Psychological approach --File One--

The Psychological Approach: Freud

Aim of Psychological Approach: Provide many profound clues toward solving a work’s thematic and symbolic mysteries Abuses and Misunderstandings of the Psychological Approach: In the general sense of the word, nothing new about psychological approach.  Used as early as the 4th century by Aristotle. During the twentieth century, psychological criticism has come to be associated with the psychoanalytical theories of Sigmund Freud and his followers.  This association has resulted in most of the abuses and misunderstandings of this approach. Abuses results from an excess of enthusiasm, which has manifested several ways: Advocates push their critical theses to hard, forcing the psychoanalytical theory at expense of other considerations The literary criticism of the psychoanalytical extremists degenerated into a special occultism with its own mystique and jargon used specifically for the in-group. Results in widespread mistrust of the psychological approach in analyzing literature Freud’s Theories: Freud emphasized the unconscious aspects of the human psyche Most of the individual’s mental processes are unconscious All human behavior is motivated ultimately by sexuality (However, some of Freud’s own disciples have rejected this, including Jung and Adler) Freud assigned mental processes to three psychic zones: The id: Reservoir of libido, the primary source of all physic energy. The id functions to fulfill the pleasure principle. The id has no consciousness or semblance of rational order; characterized by a tremendous and amorphous vitality. Only has an impulse to obtain satisfaction for the instinctual needs in accordance with pleasure In short, the id is the source of all aggression and desires Two agencies to regulate the id: The ego: Protects the individual Rational  governing agent of the psyche Lacks the strong vitality of the id, regulates the instinctual drives of the id so that they may be in released in nondestructive behavioral patterns Ego comprises what we think of as the conscious mind The superego: Primarily functions to protect society Largely unconscious, superego is the moral censoring agency, the repository of conscience and pride Serves to inhibit or repress the id, to block off and thrust back into the unconscious those impulses toward pleasure that society regards as unacceptable (like overt aggression, sexual passion, and the Oedipal Instinct) Examples of the Psychological Approach in practice: The Oedipus Complex in Hamlet (Oedipus Complex is when a boy is sexually attracted to his mother) Rebellion against the father in Huckleberry Finn Id versus Superego in the short story “Young Goodman Brown” The consequences of sexual repression in The Turn of the Screw Love and Death in the short story “Sick Rose” Sexual Imagery in the poem “To His Coy Mistress” (Most often use of sexual imagery is finding phallic and yonic symbols) Morality over the pleasure principle in the short story “Everyday Use” Taken from A Handbook of Critical Approaches ot Literature, Fouth ed. Guren, et al

Source  :  http://ragingdove12603.tripod.com/id15.html

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Translation Theory Part 7 --- End

What is Literary Translation?

Literary translation bridges the delicate emotional connections between cultures and languages and furthers the understanding of human beings across national borders. In the act of literary translation the soul of another culture becomes transparent, and the translator recreates the refined sensibilities of foreign countries and their people through the linguistic, musical, rhythmic, and visual possibilities of the new language.

Professor Rainer Schulte, Co-Founder of ALTA


 Source : http://www.utdallas.edu/alta/about/literary-translation

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Translation Theory Part 6

The nature and importance of translation

Translation is ultimately a human activity which enables human beings to exchange ideas and thoughts regardless of the different tongues used. Al Wassety (2001) views the phenomenon of translation as a legitimate offspring of the phenomenon of language, since originally, when humans spread over the earth, their languages differed and they needed a means through which people speaking a certain language (tongue) would interact with others who spoke a different language.

Translation is, in Enani’s (1997) view, a modern science at the interface of philosophy, linguistics, psychology, and sociology. Literary translation in particular is relevant to all these sciences, audio-visual arts, as well as cultural and intellectual studies.

Translation is, in Chabban’s words (1984:5), “a finicky job,” as it has not yet been reduced to strict scientific rules, and it allows for the differences that are known to exist between different personalities. Translation is a heavily subjective art, especially when it deals with matters outside the realm of science where precisely defined concepts are more often expressed by certain generally accepted terms.

In the final analysis, translation is a science, an art, and a skill. It is a science in the sense that it necessitates complete knowledge of the structure and make-up of the two languages concerned. It is an art since it requires artistic talent to reconstruct the original text in the form of a product that is presentable to the reader who is not supposed to be familiar with the original. It is also a skill because it entails the ability to smooth over any difficulty in the translation, and the ability to provide the translation of something that has no equal in the target language.

In translation, the richness of vocabulary, depth of culture, and vision of the translator could certainly have very conspicuous effects on his/her work. Another translator might produce a reasonably acceptable version of the same text, which, however, may very well reflect a completely different background, culture, sensitivity, and temperament. Such differences cannot, in Chabban’s view (1984), detract from the merit of either translator. This is simply because translation is decidedly a more difficult job than creation.

