Babel

This paper describes an innovative approach to training sign language interpreters, through a program established at Macquarie University in Sydney, Australia. The course is innovative because sign language and spoken language interpreting students jointly study key subjects, which enables all students to gain insight into the theoretical applications and professional practices of their respective working experiences. This component is particularly innovative as sign language interpreting programs are typically provided as language specific courses with little (if any) exposure to interpreting students of other languages. This paper will provide an overview of the program for both spoken and signed language interpreters, detailing the structure, content and delivery modes, with the aim of encouraging other interpreter educators to consider combining the teaching of all language interpreters.RésuméCet article décrit une approche innovatrice de la formation des interprètes en langue des signes, grâce à un programme fondé à la Macquarie University de Sydney, Australie. Le cours est innovateur parce que les étudiants en interprétation dans la langue des signes et dans la langue parlée étudient ensemble les matières principales, ce qui leur permet, à tous, de se familiariser avec les applications théoriques et les pratiques professionnelles de leurs expériences de travail respectives. Cet élément est particulièrement innovateur étant donné que les programmes d’interprétation en langue des signes sont généralement donnés en tant que cours spécifiques à la langue, avec peu de contacts avec les étudiants en interprétation d’autres langues, voire aucun. Cet article donnera un aperçu du programme des interprètes en langue des signes et en langue parlée, en détaillant la structure, le contenu et les modes de mise en oeuvre, dans le but d’encourager d’autres enseignants d’interprètes à envisager de combiner l’enseignement de tous les interprètes en langue.

On the often overlooked irony in Jorge Luis Borges’ “The Library of Babel” (which is not the exhaustion of possible expression) and “Pierre Menard, Author of the Quixote” (which is not a death-of-the-author-birth-of-the-reader allegory). The narrator of "The Library of Babel" claims that it contains everything it is possible to express in all languages, yet the play with the library's character set (twenty-two lowercase letters, space, comma, and period - so we are told) shows that it is incapable even of expressing this brief story. The narrator of "Pierre Menard" is tied, through several allusions, to a prominent Nazi that Borges had elsewhere criticized - which demonstrates that his insistence that meaning be tied to the context of reading is meant as an implicit critique or deconstruction of reader-response criticism in the style of Barthes or Jauss.

The term <i>traductologie</i> was coined in the early 1970s to correspond to the establishment of translation as a valid object of scientific and academic study. Its English equivalent is usually <i>translation studies</i> but sometimes translatology.<p>Traductologie has two conceptual levels: the metalevel of study and analysis and the object level of what is thus examined, namely translations and translating. Both levels are variegated. The metalevel can usefully be mapped into broad ‘paradigms’ or disciplinary approaches: literary, linguistic, semiotic, philosophical, historical, lexico-terminological, automated (MT), prescriptive and pedagogical, scientific-experimental, text and corpus oriented, process oriented, social etc. The object level is traditionally divided between written translation and oral translation (<i>interpretation</i>), and the former is often categorized by ‘text types’.<p>Permutations of the meta and object ca...

Der für frühjüdische und -christliche Satansvorstellungen wichtigen Stelle vom
Sturz des feindlichen Herrschers (Jes 14,12ff) liegt nach verbreiteter Auffassung ein ugaritischer
Mythos zugrunde, worauf insbesondere die Bezeichnungen „Helel ben Schachar“ und
„Zaphon“ hinweisen. Verwandte Motive und Traditionen finden sich auch an anderer Stelle
(Gen 3; 6,1–4; 11; Ps 82; Sir 50,6; Ez 28; Klgl 2,1). Innerhalb des AT scheinen das anmaßende
Horn in Dan 8 und Antiochus’ IV. Sturz in 2 Makk 9 direkt auf Jes 14 Bezug zu nehmen.
Frühjüdische und frühchristliche Texte (Jesaja-Pescher, VitAd 15, 2 Hen 29; 31) sowie ntl.
Texte (Mt 4,8–10 par.; 11,23 par.; Lk 10,18; 2 Thess 2,3–4; Offb 9,1; 12,7–9) knüpfen daran
an und setzen den feindlichen Herrscher zunehmend mit dem Satan gleich.

This essay argues that the valuation of translation as an intellectual phenomenon is conditioned by the assumptions generated by the myth of Babel, and where literary and historical conditions exist outside of that mythic influence, translation is less fraught.

