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By Alondra Tamayo, May 7, 2024 For the longest time, I felt like I had no voice, because the one I had would get ridiculed. I grew accustomed being cut off in conversations and asked where I was from because of my accent. I became used to being mocked because of the way I pronounced certain words instead of being corrected. Those encounters killed my self-esteem and heightened my anxiety on public speaking because I felt like the way my voice sounded was more important than what I had to say. There were instances where I was mocked in group settings only to realize they weren’t laughing with me, but at me. I thought being bilingual would bring me more opportunities; instead, I faced bullying, discrimination and mocking – even from my own friends and teachers. I was once told my homework wasn’t good enough because of the assumption having an accent equated to a lack of understanding. Since CPP is a diverse campus, with many different ethnic backgrounds, cultures and different unique accents. I wondered if classmates with accents similar to mine have had similar experiences. Business student Maria Rodriguez faced discrimination growing up with a Latino accent. “One time there was a group project and the person who felt like the group leader started assigning tasks,” Rodriguez said. “I enjoyed public speaking, especially because in my native country I never faced any challenges publicly speaking. So I decided to volunteer and say that I could do the presenting, but everyone in the group told me that nobody would understand me anyways and that we might lose points because I wouldn’t be able to deliver the information like they would.” According to an article led by a psycholinguistics researcher Alice Foucart, having a foreign accent can lead to discrimination and judgements from individuals who don’t speak your native language. Foucart stated this happens because the human brain puts extra effort into understanding individuals with an accent. This extra work shows in native English speakers brain activity, indicating a struggle to process words and their meanings. This can make individuals have a negative perception of people with foreign accents. Expressing a foreign accent can often bring feelings of discouragement and low self-worth. This might happen because of stereotypes or biases people hold about accents. Some might wrongly assume that a Latino accent means a lack of proficiency in English or intelligence. However, accents don’t reflect a person’s abilities or worth. Instead, they showcase diversity and richness in language. A study by Laura Cerrato, a student at Helsink, Finland Metropolia University of Applied Sciences, demonstrated that individuals with a foreign accent find it harder to find a job and are perceived as less educated simply because the way they speak English is different. I have lived in this country for about 18 years now, my accent is still strong and I have lost interest in “bettering” it because it’s a unique part of me and is a voice to my Spanish speaking parents. “I have now realized that having an accent doesn’t mean I am not less intelligent, less educated or the jester for the night,” Rodriguez said. “It means that my brain is able to process information in two different languages, that I am educated and that I can express myself in two different languages. I have a voice, and I intend on using it no matter how it sounds.”
United Nations language staff come from all over the globe and make up a uniquely diverse and multilingual community. What unites them is the pursuit of excellence in their respective areas, the excitement of being at the forefront of international affairs and the desire to contribute to the realization of the purposes of the United Nations, as outlined in the Charter, by facilitating communication and decision-making. United Nations language staff in numbers The United Nations is one of the world's largest employers of language professionals. Several hundred such staff work for the Department for General Assembly and Conference Management in New York, Geneva, Vienna and Nairobi, or at the United Nations regional commissions in Addis Ababa, Bangkok, Beirut, Geneva and Santiago. Learn more at Meet our language staff. What do we mean by “language professionals”? At the United Nations, the term “language professional” covers a wide range of specialists, such as interpreters, translators, editors, verbatim reporters, terminologists, reference assistants and copy preparers/proofreaders/production editors. Learn more at Careers. What do we mean by “main language”? At the United Nations, “main language” generally refers to the language of an individual's higher education. For linguists outside the Organization, on the other hand, “main language” is usually taken to mean the “target language” into which an individual works. How are language professionals recruited? The main recruitment path for United Nations language professionals is through competitive examinations for language positions, whereby successful examinees are placed on rosters for recruitment and are hired as and when job vacancies arise. Language professionals from all regions, who meet the eligibility requirements, are encouraged to apply. Candidates are judged solely on their academic and other qualifications and on their performance in the examination. Nationality/citizenship is not a consideration. Learn more at Recruitment. What kind of background do United Nations language professionals need? Our recruits do not all have a background in languages. Some have a background in other fields, including journalism, law, economics and even engineering or medicine. These are of great benefit to the United Nations, which deals with a large variety of subjects. Why does the Department have an outreach programme? Finding the right profile of candidate for United Nations language positions is challenging, especially for certain language combinations. The United Nations is not the only international organization looking for skilled language professionals, and it deals with a wide variety of subjects, often politically sensitive. Its language staff must meet high quality and productivity standards. This is why the Department has had an outreach programme focusing on collaboration with universities since 2007. The Department hopes to build on existing partnerships, forge new partnerships, and attract the qualified staff it needs to continue providing high-quality conference services at the United Nations. Learn more at Outreach. #metaglossia_mundus
"9th May 2024 - A quarter of illustrators (26%) and over a third of translators (36%) have already lost work due to generative AI.
- Around 1 in 10 translators (8%) and a smaller proportion of illustrators (5%) said they have used generative AI in their work because their publisher or commissioning organisation asked them to.
- Almost two-thirds of writers of fiction (65%) and over half of non-fiction writers (57%) believe that generative AI will negatively impact future income from their creative work.
Throughout January 2024, the EWC Member The Society of Authors (UK) ran a survey of its 12,500 members and other authors, and received 787 responses on experiences of generative artificial intelligence (AI) systems, and authors’ views and concerns about the future impact on creative careers. The respondents included writers of fiction and non-fiction, scriptwriters, poets and journalists, as well as illustrators and translators – many well-established, others early in their careers, and both traditionally and self-published. Regardless of type of author and career stage, almost all respondents called for transparency from developers, safeguards introduced by Government, credit and compensation when work is used, and ethical approaches both to the development of generative AI systems and in practice when they are used by industry. To the results. Selected findings: While some respondents are starting to use generative AI as a tool in their work out of choice, others – specifically some translators and illustrators – are now being asked to use it by publishers and commissioning organisations. - Approximately 1 in 5 respondents (22%) said they had used generative AI in their work.
- This included 1 in 10 illustrators (12%), a third of translators (37%), a fifth of fiction writers (20%) and around a quarter of non-fiction writers (25%).
- Around 3 in 10 illustrators and writers (31%) said they have used generative AI for brainstorming ideas.
- Around 1 in 10 translators (8%) and a smaller proportion of illustrators (5%) said they have used generative AI in their work because their publisher or commissioning organisation asked them to.
Creators’ livelihoods at risk Concerns about the impact of generative AI on creative careers included groups of authors who are already experiencing loss of work, or the devaluation of their work, as a direct result of new technologies. - A quarter of illustrators (26%) and over a third of translators (36%) have already lost work due to generative AI.
- Over a third of illustrators (37%) and over 4 in 10 translators (43%) say the income from their work has decreased in value because of generative AI.
- Almost two-thirds of writers of fiction (65%) and over half of non-fiction writers (57%) believe that generative AI will negatively impact future income from their creative work, with this rising to over three quarters of translators (77%) and illustrators (78%).
- More than 8 in 10 respondents (86%) said they are concerned about their style, voice and likeness being mimicked or reproduced in generative AI output.
- More than 8 in 10 respondents (86%) are concerned that the use of generative AI devalues human-made creative work."
#metaglossia_mundus
"Sarah Cameron Sunde on Translating the Nobel Laureate's Complex Silences for American Audiences My father was born and raised in Norway, and I’ve spoken the language since living there for seven months when I was 12. In 2003, while visiting family in Oslo, my Dad’s cousin and her husband (who I consider my aunt and uncle) introduced me to the work of Jon Fosse. I read Fosse’s play Vinter (Winter) in his original New Norwegian (nynorsk), and later that night went to see the National Theater’s production at Torshovteatret in Oslo. I was blown away. From a formal written aesthetic perspective, Fosse’s play was unlike anything I had ever read before, and it moved me deeply. It looked like poetry on the page, with lots of white space, no punctuation, and clear musicality. The story was a simple, everyday encounter between two people, but it resonated on a universal scale in all its complex silences. The text begged to be spoken aloud and was imbued with layers of subtext; the pauses were clearly just as important as the words. I felt I’d stumbled across the most important writer of our time. When I saw the performance that night and read in the program that Fosse had already been translated into over 40 languages and produced all around the world, I couldn’t understand why no one had brought his work to the U.S. yet. Fosse’s acknowledgment of time and our own vulnerability illuminates our existence and creates real possibility for positive change. When I got back home to New York, armed with Fosse’s complete works in Norwegian, I searched the NY Public Library for an English translation to share with potential producers and collaborators and found only one: a British translation of Natta Syng Sine Songar (translated into: Nightsongs—which I found strange, because the original title is inherently poetic in its literal translation: the night sings its songs.) I reached out to Jon Fosse over email and boldly asked for the rights to produce and direct his U.S. debut production. To my surprise, he answered enthusiastically within two hours. As we continued our conversation, Fosse acknowledged the challenge of translation and encouraged me to consider translating specifically for production in New York. He sent me two other attempts at American-English translations of Natta Syng Sine Songar. I read the first few pages of each, but one felt too literal and highlighted the foreign nature of the work while the other felt like it was trying too hard to sound American. I remember looking back at Jon’s original text in nynorsk and then reading the first few pages of the British version. And suddenly I realized that none of them were articulating quite what I saw and felt when I read his work in nynorsk, or when I saw it on stage in Oslo. To our American ears, the British translations render Fosse’s characters higher class than how he writes them. I had initially thought it could be ok to replace a few British idioms with American ones, but as I skimmed those first few pages of the British text, I saw implied class differences everywhere, in every character. For example, in the second scene of Natta Syng Sine Songar / Night Sings Its Songs (which is how I would later translate it), The Young Man says to his father, The Old Man: “Du må berre setje deg ned,” which the British version translated as “Do sit down.” This might work well for a British audience, but for New Yorkers, this would sound stuffy and pretentious. While the characters clearly had some awkward family dynamics in the room, my understanding from the nynorsk was that this family was not nearly so formal. I asked myself: why on earth would we put this delicate poetic text through a British sensibility in order to reach us on this side of the pond? [Later, I would decide to translate this line as: “Have a seat.”] Instances like this presented themselves on every page of the play, in the syntax of so many common phrases. If Fosse’s work was going to resonate with my New York audience, it would be vital that his characters read as everyday people. They needed to feel like you or me. So I returned that British translation to the library, deleted the other two electronic files that Fosse sent me, decided to only look at his original text in nynorsk from that moment on, and with the encouragement of Fosse and my dad, I became a translator. Although I had never translated much more than emails from family, let alone one of the world’s most produced playwrights, as a director, I knew what it takes to make text work onstage and how to create a good piece of live performance—with moments of surprise and tension, moments that are full of possibility. So I threw my heart and soul into the task at hand. From a technical perspective, Fosse uses words sparingly, with no punctuation except for line breaks and the choice between beginning each line with a capital letter or a lowercase letter. Words, phrases, and ideas are repeated in variations. Sparse dialogue builds slowly, repeats, connects, shifts