision of translation is that it doesn’t especially care that I, the translator, did not also come of age in Francoist Spain. My difference from the character I’m translating isn’t relevant; nor are the ways in which the narrator and I might be strangers to each other. What is important is the closeness to her that the original text makes me feel. Again, this is Searls rejecting foreignness: He’s not suggesting that I, the translator, should be unaware of or uninformed about the differences (and similarities) between Spain in the 1970s and the United States in the 2020s, but that translation isn’t fundamentally an expression of those differences—or of difference, full stop. It is, rather, a way for me to move my emotional response to the Spanish text into an English text to which, I hope, Anglophone readers might have that same response.
Of course, the Anglophone readers in question have to be open, which Americans have not traditionally been. Until recently, publishers in the United States habitually omitted translators’ names from book covers so readers wouldn’t register that they had picked up a translation. This practice perpetuated a vision of translation as an invisible art at best or, at worst, a strange practice that should be covered up rather than acknowledged. This, in turn, reinforces Searls’s point: that translation need not be a disembodied and alien habit. The Philosophy of Language offers us another vision of translation for translators, but the reason that it also works for readers—is, indeed, necessary for readers—is that it’s the audience, not the translator, who ultimately decides whether or not to take a book as foreign. Another way to put this is to say you don’t have to be a translator to read Searls’s way; you don’t have to read more than one language to see your reading self as a member of a huge, heterogenous, swirling community in which books and readers from around the world collide and converse.
If this is how you think of reading, then its importance becomes plain. It is also plain that what you read should be good. It’s a cliché by now to say that literature builds empathy; it also isn’t necessarily true. We are, after all, in both an era of declining empathy, at least in political discourse, and an era of bad books. Writers who churn out simple, emotionally manipulative novels get sizable deals and acclaim, while too many of those who labor over intellectually challenging fiction have to struggle to reach minute readerships. Amazon is at fault for some of this; so is the corporate consolidation of the publishing industry. But we don’t have to read only what’s easy, just as we don’t have to read only what’s American. In Searls’s brief discussion of AI, which he does not see as a meaningful threat to writers, he insists that a machine cannot engage in “the deeply human act of reading: the process, subjective and objective at once, of engaging as an individual person with something that exists out there in shared reality.” A good book, and only a good book, has the effect of reminding us not only that reality is shared, but also that others don’t see it or feel it as we do. For Searls, the way to tell bad writing from good is this: “Bad writing is predictable, good writing is defamiliarizing.” Put differently, a good book either feels unfamiliar or makes us feel less familiar to ourselves. In reading it, we can remember that this unsettling sensation—this sensation of foreignness—is, in fact, not foreign at all. It’s human; it’s an expansion of the mind and the heart. A good piece of writing, if and only if it’s read well, can do that to us. In The Philosophy of Translation, Searls shows that reading as a translator, or reading like a translator, is a method of reading very, very well.
Danald Jute
Kuching (Agenzia Fides) – Founding faith on the Word of God: with this spirit the Christian community of Sarawak, the region on the island of Malaysian Borneo, celebrates the launch and publication of two new Bible editions in the Bahasa Malaysia language, in the Jubilee year: the “Alkitab Kudus Malaysia” and the “Alkitab Berita Baik Edisi Studi”.
The publication, published by the Malaysian Bible Society in collaboration with the Association of Churches in Sarawak, an ecumenical body, aims to enrich the spiritual life of Christians throughout the country, especially in the Borno region on the island of Malaysia. Announcing the publication at an event held as part of the Week of Prayer for Christian Unity on January 21 in Kuching, [Archbishop] Datuk Danald Jute, Secretary General of the Association of Churches in Sarawak, said: “The beauty of Bible translations is that they remind everyone that God speaks and understands all languages. In this way, Bahasa Malaysia becomes not only our local language, but also a sacred language through which God speaks to us. Christians can use these Bibles as a tool to draw closer to God and share his message.” The new Bible translations are based on years of study and dedication, he said. Indeed, “understanding the language, culture and theology is crucial to ensure that the Word of God is accurately represented,” he stressed.
Thanks to new technological advances and new software that have helped the researchers, the work was completed in 13 years instead of the estimated 20, “but the effort that has been made is still immense,” he stressed. For this, all those present thanked the translators, researchers and everyone who made the publication possible. The translations are “a cornerstone to strengthen the faith of Bahasa Malaysia-speaking Christians and prepare them to live and share the Gospel,” said those present.
The Alkitab Kudus Malaysia edition is the result of a new translation effort initiated by the Bible Society in 2011 to meet the growing demand from Malay-speaking churches for a formal translation that is closer to the original texts of the Bible. Unlike the Alkitab Berita Baik edition – an adaptation of the Bible that uses a “dynamic equivalence” approach to translation – the Alkitab Kudus Malaysia follows a “formal equivalence” approach, making it ideal for academic research, in-depth studies and comparison with Aramaic and Greek terminology.
“The project required meticulous linguistic, theological and cultural considerations to create what is now considered a fully Malaysian Bible. With its completion, the Alkitab Kudus Malaysia is a testament to the Malaysian church’s commitment to understanding the Word of God in all its depth,” said the Bible Society. “This Bible is not just a translation, it is a gift to the Malaysian Church. It allows a deeper and more accurate engagement with the Holy Scriptures for study, prayer and worship,” said the Secretary General of the Bible Society, Rev. Mathew K. Punnoose.
On the other hand, the “Alkitab Berita Baik Edisi Studi” edition is equipped with commentaries, references and explanations, and is intended to enable non-specialists, i.e. all baptized people, to have a deeper understanding of the Holy Scriptures. “This Bible fills a gap by offering the Word of God in an understandable way and giving everyone the tools to understand it even better,” they say.
https://anglican.ink/2025/01/26/bahasa-malaysia-translation-of-the-bible-published/
|
Scoop.it!