This article looks at Cain's city, Noah's Ark and the Babel tower and understands the latter in the context of the first two. It concludes that 'the Babel Tower stands as a monument to God’s faithfulness'. It Explains ‘nothing they plan to do’ in the light of Gen 6.5 .

El seminario abordará la tradición de la filosofía del lenguaje, con énfasis preferente en la antigüedad griega y la época moderna, reconociendo sus matrices fundamentales y proponiendo un contrapunto con el trabajo y la eficacia poética del lenguaje.
1. Examinar la disputa por el logos y el trabajo protagónico de la metáfora en la Grecia Clásica, con particular énfasis en los legados de los sofistas, Platón y Aristóteles.
2. Examinar la pugna de y en torno a los lenguajes originarios, lenguajes universales y lenguajes reales en el pensamiento moderno, con particular énfasis en sus usos y eficacias, así como en las relaciones entre lenguaje y pensamiento en el contexto de las concepciones del lenguaje de los siglos XVII y XVIII.
3. Examinar la revolución copernicana del lenguaje como forma poética del mundo, donde se determina el fundamento, la diversidad y la transformación de la representación humana, con especial énfasis en los legados de Vico, Hamann, Herder y Humboldt.

Tesis de maestría sobre las representaciones iconográficas de la biblioteca y el libro en el cuento "La Biblioteca de Babel". La propuesta central es considerar el cuento de Borges como una alegoría de la melancolía del lector, es decir una melancolía que solo afecta y aprece en lectores, por ejemplo Cervantes, Mallarmé, Flaubert, siempre que hablan de su experiencia de lectura lo hacen como si la lectura los enfermera.

Este artículo es una interpretación exegética y psicológica del relato
de la Torre de Babel. Este relato se presenta como un mito contrahegemónico, en una situación en la que el pueblo de Israel narra cómo se opone al totalitarismo vivido durante el exilio en Babilonia. Si entendemos la intención de crear un torre-ciudad como un proyecto humano que tiende hacia la hybris, es decir, a la inflación del ego que anhela hacer al Ser Humano como Dios, podremos ver también en la respuesta de Yahvé –la diversidad de lenguas– un regalo que le
recuerda a la humanidad que la pluralidad es la única posibilidad de existencia humana, donde el otro –similar pero diverso– se nos presenta para ser reconocido. El respeto por la diversidad de ideas, de creencias, pensamientos, razas, culturas y lenguas es un llamado de Dios que podría ayudarnos a mitigar la violencia generada por el totalitarismo de las ideas y la intención de los estados de unificar lo que por naturaleza es diverso.

This volume contains all contributions pertaining to the second edition of I Dialoghi di San Giorgio, organized by the Giorgio Cini Foundation on the topic: The Architectures of Babel. Linguists, semiologists, philosophers, sociologists, scientists and poets discuss on the role of languages in cultural, ethnic and religious integration or clash. Starting from contemporary examples, scholars interpret Babel diaspora as a resource that replaced the impossible ideal of one unique language with the fruitful alternative of translation.
The issue under discussion is the mutation of languages, which today seem more and more syncretisms of words, graphs, numbers, images, rather than verbal systems. And, against the effects of «globalised society», scholars try to understand how languages can increase the value of cultural specificity, how they can favour new knowledge structures, how they can play a role in preserving, while promoting, cultural differences.

This article comes as a sort of voyage in the sense that it tries to go beyond the simple definitions that pin video clips down to being a mere form of entertainment and a mode of commercialization and instead shows them to be part and parcel of a well-established concourse of texts which repeat themselves with a difference. The study is thus an exploratory odyssey in the quest for the insinuations, intimations and nuances which impregnate a host of video clips made in and presumably about Morocco by a myriad of American and European artists whose works, considered in entirety, give way to what Barthes labels as the mythical, a phraseology studded with the stereotypical, which is no less insidious than the myth with its grand narratives as encapsulated in film or prose. Based on a qualitative approach, Babel, Marrakech Express, and Sex and the City are the three film samples we will set out to explore in juxtaposition with several singles: Do it Again by The Chemical Brothers, The World I Know by Collective Soul, Yalla by Inna, Marrakesh Express by Nash, Crosby, and Stills, Misere Mani by Era, and Nothing to Fear by Chris Rea.