Criteria for a good translation
A good translation is one that carries all the ideas of the original as well as its structural and cultural features. Massoud (1988) sets criteria for a good translation as follows:

A good translation is easily understood. A good translation is fluent and smooth. A good translation is idiomatic. A good translation conveys, to some extent, the literary subtleties of the original. A good translation distinguishes between the metaphorical and the literal. A good translation reconstructs the cultural/historical context of the original. A good translation makes explicit what is implicit in abbreviations, and in allusions to sayings, songs, and nursery rhymes. A good translation will convey, as much as possible, the meaning of the original text (pp. 19-24).

El Shafey (1985: 93) suggests other criteria for a good translation; these include three main principles:

1. The knowledge of the grammar of the source language plus the knowledge of vocabulary, as well as good understanding of the text to be translated.
2. The ability of the translator to reconstitute the given text (source-language text) into the target language.
3. The translation should capture the style or atmosphere of the original text; it should have all the ease of an original composition.

From a different perspective, El Touny (2001) focused on differentiating between different types of translation. He indicated that there are eight types of translation: word-for-word translation, literal translation, faithful translation, semantic translation, adaptive translation, free translation, idiomatic translation, and communicative translation. He advocated the last type as the one which transmits the meaning from the context, respecting the form and structure of the original and which is easily comprehensible by the readers of the target language.

El Zeini (1994) didn’t seem satisfied with such criteria for assessing the quality of translation. Hence she suggested a pragmatic and stylistic model for evaluating quality in translation. She explains that the model ” places equal emphasis on the pragmatic component as well on the stylistic component in translation. This model covers a set of criteria, which are divided into two main categories: content-related criteria and form-related criteria” and expected that by following these criteria, “translators will be able to minimize the chance of producing errors or losses, as well as eliminate problems of unacceptability” (p. xvii).

Translation problems

Translation problems can be divided into linguistic problems and cultural problems: the linguistic problems include grammatical differences, lexical ambiguity and meaning ambiguity; the cultural problems refer to different situational features. This classification coincides with that of El Zeini when she identified six main problems in translating from Arabic to English and vice versa; these are lexicon, morphology, syntax, textual differences, rhetorical differences, and pragmatic factors.

Another level of difficulty in translation work is what As-sayyd (1995) found when she conducted a study to compare and assess some problems in translating the fair names of Allah in the Qu’ran. She pointed out that some of the major problems of translation are over-translation, under-translation, and untranslatability.

Culture constitutes another major problem that faces translators. A bad model of translated pieces of literature may give misconceptions about the original. That is why Fionty (2001) thought that poorly translated texts distort the original in its tone and cultural references, while Zidan (1994) wondered about the possible role of the target culture content as a motivating variable in enhancing or hindering the attainment of linguistic, communicative and, more importantly, cultural objectives of EFL (English as a Foreign Language) education. Hassan (1997) emphasized this notion when he pointed out the importance of paying attention to the translation of irony in the source language context. He clarified that this will not only transfer the features of the language translated but also its cultural characteristics.

The translator’s work

These problems, and others, direct our attention to the work and the character of translators, how they attack a text so as to translate, and the processes they follow to arrive at the final product of a well-translated text in the target language.

Enani (1994:5) defines the translator as “a writer who formulates ideas in words addressed to readers. The only difference between him and the original writer is that these ideas are the latter’s”. Another difference is that the work of the translator is even more difficult than that of the artist. The artist is supposed to produce directly his/her ideas and emotions in his/her own language however intricate and complicated his/her thoughts are. The translator’s responsibility is much greater, for s/he has to relive the experiences of a different person. Chabban (1984) believes that, however accurately the translator may delve into the inner depths of the writer’s mind, some formidable linguistic and other difficulties may still prevent the two texts from being fully equivalent. Therefore we do not only perceive the differences between a certain text and its translation, but also between different translations of the same text

On the procedural level, El Shafey (1985:95) states: “A translator first analyzes the message, breaking it down into its simplest and structurally clearest elements, transfers it at this level into the target language in the form which is most appropriate for the intended audience. A translator instinctively concludes that it is best to transfer the “kernel level” in one language to the corresponding “kernel level” in the “receptor language.”

Translation skills for novice translators

The present study suggests four main macro-skills for any translator who begins his/her work in the field of translation. These are: reading comprehension, researching, analytical, and composing skills. These macro-skills include many sub- or micro-skills that need to be mastered.

Reading comprehension

While we are translating, we do not think of our activity as being broken down into phases. After doing our first translations, many automatic mechanisms come into play that allow us to translate more quickly; at the same time, we are less and less conscious of our activity.

