Americans notoriously read very little in the way of foreign literature. With translations representing a paltry 3 to 5 percent of books being published annually in the United States, authors and translators alike are crying out for more fiction to be translated. Intellectuals argue that exposure to writing by foreign authors will help us to bridge gaps of understanding and bring us out of our cocoon of cultural isolation.

After reading a collection of short stories by various European authors, writer and translator Tim Parks observes that he is “struck by how familiar these voices are, how reassuringly similar in outlook to one another and ourselves.” The elements of humor and narrative forms found within the collection only serve to underscore the similarities. “Across the globe, the literary frame of mind is growing more homogeneous,” Parks writes.

There’s no doubt that translated foreign literature deserves a spot in the bookcase, but perhaps we should shelve the idea of greater cultural awareness through these works.

Read more about the topic here on The New York Review of Books.

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The FIFA World Cup – soccer’s premier sporting event – is coming to African soil for the first time in history. South Africa will play host to 32 national soccer teams and 350,000 foreign visitors during the month-long event, requiring that both linguistic and cultural barriers be bridged for the global cast of players, organizers and fans who will be in attendance.

Demand for website localization, translation, editing and voice-over projects has increased exponentially in advance of the international sporting event. Written translations for the World Cup are mandatory for each of the 11 official languages of South Africa, in addition to the languages of the participating teams. In an effort to reach as many fans as possible, the World Cup website has been translated into Arabic, English, French, German, Spanish, and Portuguese.

Organizers predict that 450 to 500 million viewers from around the globe will tune in to this year’s World Cup.

For more information, see this article at Global Watchtower.

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Here are some of the top language-related stories from the last month:

1. The recently elected president of Costa Rica, Laura Chinchilla, sports an animal last name. Could the warm and fuzzy appeal of her name have helped her to get elected?

2. As part of the state’s new comprehensive immigration reform, Arizona now requires that any teacher instructing students in the English language speak without a heavy accent.

3. Renowned scientist Stephen Hawking ponders what sort of language humans would require to communicate effectively with extraterrestrials should they one day make contact with our planet.

4. Bad translations are the order of the day. A recent diplomatic visit to Washington D.C. by Mexican President Felipe Calderón was marred due to lackluster interpretation of his comments by a substitute interpreter.

5. The Eurovision Song Contest is perennially plagued with bad English translations, and this year was no exception.

6. Icelandic-English translators can barely keep pace with the flood of financial documents resulting from Iceland’s economic collapse.

For more information, visit this article at The World.

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The reluctance of publishers in the English-speaking world to translate works from other languages truly boggles the mind. At a point in the world’s history in which we are more connected than ever before, America and the rest of the Anglophone world remain remarkably isolated from the literary contributions of other languages and cultures. The statistics are rather eye-opening: Just two to three percent of books published every year in the U.S. and Britain are translations, in comparison to close to 35 percent in Western Europe and Latin America.

Ignoring a bulk of the world’s literature represents a problem on several fronts. Aside from the fact that English speakers lose out on the obvious advantages gained by an understanding of different worldviews and perspectives found in foreign literature, as it turns out, a refusal on the part of publishers to translate books from other languages into English also does a disservice to non-English speakers the world over. “English often serves as the linguistic bridge for the translation of a book into a number of Asian and African languages.”  Lastly, a paucity of translated works means that the exchange of information and ideas that is cherished by free, democratic societies ultimately suffers.

Click here for more information on this story from Foreign Policy.

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The translation of marketing and promotional materials presents unique challenges, not only from a language standpoint but from a cultural one as well. Translations of advertising copy must strive for something beyond technical accuracy; just like the carefully-crafted original text, the translation of a marketing message must be both engaging and culturally relevant to the target audience. The incorporation of specialists in transcreation and cultural adaptation to the linguistic team ensures that marketing messages are accurately conveyed without sacrificing creativity or consistency.

Transcreation services focus on adaptation of a text rather than a strict translation, guaranteeing that – by remaining faithful to the original and reflecting the local preferences and culture of the target audience – the message achieves the greatest impact in every market. Transcreation entails a host of services including translation, copywriting, and localization, bringing together the creativity and contributions of professionals whose principal interests and activities center on content adaptation.

