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"This year’s International Translation Day theme embraces the recognition of translations as original creative works in their own right, owed the benefit of copyright protection. 27 Sep 2024 by Sue Leschen Translation, an art worth protecting This year’s International Translation Day theme embraces the recognition of translations as original creative works in their own right, owed the benefit of copyright protection. "As the creators of derivative works, translators have fought to protect their moral rights to be credited for their translation work, control any changes to that work, and receive appropriate remuneration. Protecting these simple things will ensure a sustainable future for translation professionals and the historic art of translation itself. Copyright-related issues extend far into all areas of the profession, including the use of translations in the cultural sector, literary translation, publishing and legal translation. With the development of AI and the expansion of the digital sphere, the implications of copyright for translators, interpreters and terminologists have increased exponentially and attribution is increasingly crucial. In addition to allowing translators to receive recognition for their efforts, it clearly signals the source of a text, identifying it as human rather than AI generated content."
https://en.fit-ift.org/international-translation-day/ In this article Sue Leschen explains the fundamentals of copyright and the rights it grants copyright owners. Understanding copyright Copyright is a form of Intellectual Property (IP). IP is intangible property which automatically exists from the time of the creation of the work by humans (or these days by AI?). IP grants the copyright owner various exclusive rights. Other forms of IP include patents, trademarks and trade secrets which also grant exclusive rights: to make, use or sell an invention (patents/ Dyson hoovers), to protect a brand name or logo (trademarks/ McDonald’s Golden Arches logo) to protect business know – how (trade secrets/ ingredients in Coca Cola). Copyright holders have exclusive rights to grant permission to others to copy original created works – but usually only grant this right for a limited time. Copyright also seeks to prevent unauthorised copying. Creators of original works are thus in theory at least (it may be difficult to police!) protected by copyright which grants them two main categories of exclusive rights: - Economic rights – commercial benefits when they either license others to use their work or sell their rights to others for a fee.
- Moral rights – these protect the non-economic interests of the creator who has invested time and thought in their creation. The creator can keep (or waive) their rights, for example the right to be identified as the author of the work and/ or the right to object to how their work has been presented where there may be reputational damage.
The creator may or may not be the copyright holder, for example if they are an employee who created the work in the course of their employment because here copyright belongs to their employer. Copyright protection Copyright can protect numerous and varied types of IP such as website content, data bases, audio and video recordings, personal correspondence and photos but can’t protect business names and/ or logos. In England and Wales case law has consistently held that works need not be of great aesthetic or intellectual value to warrant copyright protection – they simply need to be original works. Talking of translations, the default position for translators is that they usually retain the copyright in their translation unless there is an agreement with the client to the contrary. The creator of an original work has the exclusive right to authorise various acts in relation to their work such as copying, adaptation, audio and/ or visual public performances, either paid or unpaid distribution, renting or lending. In England and Wales (and in most countries) copyright of written works lasts a minimum of life plus 70 years (and 25 years for photos). “Copying” an original work can include photocopying, making recordings and even reproducing a printed page by handwriting it or vice versa. “Distributing” an original work can include downloading a document for public consumption while “communication” of an original work could include uploading a translation to the internet and “adaptation” of an original work can include translations into different languages. Talking of translations, the default position for translators is that they usually retain the copyright in their translation unless there is an agreement with the client to the contrary. In England and Wales, notification to third parties that work is copyrighted is not legally obligatory – there is no legal requirement to formally register copyright anywhere. This is in contrast to patents and trademarks which do have to be registered. However, the © symbol clearly indicates to others that copyright exists and that the copyright holder may exert their rights if there is a breach. What to do when copyright is breached As regards breaches of copyright of all of the work or perhaps a substantial part of it, the copyright holder should act quickly to prevent their business reputation and integrity. A range of options are available such as sending “a cease and desist” letter requesting the other party to stop the breach by a certain time, not to breach in the future and warning them of potential legal proceedings if the breach is ignored. Most contracts for services will include a voluntary confidential mediation clause where an impartial mediator will try to assist the parties to find common ground where there has been a breach (without the need for formal court proceedings). Here the parties’ final agreement, while not legally binding, can be enforced as a contract. Alternatively, the parties could take advantage of a voluntary arbitration clause in their contract and submit their dispute to an independent arbitrator whose decision will be legally binding. Like mediation this is a quicker and cheaper process than going to court. if necessary, commencing court proceedings can be a last resort but is only worth doing this if it is known / obvious that copyright has been breached, the extent of the breach or even who breached first – again proof may be problematic! Where copyrighted material has been sold, the buyers may or may not be complicit in the breach so their cooperation is not automatically guaranteed. As with all litigation, winning is never guaranteed and there may be a costs issue for the loser. In England and Wales, both civil and/ or criminal proceedings can be brought. In the civil court the copyright holder can apply for damages (financial compensation) and/ or injunctions (court orders to stop the breach) within the limitation period (6 years from the breach). Depending on the amount claimed, claims can be brought in the Intellectual Property Enterprise Court (IPEC) in either the Small Claims Court, the County Court or the High Court. Alternatively, criminal proceedings can be brought in the Magistrates Court by the Criminal Prosecution Service or Trading Standards (whereas individuals can bring private prosecutions) under the Copyright, Designs and Patents Act (CDPA) 1988. Private prosecutions are rare as they can cost as much as £8,500 but may be worth pursuing if breaches are on an industrial scale. Penalties and forfeitures of illicit recordings and copies can be ordered under the Copyright and Trademark (Offences and Enforcement ) Act 2002. If in doubt about copyright issues, free advice can be obtained from the Intellectual Property Office (IPO) at information@ipo.gov.uk and also from our Professional Indemnity Insurers’ legal advice departments. Defences to breaches of copyright are covered by certain exceptions in CDPA, such as the material in question was used for research and private study or education and training and/ or the copyright holder granted an implicit or explicit licence to use their work. It should be borne in mind that where copyright protection exists in England and Wales, that it won’t cover breaches occurring abroad – unless an international agreement exists such as the Berne Convention on literary and artistic works. Some general rules (in the absence of any agreements to the contrary to transfer copyright on delivery or payment for the translation) are that copyright in the original work belongs to the creator or, if not, to the company which commissioned the work by them; translations of source language documents are considered to be “derivative works” (derivative because their very existence depends on the existing work) which are protected by the same copyright as that of the original work and are owned and controlled by whoever commissioned them. Some scenarios may involve several different copyright holders such as for the text in the document, the translation of the text and the illustrations in the text. Copyright and remote interpreters Particular problems for Remote Interpreters (RIs) as regards recordings and screen shots by their clients of their audio and visual images are that our permission to use the latter may never be requested, may be sought during the event being recorded, may be unpaid or poorly paid. Also RIs may have been supplied with copyrighted materials to assist them to prepare for the assignment which their client has no right to use. Some clients may agree to RIs retaining copyright of their images but may request royalty-free licences to distribute them to their end clients. Of particular concern now is that AI can clone the human voice…… Talking of AI, there is growing evidence that our translations and visual and audio recordings are now being used to train AI. As AI generated content may closely resemble our original work it may be difficult to spot if and where it has been used. The current legal situation is unclear but an EU AI Act is now on the horizon which will require AI companies to get authorisation to use copyrighted content.. While a balance is needed between innovation and protection, it is clear that AI challenges the traditional view, namely that only human-created work merits copyright protection. Protecting ourselves We need to be proactive in protecting our professional reputations and businesses when negotiating jobs with potential clients which potentially involve our copyright – we should be asking pertinent questions such as: - Who will see/ hear our work?
- Where are they?
- How often will our work be used? If use is ongoing, will royalties be paid?
- Can we review recordings before transfer of our copyright?
- Which parts of our work will be used? All of it or just specific parts?
- Will it be amended after transfer? If so, our written permission must be sought prior to transfer without which we will not be liable for any consequences. ng
Author Sue Leschen Sue Leschen is an entrepreneurial lawyer – linguist who has married her twin passions of law and languages together and she is also an independent mentor to language professionals mainly in the area of legal terminology and freelance business skills. She is the Director of niche - market company Avocate Legal and Business French Interpreting and Translation Services Ltd. Sue is a Fellow of both the ITI and CIOL and has Chartered Linguist (Interpreter) status. Sue is a member of the International Association of Professional Interpreters and Translators (IAPTI), the Association of Interpreters and Translators (AIT), the National Register of Public Service Interpreters (NRPSI), CIOL’s Interpreting Division Steering Group, and of the ITI LIFT, ITI French Network and the YTI and NWTN groups." #metaglossia_mundus
"September 28, 2024 By GISuser When you think of Portuguese, your mind might immediately wander to the beautiful coastal city of Lisbon, the rhythms of samba in Rio de Janeiro, or the deep forests of Angola. However, Portuguese is more than just a single language spoken in Portugal and Brazil—it is a dynamic, diverse language with several variations across different continents. You might wonder, are there different types of Portuguese? The answer is a resounding yes, and in this blog, we’ll explore the major forms of Portuguese spoken around the world, the differences between them, and how they evolved. The Roots of the Portuguese Language Portuguese is a Romance language that evolved from Latin, which the Romans brought to the Iberian Peninsula (modern-day Spain and Portugal) around the 3rd century B.C. After the collapse of the Roman Empire, the language continued to evolve in the region, influenced by Germanic tribes and the Moors. By the 13th century, Portuguese was recognized as a distinct language, and it eventually spread worldwide through Portugal’s colonial empire. Today, over 250 million people speak Portuguese, making it the sixth most spoken language globally. The diversity of its speakers has led to the development of various dialects and regional differences. The Major Variants of Portuguese When answering the question, are there different types of Portuguese, two prominent types often come to mind: European Portuguese and Brazilian Portuguese. But the story doesn’t end there. Let’s dive deeper into the primary forms of Portuguese spoken across the globe. European Portuguese As the name suggests, European Portuguese is the language spoken in Portugal, including the islands of Madeira and the Azores. It is considered the “standard” form of the language and is the version taught in most European schools. However, even within Portugal, there are regional dialects that differ slightly in terms of accent, vocabulary, and pronunciation. Key Characteristics of European Portuguese: - Pronunciation: European Portuguese has a more closed, conservative pronunciation compared to other variants. The sounds can be more nasal, and the “s” at the end of a word is often pronounced like a “sh.”
- Grammar: It retains a more formal structure in both spoken and written forms. For example, the use of the “tu” (informal “you”) and “você” (formal “you”) is more distinct, whereas, in Brazil, “você” is widely used regardless of formality.
- Vocabulary: European Portuguese uses a few archaic words that are no longer used in Brazil, and some borrowed words from languages like French and English are more common in Portugal.
Brazilian Portuguese Brazilian Portuguese is the variant spoken by the largest number of Portuguese speakers, accounting for around 210 million people. Due to Brazil’s size and diverse population, Brazilian Portuguese has its own regional dialects, but there are still some general characteristics that make it distinct from European Portuguese. Key Characteristics of Brazilian Portuguese: - Pronunciation: Brazilian Portuguese sounds more open and melodic. Brazilians tend to pronounce vowels more clearly and less nasally than Europeans, which makes the language sound softer.
- Grammar: While Brazilian Portuguese grammar is similar to European Portuguese, Brazilians tend to be less formal in both spoken and written language. For instance, “você” is commonly used in both formal and informal situations, and the conjugation of verbs can be simplified.
- Vocabulary: Brazilian Portuguese has absorbed words from indigenous languages, African languages, and even Italian and Japanese, reflecting the country’s diverse cultural heritage.
African Portuguese Portuguese is also spoken in several African countries, including Angola, Mozambique, Cape Verde, Guinea-Bissau, and São Tomé and Príncipe, all of which were once Portuguese colonies. While the African variant of Portuguese shares many similarities with European Portuguese, it also has its own distinct flavor, shaped by indigenous languages and cultures. Key Characteristics of African Portuguese: - Pronunciation: In countries like Angola and Mozambique, the pronunciation is closer to European Portuguese than to Brazilian Portuguese, but it has some local influences that make it unique.
- Vocabulary: African Portuguese has adopted many words from local languages. For example, in Angola, you’ll find words borrowed from Bantu languages, and in Mozambique, from Tsonga and Makhuwa.
- Regional Dialects: Each African country has its own variety of Portuguese, and within countries, there can be significant differences depending on the region. This makes African Portuguese rich in diversity, with unique expressions and slang that reflect the region’s culture and history.
Asian Portuguese In Asia, Portuguese is still spoken in former colonies like Goa (India), Macau (China), and East Timor. Although these regions are small, their varieties of Portuguese reflect centuries of history and cultural exchange. Key Characteristics of Asian Portuguese: - Pronunciation: Asian Portuguese is heavily influenced by the local languages. For example, in Goa, there is a distinct accent, and certain Indian languages like Konkani have influenced the pronunciation.
- Vocabulary: Asian Portuguese often incorporates words from the local languages, making it highly region-specific. For instance, in Macau, you may find Chinese loanwords in everyday speech, and in Goa, words from Marathi and Konkani.
- Usage: In some places, Portuguese has largely faded as a dominant language, and it is now mostly spoken by older generations or used in official contexts. For example, in Goa, English has largely replaced Portuguese in daily conversation, but Portuguese remains an important part of the region’s cultural identity.
Creole Portuguese Creole languages have developed in some parts of the world where Portuguese colonizers interacted with local populations. Creoles are not the same as traditional Portuguese, but they are important linguistic offshoots of the language. These languages have evolved by blending Portuguese with local languages and are spoken in places like Cape Verde and Guinea-Bissau. Key Characteristics of Creole Portuguese: - Grammar and Structure: Creole Portuguese simplifies the grammar of standard Portuguese. The verb conjugations, sentence structures, and vocabulary are often more straightforward, reflecting the influence of indigenous languages.
- Pronunciation: Creole Portuguese tends to have a more fluid, rhythmic sound, influenced by African languages and other local dialects.
- Vocabulary: These languages include many words from Portuguese, but the grammar and syntax are often very different. The Creoles spoken in Cape Verde, for example, blend Portuguese with African languages, resulting in a unique linguistic system that differs from standard Portuguese.
Major Differences Between European and Brazilian Portuguese Although European and Brazilian Portuguese share the same roots, the differences between the two can sometimes be stark, especially for learners of the language. Let’s break down some of the key differences between the two most widely spoken types of Portuguese: Spelling - In Brazilian Portuguese, certain letters, like “c” and “p,” are omitted from words where they are silent, making words easier to spell. For example, “acção” (action) in European Portuguese is spelled “ação” in Brazil.
Pronunciation - In European Portuguese, the “r” sound at the beginning of a word is pronounced more harshly, while in Brazil, it’s softer. Additionally, European Portuguese tends to drop the last syllable of words, making them sound more abrupt compared to Brazilian Portuguese.
Vocabulary - Some everyday words are different between the two variants. For instance, a “bus” is called “autocarro” in Portugal but “ônibus” in Brazil. Similarly, a “cell phone” is a “telemóvel” in Portugal but a “celular” in Brazil.
Verb Conjugation - Brazilian Portuguese often simplifies verb conjugations, especially in informal speech. In European Portuguese, more traditional conjugations are used, especially in formal situations.
Why Do These Differences Matter? Now that we’ve answered the question, are there different types of Portuguese, you might wonder why these differences matter. For Portuguese learners, understanding the distinctions between these forms of language can help them choose which variant to study based on their goals. For example: - Travel: If you plan to travel to Brazil, learning Brazilian Portuguese is the most practical choice. On the other hand, European Portuguese is useful if you’re planning to spend time in Portugal or other parts of Europe.
- Business: Many international businesses operate in both Portugal and Brazil and understanding the regional differences can help you communicate more effectively with clients and partners.
- Cultural Understanding: The different types of Portuguese reflect the unique histories and cultures of the regions where they are spoken. Learning about these differences can deepen your appreciation for the richness of the Portuguese-speaking world.
