Sex Sessel

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See, not only is it very scandalous and titillating detail about an otherwise staid bunch of corgi-lovers, but it is deeply mystifying.

But how the hell did this thing work? However, despite the best efforts of the crew, they could not quite work out how the dang thing would have actually worked.

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Whether that criticism is fair or proportionate will no doubt be hotly debated, but it is clear that Lord Steel is not alone in having failed to raise the alarm about his erstwhile colleague's crimes.

Smith, who was born in Rochdale in , became active in politics as a teenager and joined the Liberal Party just after the war.

When they fared badly in the election, he switched to Labour and was elected as a local councillor in He was appointed Mayor of Rochdale in and used the role to become active in a number of groups that brought him into close contact with young people, including the local youth orchestra, a theatre workshop and the employment and education committees.

Smith also used his position to help set up the Cambridge House hostel, which provided accommodation for boys and young men aged between 15 and 21 who were in the care of the local authority.

He was able to influence which boys were given places at the hostel, and was then free to molest his favourites at will. Complaints made at the time to the authorities, including the police, were often ignored.

But in a police investigation was launched into allegations that Smith had abused eight youngsters at Cambridge House.

The police report concluded that he was hiding behind a "veneer of respectability" and the allegations "stood up".

Translation theory in action, translation theory used operationally for the purpose of reviewing all the options in particular, sensitising the translator to which proves that each word construction is understood, where a more likely those he had not been aware of and then making the decisions - in fact the teeth of reading would be: the theory - is a frame of reference for translation and translation criticism, relating first to complete texts, where it has most to say, then, in descending level, to If Brigitte Pian sometimes dropped a stitch in the admirable material she was working on with such unremitting vigilance, it was in the natural order of things and she found paragraphs, sentences, clauses, word groups in particular, collocations , words - consolation for it, provided she had no witnesses.

Note that metaphor, perhaps the most significant translation continually faced with choices, for instance when he has to translate words problem, may occur at all levels - from word to text, at which level it becomes an denoting quality, the words of the mental world adjectives, adverbs, adjectival allegory or a fantasy.

In making his What translation theory does is, first, to identify and define a translation choice, he is intuitively or consciously following a theory of translation, just as any problem no problem - no translation theory!

La traduction appelle une theorie that have to be taken into account in solving the problem; third, to list all the en acte, Jean-Rene Ladmiral has written.

Translation calls on a theory in action; the possible translation procedures; finally, to recommend the most suitable trans- translator reviews the criteria for the various options before he makes his selection lation procedure, plus the appropriate translation.

Translation theory is pointless and sterile if it does not arise from the The personal pleasure derived from translation is the excitement of trying to problems of translation practice, from the need to stand back and reflect, to solve a thousand small probluns in the context of a large one.

Mystery, jigsaw, consider all the factors, within the text and outside it, before coming to a decision. But pleasure lies in play opposed to, say, at the beginning of the century: rather than in seriousness.

The chase after words and facts is unremitting and requires imagination. There is an exceptional attraction in the search for the right 1 The emphasis on the readership and the setting, and therefore on naturalness, word, just out of reach, the semantic gap between two languages that one scours ease of understanding and an appropriate register, when these factors are Roget to fill.

The relief of finding it, the 'smirk' after hitting on the right word when appropriate. These now vastly outnumber books, so it is difficult to calculate the number or the languages of translations on any large scale.

CHAPTER 2 6 The impact of linguistics, sociolinguistics and translation theory, which will become apparent only as more translators pass through polytechnics and The Analysis of a Text universities.

In sum, it all adds up to a new discipline, a new profession; an old pursuit engaged in now for mainly different purposes.

READING THE TEXT You begin the job by reading the original for two purposes: first, to understand what it is about; second, to analyse it from a 'translator's' point of view, which is not the same as a linguist's or a literary critic's.

You have to determine its intention and the way it is written for the purpose of selecting a suitable translation method and identifying particular and recurrent problems.