slightly, and accumulates to create suspense and a powerful sense of rhythm. His poetic form makes every word vital and extremely active. The most common words sometimes convey vast existential ideas. One such word that appears again and again (over 150 times, in fact) in Natta Syng Sine Songar is “ja”—I had noticed that this repetition was missing in the British translation, and instead the translator had chosen to replace each “ja” with what he thought it meant in each given moment—which often meant “yes” and sometimes deleting it entirely, when it seemed like filler word. But the repetition felt critical to me for several reasons: 1) the everyday quality of the word as it is spoken, not written, 2) the way this “ja” could function to build tension between live performers, 3) and how it unites the characters despite the vast space between them. I spent a lot of time workshopping how to best translate this one small word. The first time I gathered some actors to read the play out loud, I gave them a piece of paper that had a list of all the words they could insert when they saw the word “yeh” in their script. To my surprise and delight, they all chose to play with the repetition rather than find alternatives. From my final translation notes: Norwegian “ja” = yes = yeh Yeh = the most common version of an American “yeah”, only not so nasal, and not necessarily enthusiastic. Yeh = yep, hmm, ok, so, well, fine, oh, sure, yeah, uh-huh, tsk, ugh…basically all the filler words—how we speak, not how we write. This is part of what is revolutionary about Fosse’s work—he finds the simplest way to say something, and within this everyday speech, there is deep complexity through repetition and slight variations. It is both simple and complex, both realistic and very heightened at the same time. This is the reason I was so attracted to Fosse’s work—the way that potential hangs in the air, the way his characters represent all of humanity in the turn of a phrase, the way the past merges with the present and the future. Standing still is a primary action and “moving towards each other” is what happens next. Location is immaterial, but every breath, every turn of phrase, and slight physical action is important. So is the wind, the rain, and the sea. Death is always present, and its constant proximity challenges characters and the audience to assess their humanity. Fosse’s acknowledgment of time and our own vulnerability illuminates our existence and creates real possibility for positive change. Every time I entered Fosse’s world , I was reminded that we are only on this planet for a short time and must be brave enough to take action while we are here. Sometimes I would sit with a few lines for days, and then discuss with my brilliant dramaturgs (one Norwegian and one American) all the possibilities of what could happen during this particular moment in performance. It was a group effort, and eventually we would land on what felt like the closest to Fosse’s nynorsk, acknowledging that we would never get there completely—it was an impossible task, like moving towards infinity. Always getting closer to both the specificity and the openness. And so I came to embrace an idea that stems directly from Fosse’s text and would define my translation (and directorial and overall artistic) approach: specific ambiguity. The goal was always to be as specific as possible with every word/phrase I chose, but to create enough room for multiple interpretations from any person who receives it—whether that be actors on stage, or people in the audience. Onstage, this meant directing the actors to consider all the possibilities of which action they could take in any given moment, and then keep all those choices alive in their body even after making a choice. It also meant encouraging actors to keep their choices to themselves and be comfortable with disagreeing with their scene partners about what was happening in a given moment. This was not always easy, but it meant that the audience was confronted with their own mysterious piece of art, and they had to translate it through their own sensibility in order to take in and make sense of what was happening. I learned to listen—to the silences between people, to what’s happening in a breath, and to the more than human world. The first time I met Jon in person as I was halfway through the translation process of Natta Syng Sine Songar / Night Sings Its Songs, with a solid draft, but not honed yet. I shared my directorial vision with him, and the lines in the play upon which my vision was hanging, when The Young Woman, in a moment of crisis is searching and says: DEN UNGE KVINNA THE YOUNG WOMAN Veit du det You know at alltid skjer berre eit eller anna that something or other always happens Eg liker ikkje at noko skjer I don’t like it that something happens Alt skal helst vere roleg I’d rather everything stayed calm og berre det vante and that only the usual things det ein kjenner til things that you’re used to skal skje would happen Men så skjer jo alltid noko uvanleg But something unusual always happens Alltid Always He looked at me and said (something like): Du forstar stykket. (You understand this work). His confidence—that I could translate his singularly spiritual perspective and capture it in my own theatrical language, finding simple words and actions to convey his vast existential ideas—that faith powered me through so many of my early days and made my commitment to creating the best possible translation and production even stronger. Then during that first rehearsal process, whenever I would write to Fosse with a question—often about what was happening in a certain moment—he would usually respond: “You know the answer, Sarah.” As a young artist at the beginning of a new millennium, I was searching: what did I have to say? Fosse’s unwavering trust in me meant that I had to trust myself. I had to slow down and tune into my vision for the work, translating the play Norwegian to English, then page to stage—as I saw it, heard it, and felt it. Through the process of working with six of Fosse’s masterful texts over the next 11 years with him as a friend and collaborator, I found my voice as an artist. I learned to slow down and be still. I learned to listen—to the silences between people, to what’s happening in a breath, and to the more than human world. I learned about philosophy, duration and time, scale, resilience, and survival. All of this learning fed directly into my next decade of artistic practice. My project, 36.5 / A Durational Performance with the Sea, was created over nine years on six continents from 2013-2022, and was a different act of “translation,” but very much informed by my ethereal Fosse productions. Moved by Hurricane Sandy’s impact on New York City, I felt an impulse to translate the seemingly abstract concept of sea-level rise into an embodied experience. It began as a small poetic gesture—I walked out into the sea to listen to water as it rises with the tide—and this turned into a series of large-scale participatory performances and video works made with communities around the world. Hundreds of people joined me standing in water and thousands witnessed from land and through livestream. Whether they know it or not, what everyone experienced was an intentional act of specific ambiguity—tiny vulnerable humans standing still in a vast landscape, looking towards the sea, flirting with danger, helping to create an open-ended image that contains layers of meanings, inviting the participants and audience alike to reflect on their own humanity. Just as Fosse asked of me. * MAY 6, 2024: 11am-9pm at the Segal Theatre in the Graduate Center, CUNY Join Us! Oslo Elsewhere reunites 20 years after the U.S. debut of Fosse’s work. For an all-day event to hear experimental readings of five plays by 2023 Nobel Laureate Jon Fosse, in Sunde’s American English translations. Sarah Cameron Sunde Sarah Cameron Sunde is a New York based interdisciplinary artist working at the intersection of performance, video, conceptual and public art. She investigates scale and duration in relation to the human body, environmental crisis and deep time. She is creator of 36.5 / A Durational Performance with the Sea, and internationally known as Jon Fosse’s primary American English theatrical translator and director. Sunde is a 2021 recipient of the Guggenheim Fellowship and a 2023 Cultural Leader with the World Economic Forum." #metaglossia_mundus
"Englishlush has transcended its origins to become the lingua franca of the modern world, shaping communication, culture, and commerce on a global scale. In this exploration, we delve into the significance of English as a global language, examining its impact, challenges, and future prospects. Historical Context English’s journey from a regional dialect to a global phenomenon is a testament to historical factors such as colonialism, trade, and globalization. British colonial expansion in the 17th to 19th centuries facilitated the spread of English to regions around the world, laying the groundwork for its subsequent dominance. Technological Advances The advent of the internet, mass media, and digital communication platforms has accelerated the global reach of English. English-language content pervades cyberspace, from social media and online news to entertainment and e-commerce, facilitating cross-cultural communication and exchange. Facilitator of Communication English serves as a bridge across linguistic and cultural barriers, enabling communication and collaboration among speakers of diverse mother tongues. Its widespread use in international diplomacy, business, academia, and tourism underscores its role as a global medium of communication. Cultural Exchange English facilitates cultural exchange and understanding by providing a common language for the sharing of ideas, art, and literature. From Hollywood films and British literature to K-pop lyrics and Bollywood movies, English-language media transcends borders, connecting people from different cultures and backgrounds. Linguistic Imperialism The dominance of English has sparked debates about linguistic imperialism and cultural homogenization. Critics argue that the spread of English threatens linguistic diversity and marginalizes indigenous languages and cultures, perpetuating unequal power dynamics in global discourse. English Proficiency Divide Disparities in English proficiency create socioeconomic divides within and between countries, limiting access to education, employment, and opportunities for social mobility. Addressing the English proficiency gap is crucial for promoting equitable access to resources and fostering inclusive development. Initiatives aimed at improving language education and providing support for language learners, such as 314159u, play a vital role in bridging these divides and empowering individuals to thrive in an increasingly interconnected world. Global Communication English serves as a primary vehicle for global communication, facilitating interactions between individuals and nations with diverse linguistic backgrounds. As a widely spoken language, it enables seamless communication in various domains such as business, diplomacy, science, and academia. The ability to communicate effectively in English has become increasingly important in today’s interconnected world, allowing individuals to engage in cross-cultural dialogue, collaborate on international projects, and access information and resources from around the globe. Linguistic Diversity Despite the prevalence of English as a global language, linguistic diversity remains a hallmark of human communication. While English serves as a common medium of communication, it coexists with thousands of other languages spoken by communities worldwide. Linguistic diversity enriches the tapestry of human culture and reflects the unique identities, histories, and worldviews of different societies. Efforts to preserve and celebrate linguistic diversity are essential for promoting cultural understanding, safeguarding indigenous knowledge, and preserving the rich heritage of languages threatened by extinction. Economic Integration English plays a pivotal role in economic integration by facilitating trade, investment, and collaboration across borders. In today’s globalized economy, proficiency in English is often a prerequisite for accessing international markets, attracting foreign investment, and participating in global supply chains. English-language skills enhance employability and competitiveness in the global job market, offering individuals and businesses greater opportunities for growth and success in a rapidly changing economic landscape. Cultural Exchange English serves as a conduit for cultural exchange, enabling the sharing of ideas, values, and traditions among people from different cultural backgrounds. Through literature, music, film, and other forms of artistic expression, English-language media transcend geographical and cultural boundaries, fostering cross-cultural understanding and appreciation. Cultural exchange enriches societies by exposing individuals to diverse perspectives, fostering empathy and tolerance, and promoting intercultural dialogue and cooperation on global issues. Language Acquisition English-language acquisition plays a crucial role in fostering global citizenship and intercultural competence. Learning English opens doors to educational, professional, and personal opportunities, allowing individuals to connect with people from diverse backgrounds and participate in global conversations. Language acquisition also promotes cognitive development, linguistic proficiency, and cross-cultural communication skills, empowering individuals to navigate the complexities of our increasingly interconnected world with confidence and fluency. FAQs about English as a Global Language How Many People Speak English Worldwide? English is estimated to be spoken by over 1.5 billion people globally, either as a first or second language. Its status as a global lingua franca ensures its widespread use in diverse domains, from business and academia to entertainment and diplomacy. What Factors Contribute to the Global Dominance of English? Historical factors such as colonialism, trade, and technological advancements have contributed to the global spread of English. Its versatility, ease of learning, and status as a language of innovation and opportunity further reinforce its dominance in the modern world. How Does English Impact Indigenous Languages and Cultures? The spread of English has raised concerns about the erosion of linguistic and cultural diversity, particularly among indigenous communities. English-language dominance can marginalize indigenous languages and perpetuate cultural hegemony, highlighting the importance of language preservation and revitalization efforts. What Role Does English Play in Globalization? English serves as a key facilitator of globalization, enabling communication, commerce, and cultural exchange on a global scale. Its dominance in international business, diplomacy, and media reflects the interconnected nature of the modern world and the importance of linguistic proficiency in navigating global opportunities. How Can English Proficiency Gaps be Addressed? Addressing English proficiency gaps requires investment in education, language training programs, and infrastructure to ensure equitable access to English-language resources and opportunities. Emphasizing communicative competence and cultural sensitivity can empower individuals to navigate the complexities of global communication effectively. Conclusion: Embracing Linguistic Diversity in a Globalized World English’s status as a global language brings both opportunities and challenges in an increasingly interconnected world. While its dominance facilitates communication and collaboration across borders, it also raises concerns about linguistic hegemony and cultural imperialism. As we navigate the complexities of English as a global language, it is essential to promote linguistic diversity, equity, and inclusion. By embracing multilingualism and fostering intercultural dialogue, we can harness the transformative power of language to build bridges, foster understanding, and shape a more inclusive and equitable global community. " #metaglossia_mundus