Conclusion The Portuguese language is far from monolithic. From the formal, clipped tones of European Portuguese to the open, melodic sounds of Brazilian Portuguese and the unique creoles and regional varieties spoken in Africa and Asia, the Portuguese language offers a fascinating range of linguistic diversity. If you’ve ever wondered, are there different types of Portuguese? The answer is a world of linguistic richness shaped by centuries of history, migration, and cultural exchange. Whether you’re a learner, traveler, or simply a language enthusiast, embracing the diversity of Portuguese can open doors to a broader understanding of the world and its cultures." #metaglossia_mundus
"Since 1934, the Translation Bureau has been a major player on the Canadian political and events scene. It has become a true language leader. The Bureau for Translations was founded 90 years ago, on August 1, 1934. Over the decades, it would carve out a special place in Canada's linguistic landscape and become the Translation Bureau we know today. The Translation Bureau (the Bureau), part of Public Services and Procurement Canada (PSPC), offers a full range of linguistic services, from translation to terminology to interpretation, in over 101 languages (Canada's official languages, Indigenous languages, foreign languages and sign languages). It serves Parliament as well as federal courts, departments and agencies, and makes a wealth of free resources available to the public through the Language Portal of Canada. Over the years, the Bureau has played a key role in many major events, including leaders' debates, installation ceremonies of the governors general, addresses to the nation by foreign leaders and visits by the Pope. Its language experts have been there for Canadians during major international events on Canadian soil, such as the G8 and G20 summits and the Olympic and Paralympic Games. They have offered their support at crucial moments, including during the COVID-19 pandemic. Although the public may be more familiar with the Bureau's front line interpretation role, the Bureau's extensive work behind the scenes is no less important. The Bureau over the years - 1934: The Bureau for Translations is founded
- 1953: The first official terminology service is created
- 1959: The Bureau launches simultaneous interpretation in the House of Commons
- 1975: The Bureau acquires the University of Montreal Terminology Bank, which will eventually become TERMIUM Plus®l
- 1977: The Bureau acquires its first machine translation system, designed for weather reports
- 1995: The Bureau becomes a special operating agency whose services are optional and billed on a cost recovery basis
- 2009: The Language Portal of Canada is launched
- 2019: For the first time, the federal leaders’ debate is interpreted into Indigenous languages
- 2024: The Translation Bureau celebrates its 90th anniversary
Client service excellence The Translation Bureau has been a special operating agency since 1995 and operates much like a private company. It derives most of its budget from billing for its services, and while it is Parliament's exclusive supplier of linguistic services, courts, departments and agencies are not obliged to do business with the Bureau. Client service is therefore key to the Bureau's operations. To meet its clients' needs, it relies on a team of client advisors that specialize in specific client portfolios, such as agriculture, health, Indigenous affairs and finance. Mourad Bala, Client Advisor, Translation Bureau Mourad Bala has been with the Bureau since 2022. He is a client advisor for the security and defence portfolio. Client advisors play an essential role, turning requests from clients such as National Defence into reality. "As clients' first point of contact with the Translation Bureau, we liaise between clients, translators and other Bureau services." As a client advisor, Mourad is responsible for evaluating translation requests and assigning them to translators according to their field and deadlines. "Sometimes translators have to travel, for example, to National Defence offices, to handle secret or top secret documents," he explains, adding that the Bureau takes document security seriously. According to Mourad, for client advisors to carry out their tasks quickly and efficiently and meet the expectations of the Bureau's clients, they need professionalism, listening skills and patience—not to mention a passion for the work! Quality in every language This passion for language is shared by the Bureau's roughly 1,350 employees. The Translation Bureau is recognized not only for its outstanding client service but also for the quality of its linguistic services. These services include translation, interpretation and terminology: the Bureau maintains the TERMIUM Plus® terminology bank and has published dozens of glossaries and vocabularies. Providing linguistic services requires real translation expertise, as translator and language advisor Pamela Lee can attest. Pamela joined the Bureau 30 years ago and is still passionate about her career today. "I'm proud of the Bureau's work, which ensures that federal employees and the Canadian public receive communications of equal quality from the federal government in both official languages." Pamela Lee, Translator and language advisor has been a Translation Bureau employee for 30 years. For Pamela, translation is a profession in which the learning never stops. "We work for all federal government departments in a wide variety of fields, which means we can handle many types of texts on a wide range of subjects." Today, Pamela spends most of her time revising, which is quite different from what she used to do as a translator. The differences are subtle but not insignificant: "I was used to being assigned a text to translate, working on it and then delivering it. It's harder to revise someone else's text, ensuring that you don't go too far in revising to the point that you're rewriting it, but also making sure you don't miss any errors or introduce new ones." Translation Bureau employees apply this same attention to detail to thousands of requests every year. During the 2023 to 2024 fiscal year, the Bureau translated 371 million words, provided 47,000 hours of interpretation, and created and updated nearly 19,000 terminology records in TERMIUM Plus®, to name just a few of its achievements. The Bureau's many linguistic services and tools have made it the language authority for Canadian parliamentarians, federal government employees, and members of the public in Canada and around the world. As it nears its centennial, the Bureau is ever evolving, and its experts are embracing new technologies to continue providing expertise in linguistic services. To learn more about the PSPC people, projects and services improving the lives of Canadians, check out other articles from Our stories. Page details - Date modified:
- 2024-09-27"
#metaglossia_mundus
"Tribal Language Summit Unites Language Teachers, Students, and Advocates Working Toward Language Revitalization Char-Koosta News PABLO — The Salish Kootenai College campus hosted the Montana Early Childhood Tribal Language Summit on September 19-20. Members of the Indigenous community from several tribal nations near and far came together to share their experiences, challenges, and aspirations in preserving their native languages. The gathering was a testament to the resilience and determination of individuals, nonprofit organizations, tribal nations, and advocates who are fighting to keep cultural heritage alive. For those working in the field of language revitalization, they choose to say that tribal languages are asleep, not dying or lost. To say tribal languages are lost is not true as many tribes are working together, sharing advice, and helping each other succeed in waking up sleeping languages. The discussions also shed light on innovative approaches to language learning and assessment. One of the keynote speakers, Ron Corn representing the nonprofit MenominiyoU from the Menominee Nation out of Wisconsin shared how a linguistics student developed a grading framework to track proficiency levels. Inspired by the karate belt system, language students' and teachers' progress are tracked. The ambitious goal is to have 10% of the community reach “black belt” fluency by 2045, a significant leap from the current 0.0057% benchmark. Intergenerational knowledge-sharing also played a crucial role, as exemplified by Corn's testimony about learning to speak his language at the age of nine and thriving under the tutelage of an elder. Through weekly word lessons and positive reinforcement, his confidence and language skills blossomed, a testament to the power of mentorship and immersive learning. "What I was hopefully trying to do was share my story and give people the encouragement and guidance that is necessary for young language warriors with real examples of what I and we experienced back home and then offer some suggestive program direction that we're trying out and having some initial success with," said Corn. Milani Sandoval was another keynote speaker at the summit. Sandoval is one of the founders of the Nk̓ʷusm Salish Language Immersion School as well as the Salish Language Program Manager at the Sélis-Qlispé Culture Committee, and a language teacher at Salish Kootenai College and has dedicated over 35 years to revitalizing the Salish language. Her presentation centered around the theme of the summit, "Passing on the Gift of Language: Multi-Generational Learning". A heartfelt and memorable tribute to her teachers and elders engaged the audience. "Language is our life and the way we live also was reflected in our teachings and our values and all the things that we're also giving to our kids. I feel like we're bridges from our elders to our young people," said Sandoval. When people of all ages are exposed to the language and learn, it has other benefits according to Micker (Mike) Richardson, Director of the National American Indian/Alaska Native Head Start Collaboration Office. Richardson was a featured speaker on the Immersion School panel. He worked with tribal programs and language partners to promote language/culture revitalization throughout Indian Country towards the goal of language programs in tribal head start programs. “When they take state level tests, they usually do a lot better than the average for the state. And that's been proven in a lot of different programs. The thing is, is that the kids are learning two different languages and it makes them smarter." In a time when many Indigenous languages are at risk of being lost, immersion schools are spearheading inspiring efforts to revive and preserve tribal languages. Educators from Nk̓ʷusm Salish immersion school and other immersion schools shared valuable lessons and strategies during a panel discussion to close out the summit. Their insights shed light on the challenges and successes of this vital work. "We do a lot of hard work in the language and it's good to hear other people's stories and it gives you more motivation to continue this work," said Chaney Bell, a co-founder of Nk̓ʷusm. Bell attended the summit and was part of a speaker panel that discussed starting an immersion school, the importance of adult language programs, and Nk̓ʷusm's progress. “Teaching a language can be difficult. Running a school is difficult. Along with the language there's just so much, but you need to do it. Every tribe in this country needs to have their own language schools," said Bell. Over 20 years ago, the founders of Nk̓ʷusm were inspired by what they learned while visiting other immersion schools in New Zealand, Hawaii, and Alaska. "We went all over and listened to a lot of people. We traveled to our neighbor tribes and did things like this while we were trying to learn on our own, usually in the evenings, or whenever we can meet with an elder. But we got inspired to take that step," said Bell. Along the way, it became apparent that an immersion school wasn't enough. Adult language programs emerged as a critical component of these revitalization efforts. By developing fluent adult speakers, the schools are cultivating a new generation of teachers to pass the languages on. “The adult language programs have been a game-changer for us,” shared another panelist. “We’ve seen students go through the program and come back to teach at our school.” Engaging children through cultural activities, field trips, and community events also plays a central role. This helps immerse young learners in the languages and traditions. “Overcoming the dominance of English is an ongoing battle,” Echo Bell acknowledged. “But creating a rich language environment makes a big difference.” Supporting the teachers in these immersion programs is vital, the panelists emphasized. Language learning is demanding work, requiring creativity and perseverance. “We’ve had to get really resourceful, like partnering with outside organizations to provide speech and other services for our students,” one teacher shared. “It’s tough, but the positive impact on the kids is remarkable.” For tribes seeking to revive their endangered languages, the educators encouraged reaching out to established programs for advice and getting support from tribal elders. “This is such important, community-driven work,” one speaker affirmed. “The cultural connection and identity it fosters is invaluable.” As Indigenous communities continue to face a decline in fluent speakers, immersion schools are leading the way with innovative, grassroots efforts. Their dedication and resilience offer hope and inspiration for the future of Native languages. As the summit drew to a close, a sense of optimism permeated the air. Summits like this bring people together to learn from one another about available resources, seek guidance, and encourage one another. The participants not only shared their struggles but also their innovative solutions and unwavering determination. The path ahead may be arduous, but a collective spirit and commitment to preserving tribal languages serve as a beacon of hope for generations to come. " #metaglossia_mundus
Pope Francis has repeated his controversial teaching that all religions are divinely inspired by God. In a message to an interreligious gathering in Paris for peace, Pope Francis wrote that the divine inspiration is present in every faith. The remarks of the Pontiff contradicted those of his predecessors who held that “it is contrary to the Catholic faith to consider the different religions of the world as ways of salvation complementary to the Church”. They came in a written message this week to the International Meeting of Prayer for Peace, an event in Paris organised by the Sant’Egidio Community. “If others continue to make war, together we can work for peace,” said the Pope as he evoked the spirit of the interreligious gathering convoked by Pope St John Paul II in Assisi, Italy, in 1986. “It is against this backdrop that the title of this Paris Meeting – ‘Imagine Peace’ – is most eloquent,” said Francis. “We need to keep meeting, to weave bonds of fraternity and to allow ourselves to be guided by the divine inspiration present in every faith, in order to join in ‘imagining peace’ among all peoples.” The words of the Pope echo his remarks in Singapore earlier this month when he said: “There’s only one God, and each of us has a language to arrive at God. Some are Sheik, Muslim, Hindu, Christian, and they are different paths.” He said: “They are like different languages in order to arrive at God, but God is God for all … Since God is God for all, then we are all children of God.” Such religious pluralism shocked Catholics who believe Jesus Christ to be the one Saviour of the world and who are worried that it might hinder missionary efforts to bring people to the faith. Some were also confused by the apparent embrace of religious pluralism against the teachings of Pope St John Paul II and Pope Benedict XVI. The denunciation of religious pluralism by his predecessors was made explicitly in their treatment of Fr Jacques Dupuis, a Belgian Jesuit theologian, after his 1997 book, Toward a Christian Theology of Religious Pluralism sought to investigate “the significance of the plurality of religious traditions in God’s plan for humanity”. The Congregation for the Doctrine of the Faith, headed at the time by Cardinal Joseph Ratzinger, published a “notification”, with consent of Fr Dupuis to say that the book “contained notable ambiguities and difficulties on important doctrinal points, which could lead a reader to erroneous or harmful opinions”. The notification said that although it was “legitimate to maintain that the Holy Spirit accomplishes salvation in non-Christians” there was no foundation in Catholic theology to consider other religions as “ways of salvation” … because “they contain omissions, insufficiencies and errors regarding fundamental truths about God, man and the world”. Confirmed by Pope St John Paul II in 2001 and ordered to be published with every edition of the book, the notification unambiguously declared Jesus Christ as “the sole and universal mediator of salvation for all humanity”. “It is therefore contrary to the Catholic faith not only to posit a separation between the Word and Jesus, or between the Word’s salvific activity and that of Jesus, but also to maintain that there is a salvific activity of the Word as such in his divinity, independent of the humanity of the Incarnate Word,” the notification said. “It is … contrary to the Catholic faith to maintain that revelation in Jesus Christ (or the revelation of Jesus Christ) is limited, incomplete or imperfect … the historical revelation of Jesus Christ offers everything necessary for man’s salvation and has no need of completion by other religions. “It is consistent with Catholic doctrine to hold that the seeds of truth and goodness that exist in other religions are a certain participation in truths contained in the revelation of or in Jesus Christ. “However, it is erroneous to hold that such elements of truth and goodness, or some of them, do not derive ultimately from the source-mediation of Jesus Christ.” The notification said explicitly that it was contrary to the Catholic faith “to hold that the salvific action of the Holy Spirit extends beyond the one universal salvific economy of the Incarnate Word”. “It must be firmly believed that the Church is sign and instrument of salvation for all people,” the notification said. “It is contrary to the Catholic faith to consider the different religions of the world as ways of salvation complementary to the Church. “According to Catholic doctrine, the followers of other religions are oriented to the Church and are all called to become part of her.” (CNS photo) #metaglossia_mundus
Minnesota should continue to reject the path of other states where book bans and declarations of English as the official language have taken hold.
