Wednesday, April 1, 2020

The History of Translation


The need for translation has existed since time immemorial and translating important literary works from one language into others has contributed significantly to the development of world culture. Ideas and forms of one culture have constantly moved and got assimilated into other cultures through the works of translators. The history of translation is related to the history of the often invisible cross cultural interactions of the world. Ideas and concepts from the East notably India, China and Iraq have influenced the Western culture since as early as sixth century B.C. when trade ties were first established between India and the Mediterranean countries. Many medical theories of Plato and Galen of Greece had considerable influence from those of India.

Many of the philosophical and scientific works of ancient Greece were rendered into Arabic as early as ninth century A.D. This knowledge spread to Europe via Spain which was a predominantly a Muslim country then. The school of translators of Toledo in Spain established by Alfonso VI of Castile and Leon in 1085 AD was responsible for translations from Arabic to Latin and then to Spanish these scientific and technological work which later led to the European Renaissance. Despite their key contributions, ancient translators have often remained unknown or in the background and the credit due to them have not been acknowledged. They have done their job with painstaking efforts despite many violent conflicts that have dotted throughout history.

 Translators have enabled Holy Scriptures like the Bible written in esoteric languages like Latin to be understood by ordinary people by translating them into more common languages without depending on a few elite priests or the members of clergy to explain what they contained. Some translators even had to pay with their life for doing it like the famous Bible translators Willaim Tyndale who was arrested and executed in Holland by the king in 1536 for translating the Bible from its original languages into the common vernacular of English.

Chinese monk Xuanzang is supposed to have translated 74 volumes of Buddhist scriptures originating from India in to Chinese in 645 AD. One of the earliest recorded translations of considerable effort in English is perhaps the translation of the Bible around 1100 AD.

British translator Constance Garnett made the translating community proud through her brilliant translations of Russian classics including those of Turgenev, Gogol, Tolstoy, Chekhov and Dostoyevski in late 19th century. Another famous translator is Gregory Rabassa who has translated many Latin American fictions into English. Dr. Arthur Waley is one of the world’s foremost translators of the twentieth century of Chinese and Japanese literature into English. More recently Gladys Yang translated many Chinese classics into English over the last 50 years. Thus translators have made important contribution over the centuries in dissemination of ideas and information to a larger audience, in shaping of cultures and in a sense helped unite the world.

Nineteenth Century Spiders

Nineteenth Century Spiders

Back when I was translating Friedrich Schleiermacher‘s great essay on translation, which dates from 1813/15, I spent a lot of time reading around in Samuel Coleridge’s Biographia Literaria. Coleridge is such a wonderful prose stylist, and I used him as a resource for my translation. In particular, I looked at how he put his sentences together, what sorts of opening gambits he used to introduce ideas, and I borrowed a phrase here, a structure there, just enough to mark my translation of Schleiermacher as belonging to an earlier period. I wasn’t trying to “fake” an older text, but to keep the reader aware that this text belonged to the early 19th century. I was inspired to do this after reading an earlier translation of the same essay by Douglas Robinson that throws around 20th century translation theory terminology like “source language” and “target language,” with the result that Schleiermacher winds up sounding hideously naive. Reading Schleiermacher in this translation, I found myself wondering why he was writing as if he’d never heard of Saussure.
So now I’m just starting work on a wonderful horror story from the 19th century, Jeremias Gotthelf’s «Die schwarze Spinne» (The Black Spider), which will be published next year by New York Review Books Classics. This is one of the most frightening stories I’ve ever read. In it, a young woman brings calamity to her community by accidentally – oops – promising a newborn to the Devil. Gotthelf was a minister, and I get the feeling he wrote the story to frighten his congregation into keeping the faith. The spider of the title is like Freddy in the Nightmare on Elm Street movies – it’s everywhere at once, it can be as big as a cottage or disintegrate into a swarm of infinitesimally tiny beasties. It is the embodiment of everything in us that is wicked or weak. Did I mention than I am pretty severely arachnophobic? I still remember the giant-spider nightmares I had as a child. So this is the worst possible, i.e. the perfect book for me to translate. I’m hoping that my fear will make the descriptions of the spider particularly graphic. We shall see. Meanwhile, I’m priming myself for the project by reading up on some period literature. I started with Horace Walpole’s The Castle of Otranto, which is gothic in all the worst ways but quite nicely written on the sentence level, which makes it a good model for me. And now I am rereading one of my favorite books of all time, Mary Shelley’s Frankenstein, and keeping a log of useful phrases that might help me with Gotthelf. Here are some of them: “the want of,” “repair the faults of,” “he is remarkable for,” “made me desirous to,” “unallied to the dross of human nature,” “madly desirous of,” “compassed round by,” “body forth,” “obliged us to the inclemency,” “I might have X but that Y,” “yet he might [=could] not have X, had she not Y.”
It’s astonishing to me how much the English language has changed in the last 200 years. These phrases now seem so quaint by contemporary standards. And I’ll have to be careful not to use too many of them in the translation – just enough to signal to the reader that the story she is reading comes to us from another age.


 

Friday, March 27, 2020

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Audio Recording Tips


I've recently been working on some audio recording and editing for training modules; it's a learning curve to get it right so I wanted to keep a record of some points that are important to the process. This post is more of a reminder to myself more than anything else. Some of these actions I already had well in hand and some are as a result of the 'experience'.