Un primer acercamiento a las reflexiones de Rem Koolhaas en torno a la tipología de torre introduce al rascacielos neoyorquino como la alegoría del “automonumento”: una construcción en esencia destinada a reafirmar su sola presencia y que se distingue del resto por medio de su estatura, que la monumentaliza. La torre de Babel, símbolo inquebrantable de la leyenda de la construcción en altura, escenifica una historia de construcción y destrucción que está vinculada ineludiblemente al pensamiento crítico de Rem Koolhaas en torno a la torre como tipología desacreditada. Un recorrido por las distintas “Babel” que Rem Koolhaas cataloga en el glosario de términos incluido en el texto SMLXL construye un discurso en torno a la destrucción de la torre bíblica y la construcción de la nueva Babel koolhaasiana que inicia su recorrido con el rascacielos para acabar reclamando un nuevo estado de monumentalidad: la ausencia en su estado más puro representado por el muro, el máximo ejemplo de ausencia como la forma más elevada de presencia monumental. Una mirada crítica que comienza con la torre metropolitana como la nueva Babel para finalizar con el muro como el monumento al vacío.



A first approach to the reflections of Rem Koolhaas about the tower typology leads us to New York skyscraper, which is the perfect metaphor for “automonument”: a monumentalized construction essentially designed to reaffirm its mere presence, which can be distinguished from the rest by its height. The legend of the Tower of Babel is an unwavering symbol of the building construction at heights, which dramatizes a full story of erection and destruction that is inevitably linked to Rem Koolhaas critical thinking about the discredited typology of the tower. A reading through the different “Babel” definitions catalogued by Rem Koolhaas and included in the glossary of terms in the text SMLXL provides a discourse on the destruction of the biblical tower and the subsequent construction of the Koolhaasian New Babel, which begins its journey with skyscrapers and ends up claiming a new way of monumentality: absence in its purest form represented by the wall, which is the ultimate example of absence and the highest way of represent the monumental presence. That critical view begins with the Metropolitan Tower and the New Babel and finishes with the wall and the monument to the void.

A partir de la lecture d’un passage biblique très connu, cette étude souhaite en explorer quelques enjeux inédites. Tout d’abord, quelle est la relation entre la thématique du commencement et le célèbre épisode rapporté dans la Genèse ? C’est en effet une expérience fréquente et commune, que de remarquer la pluralité des discours. Une voie au départ de Babel : le commencement de tout discours, le partage d’une seule langue et même d’un seul langage, comment appartiendrait-il à une communauté, ou à son échec, à ses ruines ?

Reading a well-known biblical passage, this paper aims to explore some unexpected issues. Firstly, what is the connection between the matter of the beginning and the famous episode related by the Genesis? Surely, it’s a frequent and common experience, that of noticing the plurality of speeches. A road starting from Babel: that’s the beginning of all discourse, the sharing of one only language and even of one only speech. How shall it belong to a community, or to its collapse, its ruins?

... Decision [De] VP + -ing NP He risked swimming in the river He risked a swim Syntactic realization of the frame elements (Fillmore and Atkins, 1994) Page 5. 132 Ana Rojo Lopez and Javier Valenzuela 2.2. The RISK frame and its translation ...

As the prevailing studies tend to neglect how media depict the sociological question about the relationship between self and society and the dualism between pleasure and reality in modern society, this article examines this important issue by analyzing the award-winning film Babel by using a psychoanalytic perspective. Based on textual analysis of the film's storylines, this article argues that Babel not only substantially represents the relationship between self and society, but also depicts the continuing tension and dualism between them. This is seen in the storylines of its characters that illustrate the relationship between sexual drives and social regulations. For the sake of social interests and cultural production, pleasure is repressed by external reality and sexuality is repressed through socially sanctioned sexual regulations. The self must attempt to balance between libidinal desire and social control to enter the normality of the social world. Intisari Terdapat kecenderungan pada kajian-kajian yang ada untuk mengabaikan kajian bagaimana media menggambarkan persoalan sosiologis tentang hubungan antara diri-individu dan masyarakat dan dualisme antara kesenangan dan realitas dalam masyarakat modern. rtikel ini mengkaji isu penting ini dengan menganalisis film peraih pernghargaan Babel dengan menggunakan perspektif psikoanalitis. Berdasarkan pada analisis tekstual atas storylines film tersebut, artikel ini berargumen bahwa film Babel bukan saja secara substantif merepresentasikan hubungan antara diri-individu dan masyarakat, melainkan juga menggambarkan ketegangan dan dualisme yang terus berlangsung antara keduanya. Hal ini terlihat pada storylines tokoh

To what extent is language innate? Is it autonomous from other aspects of our mind? Is it really the cultural tool that sets humans apart from other species? To what extent does our native tongue affect the way we perceive the world? The Language Myth attempts to answer such questions in a way that is both informative for linguists and accessible for lay readers.