"Anita Herrera is a curator, artist, and cultural consultant, born and raised in Los Angeles.Based in both L.A. and Mexico City, Herrera specializes in collaborations in fashion, music, and art. I’ve Always Tried to Express My Version of L.A. Anita Herrera is a curator, artist, and cultural consultant, born and raised in Los Angeles. Based in both L.A. and Mexico City, Herrera specializes in collaborations in fashion, music, and art. Before sitting on a panel for the Zócalo program “Are the U.S. and Mexico Becoming One Country?”—presented with Universidad de Guadalajara at LéaLA book fair at LA Plaza de Cultura y Artes—she chatted with us in the green room about living in Mexico City, her specific L.A. culture, and what to expect at the backyard family party. Q: A: “Diaspora Dialogues” was started from my experience living and working in Mexico City. I moved to Mexico City in 2018. And so many people asked me why are you so proud to be from L.A.? And it’s because I’m from a specific culture—multicultural, melting pot, immigrant culture. I was expressing my culture in Mexico, and also the disconnections and connections we have. We have roots that are connected. We’re disconnected because we grow up in different countries, different cultures, different languages—English, Spanish, Spanglish. Q: What’s one thing you think that connects the U.S. and Mexico? A: The U.S. was Mexico, so it’s really only through an imaginary line, through colonization, that we’re separated. And that’s why this violent relationship exists between the United States and Mexico. But in reality, we’re more united than we seem. Q: Where is one place you like to go in Mexico City? A: Casa de Toño, for the pozole. Q: What’s something people get wrong about L.A.? A: When I went to Mexico, my friends had a fabricated idea of L.A. based off of what they saw in movies or media or reality TV. It was different from my experience of growing up in Huntington Park. I’ve always tried to express my version of L.A. Q: Who was your childhood hero? A: Honestly, we lacked childhood heroes. Q: Would you consider yourself more of an optimist or pessimist? A: I would say optimism. I feel like we’re finding the optimism in the pessimism. Q: It’s Saturday, and you’re headed to an L.A. backyard family party. What are you bringing? A: Well, first of all, you need to bring something. Let’s just start there. At least offer! Maybe drinks or ice, the things that people don’t think about. Q: You’ve arrived, and you’ve gained control of the music. What do you play? A: Well, the “Family Party”-specific soundtrack is all songs pre-2002. It’s all the classic songs that became staples in the ’90s and early 2000s. It’s a lot of the same songs that we still listen to today: a mix of corridos, banda, ’80s flashbacks, freestyle, oldies. It’s the soundtrack of L.A. Q: You’re looking around at the party. Who are you happy to see? A: My tíos and tías. We’re all there to have fun at a family party. I think those are the moments that we remember." #metaglossia_mundus
"Fostering multilingualism at home can bring an array of developmental benefits for children. Experts tell Good Schools Guide what parents can do to help Published: 11:00am, 27 Sep 2024 Many parents aspire to raise multilingual children, whether for cultural reasons or for the potential benefits in their later studies or career. There is no shortage of research to support the benefits of learning multiple languages as a child. The Raising Children Network, a parenting website supported by the Australian government, highlights the wide-ranging benefits of multilingualism in childhood. These include giving children a leg up with literacy skills and other academic subjects, and paving the way for more enriching work and travel opportunities when they are older. From a civic perspective, encouraging multilingualism in young children means that more people in the community will be appreciative and knowledgeable about different cultures. If a child is from a multilingual family, the benefits for their personal development include strengthening their sense of self-worth and identity – given that they have a better understanding of their heritage, and can communicate more easily with all of their family members. “There is a lot of research around the benefits of multilingualism, but for me, at the end of the day, it’s about nurturing kids to be the best and happiest they can be,” says Nick Staffa, lower school vice principal at the Canadian International School of Hong Kong. “I don’t think any parent would be against something for their child that is scientifically proven to enhance academic performance, cognitive skills, focus, task management, executive functioning, memory and decision making. “Multilingual students also gain more awareness of other cultures and perspectives; health benefits, such as a reduced chance of dementia later in life; and potentially higher earnings as adults, leveraging their language skills,” he continues. Tina Tian, an ESF adviser for Chinese, first came to Hong Kong 14 years ago, and arrived speaking Mandarin and English. She quickly came to the conclusion that she needed to learn Cantonese as well to thrive in the city. “Looking back, that experience of learning Cantonese as an adult has greatly informed my approach to teaching languages. I’ve seen first-hand how malleable and adaptable young minds can be when it comes to picking up new languages,” Tian says. “As the saying goes, speaking a person’s language ‘goes to their heart’, enabling deeper connections. Bilingual and multilingual children demonstrate enhanced cognitive abilities, such as improved problem solving, flexibility and memory.” However, much like getting children to eat their vegetables and spend less time on their screens, nurturing multilingualism can require time, dedication and patience on the part of parents. Maintaining consistency is key “The key is to take a multifaceted approach that builds consistent exposure, active engagement and positive reinforcement for the child’s multilingual development,” says Tian. “Patience and consistency from parents are critical when it comes to nurturing a child’s ability to master multiple languages from an early age.” Tian suggests encouraging children to listen to podcasts and audiobooks in the secondary language that they are speaking in home, in addition to English. She also advises parents to dedicate an equal amount of time to fostering reading and writing skills in both languages – such as by getting children to journal in both languages, instead of just one. Use all forms of media “There are so many ways that parents can encourage multilingualism at home,” says Staffa. “Using environmental print is one. That is the print we see around us all the time. You can make games or talk about things, such as signs, labels, logos, wrappers, number plates, etc. These are all around us – especially in Hong Kong, where so many things are in both English and Chinese.” Another method, he suggests, is to watch the same cartoons and other shows that your child likes in another language. “One thing I love about TV in Hong Kong is that you can toggle between different languages,” Staffa says. In addition, streaming platforms like Netflix make it easy for parents to play shows in a different language. Reading to your child is an important activity regardless, and one that comes with its own long list of benefits. Parents can level up by making sure to include all languages spoken at home in their child’s routine. “A third tip is to ensure you take the time to read to your child in all the languages of the household. Spending time together with a parent reading books is very important for children, and this can be in any language,” says Staffa. If one parent isn’t as proficient in the secondary language spoken at home, or if both parents want to encourage their child to learn a language they haven’t mastered, Staffa says there are ways around it. “There are apps [you can use], along with audiobooks for reading aloud to you and your child,” he says. “It’s mainly about the time together and the importance you place on language learning as a family.” Model good language skills Staffa has noticed throughout his career that some parents feel that they must speak the language that their child is exposed to at school, such as English, even if it is not their strongest language. This can have a negative effect on their child’s language skills. “Some parents think they must use the language their child is learning in at school at home, but it’s best for parents to speak languages they’re fluent in, perhaps their native language or one they speak very well,” he says. “Speaking to your child in a language you don’t know well yourself models language that’s not fully developed and can [actually] delay your child’s language development.” Multiple languages are not confusing Tian says there are some common misconceptions around exposing children to multiple languages in the home environment. “Firstly, some parents believe that exposing children to more than one language will be confusing for them, so they opt to use only a single language,” she says, adding that research has shown that children can successfully acquire multiple languages from birth without this negatively impacting their language development. Again, maintaining consistency is key, with Tian suggesting a “one parent, one language” approach, whereby each parent speaks a different language to the child. “While this method does require time, effort and consistency, it has proven to be an effective way to ensure children receive ample exposure to both languages.” Tian adds that another misconception is around the role, or importance, of the home or “mother tongue” language of the parents. “Studies have shown that a strong foundation in the mother tongue or home language during the early years can significantly benefit children’s acquisition of additional languages,” she says. “A robust home language provides important critical thinking skills and learning concepts that enable children to more easily transition to learning other languages at a later stage.” “Children are not hindered by learning multiple languages – quite the opposite,” says Staffa. “They construct meaning and make connections through languages as they lay down multiple pathways in the brain – more so than monolingual learners.” Staffa says that children who are learning more than one language might take longer in the beginning to develop their language skills. “But they surpass monolingual learners through the benefits of multilingualism – as evidenced on standardised tests and other assessments,” he says. “I liken it to a craftsman with a toolbox filled with additional and more efficient tools to outperform others who only have a hammer and a screwdriver for building the same thing.”" #metaglossia_mundus
"Digitisation and AI are revolutionising everyday life and education: new technologies and methods are facilitating foreign language learning and interconnecting cultures.The future of language learning - 2024-09-26
- Christina Pfänder
Digitisation has revolutionised our everyday lives and is also transforming education. Innovative technologies, media and methods are giving new impetus to foreign language learning and bringing people from different cultures together. Personalised exercises on a tablet, direct feedback from Artificial Intelligence (AI) or fun, playful elements: digitisation is making foreign language learning flexible, easier and more inclusive, and is simplifying communication with people in other parts of the world. Language learning in the past: textbooks, grammar books and language labs Anyone wanting to learn a new language in the twentieth century, on the other hand, would be largely reliant on textbooks, grammar books, vocabulary lists and index cards – and on a trained teacher to organise the learning process. Lessons, which would traditionally take place in a classroom or seminar room, would focus on reading and writing; conversations with native speakers tended only to be possible by travelling to another country or taking part in exchange programmes. “Language labs were also used to practise pronunciation and improve listening comprehension skills; later, dedicated television programmes, cassettes or CDs were also used for this purpose,” says Professor Thomas Köhler, holder of the chair in educational technology at TU Dresden University of Technology. “However, such media were used in a one-dimensional manner because it was not possible to interact with them.” First digital steps in foreign language didactics From the outset, foreign language didactics was open to and experimented with new technologies: in the 1960s, American universities and research institutions were already developing the first rudimentary digital systems, such as PLATO and TICCIT, which provided vocabulary exercises or grammar tests; in the 1990s, Rosetta Stone was the first commercial platform for digital language learning to appear on the market. “A big shift began to happen at around the turn of the millennium,” explains Professor Köhler. “Increasingly widespread access to the internet and to digital devices such as smartphones and tablets meant that online platforms offering interactive language courses for different language levels became available to everyone at any time.” Be it on a self-study basis or using a virtual teacher, there are numerous options nowadays that make learning varied and interesting. Some apps use fun and playful elements to motivate users by getting them to collect points, reach different levels or achieve daily goals. This keeps them on track and makes for successful learning. “Computer games that involve gamers playing together and conversing in a foreign language also support the language acquisition process, despite this not being the central focus,” Professor Köhler says. Social media and online communities as learning aid Thanks to social media and online communities, communicating with native speakers and people from other cultures is easily possible, with forums inviting people to learn together, share materials or correct texts. Videos posted online also encourage others to engage with foreign languages. “Many of our international students view and listen to media content in the original language,” explains Professor Köhler. “To do so, they use features such as automatic subtitling.” The most innovative advances are currently being achieved by artificial intelligence (AI): e-learning platforms provide among other things automated feedback to highlight weaknesses and optimise learning outcomes. “This makes personalised learning and individualised tuition much easier than in the past,” believes education expert Professor Köhler, adding that AI is also changing the way we perceive media. “We see books as objects and carriers of information, while AI is increasingly becoming a subject that accompanies us in our daily lives.” Virtual and augmented reality in language learning Virtual reality (VR) and augmented reality (AR) go one step further: applications such as Mondly AR, FluentWorlds or VirtualSpeech allow users to immerse themselves in other worlds or obtain digital information about their surroundings. Interactive dialogues with simulated characters in cafés and hotels, at markets or in the supermarket or restaurant expand their vocabulary and provide fascinating experiences in the process. Google Translate’s AR mode translates texts on traffic signs or menus in real time. “That said, such translation apps also counter the need for language acquisition,” remarks Professor Köhler, explaining that the apps make it possible for people to handle even complex situations in a foreign country themselves without any knowledge of the local language. “It is perfectly conceivable that multilingualism will one day become superfluous as a result of the technological advances.” Robots in foreign language lessons Finland is a good example of how learning is worthwhile and language can be fun, however: robots have entered foreign language lessons there. At schools, Elias the humanoid robot helps adults and children learn vocabulary or practise grammar – with plenty of patience and in a playful manner. Professor Köhler thinks such approaches would also make sense in German classrooms. “Given the shortage of qualified staff, I would see this as relieving the burden on teachers,” the expert says. “Furthermore, video-based autonomous learning could be used to supplement everyday teaching at universities and schools.” Professor Dr Thomas Köhler has held the chair in educational technology at TUD Dresden University of Technology since 2005. He began his academic career in physics but later decided to switch to a degree in psychology and sociology at Friedrich Schiller University (FSU) Jena in Germany and Swarthmore liberal arts college in the US. He obtained a PhD in communication psychology at FSU Jena in 1996. Thomas Köhler focuses on eScience, the role of digital technologies in the education sector and the use of media in social and organisational contexts. Learn German with the Alumniportal Discover our free German learning offers, including reading texts, podcasts, language tandems and conversation lessons. AI and language learning How will artificial intelligence continue to change language learning in the coming years? Share your opinion with the community. " #metaglossia_mundus
"Key monetary terms like mutual funds, IPOs, bonds, and investors have been translated into sign language, enhancing financial accessibility for the hearing impaired. This initiative, led by Disability Affairs Secretary Rajesh Aggarwal, aims to make financial systems more inclusive through ISLRTC's efforts and the 'Sign Learn' app. Key monetary terms such as mutual funds, IPOs, bonds, and investors have been translated into sign language, boosting accessibility and financial inclusion for differently-abled individuals, according to a senior official. Disability Affairs Secretary Rajesh Aggarwal stated that the initiative is part of a broader collaboration aimed at making financial systems more accessible to people with hearing impairments, empowering them to fully engage with financial markets. 'The development of these signs opens up new opportunities for the deaf community to participate in financial systems and services,' Aggarwal told PTI. The newly developed signs include key terms such as 'mutual fund', 'IPO', 'bond', and 'investor', accessible through video demonstrations, he said. The Indian Sign Language Research and Training Centre (ISLRTC) has developed these signs for various financial and banking terms. The dictionary is now available through a dedicated website and a free application called 'Sign Learn', he added. Sanjay Kumar, Deputy Director (Administration) of ISLRTC, mentioned that in addition to financial terms, the centre has partnered with other organizations to expand its dictionary. Academic terms have been developed with support from NCERT, while STEM vocabulary was created with input from CSIR-IMTECH, Chandigarh. These resources are also available on the Sign Learn platform, Kumar noted. The ISLRTC has been conducting awareness sessions in various organizations, including Cipla, Infosys, and the Delhi Metro Rail Corporation, he said. Kumar highlighted that the centre is also working to increase the availability of qualified professionals in the field of sign language by expanding its diploma courses for interpreters and instructors. For the 2024-25 session, 120 deaf students and 90 hearing-impaired students have been admitted, he added. Furthermore, ISLRTC has signed MoUs with 25 national institutes to expedite the training of ISL interpreters and teachers, helping meet the requirements of the Rights of Persons with Disabilities (RPwD) Act 2016, the official noted. To enhance accessibility further, Kumar said the Centre launched a free Video Relay Service (VRS) in July 2023, which has so far been utilized by 1,800 individuals across medical, legal, and educational contexts. (With inputs from agencies.)" #metaglossia_mundus