"Urgently ARABIC Interpreters Required Job details Posting date: 07 May 2024 Hours: Part time Closing date: 06 June 2024 Location: PE11 Remote working: On-site only Company: Aqua Interpreting Group Job type: Temporary Job reference: Apply for this job Summary Urgently ARABIC Interpreters required. Urgently ARABIC Interpreters Required Job details Posting date: 07 May 2024 Hours: Part time Closing date: 06 June 2024 Location: PE11 Remote working: On-site only Company: Aqua Interpreting Group Job type: Temporary Job reference: Apply for this job Summary Urgently ARABIC Interpreters required. Aqua Interpreting Group is currently recruiting freelance interpreters in all languages to meet the growing demand for interpretation services. Interpreters will work in a variety of situations including Insurance Interviews, Investigations, Reading statements, Solicitors' offices, Barrister's Conferences and various Public and Private Sector organisations. The role will involve assisting clients with language difficulties. Excellent rates of pay and travel expenses. To apply, please email us your CV with the languages you speak fluently, your full address and post code and phone number. Without these details your CV will NOT be considered. The subject line of your email needs to say: Language, Interpreter – Your location. For example: Polish Interpreter – Manchester Preference will be given if you have a Diploma in Public Service Interpreting (DPSI), Diploma in Translation (DipTrans), Diploma in Police Interpreting (DPI), MET Police Test, Certificate in Bilingual Skills, MA in translation/interpreting, Home Office assessed interpreters, Community Interpreting Level 3. If you speak any other language, please do email us your CV. We are very interested in rare languages and dialects too! NO PHONE CALLS PLEASE www.aquainterpretinggroup.com" #metaglossia_mundus
"Joseph Sharpe May 7, 2024 Updated May 7, 2024 The family of Teddy Sharik has established the scholarship for Sinclair Interpreter Education students. DAYTON, OH – The Sinclair Community College Foundation and the family of Lima resident Teddy Sharik have established a scholarship to honor Teddy’s memory and to support American Sign Language (ASL) interpreter students. Teddy lived in Lima for five years before his passing on February 4, 2023, following a 2-month battle with cancer. Teddy was profoundly Deaf his entire life and was a strong advocate for creating a more inclusive world for individuals with hearing impairments. During the final seven weeks of his life at St. Rita’s Hospice in Lima, Teddy and his family utilized ASL interpreters, who were Sinclair Community College graduates, to bridge communication gaps. “There is so much I could say about these interpreters. They were a phenomenal group, and they were Teddy’s voice. They traveled the two hours each way from Dayton to Lima and sometimes slept overnight at the hospital to provide 24/7 interpreting between Teddy, our family, and the hospice staff,” said Scott Sharik, Teddy’s brother. “It struck me so much as to the value of these bridge building interpreters and the importance of interpreting that my sister and I decided we wanted to set up a scholarship fund to help ASL interpreter students get into school and to manage the finances for their education.” The Teddy Sharik Memorial Scholarship, established through the Sinclair Foundation, will provide financial assistance for tuition, fees, and books for students enrolled in the Interpreter Education associate degree program at Sinclair Community College in Dayton. "The Teddy Sharik Memorial Scholarship embodies the values that the Sinclair Foundation holds dear – empathy, inclusivity, and the power of education to transform lives. We are proud to be able to honor Teddy Sharik's legacy and support students," added Dr. Zachary Beck, Chief Development Officer – Sinclair Community College Advancement Division. The Sinclair Community College Associate of Applied Science Interpreter Education (ASL) degree prepares students with the skills necessary to successfully function as an interpreter for Deaf, Hard of Hearing, and DeafBlind individuals in a variety of educational and community settings. “Sinclair Community College is incredibly proud of the Interpreter Education Program graduates who make such a meaningful impact in the lives of the Deaf and Hard of Hearing individuals. The Teddy Sharik Memorial Scholarship is an incredible way to support students who have chosen a career path that creates a more inclusive world,” said Dr. Jessica Minor, Chair – Sinclair Community College Education Department. Over the past five years, more than 50 Sinclair students have graduated with an Interpreter Education (ASL) associate degree. “My brother's life was a testament to resilience and the power of communication. He showed me the importance of bridging the gap between the hearing and Deaf communities. I want to honor his memory by supporting students who share his passion for sign language interpretation and are committed to breaking down communication barriers. There is a mission here and there is a purpose that is deep and impactful on lives," added Scott Sharik. To support the Teddy Sharik Memorial Scholarship, visit Give.Sinclair.edu or contact the Sinclair Foundation at Foundation@Sinclair.edu or call 937-512-2510. Copyright 2024 by Lima Communications Corporation. All rights reserved." #metaglossia_mundus
"The need for immediate communication in a world characterized by an ever-increasing flow of information has led to a rapid increase in volunteer translation in recent decades. While previous studies have focused on aspects such as volunteer translators’ motivation and the attendant ethical issues of voluntary translation, comparatively little research has explored the phenomenon from a discursive perspective. The research reported in this article explored the discursive construction of the volunteer translator in non-governmental organizations (NGOs) active in Spain using critical discourse analysis. Drawn from analysis of 25 semi-structured individual interviews with volunteer translators in five different NGOs, the findings reveal that volunteer translators are seen either as an agent and actor of social change who facilitates communication and possesses a strong sense of identity and social status, or as someone who is interfering in a sector traditionally limited to professional translators and who consequently has a weaker sense of identity and social status. This suggests that the role of the volunteer translator currently lacks definition, and that further research is needed to better understand the relationship between volunteer and professional translators in the 21st century." #metaglossia_mundus: https://www.nature.com/articles/s41599-024-03103-4
"UMBC's Ryan Bloom, senior lecturer in English, has received the 2024 Guggenheim Fellowship for translation to work on the first complete edition of the French-Algerian author Albert Camus's notebooks, journals, and other works. This year, 188 grants were awarded from more than 3,000 applicants from over 52 academic disciplines across the U.S. and Canada. Fellows are provided funding to freely pursue their creative projects through their unique process without any special conditions. Ryan Bloom. (Elizabeth Haynes) Ryan Bloom, senior lecturer in English, has received the 2024 Guggenheim Fellowship for translation to work on the first complete edition of the French-Algerian author Albert Camus’s notebooks, journals, and other works. This year, 188 grants were awarded from more than 3,000 applicants from over 52 academic disciplines across the U.S. and Canada. Fellows are provided funding to freely pursue their creative projects through their unique process without any special conditions. “In many ways, the situation Camus experienced in post-World War II Paris bears similarities to our own times here in the States. To give just one example, one of Camus’s great fears was a world where, in support of ideology, people were willing to excuse, if not actively cheer, the murder of other human beings,” says Bloom. “We need only turn on the news or scroll through our social media feeds to understand how some might feel that same fear today.” Bloom has been translating Camus’s work for more than a decade. Most recently, he completed translations of Camus’s North and South American journals, Travels in the Americas: Notes and Impressions of a New World (Chicago University Press, 2023) as well as Camus’s Caligula and Three Other Plays (Penguin Random House, 2023). His translation of Albert Camus’ Notebooks 1951 – 1959, (Ivan R. Dee Publishing, 2008) was a finalist for the French-American Foundation and the Florence Gould Foundation’s Translation Prize for outstanding published English translations of prose originally written in French; his translation of Travels in the Americas is again a finalist for this year’s prize, to be awarded in June. Bloom notes that his drive to translate Camus’s work stems from the relevance the author’s work still has today, more than 65 years after Camus received the Nobel Prize in Literature in 1957. “Humanity faces some profound existential challenges,” said Edward Hirsch, award-winning poet and president of the John Simon Guggenheim Memorial Foundation. “The Guggenheim Fellowship is a life-changing recognition. It’s a celebrated investment into the lives and careers of distinguished artists, scholars, scientists, writers, and other cultural visionaries who are meeting these challenges head-on and generating new possibilities and pathways across the broader culture as they do so.” In 2017, Deborah Rudacille, professor of the practice in English, was the first UMBC faculty to receive a Guggenheim Fellowship. Rudacille received it for science writing. “Ryan Bloom’s Guggenheim shows the wide range of research and teaching that takes place in the English department,” says Jessica Berman, professor of English and director of the Dresher Center for the Humanities. “That students have access to a translator of Ryan’s caliber when they sign up for his composition or creative writing classes and have the opportunity to learn from his careful approach to language adds immeasurably to their experience. UMBC is very lucky to have him in our midst.”" #metaglossia_mundus
"With its technology, Orange aims to produce 500 English-language manga per month. A Japanese startup said Tuesday it aims to use artificial intelligence to help translate manga comics into English five times faster and 90% cheaper than at present. Manga series such as "One Piece" and "Dragon Ball" are a huge success story for Japan, with the market projected to be worth $42.2 billion by 2030, according to the startup, Orange. But it said only about 2% of Japan's annual output of 700,000 manga volumes are released in English, "partly due to the difficult and lengthy translation process and the limited number of translators." But with its technology, Orange aims to produce 500 English-language manga per month, five times more than the industry's current capacity, and 50,000 volumes in five years. Other languages will come later. "Compared to translation of a book, translating Japanese used in manga, which uses very short sentences of conversational language often full of slang, is extremely difficult," said Orange's marketing vice president Tatsuhiro Sato. "It is also difficult to figure out if a particular quote was actually said at a scene, or if the line was a murmur inside one's heart describing a mental landscape," Sato said. Other challenges include the original text often being written vertically and finding equivalents for Japan's many onomatopoeic words. The firm announced that it had raised ¥2.92 billion ($19 million) in funding from major publisher Shogakukan and nine venture capital groups including the government-backed JIC Venture Growth Investments. It said that its tool will also help the industry fight piracy in the industry, which is estimated to be worth $5.5 billion annually according to the Content Overseas Distribution Association." #metaglossia_mundus