Understanding the text requires both general and close reading. General reading to get the gist; here you may have to read encyclopaedias, textbooks, or specialist papers to understand the subject and the concepts, always bearing in mind that for the translator the function precedes the description - the important thing about the neutrino in context is not that it is a stable elementary particle, preserving the law of conservation of mass and energy, but that now the neutrino has been found to have mass, the Universe is calculated to be twice as large as previously thought.

A knife is for cutting with, but the blade and the handle are important too - they distinguish the knife from the scissors.

Close reading is required, in any challenging text, of the words both out of and in context. In principle, everything has to be looked up that does not make good sense in its context; common words like serpent F , to ensure they are not being used musically or figuratively sly, deceitful, unscupulous or technically EEC currency or colloquially; neologisms - you will likely find many if you are translating a recent publication for 'non-equivalent' words, see p.

You can compare the translating rather than how to adapt them in order to persuade or instruct a new TL reader- activity to an iceberg: the tip is the translation - what is visible, what is written on ship.

And again, he may be translating a manual of instructions for a less educated the page - the iceberg, the activity, is all the work you do, often ten times as much readership, so that the explanation in his translation may be much larger than the again, much of which you do not even use.

THE INTENTION OF THE TEXT TEXT STYLES In reading, you search for the intention of the text, you cannot isolate this from understanding it, they go together and the title may be remote from the content as Following Nida, we distinguish four types of literary or non-literary text: well as the intention.

Two texts may describe a battle or a riot or a debate, stating 1 Narrative: a dynamic sequence of events, where the emphasis is on the verbs or, the same facts and figures, but the type of language used and even the grammatical for English, 'dummy' or 'empty' verbs plus verb-nouns or phrasal verbs 'He structures passive voice, impersonal verbs often used to disclaim responsibility in made a sudden appearance', 'He burst in'.

The intention of the text 2 Description, which is static, with emphasis on linking verbs, adjectives, represents the SL writer's attitude to the subject matter.

A piece about floors may be 'pushing' floor polishes; about newspapers, a 3 Discussion, a treatment of ideas, with emphasis on abstract nouns concepts , condemnation of the press; about nuclear weapons, an advertisement for them - verbs of thought, mental activity 'consider', 'argue', etc.

What is meant by 'That was clever of him'? Is it ironical, openly or implicitly? In a text showing that BBC Radio 2 is a pale imitation of commercial radio, the irony may only be implicit and obscure to a non-British reader, and the translator may want to make the point more explicitly.

It may be 'iceberg' work to find out, On the basis of the variety of language used in the original, you attempt to since the tone may come through in a literal translation, but the translator has to be characterise the readership of the original and then of the translation, and to decide aware of it.

In the case of a poem or any Again, in a detailed, confused piece about check-ups on elderly patients who work written primarily as self-expression the amount is, I suggest, very little.

You may have to undergo chemotherapy the author's intention is to show that patients may try to assess the level of education, the class, age and sex of the readership if must have a thorough physical check-up before they start a course of drugs: if these are 'marked'.

The average text for translation tends to be for an educated, middle-class A summary of this nature, which uses only a few key words from the original, readership in an informal, not colloquial style.

The most common variety of appears to be isolated from the language, simply to show what happens in real life, 'marked' error in register among student translators tends to be 'colloquial' and and it is indispensable to the translator.

But he still has to 'return' to the text. He 'intimate', e. The other common error, use of formal or official register e.

All this will help you to decide on the degree of But he may be translating an advertisement, a notice, or a set of instructions to formality, generality or specificity and emotional tone you must express when you show his client how such matters are formulated and written in the source language, work on the text.

I suggest: Note that there is some correlation between formality and emotional tone, in that an official style is likely to be factual, whilst colloquialisms and slang tend to be Officialese 'The consumption of any nutriments whatsoever is categoric- emotive.

In translating, the effusiveness of Italian, the formality and stiffness of ally prohibited in this establishment. Neutral 'Eating is not allowed here.