Osimo (2001) indicates that in order to think about the translation process and to describe it, our essential task consists of analyzing its phases, even if we are aware of the fact that they do not always coincide with perceptibly different or distinguishable moments. If we want to describe a process that often is beyond the translator’s own consciousness, we are forced to divide the process into different phases which, in the everyday practice of translation, can reveal the inter-twining, almost entangling, of these phases. The first phase of the translation process consists of reading the text. The reading act, first, falls under the competence of psychology, because it concerns our perceptive system. Reading, like translation, is, for the most part, an unconscious process. If it were conscious, we would be forced to consume much more time in the act. Most mental processes involved in the reading act are automatic and unconscious. Owing to such a nature-common and little-known in the same time-in our opinion it is important to analyze the reading process as precisely as possible. The works of some perception psychologists will be helpful to widen our knowledge of this first phase of the translation process.

When a person reads, his brain deals with many tasks in such rapid sequences that everything seems to be happening simultaneously. The eye examines (from left to right as far as many Western languages are concerned, or from right to left or from top to bottom in some other languages) a series of graphic signs (graphemes) in succession, which give life to syllables, words, sentences, paragraphs, sections, chapters, and texts.

Simply reading a text is, in itself, an act of translation. When we read, we do not store the words we have read in our minds as happens with data entered using a keyboard or scanner into a computer. After reading, we do not have the photographic or auditory recording in our minds of the text read. We have a set of impressions instead. We remember a few words or sentences precisely, while all the remaining text is translated from the verbal language into a language belonging to another sign system, which is still mostly unknown: the mental language.

The mental processing of the read verbal material is of a syntactical nature when we try to reconstruct the possible structure of the sentence, i.e. the relations among its elements. In contrast, it is of a semantic nature when we identify the relevant areas within the semantic field of any single word or sentence; and it is of a pragmatic nature when we deal with the logical match of the possible meanings with the general context and the verbal co-text.

The difference between a reader and a critic is negligible: the reader trying to understand has the same attitude as the critic, who is a systematic, methodical, and self-aware reader. While reading, the individual reads, and perceives what he reads, drawing interpretations and inferences about the possible intentions of the author of the message.

Holmes (1988) suggested that the translation process is actually a multi-level process; while we are translating sentences, we have a map of the original text in our minds and, at the same time, a map of the kind of text we want to produce in the target language. Even as we translate serially, we have this structural concept so that each sentence in our translation is determined not only by the original sentence, but also by the two maps—of the original text and of the translated text—which we carry along as we translate.

The translation process should, therefore, be considered a complex system in which understanding, processing, and projection of the translated text are interdependent portions of one structure. We can therefore put forward, as does Hönig (1991), the existence of a sort of “central processing unit” supervising the coordination of the different mental processes (those connected to reading, interpretation, and writing) and at the same time projecting a map of the text to be.

Novice translators as well as student translators are advised to master the following basic reading comprehension skills.

• Read for gist and main ideas.
• Read for details.
• Identify the meaning of new words and expressions using one or more components of the structural analysis clause; prefixes, suffixes, roots, word order, punctuation, sentence pattern, etc.
• Identify the meaning of new words and expressions using one ore more of the contextual analysis; synonyms, antonyms, examples, etc.
• Identify the writer’s style: literary, scientific, technical, informative, persuasive, argumentative, etc.
• Identify the language level used in the text: standard, slang, religious, etc.
• Identify cultural references in the choice of words in the text.

 Source :  http://penerjemah.blogdetik.com/2009/06/19/what-every-novice-translator-should-know/#more-54

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Translation Theory part 5

What is Translation?

Translation is the process in which a written communication or a text in a first language is produced as the written communication or text in the second language interpreting the same meaning. Here the text in the first language is the "source text" and the equivalent text that communicates the same message is the "target text" or "translated text". Initially translation has been a manual activity. Today, together with manual translation, there is also automatic translation of natural-language texts, which is referred to as machine translation or computer-assisted translation which use computers as an aid to translation. Translation is one way to bring the world closer.

Origin of the term
Etymologically, "translation" refers to "bringing across" or "carrying across". Originated from the latin word "translatio" , the perfect passive participle of which is "translatum" or "transferre". Trans implies "to transfer" and "ferre" implies to "to carry to bring across". For the modern Roman, Germany and Slavic European language, the word "traducere" is used for translation which implies "to bring across" or "to lead across" in English. The Greek term for translation is "metaphrasis" which implies "a speaking across". "Metaphrase" implies a word-for-word translation or literal translation while "paraphrase" in Greek means a saying in other words.

Factors to take in Consider for Translation
Translation is not so easy as it sounds to be. Moreover, translation does not mean a simple word for word for correspondence between any two languages. It is not a mechanical process where each word is translated to the target language. Rather, many factors are to be taken into consideration to get the exact output in the target language. The factors are as follows:

• Actual context
• The rules of grammar of the two languages
• The spellings in the two languages
• Their writing conventions
• Meaning of idioms and phrases
• The usage of points and commas to separate decimals and thousands within numbers. This is to be noted that some languages follow reverse style. For example, while in English we write 1,000.01, the same is written as 1.000,01 in Spanish languages, except for Panama, Puerto Rico, Mexico, and the United States itself.
• Again text translation also implies the translation of right-to left alphabets (such as Arabic and Hebrew).