"Using these expressions with native speakers will make you sound like a master of French Has your neighbour told you they have been combing the giraffe at work? PUBLISHED Tuesday 07 May 2024 - 10:44 LAST UPDATED Tuesday 07 May 2024 - 16:27 French, like any other language, is full of weird and wonderful expressions and phrases that do not make sense when directly translated. Some of these expressions have made their way into everyday usage, and to a native French speaker are as simple as saying ‘ça va !’ Others are common with the younger generations. They can leave learners scratching their heads, however, wondering what a well-groomed giraffe has to do with someone’s slow day at the office (more on this below). Sometimes the expressions are still not clear even with the benefit of context, so it is useful to take note of the ones you see. Below we list seven that you can hear in everyday exchanges, but may be unlikely to grasp based on translation alone. We give the direct translation in the heading and a possible English equivalent. Au bout de rouleau – at end of the scroll Directly translated, être au bout de rouleau means to be at the end of the scroll. Rouleau has a few meanings including scroll, roller, rolling pin or roll. It is used in frustration the same way an English speaker might say they are at the end of their tether. If you are really fed up, you can use je suis au bout de rouleau to express your frustration with the situation. Claqué au sol - slammed to the ground When you hear something described as claqué au sol, it is not a good thing. It is used in the same way as nul, suggesting something is bad quality or not worth it. The expression has been around since about 2019, and is popular in internet culture, meaning it is more common amongst younger speakers. Read more: The French you learn at school is often not what you hear: 5 examples Craquer son slip - to split your pants Translated directly, this means to split your pants – craquer can mean to split or crack, and slip refers to underwear (usually knickers). Putting them together in this phrase however signifies that someone has really lost their temper. It is more colloquial, and is like saying someone ‘has lost their shit’ in English. Être à coté de la plaque - to be next to the plank ‘Être à côté de’ translates as ‘to be next to something’, and la plaque can mean lots of different things depending on context, such as a plank, badge, patch or even number plate. In this phrase, the two combined mean to miss the point of something or to be mistaken. It is the same as saying something is ‘well off the mark’ or ‘well off-target’ in English. Mettre de l’eau dans son vin - putting water in your wine Mettre de l’eau dans son vin literally translates as putting water into your wine, but the conjured image of mixing two things together is only partially correct. The phrase is used in situations when two people disagree, and must make an effort to compromise. Our English equivalent could be to reach a consensus, or to (both) back down in an argument. It only really works if both people put the work in to do so. Read more: Useful informal French expressions you don’t learn at school Peigner la girafe – to comb the giraffe Peigner la girafe translated directly means to comb the giraffe, which gives very little indication of what the expression relates to. If you were to comb a giraffe, it would be a long and pointless task, which is a hint towards its meaning. When you hear someone say this, it means that they are working very slowly or very inefficiently completing a task – like ‘twiddling your thumbs’ in English. Coincer la bulle - Trapping the bubble This expression comes from the military, where it was used to describe soldiers manning artillery guns. To calibrate the gun to the correct position, soldiers would use a device similar to a spirit meter, that saw a ‘bubble’ lined up between two markers, showing the mortar was in a straight line. Once they had done this, the soldiers had to simply stand around and wait for the order to fire. Therefore, they had lots of time to ‘trap the bubble’. In English, this could be considered the equivalent to resting on one’s oars, it simply suggests doing nothing or resting. It must be said, however, that this is not an everyday expression, and is slightly more poetic than its English counterpart." #metaglossia_mundus
By GEORGINA KOREI TRANSLATING the Word of God will be an excellent Government initiative to preserve Papua New Guinea’s 800-plus languages, PNG Bible Translation Association (BTA) executive director Nelson Tapineng has said. #metaglossia_mundus
"Since they first met in 2015, Ulrike Almut Sandig and Ukrainian poet and musician Grigory Semenchuk have formed a close artistic bond. So what happens to a poem when it gets translated into another language – and turned into a film? Word! The Language Column WORD! THE LANGUAGE COLUMN How to Translate a National Anthem Not exactly an everyday task: Ulrike Almut Sandig has translated the Ukrainian national anthem into German. Not only is it a fine literary rendering, but it’s singable – and it rhymes! She envisions its performance at a concert, free of charge and accessible to one and all, at the border crossing between Poland and Ukraine. In the previous episode of this trip around the world, we put in a stop to see my fellow poet and musician Grigory Semenchuk in Lviv, over in western Ukraine. Let’s linger in the vicinity and board the time machine of poetry for a dash into the past. The Ukrainian anthem Back in 1862, when Ukraine was still little more than an idea germinating in the minds of a handful of intellectuals, an impoverished nobleman’s son, who’d grown up on a farm near Kyiv, wrote a patriotic poem. His name was Pavlo Platonovych Chubynskyi. The poem was published and disseminated throughout the land: owing to its “harmful influence on the minds of the common people”, he was exiled for seven years to the cold northern Russian province of Arkhangelsk. But the poem was just as unstoppable as the idea of an autonomous Ukrainian state. It was set to music by Mykhailo Verbytskyi, a Catholic priest, and premiered in the town of Przemyśl three years later. We know the song now as the Ukrainian national anthem. We look like Ukrainians Przemyśl, located in the foothills of the Polish Carpathians, is an important border town these days. Civilian flights have been suspended since the Russian invasion, so, after getting their bags and passports checked, travellers from Ukraine change to Polish trains in Przemyśl. The Ukrainian trains are opened one carriage at a time: this nerve-wracking procedure takes hours. On my way home to the EU via Przemyśl last autumn, a friend of mine who happened to be standing behind me in the queue recognized my weary face and remarked, “We look like Ukrainians.” One syllable at a time Existential threats run through the whole history of Ukraine, which seems to lurch from one attempt at its annihilation to the next. Is this why Ukrainians love their anthem so much? Given my mixed feelings about being German, I can’t help admiring the way they stop whatever they’re doing and pause for a moment whenever they hear the anthem being played. In early April 2022, as Russia was raining fire on Ukraine, my colleague Claudia Dathe asked me out of the blue whether I could imagine translating the Ukrainian national anthem into German. Dathe is a sought-after translator of contemporary Russian and Ukrainian literature. The director of the Checkpoint Charlie Museum in Berlin, Alexandra Hildebrandt, who’s of Ukrainian descent herself, had pointed out to her that although there were various German translations, none of them was of high literary quality, let alone singable. So we got down to work. Never before had I spent such a long time translating a single poem – and never been so nervous about it either. In order for the hymn to be sung, not only does the number of syllables have to be just right, but so does the alternation between stressed and unstressed syllables. Claudia Dathe translated the Ukrainian original word for word into German, suggesting alternatives and commenting on intonation and specific linguistic features. And after I’d compared every single syllable with the original and with the musical notation, I pieced the whole puzzle together. Ukrainian original: Душу й тіло ми положим за нашу свободу, І покажем, що ми, братття, козацького роду.
Interlinear translation: Soul and body we give/lay down for our freedom And show that we, brothers, are of the Cossack nation.
English translation Body and soul rise on the wind of our freedom, We’ll prove that we are true children of the Cossacks. Claudia would call me back when I’d strayed too far from the original, whereupon I’d emend it accordingly and send her the rewrite. It was like doing fine embroidery work. After a month, we’d adapted all three stanzas – in singable form. We’d taken the greatest liberties with the chorus. While body and soul are sacrificed for freedom in the original, they rise on the up-wind of freedom in my German adaptation. Our German version of the national anthem was premiered on 20 November 2022 at the Literaturhaus Bonn by members of the Bonn Opera Choir: four sopranos (Vardeni Davidian, Christina Kallergis, Jeannette Katzer and Katrin Stösel) and an alto (Simone Degner) accompanied by Joonhee Lee on piano. I think it sounds upbeat – and very Ukrainian. Zukunftsmusik I dream of the anthem being performed again someday in Przemyśl, with free admission for all travellers and the train crew, for all the Polish and Ukrainian border officials and their families, followed by the inauguration of a brand-new barrier-free border crossing at Przemyśl. Will we get a chance to sing the anthem in German again in the meantime? As a sign of hope for the future and favourable winds. Word! The Language Column Our column “Word!” appears every two weeks. It is dedicated to language – as a cultural and social phenomenon. How does language develop, what attitude do authors have towards “their” language, how does language shape a society? – Changing columnists – people with a professional or other connection to language – follow their personal topics for six consecutive issues. May 2024 Ulrike Almut Sandig is a writer and performance poet living in Berlin. She has published poems and stories, music albums and radio plays as well as the highly acclaimed novel “Monster wie wir”. As the frontwoman of the German-Ukrainian poetry collective “Landschaft”, she makes poems dance in a fusion with film and electronic music. For her stage performances, she often translates poetry from other languages, especially English and Ukrainian. Most recently, her adaptation of "Funkhaus", the poems of queer Māori poet Hinemoana Baker, was published. Translation: Eric Rosencrantz Copyright: Text: Goethe-Institut, Ulrike Almut Sandig. This work is licensed under a Creative Commons Attribution – Share Alike 3.0 Germany license.© Goethe-Institut e. V./Illustration: Tobias Schrank" #metaglossia_mundus
"El Instituto de Idiomas crea por su 50º aniversario un premio destinado a traductores e intérpretes CAD 08 MAYO 2024 15:00 H. Los beneficiarios de la primera edición serán los ceutíes Diego Parra y Carmela Ríos: el uno, por sus trabajos de traducción para el doblaje de películas y videojuegos; la otra, por su desempeño como corresponsal de Antena 3 y CNN+ en Francia La Consejería de Educación, Cultura y Juventud ha anunciado este 8 de mayo que el Instituto de Idiomas prevé celebrar un acto institucional con motivo de su 50º cumpleaños. Según han adelantado desde la parcela que encabeza la consejera Pilar Orozco, la actividad tendrá lugar en el Teatro Auditorio del Revellín este próximo viernes, día 10. Dice la Ciudad que, en la gala, tomarán parte tanto alumnos del centro como el personal de este mismo. Dentro del catálogo de propuestas, figuran "obras de teatro originales" y hasta "obras esenciales de autores fundamentales dentro de los idiomas que se imparten en el Instituto". Por si no hubiese ya suficientes, el organismo ha decidido aprovechar su medio siglo de vida para crear un nuevo galardón: el llamado 'Premio de Idiomas'. La organización busca, a través de él, "reconocer a personas cuya carrera profesional haya estado vinculada a otras lenguas". El primer beneficiario de la primera edición del reconocimiento será el traductor ceutí Diego Parra, recientemente premiado por la llamada 'Asociación de Traducción y Adaptación Audiovisual de España'. Entre sus últimos trabajos, destacan la traducción para el doblaje de películas como El superviviente de Auschwitz, Vengeance y Rojo, blanco y sangre azul.La segunda adjudicataria será la periodista caballa Carmela Ríos, quien, a lo largo de su dilatada trayectoria profesional, ha ejercido como corresponsal en Francia para medios de comunicación de la talla de Antena 3 y CNN+. El área de Educación ha adelantado que pondrá el broche de oro a la ceremonia Yasmina, una intérprete ceutí que, antaño, fue alumna del Instituto y que, a día de hoy, interpreta canciones en francés e inglés." #metaglossia_mundus
Publicado: 09/05/2024 04:45 Actualizado: 09/05/2024 04:49 "Con tanto debate en cadenas de ámbito nacional en el que los candidatos se expresan en catalán hay quien va a acabar con un surménage de padre y muy señor mío. Nuestros políticos tienen la característica de hablar rápido, de interrumpirse, de murmurar por lo bajini y eso hace que quien tiene que traducir se las vea y se las desee para poder hacer su trabajo. No radica ahí tan solo la dificultad. Existe otra barrera, esta propia de cualquier lengua, que es el empleo de modismos, frases hechas, palabras que a pesar de tener un sentido se utilizan en el contrario, de casi imposible traducción. Como servidor es catalán y he visto unos cuantos debates en mi vida con traducción simultánea les pongo ejemplos. Cierta vez un candidato de la por entonces CiU acusaba a un socialista de somiar truites. Traducción literal, soñar tortillas. Ahí le quiero ver, traductor, porque esa expresión se emplea como figura que designa a alguien que no toca con los pies en el suelo, que es soñador, que tiene la cabeza a pájaros, pero tampoco es exactamente todo eso aun cuando lo sea. Me estoy liando, pero traducir es difícil, traduttore traditore. La de no tot son flors i violes tiene más fácil traducción, no todo es coser y cantar, es decir, no todo es simple y fácil; más todavía, ets curt de gambals, lo que traducido literalmente es que tienes cortas las correas, gambals, que atan el estribo a la silla de montar de una caballería. Efectivamente, es incómodo y peligroso si la medida no se ajusta a la estatura del jinete, pero en catalán se emplea despectivamente hacia una persona a la que se quiere significar de corto, bobo, que no da pa más, vamos; otra, al cul me les fotin bullides lo que, y ustedes perdonen, significa al pie de la letra que en el culo me las metan hervidas poniendo de manifiesto quien así habla que le da lo mismo lo que le pase. Ya sé que es casi imposible que Aragonés, tan institucional, o Illa, tan peripuesto que parece Mr. Chips, digan esa ordinariez. Su catalán es ortopédico, normativamente aburrido y carente de ese jugo que debe tener toda lengua local para ser atrayente Tampoco es que hablen muy bien la lengua de Rupert de Nola o Francesc de Eiximenis. Su catalán es ortopédico, normativamente aburrido y carente de ese jugo que debe tener toda lengua local para ser atrayente. La reforma de Pompeu Fabra dejó al catalán de los campesinos y pescadores, de los vendedores ambulantes y la menestralía, seco y arrugado como una pasa. Y como aquí se habla mucho de la lengua pero nadie se interesa por ella, salvo por cuestiones políticas sucias y partidistas, ese sucedáneo de catalán es con lo que se manejan quienes salen en televisión, máxime cuando de políticos se trata. Bien pensado, para nuestros traductores casi es mejor, porque imaginen si esos candidatos empleasen el catalán de Pla y ya no digo el del Rector de Vallfogona, llamado por nombre Francesch Vicens García Ferrandis, que vivió entre el 1579 y el 1623, sacerdote y poeta que gustó de ironizar básicamente sobre, y perdonen de nuevo, la cosa de cagar. Porque los catalanes somos muy de estos asuntos, véase el Caganer que adorna nuestros belenes navideños, y ese acto natural nos produce una hilaridad semejante a la de los alemanes, pueblo también proclive a que todo el humor gire alrededor del culo. En su obra Desengany del món, Desengaño del mundo, azotó a la sociedad de su tiempo con una sátira que equivale a la de Quevedo. Seca como un golpe de tralla, insolente, inmisericorde con los poderosos y los cobardes. Sería fantástico que lo que regurgitan los políticos catalanes de hoy lo tradujera Don Francesch. O Quevedo. O ambos. Porque lo que ganamos en muchas cosas lo hemos perdido en crítica y gracia. Y dispensen el tono de este artículo. Servidor, debo reconocerlo, también es un somia truites..." #metaglossia_mundus