In not so informal language, translate de mains standards of the writer. If he writes 'good', 'fair', 'average', 'competent', en mains by 'decreasingly', tout a fait by 'entirely', d'un seul coup by 'at one attempt' 'adequate', 'satisfactory', 'middling', 'poor', 'excellent'; are his standards relative or 'simultaneously.

Often Similarly, I suggest the following scale of generality or difficulty: there is only a thin line in the critical difference between a positive and a negative Simple opinion, which is not clarified by the 'middle' words I have listed.

The floor of the sea is covered with rows of big mountains and deep pits. The trenches. Regime Neutral using basic vocabulary only 'government' is neutral in French but negative in English.

What is the TL equivalent of the SL periodical, newspaper, textbook, Opaquely technical comprehensible only to an expert journal, etc?

You may have to take account of briefer titles, absence of sub-titles isolated by Klenk from gangliosides. You have to make several assumptions about the SL readership.

From the I suggest the following scale of emotional tone: setting of the SL text, as well as the text itself, you should assess whether the readership is likely to be motivated keen to read the text , familiar with the topic Intense profuse use of intensifers 'hot' and the culture, and 'at home' in the variety of language used.

The three typical 'Absolutely wonderful. Finally, if you are translating a poem or an Factual 'cool' important authoritative statement, should you consider the TL reader at all, apart 'Significant, exceptionally well judged, personable, presentable, consid- from concessions or cultural 'scraps' to help him out e.

In fact, the greater the quantity of a language's resources e. The quality of the writing has to worthwhile. If the text is well written, i.

Deciding what is good writing is sometimes Finally, you should note the cultural aspect of the SL text; you should underline all criticised as 'subjective' but it is a decision, like many others, not subjective but neologisms, metaphors, cultural words and institutional terms peculiar to the SL with a subjective element the area of taste which you have to make, using any or third language, proper names, technical terms and 'untranslatable' words.

If a text is well written, the words relating to the mind, that have no cognates in the TL, e. Words will be freshly used with unusual from dialect.

You underline words that you have to consider out of as well as within connotations. A badly written text will be cluttered with stereotyped phrases, context, in order to establish their semantic range, their frontiers: unlike Humpty, recently fashionable general words and probably poorly structured.

Note that you cannot normally decide to make any word mean what you want, and there are language rules and prescriptions have nothing much to do with good writing.

What normally limits to the meaning of any word. The purpose of dictionaries is to matters is a fresh reflection of the reality outside language or of the writer's mind.

If the SL writer is I should say here whilst the meaning of a completely context-determined recognised as important in his field, and he is making an ex-cathedra or official word may appear to be remote from its non-contextual core meaning there must statement, the text is also authoritative.

The point is that 'expressive' texts, i. Thus it might appear to be beyond reason serious imaginative literature and authoritative and personal statements, have to be that the French word communication could possibly mean 'fistula', but it can be translated closely, matching the writing, good or bad, of the original.

Informative translated as such if the fistula is a way of communication between the aorta and the texts, statements that relate primarily to the truth, to the real facts of the matter, pulmonary artery.

Sometimes the link is a secret code. Bear in mind that whilst all texts have connotations, an aura of ideas and feelings suggested by lexical words crudely, 'run' may suggest 'haste', 'sofa' may suggest 'comfort' , and all texts have an 'underlife' viz.

But in a literary text, you have to give precedence to its connotations, the first stage of translation and the basis of the useful discipline of translation since, if it is any good, it is an allegory, a comment on society, at the time and now, criticism.

In fact, such an analysis is, I think, an appropriate training for trans- as well as on its strict setting. A professional translator would not usually make such an analysis explicitly, since he would need to take only a sample in order to establish the properties of a text.

A translation critic, however, after determining the general properties - first of the text and secondly of the translation both these tasks would centre in the respective intentions of translator and critic - would use the under- CHAPTER 3 lined words as a basis for a detailed comparison of the two texts.

