Metaglossia: The Translation World

"Cultivating creativity: Why scientists should embrace art
August 2025
6:187-190
DOI: 10.38105/spr.ps5ss9qdme
Maggie Fink
Shahir Rizk

MIT Science Policy Review spoke with Professor Bahram Moasser about the importance of intersecting art and science to foster creativity and interdisciplinary thinking during scientific training. Prof. Moasser is an Associate Teaching Professor in the Department of Chemistry and Biochemistry at the University of Notre Dame. He has designed a core curriculum course that explores the shared virtues, values, methods, and practices of art and chemistry. In addition to conducting experiments to learn about the science of art, Prof. Moasser collaborates with curators at Notre Dame’s Raclin-Murphy Museum of Art to encourage students’ visual and art literacy."
https://www.researchgate.net/publication/394314811_Cultivating_creativity_Why_scientists_should_embrace_art
#metaglossia_mundus

SSC announces 437 vacancies for Hindi Translator Exam 2025. Paper-I on August 12. Check full vacancy list and exam details at ssc.gov.in.

 

"The Staff Selection Commission (SSC) has published the tentative vacancy list for the Combined Hindi Translators (CHT) Examination 2025, announcing a total of 437 posts to be filled across various central government departments, ministries, and organisations.

Candidates preparing for the exam can view the list on the official SSC website, ssc.gov.in.

 

Exam to be held in 2 stages

 

According to the official schedule, the computer-based Paper-I of the CHT exam will be conducted on August 12, 2025. The recruitment examination will take place in two stages:

 

Paper-I: Multiple Choice Questions (Objective Type)

Paper-II: Descriptive Type

Candidates will be shortlisted for Paper-II based on their performance in Paper-I. The Commission has also clarified that a negative marking of 0.25 marks will be applied for each incorrect answer in the first paper.

 

Application timeline concluded

 

The application process for the CHT exam was conducted between June 5 and June 26, 2025, with a correction window open from July 1 to July 2, 2025. No further changes to application details will be permitted beyond these dates.

 

Vacancy list now available

 

The tentative vacancy list can be accessed on the SSC homepage by clicking on the link titled “SSC CHT Exam 2025 tentative vacancies list.” The document provides a ministry-wise and department-wise breakdown of available posts. Candidates are advised to download and retain the PDF for future reference."

https://bestcolleges.indiatoday.in/news-detail/ssc-cht-2025-437-vacancies-announced-for-hindi-translator-posts-4893

#metaglossia_mundus

"BD traduites : la sélection 2025 des Sophie Castille Awards

Les Sophie Castille Awards for Comics in Translation célèbrent l’art de la traduction de bandes dessinées. Neuf albums sont en lice pour l’édition 2025, traduits vers l’anglais depuis autant d’univers graphiques. Quelques noms français se sont glissés dans la sélection internationale...

 

Le 05/08/2025 à 11:31 par Dépêche

 

Chaque mois d’octobre, le Lakes International Comic Art Festival s’impose comme un temps fort pour le neuvième art. L’événement ne célèbre pas seulement les talents, il soutient aussi la traduction des œuvres à l’échelle mondiale, notamment grâce à la remise d'un prix dédié, les Sophie Castille Awards for Comics in Translation.

 

Ces derniers ont été créés en 2023, en mémoire de Sophie Castille, directrice des droits internationaux et vice-présidente des licences chez Mediatoon. Elle a largement contribué à la diffusion des romans graphiques européens hors des frontières. Son travail a façonné un pont éditorial entre les continents, notamment entre l’Europe et l’Amérique du Nord.

 

À l’initiative de VIP Brands, société de négociation de droits, et des festivals COMICA et LICAF, le prix récompense chaque année la meilleure traduction en anglais d’un album étranger. Une reconnaissance attribuée directement à la personne ayant signé l’adaptation. 

 

Benoist Simmat exporte l’histoire de la cuisine

Pour cette édition 2025, neuf finalistes ont été retenus. Une sélection marquée par la diversité des origines, et par une belle présence française. À commencer par Capital et Idéologie en bande dessinée, d’après le livre de Thomas Piketty, de Claire Alet et Benjamin Adam. Cet album, coédité en France par La revue dessinée et les éditions du Seuil, a été traduit vers l’anglais par Margaret Morrison chez Abrams Comic Arts.

 

Un autre nom familier : celui de Benoist Simmat, journaliste économique, spécialiste de l’économie mondiale du vin et responsable des actualités pour La Revue du vin de France. Il a cosigné, avec Stéphane Douay, L’incroyable histoire de la cuisine, de la préhistoire à nos jours, 500 000 ans d’aventure, aux éditions Les Arènes. L’ouvrage a été traduit en anglais par Montana Kane, chez NBM.

 

Enfin, un Français s’est entouré de deux auteurs italiens pour redonner vie à Harry Dickson, le fameux « Sherlock Holmes américain ». Le premier tome, Mysteras, publié chez Dupuis, est ainsi cosigné par Doug Headline (co-scénario), Luna Vergari (co-scénario) et Onofrio Catacchio (dessin), d'après l'œuvre de Jean Ray. L’album a également été traduit en anglais par Jerome Saincantin et Erica Olson Jeffrey pour les éditions Cinebook.

 

Voici la sélection complète 2025 : 

Martha Kuhlman et Tereza Čechová pour Bald by Tereza Čechová, art de Štěpánka Jislová (Graphic Mundi). 

 

Diana Schutz et Brandon Kander pour Blacksad: They All Fall Down, Part Two de Juan Díaz Canales et Juanjo Guarnido (Dark Horse Comics). 

 

Margaret Morrison pour Capital & Idiology de Claire Alet et Benjamin Adam (Abrams Comic Arts)

 

Jerome Saincantin et Erica Olson Jeffrey pour Harry Dickson – Mysterion de Jean Ray, Onofrio Catacchio, Doug Headline, et Luana Vergari (Cinebook).

 

Victor Martins pour Not Today: Undoing Home Repairs de Ana Margarida Matos (Fieldmouse Press).

 

Ryan Holmberg pour Oba Electroplating Factory de Yoshiharu Tsuge (Drawn & Quarterly).

 

Andrea Rosenberg pour Return to Eden de Paco Roca (Fantagraphics).

 

Montana Kane pour The Incredible Story of Cooking: From Prehistory to Today, 500,000 Years of Adventure de Benoist Simmat (NBM).

 

Robin Lang et Helge Dascher pour The Jellyfish de Boum/Samantha Leriche-Gionet (Pow Pow Press).   

 

L'année dernière, le prix a été remis à Alexa Frank pour sa traduction de “沖合の雷” (“Offshore Lightning”) de Saito Nazuna, œuvre traduite du japonais et publiée par Drawn & Quarterly.

 

Contact : depeche@actualitte.com"

https://actualitte.com/article/125394/prix-litteraires/bd-traduites-la-selection-2025-des-sophie-castille-awards

#metaglossia_mundus 

"Orange to use OpenAI's latest models to work with African languages
By Supantha Mukherjee
August 5, 2025 6:14 PM GMT+1

STOCKHOLM, Aug 5 (Reuters) - French mobile operator Orange (ORAN.PA), opens new tab said on Tuesday it plans to use OpenAI's latest AI models with African languages.

The benefits of AI models have largely bypassed African languages, numbering over 2,000, due to challenges such as lack of data and limited computational resources, according to researchers, opens new tab at Cornell University in the United States and a report by journal Nature.

Orange, which provides telecom services in 18 African countries, signed a deal with OpenAI last year to get access to its pre-release AI models and fine-tune large language models to translate regional African languages.
It said it started working with African languages this year using OpenAI's Whisper speech model, but the new models can extend this work to far more complex uses.
OpenAI's first open-weight models have trained parameters, or weights, which are publicly accessible and can be used by developers such as Orange to tweak the models for specific tasks without requiring original training data.

Orange plans to fine-tune the models with its collected samples of African regional languages and deploy them locally.

"We plan to provide the fine-tuned models for free to local governments and public authorities," Orange's Chief AI Officer Steve Jarrett told Reuters.

"We see this initiative as a blueprint for how AI can help bridge the digital divide: by collaborating with local startups and communities, Orange and OpenAI hope to catalyze an ecosystem where African languages are first-class citizens in the AI realm," Jarrett said.

Reporting by Supantha Mukherjee in Stockholm; Editing by Emelia Sithole-Matarise"

https://www.reuters.com/world/africa/orange-use-openais-latest-models-work-with-african-languages-2025-08-05/
#metaglossia_mundus

"Orange va utiliser les derniers modèles d'OpenAI pour travailler avec les langues africaines

 

L'opérateur mobile français Orange a annoncé mardi son intention d'exploiter les plus récents modèles d'intelligence artificielle d'OpenAI afin de développer des solutions pour les langues africaines.

 

Selon des chercheurs de l'université Cornell aux États-Unis et un rapport publié dans la revue Nature, les bénéfices des modèles d'IA ont largement été inaccessibles aux langues africaines -- qui sont plus de 2 000 -- en raison d'obstacles tels que le manque de données et de ressources informatiques limitées.

 

Présent dans 18 pays africains, Orange a signé l'an dernier un accord avec OpenAI pour accéder à ses modèles d'IA en avant-première et affiner des modèles linguistiques de grande taille afin de traduire des langues régionales africaines.