“The goal of transcreation isn’t to say the same thing in another language. Indeed, it is often not possible to say exactly the same thing in another language. The aim of the game with transcreation is to get the same reaction in each language, something that translation in itself won’t be able to achieve.” [1]

The translation of copy for the marketing world differs significantly from other types of translations such as technical translations, which leave little room for creativity, and some training in copywriting is recommended. Translators with a flair for creative writing tend to produce the best results with advertising, marketing, and media texts and are best suited to work as transcreators.

Transcreation demands an intimate understanding of the source language, continuous exposure to the local media in the target market, as well as a high degree of familiarity with the target audience. A specialist in transcreation will be able to evaluate why the advertising message works for the original group, and he or she will produce materials that are culturally adapted and tailor-made for the target audience. Ideally, translators, transcreators, and those responsible for content adaptation should engage the client in a dialogue about the brand and its intended message to consumers to maintain consistency and meaning for the target audience.

[1] Bad Language, Translation vs. Transcreation

Though many learn to express themselves quite masterfully in a foreign language, most speakers of a language other than their mother tongue can still be easily identified by their accent. Most of the time, an accent poses no problems in terms of intelligibility; indeed, many people find foreign accents charming. However, if your accent interferes with native speakers’ ability to understand you, or you’re simply looking to blend more with the locals, here are some tips for reducing your accent. Remember: it’s very difficult to completely eliminate an accent. Instead, your goal should be to neutralize your accent.

» Don’t speak too quickly. Native speakers will have a difficult time understanding you until you learn the correct intonation and rhythm of the language. Speak slowly so that you can enunciate each word.

» Observe and imitate the facial movements of native speakers. When watching television or conversing with native speakers, take note of the facial movements of the person speaking in order to more accurately reproduce the sounds of the language.

» Record your own voice and listen for errors in pronunciation. Become more aware of the mistakes you’re making by listening to a recording of your voice.

» Read aloud every day for 15 to 20 minutes. This exercise will help strengthen the facial muscles you use when speaking a language other than your native tongue.

» Become accustomed to the prosody or “music” of the language. Each language has its own rhythm, intonation/tone, and pausing. Familiarize yourself with these patterns in order to speak more naturally.

» Listen to audiobooks and follow along using a printed version of the text. You can also make a recording of yourself as you read portions of the book aloud, and then compare your speech to that of the audiobook’s narrator.

» Keep your dictionary handy. Familiarize yourself with your dictionary’s phonetic symbols, and look up the correct pronunciation of words that pose difficulty.

» Create a list of words that are difficult for you to say, and ask a native speaker to pronounce them for you. Make a recording of these words, listen, and practice saying them.

» Consider working with a speech-language pathologist or a dialect coach for professional evaluation and feedback.

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As one of Argentina’s most famed writers, Jorge Luis Borges produced numerous original works of fiction, poetry, and essays; however, a lesser-known fact is that Borges also made significant contributions to literature through his work as a translator.

Borges’ paternal grandmother was English, and he grew up in Buenos Aires speaking both Spanish and English at home. “Borges would later comment that the household was so bilingual that he was not even aware that English and Spanish were separate languages until later in his childhood.” [1] Borges also spent a portion of his formative years in Geneva, Switzerland, where he studied both French and German.

Borges demonstrated a talent for translation at a very young age. At just nine years old, his very first translation into Spanish – Oscar Wilde’s short story “The Happy Prince” – was published in a local newspaper. As a young adult, he began to write and translate poetry while living with his family in Spain, focusing on translation from English, French, and German into Spanish. Borges went on to translate and subtly transform the works of literary greats such as Edgar Allan Poe, Franz Kafka, Hermann Hesse, Rudyard Kipling, Herman Melville, Walt Whitman, and G. K. Chesterton, and he was the first to translate the writings of Virginia Woolf and William Faulkner into the Spanish language.

Borges developed his own theories of translation through three key essays: “Las dos maneras de traducir” (1926), “Las versiones homéricas”(1932), and “Los traductores de Las mil y una noches” (1935). In these essays, Borges “challenges the idea that original texts are superior to translations and rejects the concept of a ‘definitive text.’” [2] Borges also puts forth the view that alternate and possibly contradictory translations of the same work can be equally compelling.