"Seven World Council of Churches (WCC) assemblies, dozens of WCC central committee meetings. Plus four popes, the queen of England, Bill Gates, the Dalai Lama, and two Olympic Games. Words around the world: a glimpse at the life of a translator Seven World Council of Churches (WCC) assemblies, dozens of WCC central committee meetings. Plus four popes, the queen of England, Bill Gates, the Dalai Lama, and two Olympic Games. What do these have in common? Words. Specifically, words translated by Roswitha Ginglas-Poulet, who shared what it’s like to have a storied career as a translator. Growing up in Frankfurt, she didn’t always know that would be her direction in life. “When I finished school, I wanted to study mathematics, which I could have done in Frankfurt—and stayed home.” But one of her friends was studying languages in Heidelberg. And Ginglas-Poulet decided to go, too. “She quit after a few semesters but I kept on—and then there was this offer from the Ecumenical Institute at Bossey.” She signed her first contract with Bossey on 15 May 1973, where she thought she’d remain for a little while. During this time, she met the first of four popes, Pope Paul XI, in 1975, when students from Bossey traveled to Rome for their annual study visit. “I stayed for 30 years,” said Ginglas-Poulet, though after six years, the job became half-time. She then also began serving as an interpreter for the WCC, and for other organizations, NGOs and businesses as well. Translating, interpreting—what’s the difference? Ginglas-Poulet has mainly served as an interpreter, and readily explains to laypeople what the difference is between translating and interpreting. “Translating is writing, as in a publication,” she explained. "Interpreting is oral.” And interpretation can be consecutive, meaning the interpretation occurs after the speaker is completely finished in front of the public, “so sometimes you’re nervous,” said Ginglas-Poulet. Simultaneous interoperation is working mainly from a booth but can also be done via mobile equipment—the kind used during WCC assemblies and central committee meetings. Interpretation can even be offered to an individual, by sitting next to a person and filing them (whispering) in on the content as it goes along. It’s an art that Krystyna Konovalova, WCC Language Service coordinator, describes this way: “Translators have time to think. Interpreters? There’s no time to think. You catch the wave and float down.” And that’s even more difficult when working from German, said Ginglas-Poulet. “In German, you always have the verb at the end of the sentence, so sometimes you miss the middle of the sentence, and you guess—and it can be completely wrong!” She also recalled situations where translating very painful topics isn’t easy, such as during the aftermath of the tsunami in Indonesia in December 2004. Constant adaptation Having traveled now to 131 countries, Ginglas-Poulet wants to hit 150. And, all-in-all, she has no regrets about her chosen career. Along the way, she’s adapted to some major changes in the field of translating. “The most recent change is AI, of course,” she said. “Some of my younger colleagues, they come with computers and they have all the speeches translated already and they just read the speeches independent of what the speaker says.” In fact, some translating jobs have stopped altogether—or only require a translator to check an AI-generated translation for errors (post-editing). Yet there are, in fact, still many jobs left for translators and interpreters—even jobs originally intended for AI. “I was at a medical conference. I was supposed to translate a speaker from the U.S., and I asked her if she was able to follow,” recalled Ginglas-Poulet. “She said yes, since she had her Apple phone. But then the speaker said, ‘Today we will do it in Bernese dialect.’ And that was it: she needed an interpreter. You still have to adapt.” When Ginglas-Poulet was just starting out, “Everybody said: don’t do it because everyone will speak English in a few year’s time.” Of course, that hasn’t happened. Yet today, Ginglas-Poulet sometimes finds herself hesitating to recommend careers as translators for young people. “Just a week ago, I was asked to review a text translated by AI to make it would look as if it was a human translation,” said Ginglas-Poulet. “I refused.”" #metaglossia_mundus
"Bestselling Irish author Anne Enright was joined by two of her translators at an event hosted by Trinity Centre for Literary and Cultural Translation to mark European Day of Languages on Thursday, September 26th. Posted on: 27 September 2024 Anne Enright with her Polish translator Kaja Gucio. Bestselling Irish author Anne Enright was joined by two of her translators at an event in Trinity Centre for Literary and Cultural Translation to mark European Day of Languages on Thursday, September 26th. The event was a conversation between Enright and her Polish and Romanian translators. The event also looked forward to International Translation Day, on Monday, September 30th. At the event, translators Kaja Gucio (Polish) and Iulia Gorzo (Romanian) discussed the complicated art of translating Anne Enright’s work for readers of other languages. It is the latest in a series of collaborations between the Trinity Centre for Literary and Cultural Translation, Trinity’s flagship centre for the promotion of translation-based activities, and EUNIC Ireland – European Union National Institutes for Culture. Each year, the two organisations come together to invite a prominent Irish author whose work has been widely translated, along with several of the people responsible for producing the translations, to explore what goes into making outstanding Irish literature work in translation. Previous authors who have featured in the event include Sebastian Barry, Sally Rooney, Edna O’Brien and Colm Tóibín. Agnieszka Skolimowska, Counsellor, Head of the Political-Economic Section – Embassy of Poland in Ireland; Professor Michael Cronin, Chair of French 1776, French, Trinity; Kaja Gucio, Polish Translator; Anne Enright; H.E. Dr Habil Laurențiu-Mihai Ștefan, Romanian Ambassador to Ireland, Eithne Bowen, Centre Manager, Trinity Centre for Literary and Cultural Translation. Commenting on the event Marco Gioacchini, President of EUNIC-Ireland and Director of the Instituto Italiano di Cultura di Dublino, said: “The human component in literary translation is something that we should be careful not to forget about. Literary translation plays a vital role in fostering cross-cultural understanding, bridging divides, and shaping the future of the united Europe. Events like this one help to remind us that behind each translation are people working hard to bring readers closer to cultures that are sometimes different and distant. Human beings are needed to do this, to translate ideas and emotions.” Dr James Hadley, Director of Trinity Centre for Literary and Cultural Translation, added: “Our aim is to champion all forms of literary and cultural translation around the world. Very often, in order to do that, we need to help people think about translation in a way they never have before, as an art form and a special skill that does not necessarily come hand in hand with learning another language. These events help us start those conversations in style.” More about the speakers: Anne Enright was born in Dublin, where she now lives and works. She has published three collections of stories, collected as Yesterday’s Weather; one book of non-fiction, Making Babies; seven novels including The Gathering, which was the Irish Novel of the Year and won the Irish Fiction Award and the 2007 Man Booker Prize, The Forgotten Waltz, which was awarded the Andrew Carnegie Medal for Excellence in Fiction, and The Green Road, shortlisted for the Baileys Women’s Prize for Fiction and the International Dublin Literary Award and which won the Kerry Group Irish Fiction Award. From 2015 to 2018, she was the inaugural Laureate for Irish Fiction. Her latest novel, The Wren, The Wren was published by Jonathan Cape and WW Norton & Company in August 2023. Kaja Gucio is a Polish-English translator and interpreter with over twenty years’ experience. She has translated more than 200 journal articles and papers (literature, cultural studies, social science, arts, and history) and over 30 books – fiction, non-fiction and academic publications – both from and into English, including critically acclaimed titles as Maggie Nelson’s The Argonauts, Miriam Teows’ Women Talking, Abdulrazak Gurnah’s By the Sea, Ernest Hemingway’s The Old Man and the Sea and Toni Morrison’s Beloved and The Bluest Eye. She has also translated work by Irish writers including Liz Nugent (Strange Sally Diamond), Louise Kennedy (Trespasses), Paul Lynch (Prophet Song) and Anne Enright. Iulia Gorzo began translating 20 years ago, first as a hobby, after obtaining a bachelor’s degree in psychology. The hobby became a profession and she now translates films and TV shows from English, French and Italian to Romanian and books mainly from English to Romanian. Her favourite translated authors include Cormac McCarthy, Paul Auster, Anthony Doerr, Alice Walker and Frank McCourt. In 2014, she was awarded the “Andrei Bantaș Translation Prize” for the Romanian version of Sabbath’s Theater by Philip Roth. Since 2022 she has been writing about her work in a translator’s diary published by the Romanian cultural platform Scena9. Fiona Tyrrell | Media Relations | tyrrellf@tcd.ie | +353 1 896 3551" Bestselling Irish author Anne Enright was joined by two of her translators at an event hosted by Trinity Centre for Literary and Cultural Translation to mark European Day of Languages on Thursday, September 26th. Posted on: 27 September 2024 Anne Enright with her Polish translator Kaja Gucio. Bestselling Irish author Anne Enright was joined by two of her translators at an event in Trinity Centre for Literary and Cultural Translation to mark European Day of Languages on Thursday, September 26th. The event was a conversation between Enright and her Polish and Romanian translators. The event also looked forward to International Translation Day, on Monday, September 30th. At the event, translators Kaja Gucio (Polish) and Iulia Gorzo (Romanian) discussed the complicated art of translating Anne Enright’s work for readers of other languages. It is the latest in a series of collaborations between the Trinity Centre for Literary and Cultural Translation, Trinity’s flagship centre for the promotion of translation-based activities, and EUNIC Ireland – European Union National Institutes for Culture. Each year, the two organisations come together to invite a prominent Irish author whose work has been widely translated, along with several of the people responsible for producing the translations, to explore what goes into making outstanding Irish literature work in translation. Previous authors who have featured in the event include Sebastian Barry, Sally Rooney, Edna O’Brien and Colm Tóibín. Agnieszka Skolimowska, Counsellor, Head of the Political-Economic Section – Embassy of Poland in Ireland; Professor Michael Cronin, Chair of French 1776, French, Trinity; Kaja Gucio, Polish Translator; Anne Enright; H.E. Dr Habil Laurențiu-Mihai Ștefan, Romanian Ambassador to Ireland, Eithne Bowen, Centre Manager, Trinity Centre for Literary and Cultural Translation. Commenting on the event Marco Gioacchini, President of EUNIC-Ireland and Director of the Instituto Italiano di Cultura di Dublino, said: “The human component in literary translation is something that we should be careful not to forget about. Literary translation plays a vital role in fostering cross-cultural understanding, bridging divides, and shaping the future of the united Europe. Events like this one help to remind us that behind each translation are people working hard to bring readers closer to cultures that are sometimes different and distant. Human beings are needed to do this, to translate ideas and emotions.” Dr James Hadley, Director of Trinity Centre for Literary and Cultural Translation, added: “Our aim is to champion all forms of literary and cultural translation around the world. Very often, in order to do that, we need to help people think about translation in a way they never have before, as an art form and a special skill that does not necessarily come hand in hand with learning another language. These events help us start those conversations in style.” More about the speakers: Anne Enright was born in Dublin, where she now lives and works. She has published three collections of stories, collected as Yesterday’s Weather; one book of non-fiction, Making Babies; seven novels including The Gathering, which was the Irish Novel of the Year and won the Irish Fiction Award and the 2007 Man Booker Prize, The Forgotten Waltz, which was awarded the Andrew Carnegie Medal for Excellence in Fiction, and The Green Road, shortlisted for the Baileys Women’s Prize for Fiction and the International Dublin Literary Award and which won the Kerry Group Irish Fiction Award. From 2015 to 2018, she was the inaugural Laureate for Irish Fiction. Her latest novel, The Wren, The Wren was published by Jonathan Cape and WW Norton & Company in August 2023. Kaja Gucio is a Polish-English translator and interpreter with over twenty years’ experience. She has translated more than 200 journal articles and papers (literature, cultural studies, social science, arts, and history) and over 30 books – fiction, non-fiction and academic publications – both from and into English, including critically acclaimed titles as Maggie Nelson’s The Argonauts, Miriam Teows’ Women Talking, Abdulrazak Gurnah’s By the Sea, Ernest Hemingway’s The Old Man and the Sea and Toni Morrison’s Beloved and The Bluest Eye. She has also translated work by Irish writers including Liz Nugent (Strange Sally Diamond), Louise Kennedy (Trespasses), Paul Lynch (Prophet Song) and Anne Enright. Iulia Gorzo began translating 20 years ago, first as a hobby, after obtaining a bachelor’s degree in psychology. The hobby became a profession and she now translates films and TV shows from English, French and Italian to Romanian and books mainly from English to Romanian. Her favourite translated authors include Cormac McCarthy, Paul Auster, Anthony Doerr, Alice Walker and Frank McCourt. In 2014, she was awarded the “Andrei Bantaș Translation Prize” for the Romanian version of Sabbath’s Theater by Philip Roth. Since 2022 she has been writing about her work in a translator’s diary published by the Romanian cultural platform Scena9. Media Contact: Fiona Tyrrell | Media Relations | tyrrellf@tcd.ie | +353 1 896 3551
"We are delighted to announce the 2024 University of Sheffield French Translation Competition for Year 12 and Year 13 students! About the competition Students of French in Years 12 and 13 in the UK are invited to submit their translation into English of the original short French text below. About the Text Grégoire Bouillier, Le syndrome de l’Orangerie (Flammarion, 2024) On seeing for the first time Claude Monet’s monumental work, Les Nymphéas, at the Orangerie, Grégoire Bouillier is suddenly and profoundly perturbed. Unable to explain this disquieting experience to himself, in the guise of his detective alter-ego, Bmore, he sets off to investigate what triggered his malaise and whatever dark secrets Monet’s work might conceal… The novel is shortlisted for this year’s Prix du Roman Fnac. For a short presentation in French (no subtitles, 3 mins) of the book by Grégoire Bouillier, see here. The source text itself looks deceptively simple at first glance (like Monet’s Waterlilies?) but the translator has to pay particular attention to register, idiom, ‘voice’. Text to Translate C’est drôle. Ou ce n’est pas drôle. Mais l’autre jour, je suis allé au musée de l’Orangerie. (C’était il y a pile une semaine.) C’était la première fois que j’allais voir les Nymphéas de Claude Monet. (Il faut un début à tout.) Cela ne s’était jamais trouvé auparavant. Jamais je n’avais vu les Grands Panneaux de l’Orangerie. Vu de mes yeux vu. Et il s’est passé un truc bizarre. J’ai été pris de vertige, d’angoisse. Je me suis senti terriblement oppressé. Cela a été immédiat. Tout juste si je n’ai pas fait un malaise. Ce n’était pas du tout prévu. Ce n’était pas ce à quoi je m’attendais. Surtout concernant les Nymphéas de Claude Monet. Ce n’est qu’une fois sorti de l’Orangerie, une fois dans la rue et à l’air libre, une fois loin des Nymphéas de Monet, que j’ai commencé à me sentir mieux. Voici que je respirais de nouveau normalement. J’étais redevenu léger. Preuve que si mon angoisse disait quelque chose de moi, elle disait aussi quelque chose des Nymphéas, puisqu’ils en étaient la cause. Disait quoi ? D’où cette angoisse ? Quel lien avec les Nymphéas ? Que cachaient ceux-ci d’angoissant, s’ils cachaient quelque chose d’angoissant ? Était-ce lié à mes examens médicaux ? Car je ne cherche à convaincre personne : je témoigne simplement d’un choc pictural qui m’a moi-même surpris, au point d’aggraver le malaise que j’avais ressenti en me le rendant parfaitement incompréhensible. Que s’était-il passé lors de ma visite à l’Orangerie ? Qu’avais-je vu ? The prize The authors of the ten best entries will be invited to take part in a special Translation Workshop organized by the School of Languages and Cultures at the University of Sheffield, involving academics from the School, MA students in Translation Studies and alumni who work in translation-related fields. The workshop will be held online in January 2025 (date to be confirmed). The authors of the three best entries will additionally each receive a prize of a £25 Amazon voucher. The judges The translations will be read and judged by a panel of experts from the School of Languages and Cultures at the University of Sheffield. How to enter Please translate the text above into English. Please also append a brief note in English (roughly 100 words) describing how you dealt with a particularly intriguing challenge as you translated the text. This note will not be assessed, but we will post a selection of the most illuminating comments anonymously on this website after the winners are announced. Entries must be submitted via the Competition Entry Form. You must complete the form and upload your entry via the link on the form or your entry may not be considered. Entries must be uploaded no later than 11:59pm GMT on Friday 29 November 2024. Translations must be the original work of individual students. Only one entry per student is permitted. Winners will be notified by Monday 16 December 2024. A fair copy of the translation, based on the best entries, will be available on this website in January 2025. We regret that we cannot provide feedback on individual entries. Bonne chance !" #metaglossia_mundus
" "The linguistic diversity gap in AI was a topic of discussion at the 'AI for Global Good' session at the Sustainable Development Impact Meetings 2024. Image: World Economic Forum Digital Editor, World Economic Forum What's the World Economic Forum doing to accelerate action on Emerging Technologies? Explore and monitor how Artificial Intelligence is affecting economies, industries and global issues - The linguistic diversity gap in AI threatens to exclude billions from the digital economy, with most current systems trained on only 100 of the world's 7,000+ languages.
- Emerging initiatives are showcasing the potential of linguistically diverse AI to drive innovation and inclusion.
- The future of AI must be diverse, leaders emphasised at the Sustainable Development Impact Meetings in New York this week.