"A treinta años del fallecimiento del autor de Música de cañerías, dialogamos con el poeta Esteban Moore, traductor de la poesía de Charles Bukowski al español. Moore se centró en la obra poética, la cual ha sido traducida en menos medida que sus relatos y novelas, y en el legado literario de Bukowski. El Rastro, la columna de Nelson Díaz, en Justos y pecadores." #metaglossia_mundus
"Coherence of Translation Programs and the Contexts of Translation Movements, ca. 500–1700 AD *Call for Journal Articles* The Hungarian Historical Review (https://www.jstor.org/journal/hunghistrevi; https://hunghist.org/) invites submissions for its second issue in 2025, the theme of which will be "Coherence of Translation Programs and the Contexts of Translation Movements, ca. Call for Journal Articles The Hungarian Historical Review (https://www.jstor.org/journal/hunghistrevi; https://hunghist.org/) invites submissions for its second issue in 2025, the theme of which will be "Coherence of Translation Programs and the Contexts of Translation Movements, ca. 500–1700 AD". The deadline for the submission of abstracts: June 15, 2024. The deadline for the accepted papers: December 15, 2024. CfA – Coherence of Translation Programs and the Contexts of Translation Movements, ca. 500–1700 AD This Special Issue aims to explore the complex historical, literary, and material backgrounds that are conducive to producing translations from any source language (Greek, Arabic, Armenian, Syriac, Hebrew, etc.) into Latin and from Latin into the vernaculars or local dialects from Late Antiquity until the end of the Renaissance period. The special issue investigates triggers and factors that helped produce Latin translations and eased the reception of Latin texts by non-Latin-using audiences. The variety of source and target languages creates a comparative framework that enriches our understanding of complex translating processes as historical phenomena. Topics of interest include (but are not limited to): - The birth of the idea of translating specific texts or corpora; - The relation between geopolitical shifts and translation programs; - The role of translators in pursuing programs; - Translators’ development/ professionalization over the course of the centuries or within a specific epoch in pursuing specific programs; - Movement and travel of translators as a trigger behind translations; - Interreligious relations and cultural and economic exchange between West and East as a broader backdrop for translations; - The role of patrons and audiences, systematizing tendencies of patrons; - Scientific, political, educational, and religious networks behind translations; - Personal initiatives and the lack of coherence behind translated texts. We welcome submissions from scholars in various disciplines, including medieval and renaissance history, literary and philological studies, art history, archaeology and material culture, and Islamic, Hebrew, and Byzantine studies. We especially encourage submissions that offer interdisciplinary perspectives and engage with current historiographical debates. Please send an abstract of no more than 500 words and a short biographical note with a selected list of the author’s three most important publications (we do not accept full CVs) no later than June 15, 2024. Proposals should be submitted to the special editor of the issue by email: peterbara@peterbara.com The editors will ask the authors of selected papers to submit their final articles (max. 10,000 words) no later than December 15, 2024. The articles will be published after a double-blind peer-review process. We provide proofreading for contributors who are not native speakers of English. All articles must conform to our submission guidelines. The Hungarian Historical Review is a peer-reviewed international quarterly of the social sciences and humanities, the geographical focus of which is Hungary and East-Central Europe. For additional information, please visit the journal’s website: https://hunghist.org/ https://hunghist.org
"An exhibition at the Grolier Club in New York shows that lexicographers are just like us: petty, creative, and political. An exhibition at the Grolier Club in New York shows that lexicographers are just like us: petty, creative, and political. Samuel Johnson once joked in a letter that “dictionaries are like watches, the worst is better than none, and the best cannot be expected to go quite true.” The pugnacious English lexicographer may not be a well-known name, but he casts a long shadow on the current definitions of many words in this article. Hardly Harmless Drudgery: Landmarks in English Lexicography, a fascinating exhibition on view on the first floor of the Grolier Club in Manhattan, presents a detailed 500-year timeline of the dictionary’s evolution and its inevitable deconstruction with holdings from several book collectors. This expansive exhibition of 171 books begins with Renaissance glossaries. These forerunners did not set out to define every known word. Instead, they set a narrower goal of annotating technical terms circulating in particular professions. The following cases in the exhibition chronicle the slow but steady rise of comprehensive English language dictionaries during the Enlightenment. Rivalries and pedantic snickering often marred these dictionaries, especially in the 19th century. To be fair, these lexicographers were in a double bind, fearing accusations of plagiarism and copyright infringement if entries were too similar, and anticipating vitriol if new definitions went too far and challenged earlier work. In 1829, for instance, lexicographer Noah Webster flew into a rage, complaining that revisions of his work made him look “like someone who had written a first draft of a book with inconsistent and half-baked ideas, requiring experts to come in, clean up the mess, and make it fit for publication.” Although the differences were minute, there was market share to defend — as well as pride. As Jack Lynch, professor of English at Rutgers University and co-curator of the exhibition, explained to Hyperallergic, “Noah Webster is a fascinating figure: an American patriot who just missed fighting in the Revolution and a brilliant definer — but also a bad-tempered grouch with the worst business instincts in America. Still, he and the Merriams established the most enduring dictionary franchise in history.” By the end of the 19th century, academics began to tire of clashing egos, and work began on the Oxford English Dictionary (OED). Prepared by a team working on a consensus model, this dictionary was an overdue correction; an early version is on view in the exhibition. In some ways, this show resists art world sensibilities: Artists have jabbed at dictionary definitions like a piñata at a party for at least a couple of decades. In 1966, for instance, when Pierre Cabanne asked him to define “intelligence,” Marcel Duchamp irritably retorted that “there is something like an explosion of meaning in certain words: They have a greater value than their meaning in the dictionary.” Nevertheless, contemporary artists who work with words may find a well of inspiration in the dictionary debates if they dip their buckets in. The contemporary influence of even these historical dictionaries is inestimable. In the past five years, according to the exhibition catalog, more than 40% of Supreme Court decisions drew upon definitions from early American dictionaries to elucidate laws. Contemporary lexicographers are beginning to exact their influence, too. The exhibition ends by showcasing late-20th-century writers who sought to unsettle the most powerful names in dictionaries by creating their own versions with renegade words, biting definitions, and outsider vantage points — in other words, dictionaries that aren’t pale, male, and stale. The Queen’s Vernacular: A Gay Lexicon (1972), A Feminist Dictionary (1985), and A Dictionary of Afro-American Slang (1970) remind us of all words that dance on the margins. One important book, however, is missing: The Oxford University Press is currently in the finishing stages of a new 1,000-word dictionary of African-American English, edited by historian Henry Louis Gates Jr. Next year, it will showcase the profound impact of Black creativity on American English, tracing the etymology of several familiar words and terms such as “cool,” “shout out,” and “cakewalk.” Duchamp was wrong — dictionaries and their definitions can be explosive. After contextualizing the English dictionary’s history, the final section is a powerful call to action. A man once knocked Daniel Larkin off his bar stool and flung mean words. He got up, smiled, and laughed as the bouncer showed him out. He doesn't give anyone the power to rain on his parade." #metaglossia_mundus
Written by Olawuyi Oyindamola Esther and Agency Report "If you need a remote job that you can do from anywhere, whether it’s because you have childcare obligations, or you’re just fed up with office life then becoming a transcriptionist could be a great option. This type of work is very accessible, and you don’t need any formal training or even experience to get going. A transcriptionist is someone who gets paid to listen to spoken words or verbal recordings and convert them into written texts. Transcribers are professional typists, so you need to know your way around a keyboard if you’re going to succeed. Choose A Niche Transcription is needed in virtually every field, which means there are many types of jobs you can do. With that said, most transcription work falls into these categories; Legal Transcription, Medical Transcription, Academy Transcription, Business Transcription and General Transcription. Some niches (particularly legal and medical transcription) are tougher to get into than others, and some jobs even require certification. That said, those subfields are also usually more lucrative. Although, you don’t need a “field” to get started as a transcriptionist, but you do need to have the ability to research unfamiliar terms and concepts. Choosing a niche that you have knowledge of or an interest in can spare you time on this type of research. Furthermore, Jessica Green, a transcriptionist with nearly 20 years of experience, recommended seeking out work relevant to your own knowledge, experience, and interests whenever possible. Get The Required Equipment The only equipment you need in order to be a transcriber is a working computer with audio and video playback capabilities and a stable internet connection. However, there are things you can get that will make the job a lot easier. For example, Headsets, Audio converter and Ergonomic office equipment. Create Your Resume and profiles on freelancing sites Once you’ve got all the tools you need to become a professional transcriptionist, it’s time to enter the job market. Make sure to create a resume that’s tailored for transcription work. There are also quite a few online job boards that feature transcription work (both one-off jobs and recurring gigs). It’s worth creating a profile on; Upwork, Fiverr, FlexJobs and Freelancer. How much do transcriptionists make? How much you’ll earn depends on several factors, including the company you work for and whether you’re offering freelance transcription services directly to clients or going through a job platform or transcription company. e life then becoming a transcriptionist could be a great option. This type of work is very accessible, and you don’t need any formal training or even experience to get going. A transcriptionist is someone who gets paid to listen to spoken words or verbal recordings and convert them into written texts. Transcribers are professional typists, so you need to know your way around a keyboard if you’re going to succeed. Choose A Niche Transcription is needed in virtually every field, which means there are many types of jobs you can do. With that said, most transcription work falls into these categories; Legal Transcription, Medical Transcription, Academy Transcription, Business Transcription and General Transcription. Some niches (particularly legal and medical transcription) are tougher to get into than others, and some jobs even require certification. That said, those subfields are also usually more lucrative. Although, you don’t need a “field” to get started as a transcriptionist, but you do need to have the ability to research unfamiliar terms and concepts. Choosing a niche that you have knowledge of or an interest in can spare you time on this type of research. Furthermore, Jessica Green, a transcriptionist with nearly 20 years of experience, recommended seeking out work relevant to your own knowledge, experience, and interests whenever possible. Get The Required Equipment The only equipment you need in order to be a transcriber is a working computer with audio and video playback capabilities and a stable internet connection. However, there are things you can get that will make the job a lot easier. For example, Headsets, Audio converter and Ergonomic office equipment. Create Your Resume and profiles on freelancing sites Once you’ve got all the tools you need to become a professional transcriptionist, it’s time to enter the job market. Make sure to create a resume that’s tailored for transcription work. There are also quite a few online job boards that feature transcription work (both one-off jobs and recurring gigs). It’s worth creating a profile on; Upwork, Fiverr, FlexJobs and Freelancer. How much do transcriptionists make? How much you’ll earn depends on several factors, including the company you work for and whether you’re offering freelance transcription services directly to clients or going through a job platform or transcription company." #metaglossia_mundus