 

Orange précise avoir entamé cette année des travaux sur les langues africaines en utilisant le modèle de reconnaissance vocale Whisper d'OpenAI, mais les nouveaux modèles permettront d'aller bien au-delà vers des usages beaucoup plus complexes.

 

Les premiers modèles d'OpenAI en open-weight disposent de paramètres, ou « poids », accessibles publiquement, permettant à des développeurs comme Orange d'ajuster ces modèles pour des tâches spécifiques sans nécessiter les données d'entraînement originales.

 

Orange prévoit d'affiner ces modèles avec des échantillons collectés des langues régionales africaines et de les déployer localement.

 

« Nous prévoyons de mettre gratuitement à disposition des gouvernements locaux et des autorités publiques les modèles ainsi améliorés », a déclaré Steve Jarrett, Chief AI Officer d'Orange, à Reuters.

 

« Nous voyons cette initiative comme un modèle de référence pour montrer comment l'IA peut réduire la fracture numérique : en collaborant avec les startups et les communautés locales, Orange et OpenAI espèrent catalyser un écosystème où les langues africaines deviendront des citoyennes de première classe dans le domaine de l'IA », a ajouté Jarrett."

Publié le 05/08/2025 à 19:01 - Modifié le 05/08/2025 à 19:08

Reuters - Traduit par Zonebourse 

MICROSOFT CORPORATION

-1,47 %

https://www.zonebourse.com/actualite-bourse/orange-va-utiliser-les-derniers-modeles-d-openai-pour-travailler-avec-les-langues-africaines-ce7c5ed8dd8ff726

#metaglossia_mundus 

"Punjab empanels sign language interpreters, special educators under juvenile law

 

Chandigarh: To ensure justice is accessible to all, Punjab govt has set to become the first state in the country to formally empanel sign language interpreters, translators, and special educators under the Juvenile Justice Act, 2015, said minister for social security, women and child development Dr Baljit Kaur on Monday.

 

Dr Baljit Kaur called the initiative an effort to "empower children with special needs" by eliminating communication barriers in legal, educational, and daily life settings. She said the move will bridge communication gaps and strengthen access to justice and rights for children. "Trained professionals will play a supportive role during court proceedings, thereby ensuring impartial and transparent outcomes," she added.

 

The minister said Punjab was committed to building an inclusive society where every child felt heard, understood, and respected. This effort reflects govt's firm commitment to child welfare and rights-based governance, said Dr Baljit Kaur.

Punjab govt has already set a precedent by broadcasting important proceedings of the Punjab assembly in sign language, said Dr Baljit Kaur. She added this step not only removed communication barriers for specially-abled children and individuals, but also strengthened their electoral participation."

TNN / AUG 05, 2025, 01:01 IST

https://timesofindia.indiatimes.com/city/chandigarh/punjab-empanels-sign-language-interpreters-special-educators-under-juvenile-law/articleshow/123104055.cms

#metaglossia_mundus 

New legislation would make Wisconsin the first state to allow robot translators in court. Kevin Smith of Wisconsin Public Defenders explains why he thinks that’s a bad idea.

"Under the U.S. Constitution, defendants in court have the right to understand the proceedings against them, to participate in their own defense, to consult with a lawyer and to question witnesses.  All of that becomes more complicated when defendants don’t speak the same language used in court.  In Wisconsin, about 3% of the resident population, or about 178,000 people, lack the English proficiency necessary to participate in a court hearing.  Federal and state law requires that counties provide interpreters for non-English speakers in court, but qualified interpreters are in short supply.  Wisconsin Assembly Bill 292, introduced by New Berlin representative Dave Maxey, would allow courts to use artificial intelligence, instead of human interpreters..."

AUGUST 4, 2025 BY 8 O'CLOCK BUZZ AND BRIAN STANDING
https://www.wortfm.org/wisconsin-considers-robot-interpreters-in-court/
#metaglossia_mundus

"Fula interpreting job in Luton, Bedfordshire

Apply Now

Hours:

permanent

Salary:

£28800 - 30720

 

Are you a fluent Fula speaker based in Luton, Bedfordshire or nearby areas, looking to make a difference in your community?

We are currently recruiting Fula you're an experienced qualified interpreter seeking more assignments or an interpreter looking to start your career as a freelance interpreter, this opportunity is ideal for you.

 

Absolute Interpreting and Translations Ltd is a leading UK-based provider of face-to-face, telephone, and video remote interpreting services, working with NHS trusts, local councils, law firms, insurance companies, and private clients across the UK.

 

Why Join Us?

 

• Flexible working hours – accept assignments that fit your schedule

• Opportunities for both remote interpreting and in-person appointments

• Supportive and professional team

• Competitive pay rates

• Work that makes a real impact in your local community

 

Typical Assignments Include:

 

• NHS hospitals and GP practices

• Social services and child protection

• Schools and educational settings

• Solicitor appointments and court hearings

• Housing and council departments

• Private sector consultations

 

Requirements:

 

• Fluency in English and at least one other language

• Right to work in the UK

• Professional interpreting qualifications

• Enhanced DBS certificate (or willingness to apply)

• Professional references

• Proof of ID and address

 

We welcome applicants with a community interpreting qualification, DPSI, NRPSI registration, or relevant experience in the field.

 

We’re Also Recruiting Other Languages

In addition, we are actively recruiting interpreters for the following languages nationwide:

 

• Cantonese, Somali, Tamil, Malayalam, Telugu, Twi, Yoruba, Greek, Igbo, Wolof, Xhosa, Sinhalese, Akan, Fante, Ga, Shona, Hausa, and more.

Don't see your language listed? Please still apply – we welcome interpreters of all languages as we expand our national coverage.

 

Apply Now

Make a difference in your community while enjoying the flexibility of freelance interpreting work.

Click Apply now to submit your application and take the next step in your interpreting career."

https://search.nexjob.com/AbsoluteInterpretingandTranslationsLtd-E2975951-584F-41F9-9786-F1D570CFAFA5-FindAJob-16815378/Fula%20interpreting%20job%20in%20Luton,%20Bedfordshire

#metaglossia_mundus 

"One UI 8 to take Live Captions to another level
Samsung sprinkles AI on a current feature and makes it better

By Alan Friedman
Published: Aug 04, 2025, 5:08 PM

Samsung is adding a new Galaxy AI feature to the One UI 8 interface. The new feature, called Voice Captioning, takes Live Captions and moves it up to the next level thanks to AI. Live Captions in One UI transcribes speech into text in real time. Voice Captioning, found with the other Galaxy AI tools in One UI 8, will also turn speech to text in real time. The difference is, with Voice Captioning, the speech can be translated into different languages.

Since this is considered an AI feature, there has to be some AI magic involved-and there is. Voice Captioning will not only translate speech into text in different languages, but it will also provide users with a summary of what was said. If this sounds familiar, Pixel users can use their Live Captions feature, and with Live Translate enabled, have the captions appear in a foreign language that the user can choose from. 

Voice Captioning takes Live Captions to another level in One UI 8. | Image credit-Android Authority - One UI 8 to take Live Captions to another level
Voice Captioning takes Live Captions to another level in One UI 8. | Image credit-Android Authority

The feature was discovered by GalaxyTechie who posted a tweet about it on "X." Voice Captioning is only available in China right now on the Galaxy Z Fold 7 and Galaxy Z Flip 7 models. However, if you're not in China, you can install Voice Captioning now using an APK if you have a Galaxy phone running One UI 8 (like the Galaxy Z Fold 7 and Galaxy Z Flip 7) or One UI 7. Once you install the APK, you can add the shortcut to the Quick Settings panel. Keep in mind that some on Reddit have complained that the APK doesn't work on all devices, so your best bet might be to wait for Samsung to officially roll this out.

The Video Captioning icon appears on the screen along with controls that select the source of the vocals being translated. | Image credit-X - One UI 8 to take Live Captions to another level
The Video Captioning icon appears on the screen along with controls that select the source of the vocals being translated. | Image credit-X

If you can't wait for Samsung to disseminate Voice Captioning, and you decide to install the APK, you'll have to choose which languages you'll want to have supported by the feature. Social media reports claim that the APK won't work on phones running the One UI 7 beta and the One UI 8 beta although it will work with the stable versions of both.

Will you use Video Captioning?
  Yes. It's great for conference calls.   No. I have no need to read captions on my phone.   Hard to say at the moment.
Vote View Result
Yes. It's great for conference calls.
75%
No. I have no need to read captions on my phone.
0%
Hard to say at the moment.
25%

The audio being captioned can be sourced from the phone, from a microphone, or from both the phone and a microphone simultaneously. And since it will work with multiple languages, Samsung says that the feature is perfect for conference calls."
One UI 8 to take Live Captions to another level - PhoneArena https://www.phonearena.com/news/one-ui-8-takes-live-captions-to-another-level_id172880
#metaglossia_mundus what

"AUSTRALIA, August 4, 2025 /EINPresswire.com/ -- Tranzlatex, a newly launched division of ATA Analytiq, is redefining access to high-quality translation and transcription services on a global scale. Built on the principle that human understanding is irreplaceable, Tranzlatex offers professional, certified, and culturally accurate translations—tailored for real-world use in legal, academic, business, and media sectors.