By 2050, more than a third of the world's youth will be living in Africa. But will they have equal access to participate in the digital economy? Currently, of the top 34 languages used on the internet globally, not one is African. Advances in areas such as natural language processing (NLP), large language models (LLMS), and artificial intelligence (AI) research also continue without adequate representation of African languages. "It's both a challenge and also one of the greatest opportunities,” says Crystal Rugege, Managing Director of the Centre for the Fourth Industrial Revolution Rwanda, while referring to the rich linguistic diversity in the continent and the current inability of AI systems to serve this diversity. "We may not have applications that can interact in 1,400 dialects, but certainly, we should be able to serve the majority of our populations. This market can also become the world's digital workforce, and we should create an enabling environment.” This linguistic divide in AI isn't just an African issue - it's a global challenge with far-reaching implications. Linguistic divide in AI – a deepening problem? There are signs this trend of linguistic concentration around English in AI — despite less than 20% of the global population speaking the language — is deepening: some Generative AI models trained to respond to prompts in other languages now “think” in English. In contrast to this ‘high-resource language’, different ‘low-resource’ or underserved languages are lagging behind due to the lack of quality data sets, tools and techniques that underpin these AI systems. But the challenge of linguistic diversity in AI is not just a technical problem - it's an opportunity to reshape the digital landscape, drive economic growth, and ensure that the benefits of AI are truly global. Left unchecked, it would mean that the groups and nations that are already struggling to take advantage of current AI systems and face additional challenges of inadequate access to internet services, limited computing power, and lack of availability to sectoral training ‘will probably fall further behind’, as Cathy Li, Head of AI, Data and Metaverse at the World Economic Forum, points out. Early efforts to tackle the issue There are emerging use cases globally, from India and North America to African countries, that demonstrate the value of investing in AI's ability to work in diverse languages. In Rwanda, for example, linguistically diverse AI is enabling community health workers to provide services across these divides. Crystal Rugege says the country has about 70,000 such frontline workers who are not conversing in English, and they often discern whether people need more critical care. “We built a translation model that's both voice- and text-based, so they can interact with it and be able to discern if someone has a headache; if someone has a cough.” Using OpenAI’s ChatGPT 4.0, she explains, they’ve managed to reach 71% accuracy in trials of interactions with patients. That means more people are treated for their illnesses because linguistic diversity was a feature, not an afterthought, of this AI application. But an equally important consideration, she says, is having the proper guardrails to make sure the people’s rights are protected and the technology is being used responsibly. ‘Data is the oxygen of AI… [ensuring] people have agency to make decisions over how their data is used is a fundamental principle that must be embedded, but beyond that, also making sure that the policies and laws are put in place to stimulate innovation.” Open-source AI and partnerships offer solutions Speaking at the World Economic Forum’s Sustainable Development Impact Meetings (SDIM) in New York, Yann LeCun, Meta’s Vice President and Chief AI Scientist, pointed to digital healthcare measures emerging in Senegal as another example. “It's difficult to get an appointment with a doctor in Senegal, particularly if you are in rural areas,” he says. But AI-powered platforms like Kera Health, he says, allows people to ‘now talk to an AI assistant for this. But it has to speak Wolof, in addition to French, and three other official languages of Senegal.” There are two main drivers to achieve more progress, LeCun says. First is open-source AI - “What we need is a very simple open infrastructure – think of it as a ‘Wikipedia for AI’ – so you give people the ability to build the systems that are useful for local populations.” Second is partnerships that can drive the change. “For example, there is a partnership between Meta and the government of India so that future versions of the open-source LLM from Meta (called LLaMA) can speak at least all 22 official languages of India and, perhaps, all the hundreds of local languages and dialects.” He also sees the opportunity translating into the physical space, where devices like eye-glasses will be available to provide simultaneous translation between speakers of two different languages. “The future of hardware will be things like smart glasses … which enables interaction between people in their own languages,” he says. “We're starting to have systems that can translate non-written languages … so directly for speech-to-speech, we can do text-to-text, text-to-speech, speech-to-text, and speech-to-speech, including for languages that are not written — of which there are many.” Pascale Fung, a researcher focusing on improving natural language processing for low-resourced or underrepresented languages, says we should aim to build systems that will facilitate communication between low-resource and high-resource language communities. “For large language models, it means collecting additional data in a low-resource language to fine-tune the models so that they perform at the same level as English models.” Towards a 'diverse future' Efforts are underway to facilitate the smooth exchange of data, including linguistic data. The European Commission’s Alliance for Language Technologies (ALT-EDIC), for example, will contribute to addressing the shortage of European languages data for the training of AI solutions and support the development of European large language models. Other nations, such as the United Arab Emirates (UAE), have ‘produced and exported’ new large language models (LLM) like NANDA, that will specifically cater to Hindi-speaking users while making a concerted global push for its open-source LLM ‘Falcon’. “One thing that we are doing as well is working across different geographies trying to see how we can customise Falcon to cater to the needs of these governments that do not have the ability to build their own large model,” says Omar Sultan Al Olama, UAE’s Minister of State for Artificial Intelligence, Digital Economy and Remote Work Applications. The World Economic Forum’s AI Governance Alliance gathers diverse stakeholders and is crucial in building a more equitable and responsible AI ecosystem globally. The Inclusive AI workstream, in particular, prioritises inclusive AI development that respects and considers the needs of all people. It's also developing a framework for public-private cooperation alongside highlighting and promoting AI applications that support people and planet goals. Discover How is the World Economic Forum creating guardrails for Artificial Intelligence? The future needs to be diverse, emphasises Meta’s LeCun. “For the same reason that we need access to a wide diversity of sources of information, from the press to social media, we also need a high diversity of AI systems to cater to all our diverse interests, cultural norms, value systems and languages.”" #metaglossia_mundus
"Harry Teng draws on his upbringing and education across three continents, classical training in translation and interpretation, and a touch of showmanship as he joins the Institute’s localization faculty. New Localization Professor Draws on Both Traditional Translation and Interpretation Training and Corporate Experience For Harry Teng, becoming a localization professor at the Middlebury Institute is coming full circle in a way. He grew up immersed in different cultures, and his first vocation was as a teacher, shifting into translation and interpretation after completing his master’s degree at the Middlebury Institute, then building a career in localization. This fall, he joins the faculty at the Institute, teaching the next generation of students going into the language services industry. What initially sparked your interest in working across languages and cultures? I was born in Taiwan but moved to South Africa with my parents when I was just 10 years old—quite a bit of a cultural change. It was still the apartheid era, and I attended one of the white-only schools. I often felt I didn’t quite belong. What an experience it was to be there at the end of apartheid with Nelson Mandela coming to power. Many people were very hopeful. As apartheid ended and after moving into an international school, I came to deepen my appreciation for the mix of cultures—the Black South African culture that surrounded me, the different European cultures of my classmates, and my own background from Asia. Seeing these different cultures and perspectives interact, sometimes in conflict, helped shape me and my career. Meet Harry Teng An alum of the Institute’s translation and interpretation program, Teng brings two decades of experience to his new role on the localization faculty. Speaking of culture shock, you left South Africa at 19 to go to Middlebury College in Vermont. How do you draw on your liberal arts education? This was pre-internet. I knew I didn’t want to stay in South Africa. I wanted to go out and see the world, and the only resource I had was a book of American colleges and universities. If I remember correctly, Middlebury had quite a few stars, so when they accepted me, off I went. It was a whole new change going to a small liberal arts college in Vermont. I was able to double major in physics and philosophy, which I loved. I think that my liberal arts background and my studies in two fundamental disciplines gave me the foundation to build broad knowledge and the skills to dive deep into a professional field. “Seeing these different cultures and perspectives interact, sometimes in conflict, helped shape me and my career.” — Harry Teng How did you come to work in localization? I went through different career paths—starting out as a teacher, then working in translation and interpretation. I loved using my linguistic skills, so I went to the Middlebury Institute to further hone my expertise in the translation and interpretation graduate degree program. It was the 2009 financial crisis when I graduated, and the first job I managed to lock down was in project management in translation and localization, so I pivoted into the localization management field. What draws you to this role teaching at the Institute? A few years ago, I joined the TLM Mentorship Program. I gained both a mentor and three mentees, and I started to appreciate the value of having all of these different people to talk with about the ways the industry is changing. It reconnected me with the faculty here and rekindled my love of teaching. I think teaching forces one to really test one’s own command of the knowledge. You have to organize your knowledge in a systematic manner in order to present it to somebody who’s relatively new to the field. I like to see when learners have that spark of understanding. “I think teaching forces one to really test one’s own command of the knowledge.” — Harry Teng Also, I think a lot of teachers have a little bit of showmanship and like to be on stage talking to somebody who appreciates what you have to share and have that frank exchange of knowledge and information and ideas. In your localization career, you’ve worked on projects with as many as 40 or 50 languages. What have been some of the biggest or most exciting challenges? A lot of my experience has been on what is known as “the vendor side”; i.e., the providers of language services. Typically, they need to build or deliver something within what is often an unrealistic timeframe. You sit down together, talk it through, and get creative. I once had to push more than 30 videos through localization over the Christmas season when almost everyone was out on vacation. Another time, I had to deliver more than a million source words over a period of two months using only humans, who can translate about 2,000 words a day. These are both difficult tasks, but working as a team, we did it. That sense of accomplishment has been very rewarding. One of the most fun projects I worked on was a card game called Exploding Kittens. It came out of bloggers’ web art and it focuses on crazy cats, wacky images, wordplay, and jokes. The owners of the franchise wanted to launch the card game into five languages, including Chinese. We spent a lot of time looking at the different jokes in English and trying to see how we might translate them into Chinese. For instance, one of the cards is for Taco Cat with the joke that “Taco Cat” is a palindrome. How do you translate that exactly? Basically the whole deck of cards is filled with things like that. Unfortunately, too many jokes were untranslatable with no reasonable equivalents in the target culture, so the whole project was eventually scrapped. It was unfortunate, but it was a lot of fun looking at those crazy images and bad jokes and trying to work out how to translate them to Chinese. What are the key skills that localizers need? You’ve built your career during an era of major change for the translation, interpretation, and localization industries. How do you see the industry continuing to evolve?
Everyone’s talking about AI, of course. It’s a major shift, and we don’t quite know where it’s going. I’m excited to be at the Middlebury Institute right now and to be able to interface with a lot of different movers and shakers from the industry, coming in from a neutral academic background.
Over the past decade, I’ve seen increasing globalization that has led to an increasing commercialization of translation and interpretation, which, unfortunately, has also contributed to its commoditization. With English strengthening its role as a global language, in some ways people are placing less and less value on other languages and other cultures. There’s an attitude that either everyone’s learning English or we have machines and AI that’s going to help us communicate. I appreciate human diversity and find this perspective troubling.
Then I am also amazed at how the public sphere is now is just full of TV shows and movies from other countries compared to how it was in the past. That’s a way that globalization is also leveling the playing field and democratizing the world. Many of us in the industry are frustrated that often the subtitles and dubbing are not as good as they could be. But perhaps without that decrease in quality and therefore decrease in cost, content platforms such as Netflix would never have tried out content from other languages and cultures. It became cheap enough to try, and it turned out to be quite eye-opening for everyone. It’s allowing all these different cultures to bring their creativity to the fore and be economically competitive across the world through streaming platforms. What are you excited about as you start teaching here at the Institute?
I’ve been so impressed with the students I’ve met so far. I’m looking forward to bringing my professional experiences into the classroom and creating spaces for exchange between practitioners in the field and academics. We’re in an exciting period of change for the industry, and I’m feeling hopeful when I see the vision and talent of the next generation of professionals." #metaglossia_mundus
"Jagravi Dave speaks with Khairani Barokka on her poetry collection amuk. They connect tenselessness, translation, and (environmental) rage. by Jagravi Dave · Published September 26, 2024 · Updated September 26, 2024 I had the pleasure of speaking with Khairani Barokka (Okka) over Zoom about her third poetry collection amuk, published by Nine Arches Press. The book mobilizes the mistranslation of the Indonesian word “amuk” to craft a sprawling exploration and indictment of the environmental, cultural, and linguistic violences of colonialism. The formally experimental poems that form this collection bring together different registers and voices, anger and hope, ancestral presences and long histories of the present. Okka graciously shared how she came to focus on this word, the work of poetry and what she calls “linguistic cosmologies,” and what she hopes readers will reflect on after her reading her work. This interview has been edited for length and clarity. Jagravi Dave: To start, is there a poem you would like to share with us? Khairani Barokka: I think I’ll read an excerpt from “amuk”. The book is divided into two parts. The first is “amuk,” a longer poem that is the text of a performance lecture that was commissioned for the Edinburgh Futures Institute’s Climate Futures Initiative. Here it goes: One. Amuk, or what must be felt, or text from a performance lecture to commemorate the official universe-wide recognition of amuk, amok and amuck as separate voices and a past-present-future, or the tail end of a 500-year-old scream and not-one temporal tense. bok mungkin perlu kita jelasin dulu ya. To enter the Indonesian language is a science fictional enterprise. It is a universe of speculative words, gestures, perception. This work is a move to remind ourselves of this, of these chronotypes. Indonesian—not bahasa, which simply means language, but bahasa Indonesia—has no tenses. Thus, all translations into English, where past or present or future must be pinned down, as definite, are both potentially right and always wrong. A reductive tense cannot encapsulate the speculative nature of our language, the science fictional possibilities, destabilizations. And this is, of course, not to mention the other different linguistic cosmologies in the archipelago, over 700 other languages and ways in which neurons enhance possibilities beyond modernity’s fixity, persnickety predilection for pinning down. Linguistic cosmology—how stars move and imprint upon the body. Translations from Bahasa Indonesia as illustration (reminder): kami makan [we eat, we ate, we will eat]; kami kelaparan [we starve, we starved, we will starve]; kami mati [we die, we died, we will die]. The refusal of Indonesian and various Indigenous languages to conform [to have conformed] to temporal orthodoxy is-was-willbe the greatest of wisdoms on the tips of our tongues and limbs kept-keeping-will keep self-protecting in the leaves. The following is the story of how continually ruling factions interact with worlds in which they are [certainly were, most likely will not be] not fully aware of how time passes-passed-willpass in what contexts. Unaware of or resistant to truths regarding what they have contributed-contribute-areheadlongtowards futurecontributing to these timeframes. Centuries that impact bodyminds—human, animal, otherwise—through mitochondrial recall, and retention of affects ancestral that have been-are-willbe brought to bear. Ancestrally, we think (thought) of time within different geometries. A non-linearity, cycles, continuance. Motion passing-passed-willpass steadily past Gregorian decades through Indigenous calendars. This is and was-willbe the story of one such emotion: amuk. And the ways it has been framed, claimed by twisted offspring of variant malevolences. And I’ll stop there, but hopefully that was a teaser into what this book is (was, will be). JD: “Amuk” forms the focal point of your book. How did you come to this particular word as the thing that you want to center your text around? KB: “Amuk” means rage, or to rage, a violent action of some kind. It’s part of my language; growing up, it was like, “Oki amuk”: “I’m throwing a tantrum.” And then, you come to realize, it is the root word for “amok,” which turned into “running amok.” “Amok” itself was defined in English dictionaries as sort of a violent rage, like a murderous rage. When adopted into colonial dictionaries, suddenly it referred to the Natives homicidally attacking people, psychopathologizing Indigenous resistance to slavery. As a translator, an editor of translations, and a mentor of translators, I found it so disturbing when I moved to the U.K. from Indonesia that there’s this practice here and in many Western countries of “bridge translation,” where someone who doesn’t know the language (a Western poet) will work together with someone who does know the language (a Native speaker) and together they will translate the poem. What the Western poet brings is actually editing. Yet in the U.K., it is extremely prevalent for someone to say, “You don’t need to know the language; you can translate.” It is unbelievable to me the power differential there. I myself, as a bilingual person, have had to pay money to be tested on my English proficiency when I’ve been bilingual since the age of three. No other language than English can say, “This is what this word means in this language I don’t understand.” I’ve had a lot of people say to me it’s not a colonial practice, and it’s infuriating. I wanted to take just one word to show how unequal this relationship has been for hundreds of years and how it continues—to the point where in Indonesian dictionaries that false definition [of amuk] is included. People don’t know this history. I’m a poet and I’m a performer and I’m an artist, and I wanted to convey this in a way that people could understand this violence. JD: There’s an ambivalence that we get about anger or rage through this book. On the one hand, it’s the psychopathologizing of anger that turns the Indonesian word “amuk” into “amok” or “amuck.” The English word “amok” signals an anger that has no cause, no justification, and no direction. But then, on the other hand, you talk about this directionlessness of anger as a “tactical triumph.” If there is no direction, if you can’t locate where the anger comes from and where it’s going, there’s a possibility of protection or evasion of capture. Could you talk more about this dual signification of anger? KB: Colonizing dictionaries will never be right, and that is a blessing. But, as you can see from the inclusion of these definitions in Indonesian dictionaries, it’s also so dangerous. So there is, as you say, this duality. The incorrectness offers a space of evasion, a space of ambiguity and intangibility for the colonizing capture of places, people, language, etc. But I think also that it is important to combat the diversion of indigenous languages into something quite evil. I think both need to happen, right? You need the evasion, and you need the front-facing refusal to be defined, to literally be defined incorrectly. JD: amuk is also dealing with environmental genocide and environmental justice. I sense through this book some frustration about contemporary Western climate activism running through these poems, seen perhaps most clearly in that page that repeats, “I love your rage.” What do you hope that readers will understand about advocating for the environment through this book? KB: If it’s okay with you, I’ll read a little bit before that page for some context. This is another excerpt from amuk: Time and again at work, I am complimented on my anger. My last gig before the first lockdown, I was told on a bright stage by a former world leader—having just pointed out that ‘plant trees’ does not include how palm oil trees in plantations built on rainforest ash are poison writ large—‘I love your rage.’ The echo of it throughout continued Indigenous genocide like a valley girl chasing after me: ‘I love your rage. I love your rage. I love your rage. I love your rage.’ That really did happen, and it was a real come-to-Jesus moment for me, a former prime minister saying they love my rage. What does that mean? It is so much about the usage of rage: the loving of rage as performative in Western climate circles, and the tokenizing of Indigenous Peoples, and Black and Brown and Asian peoples, and the flattening of ourselves as people. The, at times, manipulative usage of our rage. Meanwhile, my rage is authentic. It is about the weaponization of rage for the Western gaze. Rage can be commodified and twisted if we’re not careful. Rage can be directionless in a way that is positive, benign, and natural. In English, “run amok” is directionless in a way that is animalic, bestial, lacking in intelligence, whereas even benign rage in the original meaning can be with purpose. Rage is a prayer. It’s asking for something. It’s discontent that your body expresses. With environmental justice movements, rage is often misplaced. There is not rage about horrific environmental destruction that is part of colonial genocide and has been happening nearly everywhere. It is such a weird psychological disconnect. Not understanding Indigenous People as human includes not understanding our rage as valid. What I want people to take from this book is an acceptance of rage in your life in the different forms that it presents itself, and to understand and to rage against the ways that it has been manipulated, disconnected from your body, from your people, from your history, by Western colonial forces, in linguistics, in politics and all these interconnected societal forms. This is an environmental justice book, very clearly. It’s a book about linguistic violence. It’s a book about family. It’s a book about prayer and spirituality. It’s all of these things. And I think that in Western societies, we’re often asked to put ourselves and our emotions in little boxes that don’t contain the complexities and the beauty of our histories and lives. JD: I’d love to hear you talk more about this term “linguistic cosmology” and the idea of Indonesian as a speculative language, and how those things might come together. What does our language allow for or restrict us from? KB: I do think that the beauty of not having tenses is that when you say something, you need to understand your connection to what came before you, what will come after you. You will try to be a good ancestor. You have good ancestors. This land has history. This land is not just the present. This land is what had to be bulldozed to make way for what is there now. This land is evolutionary. Geology is everything, and it’s overwhelming, and it’s universe-level understandings of life, of matter, of the universe. I wanted to take just one word to show how unequal this relationship has been for hundreds of years and how it continues. The Indonesian word “alam” is often translated as “nature.” And it does mean nature, but it also means “the universe,” everything. And in that way, it’s also not a separation. I write about this in the book, how nature isn’t this separate thing from humans. We are part of alam. We are all part of the so-called nature. There is an overdetermination of nature as separate from humans that persists in poetic circles and environmental circles. Featured Image: Cover of the Second Edition Webster’s New International Dictionary. Photo by Waldemar, 2018. Khairani Barokka is a writer, artist, arts consultant, translator, and editor from Jakarta. Okka’s work centers disability justice as anticolonial praxis, environmental justice, and access as translation. She has a Ph.D. by Practice in Visual Cultures from Goldsmiths, University of London. Her books include Indigenous Species (Tilted Axis), Stairs and Whispers: D/deaf and Disabled Poets Write Back (Nine Arches, as co-editor), Rope (Nine Arches), Ultimatum Orangutan (Nine Arches), shortlisted for the 2022 Barbellion Prize, and 2024’s amuk (Nine Arches). Website. Twitter. Contact. Jagravi Dave is a literary studies Ph.D. student in the Department of English at the University of Wisconsin-Madison. Her research constellates postcolonial theories of historiography, ontologies of human and environment, and contemporary experimental literatures." #metaglossia_mundus
September 14, 2024 by Insights Editor Source: TH
Context: The Commission for Scientific and Technical Terminology (CSTT) plays a crucial role in standardizing scientific and technical terminology in Indian languages. - Established in 1961, it aligns with the National Education Policy (NEP) 2020 by promoting technical education, including engineering and medicine, in Indian languages.
- CSTT publishes bilingual, trilingual, and multilingual glossaries, dictionaries, and journals, such as ‘Vigyan Garima Sindhu’ and ‘Gyan Garima Sindhu’.
- The “Shabd” website, launched in March 2024, hosts 322 glossaries with over 18 million headwords across various disciplines like Humanities, Medical Sciences, Engineering, and Agriculture.
The CSTT aims to accelerate its work using AI in the future to promote Indian languages and enhance accessibility." #metaglossia_mundus: https://www.insightsonindia.com/2024/09/14/commission-for-scientific-and-technical-terminology-cstt-2/
A huge thanks to our Negikitsu for requesting this article! We can’t do it without you. All fansub images are used as demonstrative aids; Anime Herald does not condone piracy As many longtime One Piece fans will tell you, the English language release of the money-printing, global megahit series had a bumpy start. By the time Funimation got the English language rights to One Piece in 2007, the anime had been airing in Japan for nearly eight years and had recently surpassed 300 episodes. It was the backlog to end all backlogs. And, prior to Funimation, the English language rights to One Piece were bafflingly owned by 4Kids Entertainment. While today their heavily butchered version of One Piece has achieved “so bad it’s good” status, at the time it was hard to see it as anything less than a total disgrace to its source material. So if you wanted to watch One Piece in all its violent, uncensored glory (and why wouldn’t you?) odds are that you almost certainly watched the series with the help of Kaizoku Fansubs (KF), by far the most prominent One Piece fansubbing group in the days before Funimation acquired its license. If you were to go back and watch any of the roughly 300 episodes of KF’s One Piece, probably the first thing you’d notice about it is that the group left a lot of untranslated Japanese words in their translation. When people were doing things like, say, lifting heavy objects, it wasn’t unusual to hear them say something like, “Yosha” as they did so. And the Straw Hat pirates weren’t a crew, but they were nakama. But, for as much as this stands out today, peppering English translations with Japanese words was very much the norm for fansubbing groups of the 2000s, which one could easily argue was the golden age of the fansub. At the time, official anime releases were still slow and expensive, and official simulcasts weren’t yet a thing, but internet usage—and by extension of that, digital piracy—was on the rise. So while boku would think it’d be sugoi if you could keep a kawaii pin in that for now, for the time being, let’s get back to One Piece. Despite the expectations many anime fans in the west likely would’ve had during the 2000s, as many fans attribute 4Kids’ adaptation as a major factor in the slow growth of the series in North America, One Piece’s popularity would soar—even in the west—in the following years. And whether this continually growing number of One Piece fans discovered the title via KF (whether it was the subs themselves or their website, which had a robust One Piece-centric forum); noticed KF when going through older One Piece episodes, discussions, clips, fan materials, etc.; or simply talked with other One Piece fans who did, the reality remained that KF was so pervasive in the English language fan community for so long that their influence couldn’t help but linger. Their legacy would live on even after they slowly dissolved throughout the late 2000s and early 2010s. And while there are plenty of other places you can still find it today (when people call the villain of the Skypiea arc “Enel” rather than “Eneru” for example), nowhere is the ghost of KF more visible than the continued usage of the word “nakama” in One Piece fan circles. The word continues to be so prevalent that even Netflix utilized it in their marketing for their live-action One Piece series in 2023. The complete history of fansubs is a long and complicated one that’ll completely derail this article. But, for the sake of the topic at hand, what you need to know is the following: when anime fandoms started emerging in the west, translations of the series they were interested in weren’t always available—officially or otherwise. At first, this resulted in fans like Robert Fenelon trying to explain/narrate what they thought was happening in certain shows/movies to an audience, as they all watched these shows/movies together. Others, like C. Sue Shambaugh, sent out photocopies of their translations. But soon, aided by the increased availability and accessibility of the VCR, subtitles made by fans—fansubbing—moved on to the scene. The disc, and especially the increased widespread usage of the internet (to say nothing of the massive boost in popularity anime got in the west during the ‘90s), further increased the prominence of fansubs in later years. But why were fansubs so prominent in the past, and barely existent today? Simply put, it’s because fansubs were born from a necessity. Oftentimes, fans didn’t have the means to watch anime that wasn’t being sold at their local video store without them. To be frank, that necessity no longer exists in the world today. The anime industry is larger than ever. Today, plenty of new series get licensed before they even start airing. And official, English language translations—and increasingly often, even dubs—are released at breakneck speeds. The streaming ecosystem is dysfunctional in more ways than I can list without swerving completely off-topic—especially in regards to anime—but even so, anime has become a massive part of the streaming landscape. Anime has never been as accessible to as many people as it is today. The reality we occupy stands in sharp contrast to that of even twenty years ago, when official anime releases were slow and, unless they were airing on TV, expensive. For more detail on the history of fansubs, I recommend professional translator and former fan translator Sarah Moon’s video essay For Fans, BY Fans | Anime in the West (which, full disclosure, yours truly also made a brief segment for), the first segment of which is about the history of fansubs and how anime was watched in English. So, it’s definitely jarring and worthy of a double take to see the word “nakama” used in marketing by a giant corporation. But it also isn’t entirely unpredictable—let alone, well, alone. In fact, in 2024, you could write a fairly long list of other such words and phrases that have similarly entered the collective vocabulary of English-language anime fans. And a number of terms from that list have become well known enough to have also made it into marketing, not to mention official subs and dubs. Moreover, several of these words and phrases have earned the bluntest signifier that they’ve truly permeated and taken hold: acceptance and usage in non-anime fan communities. To list just a few of the more prominent examples of such words and phrases, this includes, but certainly isn’t limited to: senpai; shinigami; tsundere; bento; and the usage of Japanese honorifics even when everything else is English language. The word “shinigami,” in particular, is an interesting case study in what I’m referring to. In a nutshell, a shinigami is a Japanese god of death. Among plenty of other anime, they’re regularly brought up in Bleach and Death Note. But there’s a good chance you already knew exactly what a shinigami was without my having to tell you, because there’s a good chance you learned that from Death Note. In addition to being one of the most popular anime of all time (as of the time of writing, it’s the second most popular anime on MyAnimeList), its official dub—which first aired on US TV in 2007—refers to the shinigami as, well, shinigami. Fansubs had used “shinigami” for years, even before Death Note. Professional translator and former fan translator Sarah Moon, for example, heavily utilized “shinigami” in her 2001 fan translation for Descendants of Darkness (an excerpt of which is pictured below). “I think, frankly, I just did that because it sounded cool,” says Moon about why she left the word shinigami as shinigami, “Like, I just thought it sounded really cool.” But in official releases, the plain use of the word “shinigami” wasn’t nearly so normalized. For example, the official release of Bleach, which started airing in the US in 2006, refers to “shinigami” as “soul reapers.” What factors, specifically, led to the choice for leaving the word “shinigami” as-is in Death Note’s official English language release—especially the question of whether or not it had anything to do with the usage of the term in fansubs (for Death Note or otherwise)—could be a deeply interesting question for anyone who was involved in its translation/dubbing process. Per veteran anime translator and former fan translator Katrina Leonoudakis, most of the words that have lingered in anime fan communities are loan words—words that don’t readily have an English language equivalent such as “sushi” or “tsunami”, so they were simply used as-is. She further elaborated that such words were often used in fan translations due to a common misconception (especially among monolinguals) that translation is about finding a one-to-one matching of words, rather than a matching of ideas through words—a misconception that translation is a science, rather than an art. The trend, therefore, was to simply not translate these loan words. And because this was so normalized, communities decided over time which loan words were cool, and which ones were cringe. On the topic of cringe, there’s another element with a seat at this table, and that’s the zeal of younger anime fans—which can often come off to other (less fun) people as cringy. Despite the Wall Street Journal acting as though this is a relatively new phenomenon, anyone who was a teenager and an anime fan in the ‘90s or 2000s knows that, while this probably isn’t as common today (and please correct me if I’m wrong, it’s been a long time since I’ve been a middle schooler), there was a considerable patch of time where young anime fans loved to sprinkle Japanese words intermittently throughout their otherwise English sentences, thereby promoting the use of these loan words and, by extension of that, anime. Moon told Anime Herald that in-group lingo—such as loan words in anime—can make the experience of watching anime feel more special, and can make anime-watchers as a group feel more unified. It’s hardly a shock, therefore, why this mixing of languages in sentences has been so prominent, especially for younger anime fans during a time where anime was a niche hobby. But not necessarily every fansub-ism that’s stuck around is a loan word. There are, for example, a number of legacy terms that fit this bill, as well as English-language phrases that saw recurring use in fansubs, but generally speaking aren’t widely (if at all) used, otherwise. Starting with the former, for better or for worse, Higurashi When They Cry’s “Nii-nii” stands out as, without question, the most obvious example of this. Based on Ryukishi07’s horror visual novel series of the same name, the first Higurashi anime originally aired in Japan in Spring 2006. Geneon’s English-language release of the series shipped to retailers in June 2007. Additionally, the series was fansubbed by a number of different groups. There’s a specific character in the series, Satoko Houjou, who has an older brother named Satoshi. Without delving into spoilery territory, what you need to know about them is that Satoko refers to Satoshi as her “nii-nii”—a childish way of saying “onii-san,” which means “older brother.” Even if you’ve only watched a few anime in Japanese, there’s a good chance you’ve heard characters say “onii-san” several times—it was then, and still is today, one of the more commonly known Japanese words among English language viewers. If, in the mid/late 2000s, someone was into anime enough to be watching a niche title like Higurashi, odds are good that they were already familiar with what “onii-san” means, and can therefore easily infer what “nii-nii” means. Ipso facto, it was fine to leave “nii-nii” as “nii-nii.” And while it’s to be expected that fansubbers reached this conclusion and left the term as-is, Geneon’s decision to also use it is more striking, and solidified “nii-nii”’s status as a legacy term. For reference, a legacy term is a specific way of translating (or in the case of “nii-nii,” not translating) certain recurring words and phrases in a series, especially in previous versions and translations of it that’ve become embedded into the series’ fandom, and therefore also get used later if the need arises. For example, if a work gets a new piece of media after a while, if a new translator takes over an existing project, and so on. Fast forward to 2020 and 2021, with the releases of Higurashi Gou and Higurashi Sotsu—the first new Higurashi anime to air in nearly a decade. Despite their rough track record with Higurashi, Funimation acquired the rights to these series. And in charge of the translation was none other than Katrina Leonoudakis. “It was a