Beside the above factors, to get the final document all activities are equally important like

• The document needs to be read
• The document needs to be translated
• The document is then edited
• The document is then proofread, not to mention retyped and often reformatted.
• Sometimes, research is also required for translation.
• Thorough knowledge of the native language is required by the translator.

Translation requires a complete understanding of the customs and lifestyle of a group of people so as to translate in a manner that communicates to that culture's world view.

Approaches to Translation
There are two approaches to translation:

• Formal equivalence: Formal equivalence implies word for word translation or literal translation. It translate not only the exact appearance of vocabulary but also the idioms and grammatical structure used in the original. This creates a problem because idioms are expressions that have meaning which is quite different from the actual meaning of the words used in the idiom. For example, the idiom "top notch" implies excellent while in simple English it represents the top notch of a stick. The drawback of formal equivalence is that idioms or phrases can mislead or confuse the reader.
  
• Dynamic equivalence: Dynamic equivalence, also referred to as functional equivalence, implies the essential thought expressed in the source text. This include, if necessary, literality, original sememe and word order, the text's active vs. passive voice, etc. It is not following a word for word translation but changing, adding, or subtracting from the original text to make it look as the translator sees fit.

Success of Translation
For the success of translation, four requirements are to be fulfilled:

• Making sense.
• Displaying the spirit and manner of the original.
• The translated document has a natural and easy form of expression.
• The translated document produces a similar response.

Source :
http://www.thelanguagetranslation.com/what-translation.html

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Translation Theory part 4

Definition and Kinds of Translation

According to Brislin (1976: 1) translation is a general term referring to the transfer of thoughts and ideas from one language to another, whether the language is in written or oral form, whether the languages have established orthographies or not; or whether one or both languages is based on signs, as with signs of the deaf.

Another expert, Wilss (1982: 3), states that translation is a transfer process which aims at the transformation of a written source language text (SLT) into an optimally equivalent target language text (TLT), and which requires the syntactic, the semantic, and the pragmatic understanding and analytical processing of the source text. Syntactic understanding is related to style and meaning. Understanding of semantics is meaning related activity. Finally, pragmatic understanding is related to the message or implication of a sentence. This definition does not states what is transferred. Rather, it states the requirement of the process.

Nida and Taber (1982: 12) see translating as a process of reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style. In other words, translation is a transfer of meaning, message, and style from one SLT to the TLT. In the order of priority, style is put the last. Here the things to reproduce (transfer) is stated, message.

Newmark (1991: 27) defines the act of translating very briefly. It is the act of transferring meaning of a stretch or a unit of language, the whole or a part, from one language to another. (The discussion on meaning can be seen at sub-point F. Meaning, Message, and Style.)

According to the purpose, translation can be divided into four types: (a) pragmatic, (b) aesthetic-poetic, (c) ethnographic, and (d) linguistic translation (Brislin, 1976: 3-4). Pragmatic translation is the translation of a message with an interest in accuracy of the information meant to be communicated in the target language form. Belonging to such translation is the translation of technical information, such as repairing instructions. The second type is aesthetic-poetic translation that does not only focus on the information, but also the emotion, feeling, beauty involved in the original writing. The third is ethnographic translation that explicates the cultural context of the source and second language versions. The last type is linguistic translation, the one that is concerned with equivalent meanings of the constituent morphemes of the second language and with grammatical form. Seen from this classification, the translation of literary work should be the aesthetic-poetic one.

The other kinds of translation or translation approach important to review are the ones related to the concept of dynamic translation, semantic translation, communicative translation, and artistic translation.

Dynamic translation tries to transfer the messages or ideas into a target language and to evoke in the target language readers the responses that are substantially equivalent to those experienced by the source text readers (Nida and Taber, 1982 :28). A definition of dynamic translation centers on the concept of dynamic equivalence, that is the closest natural equivalence to the source language message. Hohulin (1982: 15) notices that the definition of dynamic translation contains three essential terms: (a) equivalent, which points toward the source language message, (b) natural, which points toward the receptor language, and (3) closest, which binds the two orientations together on the basis of the highest degree of approximation. Dynamic equivalence approach can be used in the level of translating sentences or group of sentences, because the whole message lies here.

Similar to the above concept is the idiomatic translation developed by Beekman and Callow (in Gutt, 1991: 68). It resembles the dynamic equivalence approach in the sense that it rejects the form-oriented translation and emphasizes that a translation should convey the meaning of the original. A translation, according to this approach, should be faithful to the ‘dynamics’ of the original, or the SL’s ‘naturalness’ of language use and ease of comprehension.