Borges’ reflection on translation nourished his creativity, and translation formed an integral part of the author’s literary process. “The intertwined functions of writing and translation for Borges ‘became nearly interchangeable practices of creation.’” [3] In fact, “not only did he argue that a text could be enhanced by a translation, he went further. For Borges…a translation could be more faithful to a work of literature than an original text.” [4]

Sources:
[1] Swarthmore University, The Garden of Jorge Luis Borges
[2] Periódicos Universidade Federal de Santa Catarina
[3] Perilous Peripheries: The Place of Translation in Jorge Luis Borges
[4] The Chronicle of Higher Education, Invisible Work: Borges and Translation

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Jorge Luis Borges, one of Argentina’s most celebrated writers, wrote not only in his native Spanish but in English as well. In collaboration with American translator Norman Thomas di Giovanni, Borges penned a number of short stories in English including “The Library of Babel” and “The Lottery in Babylon.” Unfortunately, after Borges’ death in 1986, the author’s widow revoked publishing rights on stories translated by or written together with di Giovanni, rendering many of these works inaccessible to the public.

Borges’ working relationship with di Giovanni expanded his influence within the English-speaking world and helped catapult Borges to fame as one of the best-known authors of the 20^th century.

Until di Giovanni can reach some sort of settlement with Borges’ widow and/or the publisher, English-speaking readers will have to be content with translations by Andrew Hurley. Sadly, hidden away under lock and key, some of Borges’ original works in English are doomed to remain unread and unappreciated for the foreseeable future.

Read more about Borges’ collaboration with di Giovanni and the resulting works in English here at The Guardian website.

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The rules for capitalization in English can be complicated. Use this list to help guide you when composing a text in English.

• Capitalize the first word of a sentence.
• Capitalize the first word of a direct quote.
• Capitalize the first word of each line in a piece of poetry or verse.
• Capitalize the pronoun “I” including its contractions (e.g. I’m, I’d).
• Capitalize proper nouns (used to denote a specific person, place, organization, or thing).
• Capitalize familial relationships when used as proper names (e.g. Uncle Bob).
• Capitalize acronyms except for those that have become regular words, as in the case of “radar” and “scuba.”
• Capitalize the names of countries, nationalities, and specific languages.
• Capitalize a person’s title when it precedes the name; however, do not capitalize when the title serves as a description following the name.
• Capitalize the titles of government officials when used before their names.
• Capitalize the names of national, political, racial, social, civic, and athletic organizations.
• Capitalize points of the compass (north, south, east, west) only when they refer to specific regions or sections of a country.
• Capitalize the first and last words of titles of publications regardless of their parts of speech. Capitalize other words within titles with the exception of short prepositions or the articles “the,” “a,” or “an,” unless they appear as the first word of the title.
• Capitalize the months of the year, the days of the week, periods and events (e.g. Great Depression), and holidays. Do not capitalize the names of seasons except in a title.
• When writing a letter, capitalize the first word of the salutation and the first word of the closing.
• Capitalize words and abbreviations derived from proper nouns (e.g. Daliesque).
• Capitalize the names of trademarks.
• After a phrase ending in a colon, do not capitalize the first word if it begins a list.
• Capitalize the names of God, specific deities, religious and mythological figures, and holy works. Do not capitalize the word “god” when used in a non-specific manner.

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The New Oxford American Dictionary considered a slew of new words for the 2009 Word of the Year. The technology sector contributed heavily to the roster of candidates – particularly from the realm of social media – with new additions such as “hashtag” and “tweetup” growing out of the much talked about site Twitter. The world of fashion, the economy, and politics and current events also pitched in with words like “jeggings,” “Great Recession,”“zombie bank,” and “snollygoster.”

So, which new word took top prize? “Unfriend” was bestowed the title of 2009 Word of the Year by the lexicographers at Oxford, a verb meaning “to remove someone as a ‘friend’ on a social networking site such as Facebook.”

For a more complete list of the contenders for the 2009 Word of the Year along with their definitions, take a peek at this article by The Telegraph.

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