"Apply now for the Lecturer in Languages (Spanish) role on jobs.ac.uk - the leading job board for higher education jobs. Lecturer in Languages (Spanish) University of Hertfordshire - Hertfordshire Business School, Learning and Teaching Location: Hatfield Salary: £37,099 to £44,263 pa dependent on skills and experience. UH7 Hours: Full Time Contract Type: Permanent Placed On: 10th May 2024 Closes: 2nd June 2024 Job Ref: 059135 FTE:1 fte (working 37 hours per week) Salary: UH7 £37,099pa to £44,263pa dependent on skills and experience Annual Leave: 35 days plus standard public holidays and an additional 4 days including the closure of our office between Christmas and New Year Location: De Havilland Campus, Hatfield Main duties and responsibilities The Lecturer in Languages will teach Spanish at a variety of levels on a range of Undergraduate and/or Postgraduate programmes (A1 to C1 of the Common European Framework of Reference for Languages). They will employ a range of pedagogic methods appropriate to lectures, seminars and sessions in both face-to face and online environments, and prepare and disseminate appropriate learning and teaching materials including managing course portals on the University’s Virtual Learning Environment, as well as provide effective feedback, support and guidance to students. The successful candidate will also be expected to work closely with the CASE and Languages team, coordinating and monitoring the organisation, content, and quality of modules, including undertaking the role of module leader, carrying out teaching and assessment related duties in accordance with the Hertfordshire Business School and the University’s guidelines. Skills and experience required This role requires experience of teaching Spanish to Advanced level and a sound knowledge and understanding of contemporary Spanish and Hispanic Studies, for example, culture, politics, sociology, business studies, tourism. Native or near-native proficiency in spoken and written Spanish is therefore essential. In addition, up-to-date knowledge and understanding of best practice in language learning and teaching is essential, as is the ability to inspire and motivate students from a range of different backgrounds and disciplines in particular non-specialist language learners. The successful candidate will have excellent organisational and communication skills and be able to work on their own initiative as well as contribute effectively as part of a team. They will have a willingness to engage in activities that promote language learning across the university as part of enhancing graduate employability. Experience of teaching to non-specialists in Higher or Further Education would be preferable, and experience of teaching another language to at least Intermediate level, or English for Academic Purposes would be preferable to provide flexibility to cover other duties within the team. Qualifications required The Lecturer in Languages will hold a Honours degree or equivalent in Spanish and/or Hispanic Studies, or a languages related subject if a native speaker of Spanish. They will have attained a teaching qualification or have relevant experience in teaching Languages and be proficient in English. A Master’s degree in a relevant discipline would be preferred, or a Doctorate or evidence of research in a relevant area. It is also preferable that the Lecturer is an Associate or Fellow of the Higher education Academy. Please view the job description and person specification for a full list of the duties and essential criteria. Please attach a personal statement showing clearly how your skills and experience match the Person Specification. An appointment to this role may require an Academic Technology Approval Scheme (ATAS) certificate. Contact Details/Informal Enquiries: Ms Helen Monribot, Head of Languages, h.monribot@herts.ac.uk. Closing Date: 2 June 2024 Interview Date: To be confirmed Apply online via the above ‘Apply’ button." #metaglossia_mundus
"Large Language Models (LLMs) have become capable of generating highly fluent text in certain languages, without modules specially designed to capture grammar or semantic coherence. What does this mean for the future of linguistic expertise in NLP? We highlight several aspects in which NLP (still) relies on linguistics, or where linguistic thinking can illuminate new directions. We argue our case around the acronym $RELIES$ that encapsulates six major facets where linguistics contributes to NLP: $R$esources, $E$valuation, $L$ow-resource settings, $I$nterpretability, $E$xplanation, and the $S$tudy of language. This list is not exhaustive, nor is linguistics the main point of reference for every effort under these themes; but at a macro level, these facets highlight the enduring importance of studying machine systems vis-a-vis systems of human language." #metaglossia_mundus
"Half of the world's languages are endangered. One new prize champions language justice by awarding language activists from across the world the Language Rights Defenders Award. The award is meant to honor and inspire Posted 10 May 2024 0:18 GMT While over 7,000 languages are spoken worldwide, about half are under threat of extinction or severely endangered, as power relations among languages are far from equal. Many languages require their users to actively work to pass it on to the next generation, the only guarantee they can survive in the future. To highlight some of those preservation and revitalization initiatives, Global Voices talked to Gerald Roche, an Associate Professor of Politics at La Trobe University in Australia, who is not only a Tibet expert, but also an activist for language justice through The Global Coalition for Language Rights, where he plays a key role. He was interviewed over email and his responses have been edited for brevity and style. Gerald Roche (GR): The Global Coalition for Language Rights was founded in 2020 by a group of language professionals: translators, localization specialists, and language access workers. The coalition was founded to help raise awareness of language rights and safeguard everybody’s language rights. We also aim to provide opportunities for members of the coalition to collaborate and support each other in whatever we are doing to promote language rights. I got involved with the coalition in 2021, and took on the role of co-chair in 2022. The coalition is completely run by volunteers. We have no funding, and operate on a horizontal network model. The co-chair role is mostly an administrative position, facilitating meetings, and helping members connect across time zones. I stepped down from that role earlier this year as part of the regular rotation of roles in the coalition. Since I joined the coalition, we have expanded our membership around the world. Members now include community activists, educators, researchers, translators, NGO professionals, and a range of people from other backgrounds. The coalition’s activities have also expanded during this time. Each year, we hold Global Language Advocacy Days: several days of coordinated activities across the globe to raise awareness of language rights. We have also drafted a plain language statement on language rights, which is now available on our website in around 80 languages. Another initiative we launched earlier this year is a rights-based tool for linguists, to help them integrate human rights into their fieldwork. And this year we are also launching the Language Rights Defenders Award. GV: Can you describe the applicants, and how and why you selected them for the award? GR: The Language Rights Defenders Award aims to honor individuals who demonstrate outstanding commitment to language rights. We are looking for people who can demonstrate passion for language rights and impact in their work to protect and promote those rights. We opened nominations to members of the coalition, and to the general public as well. Anybody could nominate themselves or someone else. We have been really encouraged by the number and diversity of nominations we have received for the first year of the award! Applications closed in April, and we are planning to announce the winner on May 22nd. We received nominations from 14 countries in Africa, Asia, Europe, and the Americas. Nominees are from a range of backgrounds, including community activists, translators, public servants, medical professionals, and academics. The nominations really attest to the wide relevance of language rights to all areas of life. Some of these people work at a very local scale: within a local community, for example, helping to revitalize an Indigenous language, or providing vital services in a minoritized language. Others work at the international level, helping to build advocacy networks or develop new agreements between states that acknowledge language rights. It’s been really inspiring to see the dedication displayed in these profiles. GV: What are you hoping to achieve with the first edition of this award? GR: I think there are really two main aims: to inspire and to honor. First and foremost, it’s important to honor the work that language rights defenders do, because it’s hard work – sometimes even dangerous. Some people dedicate years of their life to this work, and when they do, they are working against a range of opposing forces. Usually they are working against widespread social discrimination against a group of people and their language. They are also usually working against policies that explicitly undermine the language, and keep its speakers from enjoying full equality: sometimes they are even faced with violent state violence. All language rights defenders are faced with indifference and inertia. All of this makes defending language rights really challenging, but still people choose to do it. We should acknowledge and honor that. The second aim of the award is to inspire. In my role as co-chair of the coalition, I spoke to lots of people who were very enthusiastic about defending language rights. Often, however, they weren’t sure where to start. Finding an exemplary language rights defenders gives people an example to follow. It might help some people take the first step. For others who are already defending language rights, it might help them persist at what they’re doing when things get difficult. All of us who work to defend language rights can benefit from some inspiration. This is why we’ve dedicated the first annual award to the memory of Tove Skutnabb-Kangas, an activist and academic who sadly passed away in 2023. Her life and work, her values and actions, all exemplify what we think a language rights defender should be. GV: Can you speak specifically about the situation in Australia around Aboriginal languages and related activism? GR: So, first I should point out that I’m not Indigenous, and also that most of my research has been with colleagues and communities in other parts of the world, in places like China, Japan, India, Philippines, and Sweden. Keeping that in mind, I would make two general observations about Aboriginal and Torres Strait Islander languages in Australia. First is that there has been a tremendous amount of revitalization work done in the past few years. There is a real sense of momentum building. However, this movement is being met with backlash from conservative forces in Australia. Over the past few years I have been tracking online commentary about Indigenous language revitalization in Australia. The backlash I’ve observed includes efforts to promote English monolingualism as the solution to every problem, overt racism against Indigenous people, paternalizing assertions about what Indigenous people really need, unhinged speculations about Indigenous place names being part of a UN plot to take over the country, and a range of other arguments. All of this is allowed to circulate freely online, without any effort to counter or control these hateful discourses. Which brings me to a second point. Policies for Indigenous languages in Australia have been patchy and insufficient. Most striking to me is the lack of a rights-based approach to language. You can see this, for example, in how Australian governments have reacted to the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP). UNDRIP contains some good, strong protections for a range of Indigenous language rights: to revitalize, use, develop and transmit languages, and to establish, control, and access education and media in those languages. Australia voted against the UNDRIP in the UN General Assembly, and recently, when an Indigenous senator tried to pass a bill implementing UNDRIP here, it was voted down. I think we can’t say we really care about Indigenous languages in Australia until we start taking language rights seriously. Read more on how language activists across Australia are leveraging the power of technology to advance their revitalization efforts at Global Voices’ Rising Voices site. This post is from Rising Voices, a Global Voices project that helps spread citizen media to places that don't normally have access to it." #metaglossia_mundus
