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While paying a tribute to Tudor Ionescu‘s translational theory and practice, the following essay attempts a new perspective on translation highlighting the primary role of the senses and of emotional intelligence in the decision making as well as the crucial dimension of pragmatics. The visibility and voice of the translator are discussed summing up several translational models.
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In this article we are trying to bring back to life ourcolleague and friend Tudor Ionescu. Tudor Ionescu has been teaching translation at the University of Cluj-Napoca, not by edicting rules and algorithms, which sometimes are supposed to be necessary in order to guarantee a certain objectivity in translation, but by sensitizing the students to the phenomenon - "text". In referring to his article - Călatorind spre capătul traducerii (Voyage au bout de la traduction) -, published in the volume Urme de condei, we are trying to provide evidence that Tudor Ionescu‘s sensitivity for texts is not something that one has (as the artist that he was had) or not, but that one can acquire this sensitivity by developing the Heideggerian Achtsamkeit for texts (and for everything that is not tied up in one‘s own ego). We hope to show that Tudor‘s description of his translational approach to texts – that has often been judged as "not scientific" enough – deserves more positive attention in so far as a close reading of his writings allows us to deduce fundamental elements of a didactic kind that should be the basis of any training of translators considered from the point of view of the hermeneutic approach in translation.
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This article shortly presents the ideas of a translation poetics and praxeology as expressed by the teacher, translation theorist, essayist and translator Tudor Ionescu in his essays, studies and works. The author underlines the influence that the theories of Ladmiral, Meschonnic, Lederer have had upon his praxeology, recognizing at the same time the part of originality of his personal experience of translation and translation teaching. The author analyses "authentic" translations made by Tudor Ionescu and emphasizes the strategies and the solutions where the talent, the creativity and the language meaning have an important role.
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Our paper presents an analysis of Tudor Ionescu‘s original novel « Pantera » din Montparnasse, presented by the editor as a translation, from the point of view of the various ”voices” that a careful reader may identify in the text: the fictitious translator‘s, the writer‘s, the professor‘s, and the translation studies theorist‘s voice. We thus want to highlight the complexity of the task Tudor Ionescu undertook and to infer his underlying objective(s).
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The work of a translator involves a continuous tension between objectivity and subjectivity. Tudor Ionescu succeeds in balancing these two aspects of translation by means of an original approach. To mention but a limited number of elements, the vocabulary used is eclectic (standing as a proof of both the translator‘s erudition and his unusual mastery of Romanian language), the transition from one stylistic register to another is smooth, and syntax has a significant oral dimension. In the Romanian version of the novel ”Une vie française”, by Jean-Paul Dubois, thorough comprehension of the translated work and adequacy to context play a key role, the result being a work of art in itself, the combined expression of the author and the translator. ”O viaţă de francez” voices the aesthetic principle Tudor Ionescu applied and taught: an accurate proportion of understanding, fidelity and audacity.
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In this article we aim to tackle the translator‘s voice limits, both in the allograph and the auctorial translations. Within the context where digressions, idiosyncrasies and fictionality place us permanently in a vast field of possible interpretations, the writers‘ anxiety for the reception mediated by translation (two voices, two texts) appears to be legitimate, and consequently, a reason for dissatisfaction and an urge for self-translation (one voice, two languages). But the latter doesn‘t guarantee a permanent empathy of the author with himself either.
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The translator is often perceived as a person who ”lends” his/her voice in order to let the ”Other” be heard, with all the potential shifts inherent in this re-enunciation process. When confronted with ”deviant” forms of writing, the translator faces added difficulties in trying to emulate these unique voices. How does the translator deal with this dual level of ”otherness”? And in this particular case, how much of the translated voice we hear is the Other‘s and how much is that of the translator? Based on the paratext, the translation of metaphors, specific lexical choices, etc. as so many manifestations of the translator‘s voice. Based on corpus extracts, the article examines how the translator, with all his/her subjectivity, can adapt his/her voice in order to convey the Other‘s accents, and conversely how s/he can sometimes replace the Other‘s voice by his/her own.
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This study deals with a situation that unexperienced, occasional and professional translators all have to cope with : the need to provide explanations on their decisions in notes adding to the translated text. We present here several prototypical translator‘s notes the contextual elements and the preconditions governing the decision to add a particular note. The various categories identified are illustrated with excerpts from Romanian translations of novels belonging to well-knowing French writers recently published in Romanian presses. The study also provides comments on these different types of notes and also, in same cases, recommendations for possible translation strategies applicable in the context.