The idea of dynamic translation was first proposed by Nida and Taber and the semantic and communicative translation was by Newmark. He even states that the concepts represent his main contribution to general theory of translation (Newmark, 1991: 10). It seems to be a reaction to the concepts of formal and dynamic equivalence, literal and free translation. In the above dichotomy, the first “pole” of the dichotomy (formal equivalence and literal translation) seems to be condemned for being not be able to transfer the message. Semantic and communicative translation seem to be in the middle of the two poles formal and dynamic translation. (Here formal translation is understood as translation that pursues the formal equivalence and dynamic translation is the one that seeks for the dynamic equivalence. Discussion on the issue of equivalence can be seen in the next sub-point.)

Semantic translation emphasizes the “loyalty” to the original text. It is more semantic and syntactic oriented and, therefore, also author-centered. On the other hand, communicative translation emphasizes the loyalty to the “readers” and more reader-centered. The two concepts are not to be contrasted with literal word-for-word translation which is criticized in the concept of formal translation and literal translation. He sees it as a translation procedure. He states that literal word-for-word translation is not only the best in both communicative and semantic translation, but it is the only valid method of translation if equivalent effect is secured (Newmark, 1991: 10-11).

He further maintains that, in fact, there is no pure communicative or pure semantic method of translating a text. There are overlapping bands of methods. A translation can be more or less semantic as well as more or less communicative. Even a part of a sentence can be treated more communicatively or more semantically. Anyhow he maintains that the more important the language of the text or units of text, e.g. in the sacred texts, the more closely it should be translated. Finally he points out that meaning is complicated, many-leveled, a ‘network of relation’. The more generalization and simplification is done, the less meaning is gotten. From this discussion, it can be argued that the choice between semantic and communicative approach is done in the level of translating sentences or even parts of sentence (Newmark, 1991: 10).

In the area of literary translation, Chukovsky (1984) offers the concept of artistic translation. Like the other types of translation, meaning is a very important point to consider. Yet, style is taken as importantly as the other aspects for style is the portrait of the author; so when a translator distorts his style he also distorts ‘his face’ (Chukovsky, 1984: 20). Besides the meaning, impression on the readers should also be kept the same. This translation expert states that it is essential that the readers of the translation should be carried into the very same sphere as the readers of the original, and the translation must act in the very same nerves (Chukovsky, 1984: 80).

To compare, formal and dynamic translation center on the message of the original, the semantic and communicative translation on whether author-centered or reader-centered, and artistic translation does on the consideration of literary aspects: ideas and style. The concepts are based on different ground. It is clear that the concept of dynamic translation is suitable for translating the Bible. It is so because the concept of dynamic equivalence itself was developed from the practice of Bible translation. As it is known, there are many kinds of text some of which are with the characteristics different from the Bible. The semantic and communicative ones, on the other hand, can be applied at any kinds of text. The case of style is also discussed by Newmark in his hint that “the more important the language of the text or units of text, the more closely it should be translated.” Finally, artistic translation is probably most appropriate for translating certain literary works, like poetry. Maintaining the author’ style accurately is very difficult in certain novels as the translator is confronted with the syntactic system as well as literary convention of the target language.

 

 

Source : http://transbahasa.wordpress.com/articles/definition-and-kinds-of-translation/ 

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Translation Theory part 3

Due to the continuing evolvement of the translation industry there are now certain terms used to define specialist translations that do not fall under a general category. This brief guide offers an explanation of some of the more common translation terms used.

Administrative translation
The translation of administrative texts. Although administrative has a very broad meaning, in terms of translation it refers to common texts used within businesses and organisations that are used in day to day management. It can also be stretched to cover texts with similar functions in government.

Commercial translation
Commercial translation or business translation covers any sort of document used in the business world such as correspondence, company accounts, tender documents, reports, etc. Commercial translations require specialiast translators with knowledge of terminology used in the business world.

Computer translation
Not to be confused with CAT, computer assisted translations, which refer to translations carried out by software. Computer translation is the translation of anything to do with computers such as software, manuals, help files, etc.

Economic translation
Similar to commercial or business translation, economic translation is simply a more specific term used for the translation of documents relating to the field of economics. Such texts are usually a lot more academic in nature.

Financial translation
Financial translation is the translation of texts of a financial nature. Anything from banking to asset management to stocks and bonds could be covered.

General translation
A general translation is the simplest of translations. A general text means that the language used is not high level and to a certain extent could be in layman's terms. There is no specific or technical terminology used. Most translations carried out fall under this category.

Legal translation
Legal translations are one of the trickiest translations known. At its simplest level it means the translation of legal documents such as statutes, contracts and treaties.
A legal translation will always need specialist attention. This is because law is culture-dependent and requires a translator with an excellent understanding of both the source and target cultures.
Most translation agencies would only ever use professional legal to undertake such work. This is because there is no real margin for error; the mistranslation of a passage in a contract could, for example, have disastrous consequences.
When translating a text within the field of law, the translator should keep the following in mind. The legal system of the source text is structured in a way that suits that culture and this is reflected in the legal language; similarly, the target text is to be read by someone who is familiar with another legal system and its language.