 

In an era where AI tools dominate language services, Tranzlatex stands out with its human-first approach. Every project is managed by trained linguists and native-language experts, ensuring the final product captures not just the words, but the tone, context, and cultural nuance behind them. The company has officially launched a full suite of services, including sworn translations, NAATI-certified translations (essential for Australian immigration and legal procedures), multilingual document translation, and transcription for legal, academic, and media content.

 

These services have been designed with precision and accessibility in mind. With competitive rates, fast turnaround, and introductory discounts for new clients, Tranzlatex offers a rare combination of affordability and accuracy. Each translation is legally compliant and tailored to meet regulatory requirements across various regions and industries.

 

“We believe in human precision over machine shortcuts—because context, tone, and trust matter,” said Arin M., Managing Director at Tranzlatex. “Our goal is to offer certified language solutions that don’t sacrifice quality for speed or affordability...”

 

Headquartered in the United States with operational support in India, Tranzlatex has created a delivery model that merges global expertise with cost-efficiency. This structure allows the company to offer top-tier translation services at a fraction of the cost charged by traditional agencies—without compromising on quality or accountability.

 

Tranzlatex caters to a wide range of industries and audiences. Immigration consultants and legal professionals rely on certified translations for visa applications, residency filings, court documents, and government paperwork. Academic institutions and students often require precise transcripts and translation of academic materials...

 

One of the standout offerings is the NAATI-certified translation service, which is a mandatory requirement for official use in Australia. Tranzlatex’s team includes NAATI-accredited translators who deliver documents that meet the exacting standards required by Australian immigration authorities, universities, and legal institutions. Similarly, sworn translations provided by the company are accepted by courts and governmental bodies in several countries..."

https://www.ksn.com/business/press-releases/ein-presswire/835886167/tranzlatex-launches-affordable-human-based-translation-and-certified-transcription-services-worldwide/

#metaglossia_mundus 

At least 79 people have drowned in the Upper Delaware River since 1980. Five volunteers are being recognized for translating a water safety message.

"Volunteers translate Upper Delaware water safety message into several languages
Peter Becker
Tri-County Independent

Keeping safe in the water is a message that should be understandable in any language. The Upper Delaware Scenic and Recreational River is helping to make sure its 300,000+ visitors a year stay safe, by using volunteer language translators.

The five individuals, Flor Blum, Alvin Leung, Michael Portnov, Achim Kopp and Alex Wrona, helped by translating a water safety message used by the National Park Service (NPS) on the Upper Delaware from English into Spanish, Simplified and Traditional Chinese, Russian, German and Polish, respectively.

“The translated water safety messages will be provided to liveries and other commercial entities on the Upper Delaware River as a resource for non-English speaking river users,” the press release sent by NPS Visual Information Specialist Jasmine Leung states.

For their contribution, the five translators were recognized recently with the Upper Delaware Water Safety Challenge Coin Award.

Since the NPS began operations on the Upper Delaware in 1980, it has reported at least 79 drowning incidents in the 73.4-mile section of the river within the jurisdiction of the NPS. In every one of these cases, the victim was not wearing a properly fitted life jacket.

“Upper Delaware Scenic and Recreational River welcomes over three hundred thousand visitors each year, visitors with different skills levels, river experience, and who speak a variety of different languages,” the news release states. “The translated water safety messages will provide another valuable resource for the park, local businesses, and the community to help visitors, regardless of their mother tongue, to stay safe on the water.”

Jasmine Leung chairs the Upper Delaware Scenic and Recreational River Water Safety Committee. “Human translators were used as we wanted the translations to be as accurate as possible and thought that human translators may be able to better translate certain aspects and subtleties of a language more accurately than a translation software,” she said in an email interview.

They started with several languages that are commonly observed, as well as could be translated by individuals whom the NPS staff knew or were familiar with. Leung said they plan to translate the message into other languages over time, including Hebrew.

“We are always looking for more translators to translate other languages,” she said.

Currently some of the information boards at certain public river accesses have some safety information in Spanish in addition to English. Leung said that they have safety signs that are used at public and livery accesses that are in English, Spanish and Russian.

Information contained in the safety message includes, in part, rules on mandatory use of life jackets, the ban on glass on the river, river hazards, what to do in an emergency and general river recreation safety. 

“It is strongly recommended that everyone wear their life jackets as the unexpected can happen and you can fall into the river,” the safety message reads in part. Children 12 and younger must wear a life jacket all the time and in every vessel, including inner tubes.

An English copy of the water safety message is available at nps.gov/upde/getinvolved/cua.htm. Scroll down to CUA Water Safety Orientation Message."
https://www.tricountyindependent.com/story/news/local/2025/08/04/water-safety-tips-translated-multiple-languages-upper-delaware/85473062007/
#metaglossia_mundus

"Une nouvelle traduction d'À la recherche du temps perdu en mandarin bientôt disponible à Taïwan

 

04/08/2025 16:30

Par： La Rédaction

 

À l’invitation de la maison d’édition taïwanaise Linking, sept traducteurs taïwanais ont traduit en mandarin l'intégralité du roman À la recherche du temps perdu de l’écrivain français Marcel Proust. Un projet ambitieux initié par Wu Kun-yung (吳坤墉), lauréat du prix de la Fondation culturelle franco-taïwanaise 2021.

 

Ce sont Chiu Jui-luan (邱瑞鑾), Chen Wen-yao (陳文瑤), Hsu Yawen (許雅雯), Shih Wu-ken (石武耕), Chen Yuwen (陳郁雯), Ma Hsiang-yang (馬向陽) et Lin Te-yu (林德祐), qui ont respectivement traduit Du côté de chez Swann, À l’ombre des jeunes filles en fleurs, Le côté de Guermantes, Sodome et Gomorrhe, La prisonnière, Albertine disparue et Le temps retrouvé. 

 

Après quatre ans de préparation, les sept tomes sortiront officiellement en octobre prochain.

 

Linking avait déjà publié, il y a trente ans, une version chinoise de À la recherche du temps perdu, traduite en Chine. Cette nouvelle édition est donc la toute première version entièrement réalisée par des traducteurs taïwanais."

https://www.rti.org.tw/fr/news?uid=3&pid=156980

#metaglossia_mundus 

"Where All Languages Meet — Mũkoma wa Ngũgĩ 

Features

 Translation Is Where All Languages Meet — Mũkoma wa Ngũgĩ 

written by Our Correspondents August 3, 2025

 

Kenyan writer and author of Unbury Our Dead with Song, Mũkoma wa Ngũgĩ, does not believe in the idea of a ‘great African novel’: ‘I do not think there is such a thing as the “great African novel”—or the “great Russian” or “European” novel—nor do I believe in the idea of major and minor literatures. We simply do not know enough and have not read widely enough to make such judgements. The idea of major and minor literatures is manufactured for us.’ 

 

 What books or kinds of books did you read growing up? 

 

I pretty much read everything from Enid Blyton’s Famous Five novels to Karl Marx. But the books I enjoyed the most were by popular fiction writers—Meja Mwangi, John Kiriamiti and David Maillu. Nairobi Heat is dedicated to these popular fiction writers that I enjoyed reading while growing up. 

 

In your earliest days as a literature student, what books were foundational to your study and research? 

 

Certainly, a lot of Frantz Fanon, Walter Rodney, Angela Davis, Bell Hooks, C. L. R. James, Richard Wright and James Baldwin. My undergraduate thesis was on Wright’s Native Son. I also read Dambudzo Marechera and Can Themba because their cynical madness or craziness also carried the sheer incredulity of being oppressed by another human being who had the power of the colonial and neocolonial state behind them. Even now, at 54 years old, the idea that slavery, colonialism and neocolonialism— and today’s version, what do we call it (all-out oppression?)—ever existed is crazily funny to me. Even though the writers I read understood that it was about the extraction of resources, something that necessitated dehumanization, what ties the books I read then and now together is a common thread of resistance. 

 

You grew up in a village just outside of Nairobi, Kenya, before going on to study in the United States for your university education. What memory from your hometown do you cherish the most? 

 

There was a swamp nearby that, back in the day, had hippos, but it had since dried up and fossilized. The best part was the clay—my sister and I would go there to gather clay and make pots. Another nearby pond inspired the images in the poem below. The poem is dedicated to Ken Saro-Wiwa, who was hanged by the Nigerian government for his political activism against the exploitation and environmental devastation of Ogoniland by Shell. Thinking about it now, it really was a political murder carried out by a government on behalf of an international corporation. 

 

What’s the first book you read that made you think you wanted to be a writer? 

 

My father, Ngũgĩ wa Thiong’o, is a writer. I grew up watching him write. As a child, I would buy newspapers for him and deliver endless cups of tea while he worked and wrote in his home office. So, I have always written. I think the question ought to be: which writers do I envy as a writer myself, just for the sheer breadth of their imaginations? Writers like Jennifer Makumbi, Nnedi Okorafor, Octavia Butler, James Baldwin, Ben Okri, Can Themba, and poets such as Arthur Nortje and Hart Crane. But if I had to name one novel that truly stopped me in my tracks, it would be Butler’s Kindred. There was something about the imagination, the beauty of it, even as it grappled with slavery and racism in the United States. 

