LESSON 6 (Unit 3 HM continued) Now translate this passage from a literary text. Think about the appropriate unit of translation for words and phrases

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1 LESSON 6 (Unit 3 HM continued) Now translate this passage from a literary text. Think about the appropriate unit of translation for words and phrases that are obscure or heavy, and difficult to translate. This was the terrible thing, the quiet in the hopelessness. To believe the human race lost and not to feverishly want to do something about it, a desire in me, for example, to be lost with it. I was troubled by abstract furies which were not of the blood and I was quiet, I desired nothing. It did not matter that my girlfriend was waiting for me: to go to her or not or to leaf through a dictionary was all the same to me; and to go out and see friends, to see the others, or to stay at home was all the same to me.

2 Vittorini E. 1966: Conversazioni in Sicilia: Questo era il terribile: la quiete nella non speranza. Credere il genere umano perduto e non aver febbre di fare qualcosa in contrario, voglia di perdermi, ad esempio, con lui. Ero agitato da astratti furori, non nel sangue, ed ero quieto, non avevo voglia di fare nulla. Non mi importava che la mia ragazza mi aspettasse; raggiungerla o no, o sfogliare un dizionario era per me lo stesso; e uscire a vedere gli amici, gli altri, o restare in casa era per me lo stesso.

3 Questo era il terribile: la quiete nella non speranza. This was the terrible thing, the quiet in the hopelessness. era il terribile was the terrible thing (noun adjective) la quiete nella non speranza the quiet in the hopelessness (negation through a separate word in Italian ( non ) but morphological negation in English lessness )

4 non aver febbre ( noun) di fare qualcosa in contrario not to feverishly ( adverb) want to do something about it (requires pronoun it )

5 Ero agitato da astratti furori I was troubled by abstract furies English translator has added meaning which is not really present in the original Italian, namely that furies recall mythological beasts of vengeance which in Italian are furie not furori (Dodds 244)

6 non avevo voglia di fare nulla. (fixed phrase) I desired nothing (no equivalent fixed phrase in English)

7 Non mi importava che la mia ragazza mi aspettasse It did not matter that my girlfriend was waiting for me (requires dummy subject it ). This is an example of end weighting, the heaviest (longest or most difficult) unit to process is placed at the end of the sentence. Here, it will attract attention as new information (the rheme) (Leech 134). However, it would also be possible to use fronting, the unit is moved to the front of the sentence: That my girlfriend was waiting for me did not matter or My girlfriend was waiting for me but it did not matter. The purpose of fronting is usually to stress that the information is already known, given and accepted as true (the theme).

8 a vedere gli amici, gli altri, o restare in casa to go out and see friends, to see the others, or to stay at home The phonological equivalences of gli amici, gli altri is not lost in the English translation. The English translator uses a strategy of compensation: the phonological equivalence is transferred to the s in see friends, to see the others, or to stay Alliteration: the close imitation of the sound of one syllable (or part of one syllable) in another syllable at the beginning of words (Dodds 28)

9 English national newspaper (The Observer) A breath of fresh Eire The time: a balmy October evening. The place: the National Film Theatre, London. An audience of several hundred people, most of them English, are sitting spellbound, listening to a small man talking animatedly about film, cultural hegemony, the information society and the future. We don t have to lie down, he says, before a culture that is driven by greed. There is a collective sigh of approval. It is surely wrong, he continues, that all the images of the world should come from one place. A ripple of agreement runs through the audience, like a breeze running over a field of ripening corn.

10 (Italian translation in Internazionale) Una boccata di pura Irlanda Tempo: una mite serata d ottobre. Luogo: il National Film Theatre, Londra. Un pubblico di parecchie centinaia di persone, in maggioranza inglesi, ascolta rapito un uomo di bassa statura che parla animatamente di cinema, di egemonia culturale, di società dell informazione e del futuro. Non dobbiamo inchinarci, afferma, di fronte a una cultura dominata dall avidità. Si sente un generale sospiro di approvazione. È senza dubbio sbagliato, continua, che tutte le immagini del mondo provengano da un solo posto. Questa volta un mormorio di assenso attraversa la sala, simile alla brezza che pettina un campo di spighe mature.

11 Eire (a homophonic pun). Eire/air = same sound but different spellings (graphology) and different meanings (semantic values). Eire = the original and therefore pure Irish Gaelic name for Ireland. This is a vital part of the context of situation and should be captured in translation.

12 Many of the translation units here are in a relation of equivalence. They include October evening / serata d ottobre, cultural hegemony / egemonia culturale, information society / società dell informazione, sigh of approval / sospiro di approvazione. Others require fairly limited modificiations: An audience of several hundred people / Un pubblico di parecchie centinaia di persone.

13 In terms of grammatical units: The in The time and The place is eliminated (typical note style of Italian journalism) The relative clause that is implicit in the ing form of talking animatedly (= who was talking animatedly) has to be rendered by che parla in Italian.

14 In terms of lexical units: mite = nearest equivalent of balmy. It belongs to a lexical field that includes soft, warm, calm, temperate.

15 Translation of the more figurative use of language could cause difficulties: sitting spellbound, listening ascolta rapito = trans. strategies of reduction and reordering. Another possibility might be se ne sta seduto, affascinato, ad ascoltare The simile in: A ripple of agreement runs through the audience, like a breeze running over a field of ripening corn. simile alla brezza che pettina un campo di spighe mature. The efficacy of breeze lies in the meaning of movement it shares with ripple. Taylor (205) suggests that a better translation might have been: un mormorio di assenso serpeggia tra il pubblico, simile ad una brezza che fa ondeggiare un campo di spighe mature. Would you agree?

16 CONCLUSION OF UNIT 3: THE TRANSLATION UNIT Vinay and Darbelnet reject the word as a unit of translation and instead define the unit as the smallest segment of the utterance whose signs are linked in such a way that they should not be translated individually (HM 18, ). Instead of defining the unit in terms of syntax (a word, a clause, a sentence), they define it in terms of meaning, reasoning or intonation ((H&M: 138).

17 Translate the following tourist text from The Rough Guide to Germany (2012). In what sense does the translation of The cappuccino classes have to take place at the level of culture? How would you translate cappuccino for the Italian target audience? Dresden: the Äussere Neustadt. After reunification, artists and radicals moved into its then tatty nineteenth-century quarter and so began this urban village s transition into the home of the city s alternative arts and nightlife scenes. The cappuccino classes have certainly arrived, but the area remains multicultural and nicely scruffy a place of funky galleries and independent boutiques, and the best bar scene south of Berlin.

18 Homework: 1) Translation: see previous slide. 2) Read about the concept of translation shift. HM ( Translation shift defined on p.28. Formal correspondence defined on p.27).

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