Literary translation
A literary translation is the translation of literature such as novels, poems, plays and poems.
The translation of literary works is considered by many one of the highest forms of translation as it involves so much more than simply translating text. A literary translator must be capable of also translating feelings, cultural nuances, humour and other subtle elements of a piece of work.
Some go as far as to say that literary translations are not really possible. In 1959 the Russian-born linguist Roman Jakobson went as far as to declare that "poetry by definition [was] untranslatable". In 1974 the American poet James Merrill wrote a poem, "Lost in Translation," which in part explores this subject.

Medical translation
A medical translation will cover anything from the medical field from the packaging of medicine to manuals for medical equipments to medical books.
Like legal translation, medical translation is specialisation where a mistranslation can have grave consequences.

Technical translation
A technical translation has a broad meaning. It usually refers to certain fields such as IT or manufacturing and deals with texts such as manuals and instructions. Technical translations are usually more expensive than general translations as they contain a high amount of terminology that only a specialist translator could deal with.

Source : http://www.kwintessential.co.uk/translation/articles/types.html

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Translation Theory part 2

Translation:
The transfer of meaning from one language to another. Translation takes place in writing and interpreting is its oral counterpart. The two terms are often confused. At its best, a successful translation should read as if it were originally written in the new language.

We believe translating is an art, not a science. You might get the impression that it's a mechanical process involving a box with a handle. All you need to do is turn the handle on the side of the box, and out comes the translation.

This is wrong.

Recent academic research has shown that translating from one language to another is one of the most complex higher order activities of the human brain. In fact, your wrong impression may be evidence of a good translation: great skill will often make an exceptional achievement look easy.

The translation method is dictated by the purpose of the translation. While the best translations will always be performed primarily by a human being, in some (limited) situations, machine translation can be a useful technique, and this is likely to increase in importance over time as this technology evolves.

Translation Memory:
A translation memory is database where a translator may record (usually semi-automatically) old translations for future reuse and easy searches. Although these programs are best classified under computer-aided/assisted translation, one must not confuse them with machine translation programs - translation memory software does not translate anything by itself, whereas a machine translation system actively produces language and translations based on linguistic data, such as grammatical rules and glossaries.

Unit Of Translation:The smallest entity in a text that carries a discrete meaning. It varies all the time, ranging from individual words through phrases and sentences right up to entire paragraphs.

Whistled Speech:A system of communication using set whistles and tones.

Word Order:Arrangement of words in a sentence. There are some distinct, recognized patterns:

SVO - 'cows eat grass' - English, Finnish, Chinese, Swahili

SOV - ' cows grass eat' - Hindi/Urdu, Turkish, Japanese, Korean

VSO - 'eat cows grass' - Classical Arabic, Welsh, Samoan. (AoL)

The similarity of word order patterns between source and target languages is a factor in the relative ease of translation - or otherwise - between them.

Word-For-Word Translation:
Transferring the meaning of each individual word in a text to another, equivalent word in the target language. Sometimes called 'Literal Translation'. While this is clearly appropriate for dictionaries, it can produce very for complex passages of text. See 'Unit of translation'.

Source : http://www.translatum.gr/etexts/translation-theory.htm

 

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Translation theory part 1

Translation as a communication process

by Frédéric Houbert

The translator, before being a “writer” as such, is primarily a “message conveyor.” In most cases, translation is to be understood as the process whereby a message expressed in a specific source language is linguistically transformed in order to be understood by readers of the target language. Therefore, no particular adapting work is usually required from the translator, whose work essentially consists of conveying the meaning expressed by the original writer.

    Everyone knows, for instance, that legal translation leaves little room for adaptation and rewriting. Similarly, when it comes to translating insurance contracts, style-related concerns are not paramount to the translating process; what the end reader needs is a translated text that is faithful to the source text in meaning, regardless of stylistic prowess from the translator.

    Yet, in an number of cases, the translator faces texts which are to be used within a process of “active communication” and the impact of which often depends on the very wording of the original text. In these specific cases, the translator sometimes finds it necessary to reconsider the original wording in order to both better understand the source text (this also sometimes occurs in plain technical texts) and be able to render it in the target language. This is the moment when the translator becomes an active link in the communication chain, the moment when his communication skills are called upon to enhance the effect of the original message.

    The translation process here becomes twofold: firstly, the translator needs to detect potential discrepancies and flaws in the original text and understand the meaning they intend to convey. To do this, the translator often needs to contact the writer of the text to be translated (or any other person who is familiar with the contents of the text) in order to clarify the ambiguities he has come across. Secondly, once this first part of the work is over, the translator will undo the syntactic structure of the original text and then formulate the corresponding message in the target language, thus giving the original text added value in terms of both wording and impact. It is important to stress that this work will always be carried out in cooperation with the original writer, so that the translator can make sure the translated message corresponds to the meaning the writer originally intended to convey; remember, the translator is essentially a message conveyor, not an author. 