In this essay two different artists are analysed, JRR Tolkien an English writer from the XX century and Gustavo Santaolalla an Argentine musician from the XXI century. Through the point of view of a Cultural Marxism theory, in order to find their contact points looking at their lives as they evolved as prominent artistic figures in their respective fields, at their influences, their beliefs and mostly at their works. All of their past experiences; the places where they lived, the things they loved and the people who befriended them, provided a tremendous influence in their works.
In spite of the love they bared for the place where they were born, they lived most of their lives in a foreign culture, which gave them a wider perspective since they settled in the hegemonic potency of their time. They suffered similar difficulties to get their works to be respected on their own, because maybe the society was not prepared to appreciate what they produced; both were a little bit ahead of their time.
Even though they expressed in different forms of art, having lived in different countries and cultures and on different periods of time, they do share a lot in the way they created their masterpieces and the way they shared them with the public, it appears that both pursued the same goals, to fight for the cultural identity of their people in challenging times, and they both took the responsibility to create, to revive, to remember cultural values and traditions that were forgotten, cast aside and discarded since they weren’t profitable or attuned to the dominant paradigm of their time. In times of trouble, of loss, they were both inspiring and became beacons for the future generations.

ABSTRACT
Juan Luí­s Martí­nez, poeta que a fines de los 70' y principios de los 80' irrumpió en la escena lí­rica chilena con una poesí­a rupturista, escéptica e iconoclasta, incomprendida por buena parte de la crí­tica y rechazada por más de un editor. Los versos de Martí­nez han circulado por más de 20 años en fotocopias, aunque ahora la situación empieza a cambiar. La Nueva Novela obra paradigmática de la vanguardia poética chilena se ha convertido en un objeto de un nuevo culto, el de la tacha de la autorí­a y la disolución del autor.
El poeta Juan Luis Martí­nez se ha transformado en icono de nuestra vanguardia literaria, aun cuando, según su propio designio, irradia una identidad velada, fantasmal, "más literaria que real", en algún momento se creyó que el era una invención de Enrique Lihn, que escribió una de las más lúcidas reseñas de este poeta legendario: "Señales de Ruta de Juan Luis Martí­nez"1. Una suerte de icono bizarro dentro de nuestro panorama literario. Tanto por la complejidad de su obra como por el desconocimiento puntual de lo que ésta significa. No han sido pocas las aproximaciones que se han realizado en torno a la producción literaria del poeta ˆ’la cual comprende sólo tres obras: La Nueva Novela (1977), La Poesí­a Chilena (1978) y Poemas del Otro (2003)ˆ’ a lo largo de los años, llamando la atención la multiplicidad de enfoques con que se le ha abordado.
La noción de "autor" –como creador individual de una obra artí­stica o literaria– se puede situar histórica y culturalmente en el tránsito de la modernidad a la posmodernidad, la noción de creador individual empieza a problematizarse desde fines del siglo XIX y a lo largo del siglo XX, donde la noción se hace insostenible.

In western translation theories, Lawrence Venuti and Eugene Nida appear to be standing at too opposing poles regarding the equivalence theory, and are notable for their prominent disagreement on the issue. Their theories diverge in their responses to equivalence, and disagree, essentially, on the functions of translation as well as the aspects of an acceptable translation. This disagreement unfolded itself clearly during a conference at Binghamton University in 1991. In this essay, I intend to juxtapose the exceptionally different theoretical approaches of these two prominent translation scholars. I also intend to show how Venuti’s views on translation in practice challenges Nida’s theoretical approaches to translation, and surprisingly enough his own theories particularly speaking, foreignizing and domesticating translations in which he has been extensively engaged. Finally I intend to show how Venuti’s practice of translation challenges his earlier attack on Nida’s conceptions of ...

The main aim of this article is to critically analyse and systematise the debate concerning non-professional subtitling of TV series and movies in some non-English-speaking countries. Most of the studies on fansubbing deal with a specific problem, and they are based on various theoretical frameworks. This paper attempts to merge them into one coherent framework that can serve as a basis for subsequent research. The article addresses the issue of non-professional translation as a solution to the lack of official translations, but also as an alternative strategy for translating the texts of popular culture. The paper is divided into four parts. The first defines the phenomenon of fansubbing. The second shows how professional and non-professional translations differ. The following two parts, based on different national case studies, answer the questions: who are fansubbers, and what are their motivations?