 

What’s the last thing you read that changed your mind about something? 

 

We write, we learn, we grow, and then we write again. But Panashe Chigumadzi’s essay, ‘Why I Don’t Talk to Nigerians About Race’, stands out to me because it got me thinking about the different kinds of colonial racism—settler versus indirect rule—and how we, as Africans, have responded differently. Helon Habila’s Oil on Water stands out as well—not only for its observant and journalistic writing but for how it really goes into the heart of why Nigeria, and by extension, Kenya, is so messed up. 

 

What is the last book/text you disagreed with, and why? 

 

There aren’t disagreements, only more thought and growth. That said, I hate V. S. Naipaul with a passion, as I do colonial writers like Karen Blixen and that whole group. Still, I think the real question is: what are the books I find fascinating and why? Take Maryse Condé’s What is Africa to Me, or Saidiya Hartman’s Lose Your Mother or Maya Angelou’s All God’s Children Need Traveling Shoes—these three books offer different perspectives on how Black people in the diaspora relate to the continent. But for me, the question becomes: having been born in the US, grown up in Kenya, and returned to the US in 1990 where I’ve been ever since, what is the diaspora to me? And what can I learn about questions of home and resistance from these three questioning but dedicated voices? 

 

What is your writing process: edit as you write or draft first, then edit? 

 

You just write until the sound you hear in your head matches the words in your imagination. I do not write all the time—sometimes you have to let your imagination lie fallow so it can grow something new. But for me, I have always written when my imagination tells me I have something new to say, or when I feel the need to say something. 

 

What was your process for writing your 2011 crime novel, Nairobi Heat? 

 

I think of it as a found book. The bare bones of the plot are real life. I had come back home late one night, I lived on the third floor, and there was a white woman in a cheerleader outfit passed out by the stairs. I did not know her, so I called an ambulance, but a cop showed up first. The cop was Black. At some point, I found myself looking at the ‘scene’: an African, an African American and a passed-out white woman on the stairs. So, in the novel, the Black cop is investigating the murder of a white woman, and the main suspect is an African. From those bare bones, the plot becomes an adventure. This is where I have to say I am in love with my imagination. It was fun to flesh that out. 

 

Looking back, what’s one thing you might revise/do differently if you were to write it again? 

 

When I write, I write to completion. I do not necessarily enjoy going back to read my work and wondering if I could have done this or that differently. I think once a book is done, it’s done. Sure, we learn more and hopefully write better over time, but I do not take instruction well, or rather, my imagination does not like to go back. It is really a slash, burn and move-on-to-the-next-field process. 

 

How did your approach to writing change while working on your latest novel, Unbury Our Dead with Song? 

 

I listened to a lot of Tizita (Ethiopian blues) music—and I modelled or moulded my characters around the music. But of course, all writers want to be musicians—so that was my imagination telling musicians that ‘I can match and outpace you as a writer.’ I can capture what they do with sound, but with words—in fact, maybe the word was the first sound. It was fun writing it. 

 

And what’s one thing about the reactions to the book that surprised you? 

 

I once did an event—during COVID, so it was on Zoom—where a Tizita musician opened the session with a Tizita influenced by the book. Now, that was a gift! 

 

In 2018, you published your non-fiction book, The Rise of the African Novel: Politics of Language, Identity, and Ownership. What drew you to this topic? 

 

We often begin our literary tradition from the wrong historical period. We begin with Chinua Achebe, the Makerere writers, or perhaps with Amos Tutuola, and then we keep updating that list as new writers emerge. It was necessary to acknowledge that long before we became subjects of the English language, there were early South African, Amharic and Afro-Arab writers producing rich literary work. In its subtext, there is a great deal of anger, because I do feel robbed of a longer literary tradition. And the question is: would my writing be any different if the longer literary tradition had been part of my imaginative ether? Then there is the question of language—imagine all the African literature we can’t access because it is written in a different language, and we never truly valued translation? Yet, translation is where all languages meet. 

 

You’re a professor of Literatures in English at Cornell University. Is there such a thing as the ‘Great African Novel’? 

 

No, I do not think there is such a thing as the ‘great African novel’— or the ‘great Russian’ or ‘European’ novel—nor do I believe in the idea of major and minor literatures. We simply do not know enough and have not read widely enough to make such judgements. The idea of major and minor literatures is manufactured for us. One person’s ‘minor’ novel is another person’s ‘major’ novel. I think the larger question is: what, within our literary ecosystems, determines what we value and what we do not? 

 

What is your favourite topic to write or read about these days? 

 

I enjoy reading writers like Yvonne Owour, Makumbi and Condé. 

 

And what topic do you wish more authors were writing about these days? 

 

Anything around how Black writers, revolutionaries and activists have interacted with each other to create solidarity, even when contentious. 

 

What are you currently working on? 

 

I think my next writing will be on experiencing Black music following my Tizita music novel. 

 

About Mũkoma wa Ngũgĩ 

 

Mũkoma wa Ngũgĩ is a professor of Literatures in English at Cornell University and the author of Unbury Our Dead with Song, The Rise of the African Novel: Politics of Language, Identity and Ownership, Black Star Nairobi and Nairobi Heat. He is also the author of two books of poetry, Logotherapy and Hurling Words at Consciousness. He is the co-founder of the Safal Kiswahili Prize for African literature. 

 

Source: THE REPUBLIC (https:// rpublc.com), May 22, 2025."

 

https://independent.ng/translation-is-where-all-languages-meet-mukoma-wa-ngugi/

#metaglossia_mundus 

“Australia is the most multicultural country in the world” – a mantra many kids across the nation have heard. Statistically, the claim holds weight. The 2021 census showed that almost 30 per cent of residents in Australia are born overseas, and nearly half have at least one parent who was born overseas. Contrast that with the United Kingdom, where only 16 per cent of people living in Britain were born overseas.

 

Given this diversity, one might assume Australia would be linguistically rich. According to the 2021 census, roughly one in five Australians speak a language other than English at home. But the numbers drop when we look at how many Australians actively choose to learn another language. In the 1960s, around 40 per cent of Australian students graduated with a second language qualification. In 2021, that figure dropped to just 8.6 per cent.

 

This isn’t a global trend. Australia is falling behind. Eurostat’s 2023 data on language education shows that, on average, 96.8 per cent of EU students graduate with at least one foreign language, and 71 per cent with two. Australia barely registers by comparison.

 

It’s important to acknowledge the differences: Australia is geographically isolated, shares no land borders, and isn’t surrounded by Germanic or Latin-based languages. Still, we have regional neighbours – entire nations just across the ocean. So why are language education rates so low?

 

Why not offer a Pacific language in Australian schools? Australia can’t claim people-to-people ties in the Pacific when most Australians don’t even know who their neighbours are.

 

A 2014 study of Year 11 and 12 students in Australia showed that nearly three-quarters of students had some interest in studying a language. However, interest doesn’t mean enrolments. Students cited a variety of reasons not to study a language, including that other subjects are easier (57 per cent) more useful for their careers (80 per cent), or more likely to boost their university entrance chances (66 per cent).

 

So how do we boost enrolments when students see language study as too hard, irrelevant, or risky?

 

The US Foreign Service Institute ranks languages by difficulty for English speakers. Germanic and Latin-based languages fall into Categories 1 and 2 – the easiest. Asian languages, with fewer similarities to English, rank higher. Bahasa Indonesian, though structurally different, has phonetic pronunciation and simple grammar structures, placing it in Category 3.

 

Learning a Category 5 language from childhood is viable – but what about students who change schools, and have disrupted learning? Starting a Category 1 language in Year 9 isn’t impossible, but it’s certainly challenging. Students who switch schools or start languages late often have no beginner-level access. Many are placed in classes designed for continuing students, setting them up for failure – impacting grades and mental health.

 

Family connection and career goals also shape language choices. Students without ties to Asia or Europe may not see the value in studying Mandarin or French. China and France are far away, and not everyone envisions living or working overseas.

 

Perhaps it’s time for a new approach.

 

 

School kids on a road in Naimasimas, Fiji (Holger Leue/Getty Images)

Despite our Eurovision appearances, Australia isn’t European. And while we’re close to Asia, we aren’t Asian. However, we are part of Oceania. The Department of Foreign Affairs and Trade often highlights the importance of Australia’s people-to-people ties to the Pacific. Who could forget the $600 million deal to support NRL in Papua New Guinea? Australia is committed to its Pacific neighbours – at least from the top down.

 

But what about from the bottom up?

 

Most Australians can’t name the Pacific countries, let alone locate them on a map. And there’s virtually no Pacific language education in Australian schools. In fact, there’s scarcely mention of the Pacific Islands in most curriculums. One Victorian primary school made waves for offering Te Reo Māori in 2022, and the Australian National University offers Tok Pisin. However, no state offers any Pacific language at Year 11 or 12.

 

Australia can’t claim people-to-people ties in the Pacific when most Australians don’t even know who their neighbours are. Awareness starts with early education. Adults who grow up with no exposure to the Pacific are less likely to engage with it later.

 

Could there be a two-birds-one-stone solution?