    In order to give an example of this value-added part of the translator’s work, let us take the following excerpt, taken from a speech to be delivered by a local official working for a French “Mairie” (i.e., the local authority managing public services in French towns and cities) on the occasion of a visit from British partners as part of a twinning agreement (I could also have chosen an excerpt from a translated advertisement, for instance, in which the rewriting work of the translator is also of the essence). This translating assignment meant more than just converting information from one language into another: it involved paying particular attention to the point of view of the translation user (in this case, the listener speaking the target language), in addition to fully understanding the ideas to be transmitted. This is obviously accounted for by the fact that a speech, just as any other direct communication text, includes an extra dimension as compared to usual informative texts: this dimension could be referred to as the “listener-oriented” aspect of a text. Obviously, the text of a speech not only has a written dimension, a quality shared by all other texts whatever the field, but also an oral dimension. This double dimension obviously needs to be taken into account by the translator in his work: more than is the case with other types of texts, the viewpoint of the reader/listener should be kept in mind at all times.

    Let us take an excerpt from the speech in order to better understand the above-described process. One section of the text reads: “Je me dis qu’il est bon aussi de formaliser de temps en temps ces rencontres pour créer une mémoire collective de nos correspondances.” A rough translation in English would give the following result: “I feel it is useful from time to time to give these meetings formal expression in order to create a collective memory of our correspondence.” The latter part of this sentence sounds rather funny and the reader/listener will probably find it difficult to see what it means exactly. This is why I thought the source text needed a couple of clarifications; for one thing, the French “mémoire collective” has a historical dimension to it which I felt was inappropriate in a text meant to convey a positive, future-oriented message. In the mind of most French people, the collocative “mémoire collective” brings about images of the two world wars and of other vivid French historical events such as “Mai 68,” which as you probably know was a period of turmoil marked mainly by students’ demonstrations. Secondly, the French term “correspondances” is inadequately used (after consulting the author of the text, I found that it meant “all of the mutual achievements of the twinning partners since the signing of their agreement”). In short, the overall notion given by the French text is rather blurred, past-oriented, and the author fails to convey his ideas in a persuasive way.

    After having analyzed these two inaccuracies with the help of the author, I came up with the following translation: “I feel it is useful from time to time to give these meetings formal expression in order to put on record our mutual achievements for better future cooperation.” This adapted translation is much more suitable for two essential reasons: it clarifies the original message, and consequently gives it greater power while also providing it with a positive dimension. I deliberately chose to add “for better future cooperation” in order to reinforce the cogency of the message, which the French original obviously failed to convey.

    By making this choice, I decided to take an active part in the communication process by giving the message an extra dimension which it lacked in the original text: I simply chose to consider my work as a creative process in the best interest of the original message.

    Let us look into another example taken from the same text. The first line of the last paragraph begins with the following words: “Nous souhaitons ce renforcement des échanges...,” i.e., literally, “We support this intensifying of exchanges....” When I first read this, I thought, well, who wouldn’t support a positive, fruitful exchange process? In order to avoid obtaining the same awkwardness in English, I therefore chose to stress the idea of support by inserting the adverb “fully,” which again causes the overall impact of the message to be enhanced. The edited translation finally read as follows: “We fully support the idea whereby exchanges should be intensified....”
    As these two examples show, the work of the translator often involves a great deal of creativity, as well as a wide range of communication skills. This aspect of translation was also the subject of an article by Steve Dyson which appeared in Traduire (2/96), the journal of the Société Française des Traducteurs (French Society of Translators). Dyson calls this creative process “interlingual copywriting” and defines it as “the necessity, where appropriate, to give effective communication priority over fidelity to the original.”

    Professional translators, while giving the above issues a serious thought, should however never forget that most texts to be translated do not require “adaptation” or “reader-oriented rewriting”; a full understanding of the source text and accurate rendering in the target language usually prove enough to give the client satisfaction and make the task of the translator an intellectually gratifying one. As with all other communication skills, creativity is best appreciated and yields the best result when used appropriately.

Source : http://translationjournal.net/journal/05theory.htm

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Taman wisata matahari

Taman Wisata Matahari berlokasi di Jalan Raya Puncak Bogor, kita bisa ke Taman Wisata Matahari melalui dua jalan alternatif, yaitu melalui jalan masuk menuju kawasan wisata Curug Cilember dan melalui samping Rumah Makan Jago Rasa yang ada di sebelah kiri dari arah Ciawi menuju Puncak. Tempat wisata Matahari dengan luas sekitar 30 hektar menyediakan fasilitas wisata untuk keluarga yang bisa dikatakan lengkap, mulai dari Villa, Kolam Renang, Wisata Air, ATV, Flying Fox, Taman Bermain Anak-Anak, dsb.