"A new Storyboard series starts with Atlantic national editor Scott Stossel talking about what he brings to stories and writers EDITOR’S NOTE: This is the first of an occasional series interviewing story editors about how they do their jobs. By Carly Stern Any grateful writer can attest to the power of a strong editor — a trusted voice of reason who tactfully guides a draft through the revision process, makes copy sparkle and helps actualize a story to its fullest form. Some specialize as prose doctors, while others serve as de facto cheerleaders throughout the reporting process. In this new series for Storyboard, we’ll peek behind the curtain to reveal: What actually makes an editor great? How do they do what they do? Our first editor spotlight is with Scott Stossel, a D.C.-based national editor for The Atlantic who has edited a plethora of award-winning magazine stories over the years. He also is the editor of two books — an award-winning biography of late U.S. politician and diplomat Sargent Shriver and The New York Times bestselling semi-memoir “My Age of Anxiety.” Stossel has spent the majority of his career at the 167-year-old magazine — which recently took home a series of 2024 National Magazine Awards, including the top prize in National Excellence — with a stint editing for The American Prospect. Stossel takes pride in working with writers of all ranges and abilities, including emerging writers and subject matter experts who aren’t accustomed to writing for a general audience. He also writes his own stories, describing himself as an “editor by trade” and a “writer by avocation.” His work has appeared in publications including The New Yorker, The Guardian and The New York Times. Storyboard spoke with Stossel about finding his way to this path, how he cultivates that essential alchemy between editor and writer, and ways that he adapts his practices for different writers. Our conversation, featured below, has been edited for length and clarity. When you decided to pursue journalism, what initially drew you toward editing? It was a bit of happenstance. When I graduated from college, I wanted to become a book editor. My first job out of college was actually working as a bookseller at a retail bookstore. I got a crash course in contemporary publishing and journalism through the bookstore, and I kept applying for and not getting New York publishing jobs. I started as an intern at The Atlantic, working primarily for the fiction editor, reading slush pile submissions. From there, I lucked out that a job opened in what was then called the special projects department. I was editing this little section called “The Arts and Entertainment Preview” which gave me experience managing a very small team of freelance contributors, fact-checkers and designers. Then I moved over into the editorial department proper doing fact-checking. This was in the ’90s, so I was also helping to build our digital presence, building out the content on our website. My initial aspiration was to be a writer. I just sort of fell into editing. I have a short attention span and get bored easily. As an editor, I get to work on a bunch of different pieces at once. I still write, and I find that my experience as an editor has made me a better writer. But it’s much easier for me to edit other people than it is to edit myself. I almost consider much of my writing process to be editing. You get something down and it’s terrible. But having had lots of experience with hopeless-seeming manuscripts, there aren’t many traps and cul-de-sacs that I haven’t helped writers navigate themselves out of. What engages you in this role? I’m getting so many different ideas thrown at me from a diverse array of writers on a diverse array of topics. It’s like getting to be a permanent graduate student. That’s true for writing as well, though you have to go deeper for longer. In recent years, journalists of all kinds — editors, writers, producers — have been losing jobs as the industry has contracted. But I’ve found there are far more writers out there who are really, really good than there are editors who can work with longform stuff. Someday I may discover that I’m someone who manufactures buggy whips and people won’t need my services anymore. But we haven’t gotten there yet. Where did you learn what you know about editing? One of the best trainings is reading everything — all kinds of publications — to get a sense of what the sensibility of a publication is, how different news organizations approach reporting, how they approach technical things, how they deal with anonymous sourcing, whether they do nut graphs or not. Being a fact-checker at The Atlantic for three years was good training because I could see both the writing and editing process. When working with really talented and experienced writers on complicated pieces, you’re following in their footsteps. You see how they took all this information and assembled it into a coherent narrative or argument. You get a sense of how much gets left on the cutting room floor. Jeff Goldberg, my boss at The Atlantic, talks about the “iceberg effect.” In some of the best pieces, what you’re seeing is only the very tip of the iceberg in terms of the specific facts and writer’s knowledge. Hopefully, the reader knows, too, that there is a vast edifice of knowledge and perspective that lies beneath that. Writers develop an academic understanding, which is where you get a sense of authority. When working with really talented and experienced writers on complicated pieces, you’re following in their footsteps. Fact-checkers have to track the piece very carefully as it goes through copy editing and top editing. So I would see both the early stages of developmental editing — what the senior editor was doing in terms of recasting certain sections or wanting more reporting. In the latter phases, I saw what rigorous copy editing looks like. Beyond copy editing, it’s line editing — seeing how to smooth knots and infelicities, make sure that everything is logically sound, and how smart top editors at the end stage apply polish. Beyond The Atlantic, where else did you learn what you know? I learned by doing at The American Prospect. I was working with some journalists, but also with a lot of academics and policy wonks. I got experience at translating people who are smart and knowledgeable, but not practiced at writing for a general audience. At one point, we were redesigning the magazine and did focus groups where we would watch behind a mirror. A facilitator would ask people what they liked and didn’t like about different features. Then they actually had them read a piece; it was one I had written. So I’m watching 15 people who don’t know I’m behind the screen. You can see where their attention starts to wander and who’s still riveted. That was a rare and vivid real-time experience of seeing whether you’re holding the reader’s attention. I could see where their attention drifted and what they liked. Ever since, the way I approach editing is always thinking of whether and how you’re holding the reader’s attention. How do you keep them from clicking something else on their phone or deciding to do their laundry? Sometimes it’s just the quality of the voice and the prose that make you want to keep going. Sometimes it’s humor. Sometimes it’s when I call “chocolate chips.” The shape of a paragraph, or the structure of a whole piece, matters a lot less if you’ve got a ton of chocolate chips, because even if the cookie is misshapen, who doesn’t love chocolate chips? Chocolate chips can be little scoops, or they can be amazing quotes, or they can be fantastic lines of prose, or they can be little revelations, or they can be analytic insights. I have an obsessive concern with holding the reader’s attention. How would you describe the essential ingredients for strong chemistry between writer and editor? Psychological and diplomatic flexibility in an editor is so important. I edit writers at different levels of experience and different kinds of temperaments and psychologies, writing so many different kinds of pieces. I find that every writer and every piece demands a different approach. For the first-time writer, I try to assess: How do they like to work? How do they write? Are they good with the idea? Are they good at structure? Are they bad at structure? It’s a feeling-out process. I try to explain everything that I’m doing or asking for. With writers you work with on a regular basis, it’s crucial to develop mutual trust both ways. They need to trust that I’m not fussing with prose for the sake of fussing, but that I’m trying to do something to strengthen it — even when they disagree. And I need to trust them. With some of my writers now, we don’t even talk that much. It’s all back and forth in the Google Doc. For many writers, I’ll say, ‘Undo anything I’ve done that you don’t like.’ If they don’t understand why I’ve done it, I’ll explain it. A lot of it is diplomacy and psychology and kind of being a counselor, because you’re also managing the larger concerns of the institution, considering what different top editors want and filtering those voices. For the writer who feels like they’re getting pulled in different directions, that can be disconcerting. I try to be transparent so they understand why they’re being asked to do what they’re doing. Psychological and diplomatic flexibility in an editor is so important. I work with a range of pieces. For some, I literally rewrite every sentence — say, with an academic writer — and they’re fine with it; they have the idea and the original research and they trust that The Atlantic knows how to render it for the reader. With other writers, who are talented stylists with very strong voices, I feel like if I move a semicolon I’ll foul up their rhythm and voice. So I proceed more carefully. In those cases, it’s less about rewriting and more about making gentle queries and suggestions. This is grossly oversimplified, but there are bad or beginning writers who know they’re beginning and are very eager to be rewritten. They’re easy to work with because their pieces improve a lot —you see them learning and getting better. On the other extreme, there are experienced, talented writers who are incredibly difficult. They know what they’re doing and are set in their ways. There, you’re doing a lot more diplomacy. It’s more about working at the margins and trying to nudge them along. They need to trust that I’m not fussing with prose for the sake of fussing, but that I’m trying to do something to strengthen it — even when they disagree. And I need to trust them. Then in the middle, you have what can be most rewarding: people who are talented but also incredibly easygoing and eager to hear feedback, and don’t get their backs up if you’re asking for major rewrites. Of course, there are those who believe their prose is sacrosanct, even when it’s not good. Then you have to convey that what they’re doing is not working — and they’re like, Wait, you dare to change my work? Why is the writer-editor relationship so important? I can’t remember where I originally heard this, but I think I stole it from someone. The writer should feel like the editor is their urologist or proctologist or gynecologist. You feel comfortable showing them horrible, unspeakable, embarrassing things and you will not feel judged — only that the person is going to look at it with a dispassionate eye and figure out how to fix whatever the problem is. When you think about some of your favorite writers to edit, what qualities do they share? I love writers who have original ideas and understand how to provide a conceptual scoop that helps the reader think about something they thought they knew, or didn’t know, in an entirely new way. Then we work to refine that. I love writers who are conscientious and meticulous; we have a symbiotic relationship where we’re each trying to improve the piece little by little by little, with lots of small changes. Over the course of the piece’s passage through the editorial process, if you’ve made 700 tiny changes, that can add up to a piece being much better. I also work with writers who, when I make changes, see ways to improve it even more. I enjoy watching that kind of workmanship where they’re making things ever more clear, ever more succinct. And I love writers who are great stylists. Jennifer Senior is one example of an extremely gifted writer with voice and pacing and use of metaphorical language. (Editor’s note: See the Storyboard Q&A of her 2022 Pulitzer-winning story about a victim of the 9/11 attacks and her 2023 story about people with intellectual disabilities.) What kind of stories really call to you and excite you intellectually as an editor? They’ve got to have the spark of originality. The Atlantic is an ideas-driven publication, but we like to find the author who can do the “definitive” piece that becomes a category killer. After that, any other piece on the same subject feels like a lesser thing because this piece has so fully explained the big issue. We’re also a news publication so we’re looking to break news and for things we can peg to the news. But there are some pieces that become their own newsmakers, like big cover stories that become their own occasion. It’s like putting a boulder in a river that changes the shape of the stream, ideally in a constructive way that is specifically valuable. One example is years ago, I worked on “The Case for Reparations” by Ta-Nehisi Coates. At that time, reparations wasn’t on the radar and he single-handedly brought that back and changed the discourse. I also love incredible narratives. Every editor has a distinctive style. Some are more or less hands-on than others, both with shaping the idea and the copy. How do you balance engaging with writers while also maintaining a light touch? What is your approach to that tension? It comes down to flexibility — being nimble and adaptable — because it is different for every piece and every writer. There are some pieces that come in and the idea is pretty fully baked. The reporter has done a bunch of reporting, or they’re an expert on something, or it’s been assigned by my boss. There’s already a plan, so I’m just dealing with the prose as it comes in. There should be an editor’s version of the Hippocratic Oath. The first thing is do no harm. There are other pieces where I am talking to the writer throughout the reporting process. A good example of this was Caitlin Dickerson’s piece about family separation that won a Pulitzer. (Editor’s note: See the Storyboard Q&A with Dickerson about that piece.) She’s such an amazing reporter. But she had so much material and there were so many ways of presenting this bureaucratic story. So we talked for hours over months: How are we framing this? What should you be asking? Who should you be talking to? Another is George Packer, who does ideas-driven pieces, some of which can be lofty and abstract. He finds it helpful to talk to someone to make sure his ideas are grounded and the spark is really ignited. My range of approaches runs from doing almost nothing to rewriting every word. There should be — and I try to abide by — an editor’s version of the Hippocratic Oath. The first thing is do no harm. With every piece, I want to do the absolute minimal amount possible. Whenever possible, I want to preserve the writer’s voice and original ideas. I tend to think of every piece of having as having the platonic, ideal realization of itself. So when I’m thinking about a piece, I want to make it the best version of itself and the most “itself-y” version of itself. That’s just drawing out what is already in the writers, whether that means helping them think about what additional reporting they need or helping them refine the prose or getting the structure right. It doesn’t happen very often, but when a piece comes in that I can send along to the copy desk and fact-checking without touching it, I’m thrilled. But even in a piece where I have to be much more interventionist, I’ll try to be as minimally interventionist as I can. In our current media climate, where would you direct writers who want to gain editing skills? What kinds of roles or resources would you recommend? If you’re a freelance writer, pay attention to how the editing gets done at different places and how different editors work. Different publications have different things they want. A good piece is a good piece, and a story well told is a story well told, and an investigative scoop is an investigative scoop. Those can work in many places — The New York Times, The Washington Post, New York Magazine, The Atlantic, Mother Jones, the National Review, etcetera. But each place has a different sensibility and point of emphasis. What a magazine of ideas, like us, looks for is different from what a political magazine looks for or a newspaper looks for. It can help to become attuned to those distinctions in sensibility and approach. Editing, in some ways, is editing wherever you go, but there’s also acclimating to the culture and sensibility of a place. Editing your own stuff is different psychologically from editing other people’s stuff, but you do learn from the process of revision. So many writing teachers and writing manuals talk about the importance of revision. That’s really what an editor does — you’re just doing it to yourself. You take your idea, you put it aside and then you pick it up. If your attention is flagging, the reader’s attention is going to flag. Is it as succinct as it possibly can be? You want pieces to be as short as they can be and as long as they need to be. When you’re reading anything, particularly journalism, think about how you would do something differently. The New Yorker is so well written and edited. So when you’re reading it, think about the decisions they made to begin with this or finish with that. How is the thing structured? Has being an editor affected how you write? I would like to think it’s helped. Through working with prose and helping writers untangle knots, I’m better at untangling my own and doing the ruthless “boring read.” Is this absolutely as short as it can be? Is every paragraph doing something worthwhile? Are there chocolate chips in every paragraph to carry the reader along? But in some ways, being an editor has created anxiety when I sit down to write. I work with talented writers who have won National Magazine Awards and National Book Awards and Pulitzer Prizes. I know what really good writing is and what really good journalism is. Sometimes the gap between what I’ve done in the first draft and what my own colleagues are doing makes me think, “Oh, God. I better go back to editing.”" #metaglossia_mundus