 

Why not offer a Pacific language in Australian schools? Oceania has 1,300 living languages, with around 840 in Papua New Guinea alone. But three major Pacific countries – PNG, Solomon Islands, and Vanuatu – share similar national languages: Tok Pisin, Pijin, and Bislama, respectively. These English-based creoles are mutually intelligible and grammatically simple.

 

Tok Pisin, for instance, is rooted in English, with a simplified structure. On the FSI scale, it would fall below Category 1 – substantially easier than French or Japanese. It’s also geographically relevant, with direct flights to PNG. Tok Pisin could appeal to students uninterested in traditional foreign languages, concerned about complexity, or impact on overall high school results.

 

Introducing Tok Pisin could foster cultural awareness, boost interest in regional travel and careers, and strengthen cross-cultural relationships. It could also create opportunities for school partnerships, student exchanges, teacher training,and shared curriculum development – all while deepening intercultural understanding.

 

While resources are currently limited, they do exist. Text books are available in Tok Pisin, Bislama, and Pijin. Bloom Library offers free children’s books online in all three dialect. And the Wantok Niuspepa – a weekly Tok Pisin newspaper – ships to Australia for $170 per year.

 

Creating a national Tok Pisin curriculum could also benefit the Pacific. Australia could share its teaching resources, helping fulfil its pledge to uplift regional education systems

 

Awareness. Education. Collaboration. These are the pillars of enhanced people-to-people ties. Tok Pisin could lead more students to language study by offering a practical, culturally relevant, and easier path. Through distance education, it could reach students in remote areas or those starting late in high school, giving them a chance to succeed without fear or disadvantage.

 

If Australia wants to truly join the Pacific family, this must start with youth and education. Australia cannot be part of the Pacific if most Australians don’t even understand the region."

 

SHERIDAN WARD

Published 4 Aug 2025  Australia Pacific Islands

https://www.lowyinstitute.org/the-interpreter/multicultural-monolingual-australia-s-pacific-disconnect

#metaglossia_mundus

"Langues, discours et intercultures, vol. 9-1 : "Écritures du labyrinthe : fiction, quête de soi et quête de sens" (dir. Faiza Idir)
Alger, Radia Benslimane, 2025
ISSN : 2773-4390
Prix : Accès libre
Date de publication : 03 Août 2025
Publié le 03 Août 2025 par Marc Escola (Source : Rezzik Mohamed)
Coordonné par Dr. Faiza Idir, de l'université d’Alger 2, Algérie, ce numéro propose d’explorer, à travers diverses formes artistiques relevant de plusieurs sphères culturelles. la symbolique du motif labyrinthique dans les oeuvres littéraires. Ne prétendant pas répondre à toutes les questions concernant le labyrinthe, le dossier thématique réunit toutefois un ensemble de réflexions originaless sur les différentes lectures auxquelles ce motif peut se prêter.

Sommaire :
La métaphore du labyrinthe : une matrice dramaturgique d'"Item" du Théâtre du Radeau ?, par Thiriot Anna  

Fantomina; or, Love in a Maze d'Eliza Haywood (1725) : le labyrinthe au féminin, par Souchet Audrey

Le labyrinthe comme métaphore de la métamorphose ? Étude comparée de l’œuvre d’Apulée et la saga Harry Potter, par Ouachour Fatima

Contraintes et pouvoir - l'espacentre - discours et subjectivation, par Blanes Christian & Lemaire Christelle

Fictions-labyrinthes de Shukrī al-Mabkhūt: métaphore, motif et morphologie, par Ben Hassen Mohamed Chawki

Le labyrinthe identitaire et la quête de sens dans La Saison de l’ombre de Léonora Miano : une poétique de l’errance entre mémoire, déconstruction et reconstruction de soi, par Yro Stéphane

La poétique du labyrinthe dans Titanics Africains d’ʾAbū Bakr Hāmid KahhālRihan, par Miroud Amani   

La quête de soi à travers une littérature et un art labyrinthiques chez Gérard Macé, par Zroud Soumaya

Le labyrinthe comme lieu de mémoire dans Topographie idéale pour une agression caractérisée de Rachid Boudjedra, par Chambers-Samadi Chadia

Le motif du labyrinthe dans le film Un Roi sans divertissement co-réalisé par Giono et Leterrier, par Seddaoui Fatima
Benzaiten

La dualité de l'eau dans la mythologie japonaise, par Baiche Faiza
—
Pour consulter et télécharger les articles, cliquez sur ce lien  https://asjp.cerist.dz/en/PresentationRevue/766 et choisissez Dernier numéro.

Responsable :
Radia Benslimane
Url de référence :
https://www.asjp.cerist.dz/en/PresentationRevue/766";
https://www.fabula.org/actualites/128888/la-revue-langues-discours-et-inter-cultures-volume-09-numero-01.html
#metaglossia_mundus

"Nigeria’s Pidgin, most spoken language in Africa for 2025 -Report

 

Nigerian Pidgin is the most spoken language in Africa in 2025, with 121 million speakers, according to new data from Ethnologue compiled by Visual Capitalist.

 

The ranking, which combines both first and second-language speakers, places Nigerian Pidgin 14th globally, ahead of Egyptian Arabic, Hausa, and Swahili. Only about 5 million people speak Pidgin as a first language, but 116 million use it as a second language, making it one of the fastest-growing lingua francas on the continent.

 

Pidgin serves as a bridge language across Nigeria’s diverse ethnic groups and is widely used in media, entertainment, commerce, and informal communication. Its reach extends to parts of West Africa through trade and migration. Nigerian cuisine recipes

 

Hausa, another major West African language spoken in Nigeria and Niger, ranks 19th globally with 94 million speakers 58 million first-language and 36 million second-language users.

 

Globally, English tops the 2025 list with 1.5 billion speakers, followed by Mandarin Chinese at 1.2 billion and Hindi at 609 million. While Mandarin and Spanish have large numbers of native speakers, English’s dominance is driven by its 1.14 billion second-language users, reflecting its role in business, education, and digital communication.

 

 

Related News

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Nigeria’s top export remains petroleum, data shows

Petrol smuggling thrives at Nigeria-Benin border despite ban -Report

Nigerian cuisine recipes

The data also show that several African languages with relatively small native speaker bases, such as Swahili and Nigerian Pidgin, achieve high totals through second-language adoption, mirroring patterns seen with English.

 

The report shows Nigerian Pidgin’s rise is tied to urbanisation, regional trade, and the growth of Nigerian popular culture, particularly music and film, which have helped export the language beyond the country’s borders.

 

However, Pidgin remains largely an informal language, without official status in Nigeria, and is not widely used in formal education or government communication.

 

The top 25 languages ranking also includes Urdu, German, Japanese, Turkish, and Vietnamese, underscoring the mix of population size and second-language adoption in shaping global linguistic influence."

Seyifunmi Abdulazeez

3 Aug 2025

https://guardian.ng/news/nigeria/metro/nigerias-pidgin-most-spoken-language-in-africa-for-2025-report/#metaglossia_mundus 

"Abstract: This study investigated the translation of satire from English into Arabic in Puzo's novel “The Godfather” in two Arabic translations of the novel, namely Dar Al-Adab’s translation and Al-Haddad’s translation. It aimed to analyze the strategies employed in the two translations. It further delved into comparing these strategies across the two translations under study. The study used a comparative qualitative approach, utilizing Vinay and Darbelnet’s (1958/1995) model for analyzing the strategies in both translations. A total of ten excerpts containing instances of satire were selected from the source text and compared with their counterparts in the two Arabic translations. The findings of the study revealed that both translators faced difficulties in conveying the implicit meanings of satire, largely due to cultural and linguistic differences between English and Arabic. To overcome these difficulties, the translations under study used literal translation, modulation and adaptation. Dar Al-Adab’s approach depended more on oblique translation, employing strategies like modulation and adaptation to align the content with Arabic cultural norms. On the other hand, Al-Haddad’s translation exhibited a more literal approach, preserving much of the original text’s linguistic structure while occasionally adding contextual explanations to aid the target audience’s understanding. While Dar Al-Adab’s strategy aimed for cultural acceptability, Al-Haddad’s translation prioritized fidelity to the source text. The study highlights several implications and recommendations for translator training, emphasizing the need for greater focus on handling satire and irony in literary works."
Satire in Two Arabic Translations of Puzo's Novel "The Godfather": A Comparative Study
July 2025
Journal of the Faculties of Education - University of Aden
19(1):134-145
DOI: 10.47372/jef.(2025)19.1.121
License: CC BY-NC 4.0
Marseel Fadhl Abdurabu Ali
https://www.researchgate.net/publication/394096237_Satire_in_Two_Arabic_Translations_of_Puzo%27s_Novel_The_Godfather_A_Comparative_Study
#metaglossia_mundus

"Najafi Translation Prize Honors Global Literary Voices

TEHRAN -- The City Book Cultural Center will once again honor the art of literary translation with the ninth annual Abolhassan Najafi Translation Award in February. 

Established to commemorate the legacy of Abolhassan Najafi—one of Iran’s most revered translators and linguists—the prize celebrates the finest Persian translations of novels and short story collections published during the Iranian calendar year 1403 (March 2024–March 2025).

The award is more than a mere accolade; it is a testament to the vital role translators play in enriching Persian literature, forging bridges between cultures, and expanding the horizons of Iranian readers. 