Before You Start:
  • Write a script. I simply do this in Word using a table, with a new row for each recording. My final output in most cases will be using PowerPoint and then converting via Articulate so each row also represents a slide. Keep the sections reasonable in length so that mistakes can easily be re-recorded and the file size kept manageable.
  • If the voice over 'artist' is not yourself and they are not recording directly into Articulate, it's a good idea to have the following details for each slide;

    - Slide #
    - Slide Title
    - Description of visuals on the slide (this helps the person recording to match the audio with the visuals - particularly if the visual content is not finalised or they are in another location)
    - tick box they can use to help them keep track of where they are up to
    - audio track name or number (If they don't have time to do this, you can make a note on the document as you edit each track)
  • Use paragraphs to separate the content in longer slides; make the formatting simple and easy to read (I use Arial). It's also important to be clear what is to be read, for instance, don't use numbered bullet points unless you want the person to read the numbers out loud. Be careful how your format numbers and statistics; think about how the text will be interpreted.
  • The script can then be used for the 'Notes' view if using Articulate or similar applications
  • Provide some basic instructions about recording;

    - quiet place to record
    - how to use the script
    - type of microphone
    - how to avoid pops, hisses and background noise (pop shield?)
Equipment:
  • You don't have to spend a lot of money to get the job done but a decent microphone is a must. Forget headsets and go for a desktop as this gives a more even balance and better control over breath sounds and pops and clicks.
  • You'll also want to avoid plugging your mic directly into the mic input at the front of your computer in most cases as this picks up internal noise from the machine. Best to look for a USB option for easy use. Many of these are Plug & Play, no installation software required (of course, you'll need software to record and edit your audio). Often, they'll be labelled as ideal for podcasting.
  • If your budget is minimal, a Logitech desktop noise cancelling mic will do the job. If you can afford to splash out a little, there are plenty of mics specifically designed for podcasting which will do the trick. From my research (and because it is so cool) I choose a Blue Snowball USB microphone. The best price I found was through B&H Photographic supplies. I had ordered a portable green screen from them before so already had an account, and their service is just excellent; delivery from US to Australia under a week and that included a weekend. Price? $99US (It now also has a sibling - The Snowflake - which has been designed for portability and is around $60 US)
  • The Boagworld lads and The Rissington Podcast Chappies both recommend the Samson C01U mic. The Blue website has some great comparative 3rd party reviews on the main USB mics in the market and these can help you decide which is best for your purposes.
  • If popping noises are a problem or lots of people will be using the same microphone, you might want to invest in a pop shield or pop filter. This simply sits in front of the mic and 'shields' it. For the budget conscious, try some stocking stretched over a piece of coat hanger wire, otherwise you're looking at around $25 US.
  • A quiet room may be all you need however I came across a brilliant portable solution developed by well known US voiceover artist Harlan Hogan. It's so simple, it's genius! Take one collapsible fabric storage cube and a sheet of acoustic foam cut into tiles that slip inside the cube, place your mic inside the cube and voila! a portable recording booth. Harlan can supply these ready made, but really, it's too easy. I'm quite sure other foam would do but acoustic foam is designed to absorb sound so is the recommended option.

    Update: I created one of these in under 20mins. The portable cube came from Kmart ($7) and the acoustic foam from Clark Rubber ($35 for an offcut with plenty left over, almost enough for a second cube). After a few minutes testing, I was impressed; all the background noise is blocked out and the voice audio is beautifully clear and crisp. You'll have much less editing to do with such a set up. You can see some photos of my portabooth on Flickr.
  • Software? If your wallet is overflowing there are heaps of specialised programs to help you record and edit, or add special effects, fades etc. Adobe offers both Audition (high end professional use formerly Cool Edit Pro) or Soundbooth but many people do just fine with free software such as the well-known and loved Audacity. Myself, I prefer the free version of WavePad over Audacity. I just find it 'nicer' to use, and easier to really get into the waveform of each track and do some fine tuning. I'm currently investigating Soundbooth though and will let you know what I think.
  • Another freebie to add to your toolbox is The Levelator; this strange piece of software apparently does amazing things, particularly if you have more than one speaker. Simply drop your audio file onto the program icon and it does its thing.
How to Speak:
  • This is where the script is vital. You can practice beforehand but also if you need to record again to 'fix' a section, it's easy to cut and splice separate tracks if the content is identical; ad lib would make it much harder.
  • If you stumble - stop and then repeat that small piece and keep going; it's easy enough to cut out such mistakes. Or, by keeping the slide content of a reasonable length, it can be re-recorded if it's a real mess up.
  • Try to avoid taking great gasping breaths; these can be edited out but just be aware of their impact. The same with pops and clicks etc. Pops are evident on 'p' words or sudden pushes of air from your mouth. The trick is to try and keep things as even as possible. Also be aware of extended 'f' and 's' and 'k' sounds. You can use your editing program to shorten these to reduce the impact but it's better if they aren't there in the first place.
  • Leave a few seconds silence at the start of each track - or insert this using your software. This gives a slight 'rest' before the slide loads and the audio starts but is also useful if you output to say, podcast format - each track then doesn't run into each other but sounds more natural.
  • When you are speaking, use a lower tone than normal, speak slower and have a smile on your face. The smile brightens the tone, makes you sound crisper and more friendly. Imagine you're talking to a friend across the table. Listen to yourself and take note of words that you might tend to 'twang', lisp or rush. Practice these until you are happy with the output.
  • Don't read in a monotone manner but on the other don't make it sound like Children's Story Hour; you want to sound interested and appropriate for the topic
WavePad Settings:
  • The tracks I recently edited were quite 'hissy' with lots of background. I got them practically perfect with the following filters in Wave Pad, in this order:

    - Normalise > Normal
    - Noise Reduction > Multi-Band Noise Gating (the better quality option introduces strange background distortion which this option does not)
    - Equalizer > High Pass (default settings)
My Snowball mic has arrived in the mail today so I'm sure I will have lots of other tips to add soon!

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