""The Mexican Slang Dictionary," a book from journalist Alastair Baverstock, deciphers slang and swear words from around Mexico. May 10, 2024 Some of the vocabulary used in casual settings like this Mexico City pulquería might not be words you can find in the official Royal Academy of Spanish dictionary. “That morro I met at the pachanga is really fresa!” Does that Spanglish sentence mean anything to you? What about this one? “Me enchilé cabrón at the taco stand near my chamba.” If your answers are no and no, and you’re interested in learning colloquial Mexican Spanish — or increasing your current repertoire — “The Mexican Slang Dictionary” is the book for you. Compiled by Mexico-based British journalist Alasdair Baverstock, the pocket-sized dictionary contains hundreds of Mexican slang (and swear) words and colloquial phrases along with their equivalents in English. The Mexico City-based Baverstock has compiled a rich collection of Mexican slang in his dictionary. It also has a section on albures, a form of (often sexual) word play that involves the humorous use of double entendres. Here are a few of the entries: Chulada A beautiful, or high quality, thing or action. e.g. “Su gol era una chulada.” He scored a beautiful goal. ¿Jalas? Informal and colloquial way of asking if a person will join you in your plans. e.g. “Vamos al bar. ¿Jalas?” We’re going to the bar. Are you coming? Nini A person who is lazy or work-shy. Comes from the phrase “Ni trabaja, ni estudia” — Neither works, nor studies. Alasdair, a video journalist for Chinese broadcaster CGTN and erstwhile contributor to Mexico News Daily, explains in the forward to his dictionary that his Mexican slang compilation began as a “whimsical addition” to his professional website. In January 2020, “half-way through a reporting trip to Oaxaca’s Istmo de Tehuantepec I found my notebook filled with phrases from interviews I could not understand,” he writes. “… Henceforth, I noted down every piece of slang and jargon I came across and added them [to my online dictionary] alongside my own wording for their definitions. … In my trips across the country, and in speaking to Mexicans of all backgrounds, the dictionary quickly grew,” Alasdair says. “… It has been thanks to the generosity, good humor and national pride of the Mexican people that the dictionary exists at all.” “The Mexican Slang Dictionary” can be purchased on Amazon for 149 pesos. It is also available at Under the Volcano Books, located in the Condesa neighborhood of Mexico City. A word of warning: the dictionary includes some extremely colorful — read potentially offensive — words or phrases. Finally, in case you were wondering, the two sentences at the top of this article could read as follows in colloquial English. - That guy I met at the shindig is really snobby.
- I burned my mouth big time at the taco stand near my work.
As you probably know, salsas — like Mexican Spanish — can be very picante (spicy/risqué) indeed. By Mexico News Daily chief staff writer Peter Davies (peter.davies@mexiconewsdaily.com)" #metaglossia_mundus
"Platform includes resources for Tlingit, Haida and Tsimshian languages. - Friday, May 10, 2024 7:47am
Sealaska Heritage Institute (SHI) has launched a new online dictionary that allows users to search for words and phrases in Lingít (Tlingit language), X̱aad Kíl (Haida language), Shm’algyack (Tsimshian language) and English. Users can browse words and phrases, and listen to heritage language speakers pronouncing the entries. Notably, users may search the database using English or Native terms to reveal all related content, said SHI President Rosita Worl. The platform denotes a previously missing language tool that is meant to stand alone or to complement existing materials to help perpetuate Southeast Alaska’s ancient Indigenous languages, she said. “As a people, we have documented our languages and developed the orthographies for the words that describe our oral histories. We have produced materials to revitalize our languages and apps that allow people to browse categories and hear audio. Now we have a database that offers all of that and includes a search function,” Worl said. “It’s a game changer.” The dictionary content mirrors the vocabulary and phrases available on SHI’s Tlingit, Haida and Tsimshian learning apps that were released in recent years. The Tlingit section includes more than 50 categories for words relating to action, adjectives, animal body parts, beach, birds, birth, buildings and structures, clothing, cold blooded animals, colors, commands, communication, conditions, cultural, direction, fish, food, games, geography, grammar, home, human body, human family, insects and invertebrates, kitchen, land animals, location, mammals, marine animals, marriage, material, matter, minerals, names, numbers, nursery, occupations, people, plants, pronouns, quantity, recreation, relationships, school, sea creatures, sky, sports, stage of life, time, tools, transportation, water and weather. The Haida section includes nearly 40 categories for words relating to the alphabet, animals, art, bathroom, beach, birds, body parts, buildings and structures, clothing, colors, commands, cultural art, culture, fishing and hunting, home, insects and invertebrates, jewelry, kitchen, location, mammals, numbers, nursery, occupations, ocean, outside, plants, recreation, school, sea creatures, sea vessels, sky, time, tools, transportation, verbs, water, weaving and wellness and health. The Tsimshian section includes 30 categories for words relating to adjectives, alphabet, bathroom, beach, birds, body, buildings and structures, clothing, colors, culture, days of the week, fish, food, home, insects and invertebrates, kitchen, mammals, months of the year, numbers, nursery, occupations, ocean, plants, pronouns, recreation, school, sea creatures, sky, tools and transportation. All sections also include audio of phrases listed by category. The dictionary is available free of charge on SHI’s website, along with its other language resources. Staff will continue to expand the dictionary’s words, phrases and associated audio. SHI has worked on language documentation and perpetuation since the nonprofit’s inception 44 years ago. The institute initially focused on helping to create the orthographies for the languages and worked with heritage language speakers and linguists to develop dictionaries and other books for Lingít, X̱aad Kíl and Shm’algyack. In the 1990s, SHI’s Board of Trustees made language revitalization a priority. The institute then began to sponsor teaching activities, such as language immersion camps, in which students would live in a habitat of a Native language over a period of days. SHI also poured many resources into developing lessons, videos, flash cards, apps, podcasts and games to enhance the learning experience. In recent years, SHI has sponsored university classes and scholarships for language learners, and many language teachers today are of a generation who grew up without hearing their Native tongue at home." #metaglossia_mundus
"May 10, 2024, Friday // 16:00 The official spelling and grammar dictionary of the Bulgarian language has been launched online for the first time, thanks to the BERON platform developed by the Bulgarian Academy of Science (BAS). Published periodically by the Bulgarian Language Institute at the Bulgarian Academy of Sciences, this dictionary establishes norms in Bulgarian language usage and is regarded as the authority on proper speech and spelling. Introduced at the Bulgarian Academy of Sciences (BAS), the BERON platform falls under the Ministry of Education's domain. The timing of its unveiling was deliberate, being the day following Europe Day and preceding May 11, the feast day of Cyril and Methodius in the old calendar. BERON offers users the ability to both hear and see word characteristics. For instance, for each verb, users can access conjugations, forms across different verb tenses, and other relevant features. With approximately 2,400,000 forms, the platform serves as a comprehensive reference for spelling, grammar, legal language, and information on homonyms and doublets. It provides free, reliable access to information on the Bulgarian literary language, including a "Question of the Day" section, addressing inquiries frequently received by the Language Reference and Consultation Service of the Institute of the Bulgarian Language. Prof. Dr. Ruska Stancheva spearheaded the creation of the BERON project, naming it in honor of Dr. Peter Beron. The acronym BERON stands for "Bulgarian Language Resources Online" (Български езикови ресурси онлайн). Prof. Stancheva highlighted the importance of Beron's primer in shaping the Bulgarian literary language's rules, emphasizing the platform's aim to disseminate knowledge and assist people in their daily lives. The pronunciation of words on the platform is provided by actress Gergana Stoyanova, and a mobile version of the dictionary is also available." #metaglossia_mundus: https://www.novinite.com/articles/226022/Inaugural+Online+Edition%3A+Bulgarian+Language+Dictionary+Unveiled
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By Alondra Tamayo, May 7, 2024
"For the longest time, I felt like I had no voice, because the one I had would get ridiculed.
I grew accustomed being cut off in conversations and asked where I was from because of my accent. I became used to being mocked because of the way I pronounced certain words instead of being corrected. Those encounters killed my self-esteem and heightened my anxiety on public speaking because I felt like the way my voice sounded was more important than what I had to say. There were instances where I was mocked in group settings only to realize they weren’t laughing with me, but at me.
I thought being bilingual would bring me more opportunities; instead, I faced bullying, discrimination and mocking – even from my own friends and teachers. I was once told my homework wasn’t good enough because of the assumption having an accent equated to a lack of understanding.
Since CPP is a diverse campus, with many different ethnic backgrounds, cultures and different unique accents.
I wondered if classmates with accents similar to mine have had similar experiences.
Business student Maria Rodriguez faced discrimination growing up with a Latino accent.
“One time there was a group project and the person who felt like the group leader started assigning tasks,” Rodriguez said. “I enjoyed public speaking, especially because in my native country I never faced any challenges publicly speaking. So I decided to volunteer and say that I could do the presenting, but everyone in the group told me that nobody would understand me anyways and that we might lose points because I wouldn’t be able to deliver the information like they would.”
According to an article led by a psycholinguistics researcher Alice Foucart, having a foreign accent can lead to discrimination and judgements from individuals who don’t speak your native language. Foucart stated this happens because the human brain puts extra effort into understanding individuals with an accent. This extra work shows in native English speakers brain activity, indicating a struggle to process words and their meanings. This can make individuals have a negative perception of people with foreign accents.
Expressing a foreign accent can often bring feelings of discouragement and low self-worth. This might happen because of stereotypes or biases people hold about accents. Some might wrongly assume that a Latino accent means a lack of proficiency in English or intelligence. However, accents don’t reflect a person’s abilities or worth. Instead, they showcase diversity and richness in language.
A study by Laura Cerrato, a student at Helsink, Finland Metropolia University of Applied Sciences, demonstrated that individuals with a foreign accent find it harder to find a job and are perceived as less educated simply because the way they speak English is different.
I have lived in this country for about 18 years now, my accent is still strong and I have lost interest in “bettering” it because it’s a unique part of me and is a voice to my Spanish speaking parents.
“I have now realized that having an accent doesn’t mean I am not less intelligent, less educated or the jester for the night,” Rodriguez said. “It means that my brain is able to process information in two different languages, that I am educated and that I can express myself in two different languages. I have a voice, and I intend on using it no matter how it sounds.”'
#metaglossia_mundus