Translators and publishers interested in participating are invited to submit two copies of their works by the end of September.

A distinguished jury, led by Ali-Asghar Muhammadkhani and comprising literary figures such as Mahasti Bahraini, Zia Movahed, Hussein Masoumi-Hamadani, Abdollah Kowsari, Mousa Asvar, Omid Tabibzadeh, Abtin Golkar, and Farzaneh Dousti, will review the submissions with meticulous care.

Past winners of this prestigious award have translated an impressive range of voices—from Ivan Turgenev’s A Nest of Nobles and Joseph Roth’s Radetzky March to Guzel Yakhina’s Zuleikha Opens Her Eyes and J.M. Coetzee’s Master of Petersburg. These works reveal the depth and diversity of literary expression made accessible to Persian readers, reaffirming the power of translation as an act of cultural dialogue.

As the award approaches its ninth iteration, it stands as a quiet but profound celebration of the often-invisible work behind the pages, honoring those who breathe new life into global stories and, in doing so, elevate the Persian language and its literary tradition."

News ID: 142119 Publish Date : 02 August 2025 - 22:41

 

https://kayhan.ir/en/news/142119/najafi-translation-prize-honors-global-literary-voices

#metaglossia_mundus 

Hassen Jaied, entrepreneur franco‑tunisien du monde de l’édition et de la librairie en Tunisie, se passionne pour les mutations culturelles. Dans ce billet, il décrypte comment l’IA, déjà omniprésente dans l’édition, la traduction, l’illustration ou la distribution, redessine les métiers et les équilibres du secteur. Entre promesses d’émancipation créative et risques d’uniformisation culturelle, il invite à penser dès aujourd’hui un modèle où la technologie ne relèguerait pas l’humain au second plan.

"Le saut décisif : comment l’intelligence artificielle transforme le monde du livre ?
Hassen Jaied, entrepreneur franco‑tunisien du monde de l’édition et de la librairie en Tunisie, se passionne pour les mutations culturelles. Dans ce billet, il décrypte comment l’IA, déjà omniprésente dans l’édition, la traduction, l’illustration ou la distribution, redessine les métiers et les équilibres du secteur. Entre promesses d’émancipation créative et risques d’uniformisation culturelle, il invite à penser dès aujourd’hui un modèle où la technologie ne relèguerait pas l’humain au second plan.

Le 03/08/2025 à 11:56 par Hassen Jaïed

Une révolution systémique
L’intelligence artificielle (IA) ne bouleverse pas uniquement l’industrie, la médecine ou les services financiers : elle transforme en profondeur l’économie du livre, de l’écriture à la vente, en passant par l’édition, la traduction, l’illustration et la distribution. Cette révolution technologique soulève des espoirs, gain de temps, démocratisation de la création, mais aussi des inquiétudes : précarisation des métiers, uniformisation culturelle, dépendance aux plateformes, opacité des algorithmes.

Dès 2023, des maisons d’édition comme HarperCollins ou Hachette expérimentaient des outils d’IA pour générer des résumés, produire des maquettes de couvertures ou accélérer le travail éditorial. En 2024, les premières plateformes de publication automatique basées sur des modèles comme GPT-4 ou Claude ont permis à des milliers d’auteurs amateurs de publier des ouvrages générés en quelques heures.

En parallèle, les ventes d’ebooks autoédités par IA ont bondi de 35 % aux États-Unis et de 20 % en Europe. Cette dynamique n’est que le prélude à une transformation structurelle.

Écriture littéraire : vers une coécriture ou une standardisation ?
L’écriture est le premier maillon touché. Des modèles linguistiques avancés permettent aujourd’hui de produire des récits cohérents, des dialogues vivants, des structures narratives complètes. Cette capacité bouleverse la notion même d’auteur.

À LIRE -  Editis “promeut l’utilisation de l'IA“, avec une Charte pour salariés

D’un côté, l’IA offre des outils puissants aux écrivains : aide à la reformulation, génération d’idées, suggestions stylistiques. De l’autre, elle permet à n’importe qui, sans expérience littéraire, de produire des romans ou essais calibrés, potentiellement attractifs sur le marché numérique.

Mais cette automatisation comporte un double risque : la perte de singularité de la voix d’auteur, et la prolifération de textes formatés selon des logiques d’optimisation algorithmique (taux d’engagement, émotions, etc.). Le risque est celui d’une production littéraire dominée par les critères des plateformes plutôt que par des choix artistiques.

Édition, un métier redéfini
Le travail éditorial se voit également bouleversé. L’IA permet d’annoter automatiquement des manuscrits, de détecter les incohérences narratives, de suggérer des coupures ou ajouts. Certaines startups proposent déjà des services de « lectorat augmenté » ou d’analyse prédictive du succès commercial d’un manuscrit.

Cela transforme le rôle de l’éditeur : de passeur entre l’auteur et le lecteur, il pourrait devenir gestionnaire d’un flux de contenus générés, sélectionnés selon des critères algorithmiques. Ce déplacement du pouvoir éditorial vers les outils soulève des enjeux éthiques : qui décide de ce qui mérite d’être publié ? Sur quelle base ?

À LIRE - Les éditeurs et auteurs “mécontents” des suites de l'AI Act européen

Certains éditeurs résistent en affirmant un rôle de « curateur humain » face à l’infobésité littéraire annoncée. Mais ils seront confrontés à une pression concurrentielle croissante.

Traduction : une filière en mutation profonde
Les outils de traduction neuronale (DeepL, Google Translate, ChatGPT) ont fait des progrès spectaculaires. Désormais, des maisons d’édition les utilisent pour produire de premières versions de traduction, ensuite peaufinées par des relecteurs humains.

Cette évolution menace le métier de traducteur littéraire, déjà précarisé. Car si l’IA permet une traduction rapide et peu coûteuse, elle peine à restituer les jeux de mots, les implicites culturels, le rythme d’une langue. Le risque est d’accepter une qualité « acceptable » au détriment de l’exigence littéraire, surtout pour les ouvrages à faible tirage ou à visée commerciale.

Des syndicats de traducteurs alertent sur cette dérive, demandant une régulation du recours à l’IA et la reconnaissance de la traduction comme un acte créatif à part entière.

Illustration et couverture : un marché saturé par l’IA
Depuis 2022, des outils comme Midjourney, DALL·E ou Stable Diffusion permettent de générer des images en quelques secondes, à partir de simples descriptions textuelles. Couvertures de livres, illustrations jeunesse, BD, tout devient générable.

Pour les éditeurs, le gain est évident : économie de temps et de coûts. Mais pour les illustrateurs, c’est un choc. Beaucoup voient leur activité menacée par des images de qualité correcte, issues de bases de données massives, sans rémunération des artistes originaux.

Certaines plateformes d’illustration IA sont d’ores et déjà saturées de visuels disponibles à quelques euros. La valeur perçue de l’image chute, tandis que la diversité stylistique tend à s’homogénéiser. Les collectifs d’artistes demandent que des clauses de respect du droit d’auteur soient appliquées aux bases d’entraînement de ces IA.

À cet égard, j’ai eu l’occasion de discuter avec un auteur célèbre en Tunisie, d’un certain âge, qui était heureux de m’informer qu’il allait pouvoir enfin écrire des livres pour la jeunesse, car l’IA lui permet facilement et gratuitement de générer des illustrations. Avant, il ne pouvait pas le faire en raison de la faible présence d’illustrateurs dans le pays. Cette anecdote souligne l’aspect double de cette révolution : une menace pour certains, une opportunité pour d’autres.

Distribution et librairies : concentration, automatisation, invisibilisation
L’impact de l’IA sur la distribution du livre passe par deux canaux : la logistique automatisée et la recommandation algorithmique.

Côté logistique, Amazon, Rakuten et d’autres plateformes ont recours à des IA prédictives pour anticiper la demande, ajuster les stocks, et accélérer les livraisons. Cela renforce leur domination logistique au détriment des réseaux indépendants, dont les marges de manœuvre sont moindres.

À LIRE - Et si les bibliothécaires devenaient les superviseurs des IA de demain ?

Côté librairie, l’IA modifie la relation au lecteur. Les systèmes de recommandation basés sur l’historique d’achat ou les profils comportementaux orientent les choix, souvent de manière invisible. Ce mécanisme favorise les ouvrages déjà populaires ou formatés, et relègue les titres plus exigeants ou atypiques à la marge. C’est une forme de censure douce, où l’algorithme devient prescripteur dominant.

Pour les libraires, la lutte devient double : face à la visibilité algorithmique d’un côté, et face à la pression des clients de plus en plus habitués aux recommandations personnalisées et immédiates.

Vers une industrialisation autonome du livre : le rôle des agents intelligents
L’intelligence artificielle ne se limite plus aujourd’hui à des outils passifs. Elle évolue vers la création d’agents autonomes, capables d’observer, décider et agir dans des environnements complexes, sans intervention humaine directe. Un agent en IA est un programme informatique capable de percevoir son environnement, de raisonner sur la base d’objectifs prédéfinis et d’agir de manière autonome pour les atteindre.