vestige of an older age of not translating words like onii-chan—we just don’t do that anymore, and most translation style guides at anime companies like Crunchyroll say to translate or work around them,” said Leonoudakis, “But because the word is specifically called out in dialogue, it has to be translated in a kiddish way. I could have left it as is since it was legacy, but I chose to update it because I thought hardcore fans wouldn’t care.” And thus, Satoshi became Satoko’s big brudder. And while this is a good translation of nii-nii—which is to say, this is a childish way to say “big brother”—not everyone was happy with this, to say it lightly. Leonoudakis received a lot of backlash and harassment over this translation choice. And reading through many of the criticisms she received, a common thread is that of the people who didn’t seem like they were harassing her for the sake of feeling like they had an excuse to harass a translator (and to be clear: despite what they believed, they didn’t), they seemed upset at the fact that it just wasn’t nii-nii. Whether you watched the original Higurashi anime by way of fansubs or Geneon, Satoshi has never not been Satoko’s nii-nii. The translation itself wasn’t wrong in the strictest sense, but it still felt off. Ultimately, Leonoudakis came to realize that nii-nii is a legacy term, and as such, it should’ve been left alone from the start. Per Leonoudakis’ request, the subs were soon changed to reflect that—or at least, they were on Funimation/Crunchyroll. As of time of writing (and unbeknownst to Leonoudakis until I was writing this) the subs still say “Big Brudder” on Hulu. “The fix should have been applied by Funimation back when it was active, but they must have missed it on the other platform. With Funimation now absorbed into Crunchyroll, it’s doubtful that fix will ever make it to Hulu,” she told Anime Herald, “The ghost of my bad decision will haunt me forever, it seems.” Nowadays, Leonoudakis looks back on this episode of her life as a learning experience—in particular about legacy terms and audiences. “I think I got a little bit carried away thinking like, ‘oh, new people will be watching this,’” Leonoudakis says about the matter, “When in reality this is like the 6th fucking season of Higurashi, no one’s fucking watching it except for us [people who were already fans of Higurashi]. So the language has to be made for us.” As for English phrases that fansubbers leaned heavily on, arguably the most prominent examples of this are phrases that several anime fans will find familiar such as, “I won’t forgive you”, “[Person A] confessed to [Person B]”, and “it can’t be helped.” These phrases don’t usually feel terribly natural to say in English, and as translations, can charitably be described as stiff. Nonetheless, whether because it was the best they could do at the time, or because they saw everyone else using these phrases so they assumed they worked just fine/that fans expected to see these phrases, many fan translators—often amateurs at the time (a number of them would go on to become professionals and are still in the industry today)—utilized these phrases often enough that they’ve endured, despite not always being strong translations. The frequent translation of “許さない” (yurusanai) as “I won’t forgive you,” in particular, strikes a nerve for Moon and Leonoudakis. “[“許さない” (yurusanai)] doesn’t always mean ‘I won’t forgive you’ because forgiveness is for something that someone has already done wrong, whereas “許す” (yurusu) is more like, it could be permitting someone to do something that they have not done yet, verses forgiving someone for something that they have done,” says Moon, “So, you shouldn’t always translate it as, ‘I’m not gonna forgive you’ or ‘that’s unforgivable.’” Leonoudakis agreed that many fansubbers didn’t seem to understand the nuance of what “許さない” (yurusanai) means—or perhaps more specifically, what it doesn’t mean—and she therefore doesn’t consider it to be a lingering fansub-ism in the same class as, say, loan words. On one hand, the continued use of these fansub-isms has the potential to alienate and confuse people who are either new to anime entirely, or whose interest in anime is more casual. And in a media landscape where anime is mainstream enough that Luffy can be in the Macy’s Thanksgiving Parade and Goku is on Reese’s Puffs cereal, this audience is worth taking into consideration, especially for titles more likely to reach them. On the other, there’s something to be said about how in a series where a translator/licensor/distributor/anyone else involved in a series’ English language release can reasonably expect an audience to be familiar with certain terms—probably series on the more niche side, and/or older series—using them can make life easier and help to more simply get across ideas that might otherwise require more time, energy, keikaku-ing1, and precious on-screen real estate to communicate. The continued usage of these fansub-isms, in other words, is neither an inherently good or bad thing. Instead, they’ve become more akin to a tool that can be used case-by-case, based on its potential usefulness. Or if you prefer, they’re a subtle nod at a formative era of fandom history. #metaglossia_mundus: https://www.animeherald.com/2024/09/14/fan-subs-that-fan-stuck-how-anime-fans-embraced-fansub-terminology/
13 September 2024 During an interreligious meeting with young people at Singapore’s Catholic Junior College, on Friday, 13 September, Pope Francis urged them to work toward unity, to become responsible citizens, and to pass down what they have learned to future generations. Some 600 participants from more than 50 schools and interfaith and religious organisations attended the event. This was Pope Francis’ final event before his departure from Asia to Rome after his four-nation 45th Apostolic Journey abroad, which also brought him to Indonesia, Papua New Guinea, and Timor-Leste. The following is the English text of the Holy Father’s words. Thank you very much for your words! Three things that you said struck me: “armchair critics,” “comfort zone,” and “technology” — the duty to use it but also the risks involved. This is the speech that I had prepared, but now I will speak [spontaneously]! Young people are courageous and like to seek the truth but they have to be careful not to become what you referred to as “armchair critics” with endless words. A young person must be a critical thinker, and it is not good never to be critical. But you must be constructive in criticism, because there is a destructive criticism, which only makes a lot of complaints but does not offer a new way forward. I ask all young people, each of you: are you critical thinkers? Do you have the courage to criticize but also the courage to let others criticize you? Because, if you criticize, then someone else will criticize you. This is sincere dialogue between young people. Young people must have the courage to build, to move forward and go out of their “comfort zones”. A young person who chooses always to spend his or her time in “comfort” is a young person who becomes fat! Not fatter in body, but fatter in mind! That is why I say to young people, “Take risks, go out! Do not be afraid!”. Fear is a dictatorial attitude that paralyzes you. It is true that young people often make mistakes, many mistakes, and it would be good if each one of us – if each of you — could think about how many times you have made mistakes. We make mistakes because we started walking and we make mistakes on the journey. This is normal; the important thing to realize is that you have made mistakes. Let us see who can answer my question: What is worse, making a mistake because I started to walk or not making a mistake because I stayed at home? Everyone, the latter! A young person who does not take risks, who is afraid of making mistakes, is already old! Do you understand this? You have also talked about the media. Today there are so many options, so many possibilities for using the media, cell phone, or television. I would like to ask you: is it good to use media or is it not good? Let us think about this. What is a young person who does not use media like? He or she is closed. What about young people who live totally enslaved to the media, what are they like? They are lost. All young people should use the media, but in a manner that can help us move forward, not in a way that can enslave us. Understood? Do you agree or disagree? One of the things that has impressed me most about the young people here is your capacity for interfaith dialogue. This is very important because if you start arguing, “My religion is more important than yours...,” or “Mine is the true one, yours is not true....,” where does this lead? Somebody answer. [A young person answers, “Destruction”.] That is correct. Religions are seen as paths trying to reach God. I will use an analogy, they are like different languages that express the divine. But God is for everyone, and therefore, we are all God’s children. “But my God is more important than yours!”. Is this true? There is only one God, and religions are like languages that try to express ways to approach God. Some Sikh, some Muslim, some Hindu, some Christian. Understood? Yet, interfaith dialogue among young people takes courage. The age of youth is the age of courage, but you can misuse this courage to do things that will not help you. Instead, you should have courage to move forward and to dialogue. One thing that helps a lot with dialogue is respect. I will tell you one thing. I don’t know if it happens here, in this city, but in other cities it happens that among young people something bad occurs: bullying. I ask you: who is the bravest to tell me what they think about bullying? [Some young people respond] Thank you! Everyone has provided a definition of bullying but with a different aspect. Whether it is verbal or physical bullying, it is always an aggression. Always. Just think about what happens in schools or children’s groups: bullying targets those who are weaker. For example, a disabled boy or girl. Instead, we saw here this beautiful dance with disabled children! Each one of us has our own abilities and limitations. Do we all have abilities? [Answer: “Yes!”] Do we all have some limitations? [Answer: “Yes!”] Even the Pope? Yes, all, all! As we have our limitations, we must respect the disabilities of others. Do you agree? This is important. Why do I say this? Because overcoming these things helps in your interfaith dialogue since it is built upon respect for others. This is very important. Any further questions? No? I want to thank you and repeat what Raaj told us: to do everything we can so as to maintain a courageous attitude and promote a space where young people can go and dialogue. This is because your dialogue is one that creates a path, and that leads the way forward. If you dialogue as young people, you will also dialogue as adults; you will dialogue as citizens, and as politicians. I would like to tell you something about history: with every dictatorship in history, the first thing it does is to cut off dialogue. I thank you for these questions, and I am glad to meet you young people, to meet these brave, almost “shameless ones,” you are good! My wish is that all of you young people will go forward with hope, and not go backwards! Take risks! Otherwise, you will grow “fatter”! God bless you and pray for me, I do for you. And now, in silence, let us pray for each other. In silence. May God bless all of us. In the future, when you are no longer young, but you are elderly and grandparents, teach all these things to your children. God bless you and pray for me, don’t forget! But pray for, not against! #metaglossia_mundus
"The foreign language requirement is necessary for students. In addition to learning a new language, it exposes students to different cultures and international events. September 11, 2024 For those of us who are not a foreign language or linguistics major, being forced to take language classes up to the 2030 — intermediate—level may be frustrating. Personally, I found it hard to stay motivated amidst scrambling to do work from five other classes. However, in retrospect, I realized that learning another language encourages us to be more well-rounded and better global citizens, which are beneficial characteristics in the contemporary world. In today’s heavily interconnected society, international events ripple outwards. It is impossible to be wholly unaffected by something, even if it happens across the globe. It is critical that students broaden their horizons and expand their understanding of different cultures and global affairs. Tulane’s School of Liberal Arts understands the importance of global citizenship and asserts that students should strive to “achieve real proficiency in a foreign language” through taking the equivalent of three years of language courses. This goal may be ambitious, especially when most students are not majoring in foreign languages. Nevertheless, these courses offer students exposure to other cultures and international issues, in addition to learning a second or third language. Students may not have the opportunity to learn about other parts of the world in depth and discuss international affairs without language courses. Additionally, learning languages is a massive lifelong asset. In today’s globalized world, international business is becoming more and more prevalent. The likelihood of doing work or transactions with people from another country is higher than ever. Thus, having the skill to converse in another language in your toolbelt is greatly beneficial in the professional world. Foreign language has more uses beyond work, and proficiency is not necessary to make use of it. Taking a year or two of French, for example, can make traveling or living in a French-speaking country a lot easier, as there would be a linguistic foundation established. Students are also given a different perspective on culture and the world, allowing them to consider more facets of an issue. Solely being immersed in American culture and principles is constraining in thought and prevents outside-the-box thinking. Gun policy, for example, is an issue where international perspectives can offer insight into solutions. Instead of being stuck arguing back and forth about constitutional rights versus saving lives, lawmakers can look towards how similar countries to the U.S. approach gun regulation and draw from what works. Breaking from a nationalist and isolationist view and adopting global perspectives is critical not only to improving professionalism and policy but building greater respect and tolerance for other cultures. One step towards combating prejudice and racism is to be more aware and more appreciative of other cultures’ contributions and traditions. As annoying as it might seem to spend nights doing VHL, the process of foreign languages inadvertently shapes us into better human beings and prepares us for problems in the contemporary world. We have language requirements to thank for that." #metaglossia_mundus: https://tulanehullabaloo.com/66764/uncategorized/opinion-foreign-language-requirement-creates-better-global-citizens/
Les accents régionaux français sont le reflet des langues locales historiques, comme l’occitan ou le francoprovençal. Mais pourquoi sont-ils différents ? Saint-Étienne, Genève : ces accents qui mangent les voyelles Diffusion du 12 septembre 2024 Les accents régionaux en France sont le reflet des langues historiques qui étaient parlées localement avant le français. Par exemple, les accents méridionaux trouvent leur origine dans l’occitan, tandis que l’accent de Saint-Étienne provient du francoprovençal. Lorsque les locuteurs de ces langues sont passés au français, ils ont conservé des particularités de prononciation. Chaque région a développé des variantes de ces accents en fonction de son histoire linguistique et de ses influences locales, comme les différences entre le francoprovençal parlé en Rhône-Alpes et en Suisse. Les accents, héritage des langues régionales Les accents régionaux résultent souvent des langues locales qui étaient parlées avant l’imposition du français. Ainsi, l’accent méridional s’explique par l’usage de l’occitan, tandis que l’accent stéphanois provient du francoprovençal. Ces accents ont persisté car, en apprenant le français, les locuteurs des langues régionales ont conservé certaines prononciations de leurs langues d’origine. Ce phénomène est comparable à l’apprentissage tardif d’une langue étrangère : on conserve souvent l’accent de sa langue maternelle. Variations locales et influences croisées Dans une même zone linguistique, comme celle du francoprovençal, l’accent varie selon les régions. Par exemple, à Saint-Étienne, l’accent est influencé par les voyelles des patois occitans de la Haute-Loire. Ces variations s’expliquent par des différences historiques dans la manière de parler le francoprovençal en fonction de la localité. Pourtant, des similitudes subsistent, comme la tendance à "manger" les voyelles : à Genève, on dit "G’nève" et à Saint-Étienne, "p’ter" pour "péter".
"...Cette phase, qui se déroulera sous la forme d'un Concours de traduction en langues africaines du substrat de la Recommandation de l'UNESCO sur l'éthique de lIA, s'inscrit méthodologiquement dans l'esprit et la lettre de cette Recommandation. Présidant la cérémonie de lancement de ce concours, le Professeur Lazare Poamé, Titulaire de la Chaire UNESCO de Bioéthique, a dévoilé les langues retenues pour l'édition 2024. Il s'agit de quatre langues ivoiriennes, le Baoulé, le Bété, le Malinké et le Sénoufo. Il a souligné la nécessité de rendre accessibles aux populations locales les concepts clés de lIA et son champ axiologique. « L'objectif principal de ce Concours est de vulgariser les valeurs et principes de la Recommandation de l'UNESCO sur l'éthique de lIA et den favoriser l'appropriation mentale, culturelle et linguistique par les populations », a-t-il déclaré. Toute personne parlant lune des langues du Concours et ayant au moins le Baccalauréat peut y participer et sans contribution financière. Les inscriptions sont ouvertes sur le site de la Chaire UNESCO de Bioéthique, www.chaireunescobioethique.org à partir du 14 septembre 2024. Le Professeur Lazare Poamé a rappelé que cette initiative est inspirée de ce qu'il a appelé avec Simondon l'hystérésis culturelle : « c'est le retard de la culture sur le phénomène technique dont l'évolution, extrêmement rapide, prend souvent de court nos us et coutumes. Ce retard est particulièrement grand en Afrique où la plupart des langues locales n'intègrent pas dans leur champ lexical et même cognitif les concepts et outils qui structurent la dynamique du technocosme ». Cette initiative a reçu le soutien de personnalités comme L'Ambassadeur Ramata Bakayoko-Ly et ses collaborateurs de la Délégation permanente de la Côte d'Ivoire à l'UNESCO Paris, le Président de l'UAO, le Professeur Koffi Kouakou et le Secrétaire général de la Commission nationale ivoirienne pour l'UNESCO, le Dr MC Ngolo Soro qu'il a chaleureusement remerciées. Le Professeur Lazare Poamé a profité de l'occasion pour adresser ses remerciements à toutes les autorités administratives et académiques qui ont répondu, dans l'urgence, à l'appel scientifique de la Chaire UNESCO de Bioéthique, en marquant de leur présence cet événement. Il a également remercié la Chaire UNESCO Eau, Femme et Pouvoir de Décisions domiciliée à l'Université Félix Houphouët-Boigny, avec pour Titulaire la Ministre Euphrasie Yao, ainsi que la Chaire UNESCO Anticipation, Prospective et Territoires durables, dont le Titulaire est le Professeur Sylvestre Kouassi de l'Université Alassane Ouattara. Le Professeur Roger Tro Dého, représentant le Président de l'Université Alassane Ouattara (UAO), a exprimé son soutien à cette initiative de la Chaire. Le Professeur Grégoire Traoré, Directeur du Département de Philosophie de l'UAO et Responsable de la Coopération à la Chaire, a présenté les axes du Concours. Quant au Professeur Kouassi Marcel, Responsable de la Formation à la Chaire, il a détaillé la composition des jurys. Ce Concours, ouvert du 14 septembre au 14 décembre 2024, récompensera les meilleurs traducteurs de chaque langue avec un prix de 500 000 FCFA. Le Dr MC Faloukou Dosso, Responsable Adjoint de la Coopération à la Chaire, a expliqué que l'objectif est de promouvoir une meilleure compréhension de lIA et d'encourager son utilisation éthique. Pour les prochaines éditions, d'autres langues ivoiriennes telles que l'Abron, lAbbey, l'Adjoukrou, l'Agni, l'Attié, le Dida, le Djimini, le Gagou, le Godié, le Gouro, le Guéré, le Koulango, le Koyaka, le Lobi, le Néo, le Yacouba ont été identifiées.