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While most discussions about humour in translation have focused mainly on the idea of its untranslatability, there are studies that concentrate on highlighting the variables which can influence the translation of humour. Starting from the assumption that humour translation is feasible, despite inherent losses, the present paper tries to focus on the factors influencing the process of translating referential humour in the audiovisual context. The first part of the paper represents an attempt to define the field of referential humour and delimit it from that of strictly verbal humour, inasmuch as this is possible. Then, on the basis of a corpus containing scenes extracted from several American situational comedies (sitcoms) and their Romanian translation, it is suggested that, among factors such as the semiotic complexity of a television programme, the shared knowledge of source and target audience, the overall quality of the outcome also depends on the experience and talent of the translator.
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This paper makes a connection between the use of CAT tools in translation and what we call the weakening of the translator’s voice, a formulation which sums up various translational issues such as mechanical or weird sounding, incoherent, unclear, or even meaningless translations. We start by positing the idea that the use of CAT tools leads to the appearance of additional translational constraints, which we classify into pragmatic, textual, and terminological, and then go on to analyse how these constraints affect the translator‘s voice.
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Many interpreters declared on various occasions that their performance had to suffer because of the quality of the speaker‘s speech. Not only content posed a problem, but also speed, bad diction, monotonous intonation and various elements strictly related to the voice of the respective speakers. As we totally agree with the saying ”Do not unto others as you would not that others should do unto you”, in this article, we try to offer our students as well as our fellow trainers of conference interpreters a few suggestions concerning the ways in which they can improve the quality of their voice, thus improving their overall interpreting performance.
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The present article focuses on the main mechanisms for creating the specific terminology of the European Union. The complicated supranational language spread by translation (in 23 languages now), which abounds in abbreviations and acronyms poses many problems. The glossaries and terminology databases are one step toward its decoding but they are useful mostly for professionals working for/with the European institutions. Other steps are needed for breaking the hermetic nature of the European language (the eurolect), especially when citizens are involved in the interactions. In this way, the language will comply with the principles of democracy, transparency and policies understanding that form the foundations of the European construction.
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This paper aims at presenting some of the most useful resources and tools of the European portal for the translation of judgments and its applications in teaching as well as in practice. In this respect, the study reviews some relevant web pages for the European law, in order to emphasize the competences and procedures of one of the decisive legal European institutions. Besides, as a case study, certain uses and misuses in the law documents are pointed out in a judgment translated from Spanish into Romanian, with the purpose to refer these matters to good translation practice.
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The article aims to shed light on the specific nature and purpose of the translator‘s note in court translation. For this purpose, the author first considers legal translation as being simultaneously a linguistic and a legal transfer; then he stresses the legal effects the translated text is supposed to guarantee in the target culture; finally, he analyses the shift of the source of enunciation, from author to translator, and its consequences on the translator‘s strategic positioning. The article warrants the conclusion that it is precisely the discrete mediation embodied by the translator‘s note that allows to consider court translation as a form of expertise.
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Language, in general, and the informatics language in particular make extensive use of the metaphor, be it poetical, linguistic or scientific metaphor. In the present paper we deal with the way scientific metaphor enters the informatics language, a specialized language which verbalizes science and technology. The purpose of the paper is to put emphasis on the phenomenon of metaphorical extension by means of which the informatics language, both in English and Romanian, takes over words from the current language. Apart from the borrowed informatics terms which lose their metaphoricity when entering Romanian, the reconstruction of the metaphorical process of the translated specialized terms is also a central issue to be brought into focus.
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This article aims at presenting several aspects of the conference interpreter‘s life, seen from the perspective of the professional who works on the Romanian market. We will point out the moments lived in the booth by the team of interpreters during conferences through a personal presentation. We also intend to outline some pedagogical aspects that could be applied with students during training sessions.
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Defined as cultural exchange, translation is a process of ”mediation” between the plurality of cultures and the unity of humanity. However, when translation concerns languages that are geographically rather remote and when there is an inevitable hiatus between the two cultures involved, connotations tend to raise major difficulties for the translator; faithfulness presupposes, in this case, not only an ”asymptotic” adjustment of the target-text to the source-text,through ”inventiveness” and ”creativity”, but also a corresponding hermeneutics, in the letter and the spirit of the text. This study examines translation as a bridge between two cultures, highlighting, on the basis of several examples of translations from and into Japanese, the intricate permutations occurring between the source language and culture, on the one hand, and the target language and culture, on the other.
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This article examines two French translations of the famous poem of Leopardi, ”The Infinite”. Bonnefoy and Jaccottet both share the concept of translation as a parallel activity, inseparable from the poetic creation. The comparison of the two versions highlights how, even through different translation solutions, both can penetrate to the deepest core of the Italian poem and return, if not the metrical composition, its musical truth.
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After a brief presentation of the values and specificities of the Italian subjunctive, this paper illustrates the difficulties occurring when translating certain utterances from Italian into Romanian and in particular from Romanian into Italian. These difficulties are mainly due to the fact that the translator may choose among various verbal modes (indicative, subjunctive, conditional), depending on the language register and the stylistic particularities of the utterance.
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