Dans son essai Le Saut décisif — Construire l’avenir de l’Afrique à l’ère de l’IA, Karim Beguir décrit ces agents comme l’un des éléments les plus décisifs de l’évolution technologique contemporaine. Publié en coédition par L’ADN (France) et AC Éditions (Tunisie) en 2025, ce livre dresse un panorama accessible et stratégique de l’intelligence artificielle dans les sociétés africaines et méditerranéennes.

Appliqué à l’économie du livre, ce saut technologique ouvre la voie à une production entièrement automatisée : des agents pourraient non seulement générer des textes littéraires calibrés selon les tendances de lecture, mais aussi concevoir la couverture, rédiger la quatrième, choisir un format éditorial et déposer automatiquement l’ouvrage sur les plateformes de vente.

Cette chaîne de création, ultra-rapide et à coût quasi nul, pourrait inonder le marché de publications générées sans intervention humaine, bouleversant profondément l’écosystème littéraire.

ESSAI - “La bêtise artificielle” : une philosophe démonte l’imposture de l’IA

Karim Beguir insiste sur le fait que cette avancée peut être un levier pour des économies locales si elle est encadrée par une volonté politique et éthique forte. Dans le domaine du livre, ce sera aux éditeurs, libraires, auteurs et institutions culturelles de choisir entre subir ou réinventer un modèle où l’humain garde la main sur le sens, la qualité et la finalité.

Enjeux juridiques, éthiques et écologiques
Cette révolution technologique pose de nombreuses questions :

• Juridiques : qui détient les droits d’un texte généré par IA ? L’auteur humain ? L’éditeur ? L’entreprise ayant développé l’algorithme ?

• Éthiques : peut-on publier sans transparence sur l’origine des contenus ? Faut-il informer le lecteur qu’un texte est co-écrit par IA ?

• Écologiques : l’IA consomme d’énormes ressources énergétiques (entraîner GPT-3 a consommé autant d’électricité qu’un foyer pendant plusieurs décennies). Quel coût environnemental pour une production littéraire de masse automatisée ?

Ces enjeux obligent les acteurs du livre à anticiper, débattre, réguler. Le droit d’auteur, la transparence éditoriale, la sobriété numérique doivent devenir des priorités.

Choisir un modèle humain
L’intelligence artificielle ne constitue pas une menace pour le livre en tant qu’objet, mais elle redéfinit en profondeur les fonctions et les métiers liés à son économie. La question centrale est celle du modèle de création et de diffusion que les acteurs, auteurs, éditeurs, libraires, traducteurs, illustrateurs, choisiront de promouvoir.

Deux trajectoires se dessinent. La première est celle d’une passivité laissant les grandes plateformes imposer des logiques de standardisation et d’optimisation commerciale. Elle pourrait conduire à une uniformisation culturelle et à une précarisation accrue des métiers du livre.

La seconde est celle d’une résistance créative, d’un effort collectif pour bâtir des alternatives où l’humain reste au centre : encadrer l’usage des IA, valoriser les savoir-faire, garantir la transparence sur la part d’IA dans les ouvrages, protéger les droits d’auteur, et maîtriser l’impact environnemental du numérique.

L’IA n’est pas un destin. Elle peut devenir un levier d’émancipation et de création si elle est encadrée par une volonté politique, culturelle et éthique forte. C’est à cette condition que le livre pourra franchir son saut décisif sans perdre son âmOe."
https://actualitte.com/article/125366/humeurs/le-saut-decisif-comment-l-intelligence-artificielle-transforme-le-monde-du-livre
#metaglossia_mundus

"Embracing AI Era: Challenges and Strategies in Translation and Interpreting Teaching in Universities
July 2025

Journal of Research in Vocational Education

7(7):61-63
DOI: 10.53469/jrve.2025.7(07).11
License: CC BY-NC 4.0
Doudou Feng
Citations

Abstract
Against the backdrop of rapid development in artificial intelligence technology, the translation and interpreting industry is undergoing profound transformation. Large language models represented by ChatGPT have quickly entered public attention, promoting the development of translation technology and triggering widespread discussion on the future of the translation profession. Faced with both external skepticism and internal transformation, translation and interpreting teaching in universities faces challenges while also welcoming opportunities for transformation. This paper, starting from the developmental background of the translation discipline, combines an analysis of the current status of the translation and interpreting industry and the development trend of AI technology to reflect on the main problems in current university translation and interpreting teaching. It also proposes several pathways based on front-line teaching practice, aiming to provide reference for cultivating translation talents with core competitiveness in the AI era."

https://www.researchgate.net/publication/394158378_Embracing_AI_Era_Challenges_and_Strategies_in_Translation_and_Interpreting_Teaching_in_Universities
#metaglossia_mundus

"Urgency of digital literacy in translator education – A survey of students in Ghana

 

Highlights

•

Digital Literacy is an essential skill for modern translators.

•

Digital literacy influences the quality of experience students have with Computer-assisted translators (CAT) and MT.

•

Digital literacy influences students' trust in computer-assisted translation (CAT) and Machine Translation.

•

Educators should include digital literacy training in the translator education curriculum.

Abstract

Digital literacy is an essential skill for many professionals, including translators. Computer-assisted translation (CAT) and machine translation (MT) tools have simplified professional tasks and are continuously improving. This study recaps a brief history of computer-assisted translation and creates an understanding of the key events which have led to the current online and permanently connected CAT tools. Using a survey of 186 participants from a Ghanaian university, the study assesses the influence of digital literacy on the quality of students’ experience and trust with CAT and MT and their trust in such tools. Univariate statistics were used to reveal key sample characteristics. Correlations and simple linear regressions (R2 = .06, F (1, 184) = 12.11, p = .00; R2 = .04, F (1, 184) = 7.63, p = .01) suggest a relationship between digital literacy and both experience and trust in CAT and MT tools. The paper recommends the promotion of digital literacy through exposure to software, CAT, and MT tools to prepare students for professional translation. The findings are discussed with a focus on translator education and the professional practice of translation..."

Authors:

Linda Esinam Dakey, Martin Gameli Akakpo

Cite

https://doi.org/10.1016/j.ssaho.2025.101835

Get rights and content

Under a Creative Commons license

Open access

https://www.sciencedirect.com/science/article/pii/S2590291125005637

#metaglossia_mundus 

"Senior Content & Creative Manager
WhyHunger New York, Hybrid
Posted August 3, 2025
Background
Who We Are. WhyHunger believes a world without hunger is possible. We provide critical resources to support grassroots movements and fuel community solutions rooted in social, environmental, racial and economic justice. We are working to end hunger and advance the human right to nutritious food in the U.S. and around the world. Founded in 1975, WhyHunger has been at the forefront of the movement to address the root causes of hunger and build a more just and equitable food system for 50 years. Learn more at WhyHunger.org.

Job Summary
The Senior Content & Creative Manager will lead the development and implementation of content that aligns with WhyHunger’s mission, goals, and brand identity. This role requires a strong understanding of WhyHunger’s core audiences and the ability to create compelling content that informs, inspires, and activates stakeholders.

The ideal candidate will have a strong background in creating compelling content, developing content strategies, and managing content workflows, with proven experience bringing creative ideas to life across a variety of media platforms. This is a hands-on role that includes writing, shooting and editing video, designing graphics, and working closely with internal teams and external partners to create high-quality, engaging content.

The Sr. Content & Creative Manager will attend events in the New York City area and travel nationally and internationally to gather stories, conduct interviews, and develop multimedia storytelling assets. They will also coordinate with a network of consultants and vendors to support content production and creative projects. The Sr. Content & Creative Manager reports to the Sr. Director of Communications, collaborates with the Sr. Communications & Strategy Manager to integrate content into larger strategies and campaigns, and supervises a full-time Storytelling Consultant.

Reports To
Senior Director of Communications

Responsibilities
Content Development and Management

Lead the development and execution of WhyHunger’s multimedia content.
Maintain WhyHunger’s editorial calendar and workflow, ensuring collaboration across teams and timely delivery of content.
Lead the creation of diverse media and content projects, including digital, video, podcasts, publications, print, graphics, social media content, and immersive experiences.
Oversee the design and visual impact of marketing materials and publications, ensuring adherence to brand guidelines and effective design principles.
Collaborate with external partners and brands on joint content initiatives.
Effectively manage the digital media library and ensure staff have adequate training to utilize it.
Ensure all content is fully aligned with WhyHunger’s brand guidelines and identity.
Negotiate contracts and manage relationships with external vendors, agencies, and consultants to ensure quality deliverables and manage costs.
Assess expenses for content projects and make recommendations to ensure strong ROI and the most efficient use of funds.
Attend events in the New York City area and travel, both nationally and internationally, to gather stories, conduct interviews, document work and develop multimedia storytelling assets.
Analytics, Trends & Growth