"« La langue bretonne est tout autour de nous. Sur les noms de villes, de familles, de lieux… », confie Alexandre Perenon, nouvel instructeur à Ti Ar Vro, la fédération d’associations qui promeut et développe la langue et culture bretonne sur le territoire. Né à Lyon, résidant en Bretagne depuis les années 2000, Alexandre Perenon a suivi les traces de sa compagne qui a suivi des cours du soir en breton ». À 40 ans, le nouvel arrivant décide d’apprendre le breton. Ce dernier a suivi « une formation de six mois puis de trois mois au centre de formation Stumdi ». « J’ai passé mon diplôme de compétences en langues. Aujourd’hui, je suis ravi de pouvoir transmettre la culture bretonne », confie Alexandre Perenon. Polyglotte grâce à ses nombreux lieux de vie, l’ancien gestionnaire parle le basque, le créole, le japonais et le chinois, qu’il ne pratique plus depuis vingt ans. Faire vivre le breton À mi-temps à Ti ar Vro, j’aspire à travailler en breton à plein temps. En milieu associatif, scolaire ou en entreprise , souligne le nouveau venu. Il veut donner envie aux intéressés de se lancer dans l’apprentissage de la langue bretonne : « Ici on fera de l’initiation ou un peu plus selon le niveau mais on parlera aussi histoire, géographique, culture ou musique bretonne.Le breton c’est vraiment une culture à part. C’est une langue qui évolue, une langue vivante . Si les cours du soir existaient auparavant, ils étaient dispensés par des bénévoles. Mais, « l’offre se professionnalise et on veut la développer »,souligne le nouveau professeur. Cours de 30 séances d’une heure trente par semaine. 150 € + 15 € d’inscriptions. Cours en soirée à Landerneau et au Tréhou. Renseignements sur tiarvrolanderneaudaoulaz.bzh. Tel. 09 73 65 35 24." #metaglossia_mundus
"Mireille Huchon: «Ronsard a voulu faire du français l'égal des langues grecque et latine» Par Dorian Grelier Publié le 11/09/2024 à 07:00, Mis à jour le 11/09/2024 à 11:17ENTRETIEN - Dans sa volonté première d'innovation, le chef de file de La Pléiade a été accusé d'audace dans la création de mots, d'obscurité, ou encore d’archaïsme. Pour ses 500 ans, Mireille Huchon* explique comment Ronsard a été remis au goût du jour et ce qu’il nous reste de sa langue. «La Poésie n'était au premier âge qu'une Théologie allégorique, pour faire entrer au cerveau des hommes grossiers par fables plaisantes et colorées les secrets qu'ils ne pouvaient comprendre», lit-on dans l’Abrégé de l'art poëtique françois (1565) de Ronsard (1524-1585). Avec le chef de file de la Pléiade s'affirme l'idée qu’elle est un gage d'immortalité. Aussi lui doit-on une révolution poétique française qui, acclimatant à la langue tous les genres et formes de l’Antiquité, fait date. Que nous reste-t-il de la langue du prince des Poètes ? *Mireille Huchon est professeur émérite à la Sorbonne, membre honoraire de l'Institut universitaire de France et éditrice de La Pléiade dans la Bibliothèque de la Pléiade . LE FIGARO. - En quoi Ronsard a-t-il rompu avec les codes poétiques de son époque ? Mireille HUCHON. - Ronsard est célèbre pour avoir introduit en français des formes poétiques à l'imitation de l'Antiquité, telles les odes de Pindare..." #metaglossia_mundus: https://www.lefigaro.fr/langue-francaise/actu-des-mots/mireille-huchon-ronsard-a-voulu-faire-du-francais-l-egal-des-langues-grecque-et-latine-20240911
Published on September 11, 2024 In today's interconnected world, the ability to communicate across language barriers is more crucial than ever. For content creators, marketers, and businesses looking to expand their global reach, AI video translation tools have become invaluable assets. These cutting-edge technologies are revolutionizing the way we localize and distribute video content, making it possible to engage audiences worldwide with unprecedented ease and efficiency. In this comprehensive guide, we'll explore the top AI video translation tools that are transforming the landscape of global content creation. From preserving the original speaker's voice to generating accurate subtitles in multiple languages, these platforms offer a range of features designed to streamline the video localization process and help you connect with diverse audiences around the globe. How to Translate Videos FREE With Vidnoz AI Video Translator in 1 Click Vidnoz AI stands out as a powerful online tool that leverages artificial intelligence to break down language barriers in video content. Supporting an impressive array of over 140 languages, Vidnoz AI enables users to translate their videos while maintaining the authentic speaking style and emotions of the original speaker. Vidnoz AI's intuitive interface allows users to upload their video, select the target language, and let the AI handle the rest. Within minutes, you'll have a professionally translated video complete with accurate subtitles, voice-overs, and lip-syncing. The platform offers a free plan for up to 4 minutes of video translation per month, making it accessible to users of all levels. Key features of Vidnoz AI include: - Multilingual translation support for over 140 languages
- AI voice cloning to preserve the original speaker's tone and emotions
- Automatic subtitle generation in target languages
- Lip-sync dubbing for a seamless viewing experience
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Visit Vidnoz → HeyGen is at the forefront of AI video translation, offering a sophisticated platform that enables users to translate their content into multiple languages while preserving the original speaker's voice and emotions. By harnessing advanced technologies such as voice cloning, machine translation, and lip-syncing, HeyGen delivers high-quality dubbed videos that look and sound natural. HeyGen's capabilities make it an excellent choice for various industries, including education, marketing, entertainment, and personal communication. Whether you're creating multilingual educational content, localizing marketing videos, or sharing personal messages across language barriers, HeyGen provides the tools to transcend linguistic boundaries and foster global connections. Notable features of HeyGen include: - Support for over 40 languages, including major global languages
- Advanced voice cloning technology for authentic-sounding translations
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Visit HeyGen → Rask AI emerges as a leading AI-powered video translation and dubbing platform, offering users the ability to localize their video content into over 130 languages. By leveraging advanced artificial intelligence technologies, Rask AI delivers high-quality translations and natural-sounding dubbed videos that retain the original speaker's voice, tone, and emotions. Rask AI's user-friendly interface allows for easy video uploading and language selection, while its intelligent algorithms automatically generate accurate translations, subtitles, and dubbed audio tracks. This streamlined process saves users significant time and resources compared to traditional manual translation methods. With applications across various industries, including e-learning, entertainment, marketing, and corporate communications, Rask AI simplifies the process of overcoming language barriers and connecting with global audiences. Key features of Rask AI include: - Support for over 130 languages, covering a vast array of global languages and dialects
- Voice cloning technology to preserve the original speaker's characteristics
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Visit Rask → Fliki Video Translator stands out as a cutting-edge AI tool that enables users to translate video content into over 80 languages with remarkable ease. Fliki delivers high-quality translations and natural-sounding voiceovers, making your videos accessible to a global audience. Fliki's user-friendly interface allows content creators, educators, marketers, and businesses to easily localize their videos without any technical expertise. The platform automatically generates accurate translations, subtitles, and dubbed audio tracks, significantly reducing the time and resources required compared to traditional manual translation methods. Key features of Fliki include: - Support for over 80 languages and 100+ dialects
- Access to 2000+ ultra-realistic AI voices for natural-sounding narration
- Automatic subtitle generation in target languages
- Customization options for editing translations and adjusting dubbed audio
- Voice cloning capabilities for replicating unique voices or creating character voices
Visit Fliki → ElevenLabs offers an impressive AI video translation and dubbing platform that enables users to localize their video content into over 30 languages while maintaining the original speaker's voice, tone, and emotions. The platform delivers high-quality translations and natural-sounding dubbed videos that retain the authenticity of the original content. ElevenLabs' user-friendly interface allows for easy video uploading and language selection, while its AI algorithms automatically generate accurate translations, subtitles, and dubbed audio tracks. This streamlined process saves users significant time and resources compared to traditional manual translation methods. The platform's customization options, such as the ability to edit translations and fine-tune dubbing, ensure that the final product meets the specific needs of each user. Key features of ElevenLabs include: - Support for over 30 languages, catering to a wide range of global audiences
- Advanced voice cloning technology to preserve the original speaker's characteristics
- Automatic subtitle generation for improved accessibility
- AI-driven lip-sync dubbing for a seamless viewing experience
- Customization options, including the ability to clone your own voice
Visit ElevenLabs → Generate Translations for Videos with Wavel AI Wavel AI emerges as a top AI platform to make video content accessible to a global audience. Supporting over 70 languages, Wavel AI enables users to effortlessly translate their videos while preserving the original speaker's voice, tone, and emotions. Wavel AI's intuitive interface allows users to upload their video, select the target language, and let the AI handle the rest. Within minutes, you'll have a professionally translated video complete with accurate subtitles and voice-overs. The platform's real-time translation feature sets it apart, making it an excellent choice for live events, webinars, and international conferences where immediate communication across language barriers is crucial. Key features of Wavel AI include: - Support for over 70 languages, catering to a wide range of global audiences
- Real-time translation capabilities, ideal for live events and conferences
- Automatic and accurate translation of spoken language in videos
- Seamless subtitle integration synchronized with the video's audio track
- Customizable outputs to tailor translations to specific needs and preferences
Visit Wavel AI → Elai offers a unique approach to AI video translation and dubbing, enabling users to localize their existing video content into over 75 languages while also providing a library of virtual presenters. By leveraging AI, Elai delivers high-quality translations and natural-sounding dubbed videos that maintain the authenticity of the original content. Elai's user-friendly interface allows content creators, marketers, educators, and businesses to expand their global reach without the need for expensive equipment or production teams. The platform's unique offering of AI avatars ensures a consistent look across all translated videos, making it an excellent choice for brands looking to maintain visual coherence in their multilingual content. Key features of Elai include: - Support for over 75 languages, covering a wide range of global audiences
- A library of 80+ diverse AI avatars to serve as virtual presenters
- Advanced AI technology for lip movement and facial expression matching
- Text-to-video conversion capabilities for easy content creation
- Customization options for tailoring translated content to specific needs
Visit Elai → How to Translate Video into 29 Different Languages with Vizard Vizard.ai stands out as a comprehensive AI video translation and editing platform that enables users to effortlessly localize and repurpose their video content for global audiences. By combining advanced language processing with intelligent video editing capabilities, Vizard.ai offers a unique solution for creating multilingual, social media-ready content. Vizard.ai's intelligent video editing capabilities set it apart from other translation tools. The platform can automatically identify key moments in videos to create short, impactful clips optimized for social media sharing. This feature, combined with its translation and subtitle generation capabilities, makes Vizard.ai an excellent choice for content creators and marketers looking to maximize the impact of their video content across different languages and platforms. Key features of Vizard.ai include: - Translation support for over 29 languages, expanding content reach globally
- Automatic subtitle generation in multiple languages
- AI-powered video editing to extract highlights and create short clips
- Speaker detection and auto-framing for focused, dynamic videos
- Customizable branding options for maintaining visual identity
Visit Vizard.ai → How to Dub Videos into Other Languages Using AI (Translate Video/Audio) Kapwing offers a full-featured online video editing platform that includes a powerful AI-powered video translation tool. Supporting over 60 languages, Kapwing provides a comprehensive solution for content creators looking to edit, translate, and optimize their videos for a global audience. Kapwing's strength lies in its integration of translation capabilities with a full suite of video editing tools. Users can not only translate their videos but also edit, enhance, and customize them within the same platform. This all-in-one approach makes Kapwing an excellent choice for content creators who need both translation services and advanced video editing capabilities. Notable features of Kapwing's video translator include: - Support for over 60 languages, including major global languages
- Automatic subtitle generation powered by AI
- Seamless integration with Kapwing's comprehensive video editing tools
- Customizable subtitle styling options
- Multiple subtitle export formats (SRT, VTT, TXT) for versatility
Visit Kapwing → How to Translate Video Automatically with AI | YouTube Video Translator Veed.io rounds out our list as a powerful online video editing and translation platform that enables users to effortlessly transcribe, translate, and add subtitles to their videos. With support for over 100 languages and an impressive 98.5% accuracy rate, Veed.io offers a reliable solution for making video content accessible to a global audience. Veed.io's user-friendly interface and high accuracy rate make it an excellent choice for content creators, marketers, and businesses looking to expand their reach. The platform's integration with popular social media platforms allows for easy sharing of translated content, streamlining the process of distributing multilingual videos across various channels. Key features of Veed.io include: - Support for over 100 languages with a 98.5% translation accuracy rate
- Automatic transcription of video audio into text
- Seamless subtitle integration synchronized with audio
- Customizable subtitle styling options
- Multiple export options for subtitles and translated videos
Visit VEED → Unlocking Global Reach with AI Video Translation Tools As we've explored in this comprehensive guide, AI video translation tools have revolutionized the way content creators, marketers, and businesses approach global communication. These innovative platforms use artificial intelligence to break down language barriers, making it easier than ever to translate videos and reach a global audience. From Vidnoz AI's seamless multilingual support to HeyGen's pioneering voice cloning technology, each of these AI video translators offers unique features designed to streamline the video localization process. Whether you're looking to translate YouTube videos, create multilingual content for social media, or adapt your video content for international markets, these tools provide the capabilities you need to overcome language barriers and connect with viewers worldwide. The benefits of using AI video translation tools are numerous: - Efficiency: Automated translation and dubbing save time and resources compared to traditional methods.
- Accuracy: Advanced AI algorithms ensure high-quality translations and natural-sounding voiceovers.
- Scalability: Easily translate videos into multiple languages to reach a broader audience.
- Preservation of original content: Many tools offer voice cloning to maintain the speaker's tone and emotions.
- Customization: Fine-tune translations, adjust dubbing, and customize subtitles to meet specific needs.
As online video translation services continue to evolve, they're becoming an indispensable part of global content strategies. By leveraging these AI-powered tools, you can effectively localize your video content, expand your reach, and engage with audiences across different languages and cultures. Whether you're a content creator looking to expand your YouTube channel's reach, a marketer aiming to create compelling multilingual campaigns, or a business seeking to communicate with a global customer base, these AI video translation tools offer the solutions you need to break through language barriers and make your message heard around the world. Don't Miss 10 Best AI Form Generators (September 2024) Alex McFarland is an AI journalist and writer exploring the latest developments in artificial intelligence. He has collaborated with numerous AI startups and publications worldwide." #metaglossia_mundus: https://www.unite.ai/best-ai-video-translation-tools/
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