To summarise, you have to study the text not for itself but as something that The Process of Translating may have to be reconstituted for a different readership in a different culture.

It begins with choosing a method of approach. Secondly, when we are translating, we translate with four levels more or less consciously in mind: 1 the SL text level, the level of language, where we begin and which we continually but not continuously go back to; 2 the referential level, the level of objects and events, real or imaginary, which we progressively have to visualise and build up, and which is an essential part, first of the comprehension, then of the reproduction process; 3 the cohesive level, which is more general, and grammatical, which traces the train of thought, the feeling tone positive or negative and the various presuppositions of the SL text.

This level encompasses both comprehension and reproduction: it presents an overall picture, to which we may have to adjust the language level; 4 the level of naturalness, of common language appropriate to the writer or the speaker in a certain situation.

Again, this is a generalised level, which constitutes a band within which the translator works, unless he is translating an authoritative text, in which case he sees the level of naturalness as a point of reference to determine the deviation - if any - between the author's level he is pursuing and the natural level.

This level of naturalness is concerned only with reproduction. Finally, there is the revision procedure, which may be concentrated or staggered according to the situation.

This procedure constitutes at least half of the complete process. Both in its referential and its pragmatic aspect, reflect any deviation from a 'natural' style.

The nature of naturalness is discussed in it has an invariant factor, but this factor cannot be precisely defined since it detail in my exposition of the theory of translating below; 'naturalness' is both depends on the requirements and constraints exercised by one original on one grammatical and lexical, and is a touchstone at every level of a text, from paragraph translation.

All one can do is to produce an argument with translation examples to to word, from title to punctuation. Nothing is purely objective or subjective.

There are no cast-iron rules. The level of naturalness binds translation theory to translating theory, and Everything is more or less. There is an assumption of 'normally' or 'usually' or translating theory to practice.

The remainder of my translating theory is in essence 'commonly' behind each well-established principle; as I have stated earlier, quali- psychological - the relationship between language and 'reality' though all we know fications such as 'always', 'never', 'must' do not exist - there are no absolutes.

If one accepts this theory of translating, there is no gap between translation There are two approaches to translating and many compromises between theory and practice.

The theory of translating is based, via the level of naturalness, them : 1 you start translating sentence by sentence, for say the first paragraph or on a theory of translation.

Therefore one arrives at the scheme shown in Figure 2. Which of the two methods you choose may depend on your temperament, or on whether you trust your intuition for the first method or your powers of analysis for the second.

Alternatively, you may think the first method more suitable for a literary and the second for a technical or an institutional text.

The danger of the first method is that it may leave you with too much revision to do on the early part, and is therefore time-wasting.

The second method usually preferable can be mechanical; a translational text analysis is useful as a point of reference, but it should not inhibit the free play of your intuition.

Alternatively, you may prefer the first approach for a relatively easy text, the second for a harder one. From the point of view of the translator, any scientific investigation, both statistical and diagrammatic some linguists and translation theorists make a fetish of diagrams, schemas and models , of what goes on in the brain mind?

The contribution of psycholinguistics to translation is limited: the positive, neutral or negative pragmatic effect of a word e. Osgood's work on semantic differentials is helpful, since the difference between 'positive' and 'negative' i.

The heart of translation theory is translation problems admitting that what is a problem to one THE APPROACH translator may not be to another ; translation theory broadly consists of, and can be defined as, a large number of generalisations of translation problems.

A theoretical A translation is something that has to be discussed. In too many schools and discussion of the philosoph; and the psychology of translation is remote from the universities, it is still being imposed as an exercise in felicitous English style, where translator's problems.

Whether you produce a statistical survey through question- the warts of the original are ignored. The teacher more or less imposes a fair copy naires of what a hundred translators think they think when they translate, or which is a 'model' of his own English rather than proposing a version for discussion whether you follow what one translator goes through, mental stage by mental stage, and criticism by students, some of whom will be brighter than he is.

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