Make recommendations and develop new strategies based on trends, emerging technologies, and best practices in media and content creation.
Collaborate with the team to set and meet strategic goals and content-specific KPIs.
Monitor, track, and report on content performance and KPIs, working closely with the Communications and Development teams to share information, analysis, and data-driven recommendations.
Support strategies to increase the reach and engagement of WhyHunger’s content in collaboration with the Senior Communications & Strategy Manager, Social Media Specialist and other staff.
Qualifications
5-7 years of experience in content creation, digital storytelling, and management, preferably within the nonprofit sector, and manager-level skills in communications, marketing, graphic design or related experience.
A passion for WhyHunger’s mission to end hunger and advance the human right to nutritious food.
Demonstrated commitment to racial, social, economic, and environmental justice, and a desire to be part of an anti-racist organizational culture.
Proven ability to develop and implement successful content strategies across multiple platforms and manage a fast-moving editorial calendar.
Significant content creation skills and proficiency with tools to enable production of multimedia content, including but not limited to video production and editing, graphic design, photography, podcast production and audio editing, writing, interviewing, and design.
Strong understanding of WhyHunger’s core work and ability to translate its brand story and narrative strategies into compelling, accessible content and media.
Excellent writing, editing, and proofreading skills.
Strong understanding of digital media and social media platforms.
Ability to lead complex projects and meet deadlines.
Strong collaboration skills and a track record of working with diverse stakeholders to achieve results.
Proven ability to set and meet KPIs, growth and engagement targets.
Strong analytical skills and experience using metrics to make data-informed decisions and influence strategy.
Experience managing staff, consultants, and vendors to create effective deliverables on time and within budget.
Ability to work both independently and as part of a team.
Experience conducting interviews, capturing live content at events, and working with external content teams on joint projects.
Flexibility, initiative, and a sense of humor.
Ability to work and represent WhyHunger at evening or weekend events, and travel domestically and internationally as needed.
Experience with Adobe Creative Suite, Canva, iMovie, Adobe Premiere, Audacity, or Descript or other tools for graphic design, photo, podcast or video edits.
Cultural competency to effectively engage with diverse audiences. Bilingual proficiency is a plus.
Salary Range
$85,000 to $95,000

How to Apply
Please submit your resume, cover letter and a sample of your work to whyhungercommsjobs@gmail.com. Priority is given to applicants who apply before Aug 29th. We accept applications on a rolling basis, so please apply early!

https://philanthropynewsdigest.org/jobs/90517-senior-content-creative-manager
#metaglossia_mundus

"Intercultural Sensitivity (IS) counters ethnocentrism, promoting a flexible orientation towards intercultural communication and acceptance of various cultures, including indigenous, subcultures, minority, and immigrant cultures, which may have different life perspectives compared to the dominant culture (Chen, 2010). For individuals to accept others' cultural identities, they must possess cultural awareness, competence, and practical communication skills with people from diverse cultural backgrounds. IS can be defined as “awareness and appreciation of the values, norms, and beliefs characteristic of a cultural, ethnic, racial, or other group that does not belong to one, accompanied by a willingness to adapt one's behavior accordingly.” (APA Dictionary of Psychology, 2007). It is also described as a mental state that contributes to an individual's success in interacting with culturally diverse individuals (Bennett & Hammer, 2017). Additionally, Chen (1997) define IS as “an individual's ability to develop feelings towards understanding and appreciating cultural differences that promote appropriate and effective behavior during intercultural communication.” AlKhateeb (2003) posits that IS is classified within a broad concept of cultural anthropology, representing an interactive relationship between culture, society, and personality."

 

"Exploring the relationship between intercultural sensitivity and cognitive flexibility: An inquiry into a multicultural university setting

Authors:

Ahmad Mohammad Alzoubi, Najeh, Rajeh Ibrahim Alsalhi

 

Cite

https://lnkd.in/evq9RNyK

Get rights and content

Under a Creative Commons license

Open access

Abstract

The multicultural university environment provides fertile ground for the exchange of diverse cultures, allowing students to expand their intellectual and cultural horizons, learn about various global cultures, and embrace cultural differences. This study investigates intercultural sensitivity (IS) with respect to variables such as gender, age, nationality, and language of instruction, as well as its relationship with cognitive flexibility (CF) among university students in Ajman. A sample of 356 students completed the Intercultural Sensitivity and Cognitive Flexibility Scales. A one-way ANOVA revealed significant differences in IS based on gender, age, nationality, and cumulative GPA, while no significant differences were found concerning the language of instruction. Additionally, a significant positive correlation was observed between CF and IS. Regression analysis indicated that CF accounted for 75.7 % of the variance in overall IS. The study concludes with a recommendation to integrate CF skills into university programs to enhance IS among students at Ajman University."

#metaglossia_mundus

"Tradução Iorubá-Inglês do Alcorão Lançada na Nigéria

IQNA – Um acadêmico islâmico nigeriano revelou um projeto de tradução inovador projetado para tornar o Alcorão mais acessível às comunidades falantes de iorubá em todo o mundo.

 

Dr. Dauda Awwal lançou o que descreve como a primeira tradução abrangente do Alcorão em iorubá-inglês do mundo.

 

O iorubá é uma língua oficial da Nigéria, com mais de 16 milhões de falantes.

 

O projeto, chamado de Alcorão Global Inglês-Iorubá 4-em-1, apresenta o texto árabe original, transliteração completa para pronúncia adequada, tradução em iorubá com alta precisão linguística, e tradução em inglês enriquecida com comentários, referências de Hadith, comparações bíblicas e insights científicos.

 

"Esta é a primeira vez na história que todos esses elementos se unem em um único Alcorão. Por mais de um século, os muçulmanos falantes de iorubá careciam de uma referência corânica completa e autêntica em sua língua. Este projeto preencherá essa lacuna", disse Awwal, formado pela Universidade Muhammad Ibn Saud em Riade.

 

Awwal também anunciou o lançamento de "Minhas Primeiras 13 Suratas para Crianças", uma edição colorida e interativa projetada para crianças de cinco a dez anos. Inclui traduções em árabe, iorubá e inglês de 13 capítulos curtos, com ilustrações, planilhas de exercícios, integração com aplicativo móvel e recitações audiovisuais para apoiar a educação islâmica inicial.

 

O acadêmico planeja imprimir e distribuir gratuitamente cinco milhões de cópias da edição infantil em quatro continentes: dois milhões na África e um milhão cada na Europa, Ásia e Américas. Formatos digitais também serão disponibilizados através de aplicativos móveis e e-books."

InícioPúblico14:59 - August 01, 2025

 

Id de notícias: 4568

https://iqna.ir/pt/news/4568/tradu%C3%A7%C3%A3o-iorub%C3%A1-ingl%C3%AAs-do-alcor%C3%A3o-lan%C3%A7ada-na-nig%C3%A9ria

#metaglossia_mundus 

"Inscrições abertas para 6º Seminário de Tradução da UFJF

...

Estão abertas as inscrições para o 6º Seminário de Tradução (Setra) da Faculdade de Letras (Fale) da Universidade Federal de Juiz de Fora (UFJF). O evento acontece no período de 30 de setembro a 2 de outubro, com o tema “Direitos Humanos e Meio Ambiente: Tradução de Gente para Gente”, que visa abordar como a sustentabilidade e a cidadania são fundamentais enquanto direitos da pessoa humana. 

 

Oportunidade para tradutores de carreira ou em formação e para demais interessados nas temáticas de ecologia e direitos humanos, o Setra apresenta programação variada, reunindo minicursos, mostras de tradução audiovisual e intersemiótica, conferências e mesas-redondas. Entre os convidados estão a coordenadora do curso de Letras-Libras da UFJF, Carla Couto, o escritor Leonardo Fróes, e a professora do Departamento de Letras da Universidade Federal de Ouro Preto (Ufop), Maria Rita Drumond Viana.

 

O evento é gratuito, e interessados devem preencher formulário eletrônico até 22 de setembro.

 

Tradução de Gente para Gente

Inspirado pela 30ª Conferência sobre Mudanças Climáticas (COP30), que acontece em Belém (PA), em novembro, o Seminário está alinhado aos “Objetivos de Desenvolvimento Sustentável (ODS)”, estipulados pela Agenda 2030 da Organização das Nações Unidas (ONU).

 

A coordenadora da Fale, Charlene Miotti, destaca que, em um mundo onde, por questões sociais e climáticas, a migração é cada vez mais comum, a tradução e a interpretação profissionais, além de uma forma de acesso ao conhecimento produzido ao redor do mundo, são também meios de viabilizar a comunicação necessária entre pessoas de diferentes valores, vivências, culturas e necessidades.

 

“Um exemplo prático de como tradutores atuam na construção da cidadania global é o serviço de tradução de documentos, diplomas e outros textos que garantem ao imigrante direitos básicos em seu novo contexto. Além disso, pensemos nos intérpretes de Libras: É um trabalho fundamental no processo de inclusão das pessoas surdas no que chamamos de bens imateriais: conhecimento, arte e lazer.” 

 

Charlene adiciona ainda que a preocupação da Faculdade de Letras em formar profissionais humanos é o cerne da ideia de uma “tradução de gente para gente”. Pois, apesar do avanço das inteligências artificiais utilizadas para tradução, a interpretação humana, segundo ela, “é imprescindível, por sua capacidade criativa e atenta a dados extratextuais que possibilitam, além da leitura de um mundo complexo, uma tradução humanística capaz de promover paz, diversidade e inclusão”.

 

A programação completa já está disponível no site da Fale.

 

Outras informações

coord.letrasbacharelado@ufjf.br"

https://www2.ufjf.br/noticias/2025/08/01/inscricoes-abertas-para-6o-seminario-de-traducao-da-ufjf/

#metaglossia_mundus