Buka setiap hari, Taman Wisata Matahari menyediakan tempat rekreasi yang terjangkau. Cukup dengan Rp6.000  saja pada Senin-Jumat, kita sudah bisa menikmati tujuh permainan yaitu sepeda air, perahu dayung, perahu motor, bumper boat, paddle boat, mobil atau motor safari, dan kolam renang. Sedangkan untuk Sabtu, Minggu, dan hari libur nasional, kita hanya perlu mengeluarkan biaya Rp10.000, dan buat tiket terusan  harganya Rp15.000.

Selain berbagai macam wahana permainan, area wisata yang satu ini juga ada Pasar Murah. Yaitu area khusus untuk berbelanja suvenir, makanan khas Bogor, dan pakaian dengan harga sangat terjangkau.   

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Parai Tenggiri Beach

Formerly known by Sungailiat people is Hakok Beach, then know with Parai Tenggiri Beach.Parai beach is the most beautiful beaches parked right at the east coast of the island of Bangka.

Since the first when the beach was called Hakok, this beach is the most popular areas to be visited by local people. There are many rocks on this beach, like a very beautiful nature view. It has a beach resort with 4 star hotel that is Parai Beach Resort. Is the only beach with international standard, that be proud of Bangka island. Almost all facilities are available, ranging from accommodation, restaurant, bar and grill, café, swimming pool, even sports and leisure. 


On the left of the beach, there is a cluster of rocks neatly laid out and named Rock Island, but usually by a local society called Batuan. In the evening, guests can relax while enjoying a delicious meal, while listening to the waves hitting the rocks without stopping. Access to get there via a bridge with lighting the lamp along the edge of the right and left. Guests can walk to the Rock Island while enjoying the ocean view and the waves. 

Shortage of  Parai beach own lack of government concern to advertise this beach because the beach is managed by the private sector; El John Group. The beach is also less affordable for people who don't have a personal vehicle due to the absence of public transport through the coastal area. Besides the problem parai beach is  great interest to foreign tourists with complete amenities.

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Kota Tua, Jakarta

Kota Tua

Kota Tua, Jakata is one of the recreation center that is often visited on weekends. Kota Tua, also known as Batavia Lama, is a small area in Jakarta, Indonesia. This particular region has an area of 1.3 square kilometers across the North Jakarta and West Jakarta. many interesting places to visit in the old town, including the Old Town Clock Monument Jakarta, Jakarta Kota Station,  and Bank Indonesia Museum. After exams with my friends, we visiting kota tua.  

The first place we visited was Wayang Museum. In wayang museum many forms of wayang with a variety of sizes, from small to big as ondel-ondel betawi. At the exit door there is a souvenir shop that sells goodies that relate to Wayang museum. Such as clothes, pencils, paper fan who also reads Wayang Museum, Kota Tua.

The second place we visited was Indonesian Bank Museum. When entering the  Indonesian bank museum, we deposited the bag and will be given a ticket number to enter the museum. In this museum there are many different types of currencies and also explained about the history of the Indonesian currency (rupiah).

Since we arrived in the afternoon so our most important destination is the port to watch the sunset from kota tua we ride the rent bicycle.

That was my experience when visiting kota tua, Jakarta.

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Pantiaw....

Pantiaw, Makanan Khas Bangka Belitung

Pantiaw, salah satu makanan khas Bangka Belitung. Mungkin sudah ada yang tahu tetang makanan yang satu ini. Tapi saya ingin lebih menjelaskan tentang salah satu penganan khas Bangka ini. Pantiaw adalah makanan yang berkarbohidrat tinggi karena dibuat bahan tepung beras. 

 

 

Pantiaw Beras

Pantiaw Gandum

Pantiaw ada dua macam, ada Pantiaw Gandum dan Pantiau Beras. Pantiaw Gandum bentuknya hampir sama seperti mie biasa tapi cara penyajian dan pembuatannya yang sedikit berbeda. Sedangkan Pantiaw Beras terbuat dari tepung beras dan pembuatannya  cukup rumit kadang bisa sangat rumit kalau tidak ahli.

 Pantiaw Beras ini kalau di Pulau Jawa namanya kwetiaw. Bentuknya memang mirip, tapi untuk penyajiannya tentu saja berbeda. Penyajian Pantiaw satu porsi biasanya ditambahkan bumbu diatasnya. Bumbunya berupa ikan giling yang sudah di olah sehingga membuat rasa Pantiaw ini lebih sedap. Setelah itu ditaburkan dengan bawang goreng untuk menambah rasa lezatnya. Tinggal seduh dengan air panas atau menggunakan kuah bakwan rebus kita sudah bisa menikmati Pantiaw ini.

Laksa

Nah, ada makanan Bangka lain yang agak mirip dengan pantiaw yaitu laksa (lakso) tapi tentu saja kedua makanan ini bebeda satu sama lain. Kalau laksa walaupun sama – sama terbuat dari tepung beras biasanya di taruh di atas daun mangkok atau daun pisang juga kuah laksa terbuat dari santan. Jadi tentu saja rasa dan penyajian antara laksa dan pantiaw berbeda.

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