PROBLEMS IN TRANSLATING TEXT

1. What kinds of problem do you think a translator will face in translating text?

2. Can you mention some common mistakes in translating text?

3. How to solve the problems?

A. Problems of Equivalence

The translation of idiomns takes us a stage further in considering the question of meaning and
translation, for idioms, like puns, are culture bound. The Italian idiom menare il can per I'aia
provides a good example of the kind of shift that takes place in the translation process.
Translated literally, the sentence

Giovanni sta menando il can per I'aia.

becomes

John is leading his dog around the threshing floor.

The image conjured up by this sentence is somewhat starting and, unless the context referred
quite specifically to such a location, the sentence would seem obscure and virtually
meaningless. The English idiom that most closely corresponds to the Italian is to beat about
the bush, also obscure unless used idiomatically, and hence the sentence correctly translated
becomes:

John is beating about the bush.

Both English and Italian have corresponding idiomatic expressions that render the idea of
prevarication, and so in the process of interlingual translation one idiom is substituted for
another. That substitution is made not on the basis of the linguistic elements in the phrase, nor
on the basis of a corresponding or similar image contained in the phrase, but on the function
of the idiom. The SL phrase is replaced by a TL phrase that serves the same purpose in the
TL culture, and the process here involves the substitution of SL sign for TL sign. Dagut's
remarks about the problems of translating metaphor are interesting when applied also to the
problem of tackling idioms:

Since a metaphor in the SL is, by definition, a new piece of performance, a semantic novelty,
it can clearly have no existing 'equivalence' in the TL: what is unique can have no
counterpart. Here the translator's bilingual competence--'le sens', as Mallarme put it 'de ce qui
est dans la langue et de ce qui n'en est pas'-is of help to him only in the negative sense of
telling him that any 'equivalence' in this case cannot be 'found' but will have to be 'created',
The crucial question that arises is thus whether a metaphor can, strictly speaking, be
translated as such, or whether it can only be 'reproduced' in some way.

But Dagut's distinction between 'translation' and 'reproduction', like Catford's distinction
between 'literal' and 'free' translation does not take into account the view that sees translation
as semiotic transformation. In his definition of translation equivalence, Popovic distinguishes
four types:

(1) Linguistic equivalence, where there is homogeneity on the linguistic level of both SL and
TL texts, i.e. word for word translation.

(2) Paradigmatic equivalence, where there is equivalence of 'the elements of a paradigmatic

expressive axis', i.e. elements of grammar, which Popovic sees as being a higher category
than lexical equivalence.

(3) stylistic (translational) equivalence, where there is functional equivalence of elements in

both original and translation aiming at an expressive identity with an invariant of identical
meaning'

(4) Textual (syntagmatic) equivalence, where there is equivalence of the syntagmatic

stlucturing of a text, i e. equivalence of form and shape

The case of the translation of the Italian idiom, therefore. Involves the determining of
stylistic equivalence which results in the substitution of the SL idiom by an idiom with an
equivalent function in the TL. Translation involves far more than replacement of lexical and
grammatical items between languages and, as can be seen in the translation of idioms and
metaphors, the process may involve discarding the basic linguistic elements of the SL text so
as to achieve Popovit's goal of 'expressive identity' between the SL and TL texts. But once
the translator moves away from close linguistic equivalence, the problems of determining the
exact nature of the level of equivalence aimed for begin to emerge.

Albrecht Neubert, whose work on translation is unfortunately not available to English

readers, distinguishes between the study of translation as a process and as a product. He states
bluntly that: 'the "missing link" between both components of a complete theory of
translations appears to be the theory of equivalence relations that can be conceived for both
the dynamic and the static model.' The problem of equivalence, a much-used and abused term
in Translation Studies, is of central importance, and although Neubert is right when he
stresses the need for a theory of equivalence relations, Raymond van den Broeck is also right
when he challenges the excessive use of the term in Translation Studies and claims that the
precise definition of equivalence in mathematics is a serious obstacle to its use in translation
theory.

Eugene Nida distinguishes two types of equivalence, formal and dynamic, where
formal equivalence 'focuses attention on the message itself, in both form and content. In such
a translation one is concemned with such correspondences as poetry to poetry, sentence to
sentence, and concept to concept.' Nida calis this type of translation a 'gloss translation',
which aims to allow the reader to understand as much of the SL context as possible. Dynamic
equivalence is based on the principle of equivalent effect, i.e. that the relationship between
receiver and message should aim at being the same as that between the original receivers and
the SL message. As an example of this type of equivalence, he quotes J.B. Phillips rendering
of Romans 16:16, where the idea of 'greeting with a holy kiss' is translated as 'give one
another a hearty handshake all round. With this example of what seems to be a piece of
inadequate translation in poor taste, the weakness of Nida's loosely defined types can clearly
be seen. The principle of equivalent effect which has enjoyed great popularity in certain
cultures at certain times, involves us in areas of speculation and at times can lead to very
dubious conclusions. So E.V.Rieu's deliberate decision to translate Honion into English prose
because the significance of the epic form in Ancient Greece could be considered equivalent to
the significance of prose in modern Europe, is a case of dynamic equivalence applied to the
formal properties of a text which shows that Nida's categories can actually be in conflict with
each other.

It is an established fact in Translation Studies that if a dozen translators tackle the

same poem, they will produce a dozen different versions. And yet somewhere in those dozen
versions there will be what Popovic calls the 'invariant core' of the original poem. This
invariant core, he claims, is represented by stable, basic and constant semantic elements in
the text, whose existence can be proved by experimental semantic condensation.
Transformations, or variants, are those changes which do not modify the core of meaning but
influence the expressive form. In short, the invariant can be ueuned as that which exists in
common between all existing translations of a single work. So the invariant is part of a
dynamic relationship and should not be confused with speculative arguments about the
'nature', the 'spirit' or 'soul' of the text; the 'Indefinable quality' that translators are rarely
supposed to be able to capture.

In trying to solve the problem of translation equivalence, Neubert postulates that from
the point of view of a theory of texts, translation equivalence must be considered a semiotic
category, comprising syntactic, semantic and pragmatic component, following Peirce's
categories. These components are arranged in a hierarchical relationship, where semantic
equivalence takes priority over syntactic equivalence, and pragmatic equivalence conditions
and modifies both the other elements. Equivalence overall results from the relation between
signs themselves. the relationship between signs and what they stand for, and the relationship
between signs, what they stand for and those who use them. So, for example, the shock value
of Italian or Spanish blasphemous expressions can only be rendered pragmatically in English
by substituting expressions with sexual overtones to produce a comparable shock effect. e.g.
porca Madonna-fucking hell. 17 Similarly, the interaction between all three components
determines the process af selection in the TL, as for example, in the case of letter-writing.
The norms governing the writing of letters vary considerably from language to ianguage and
from period to period, even within Europe. Hence a woman writing to a friend in 1812 would
no more have signed her letters with love or in sisterhood as a contemporary Englishwoman
might, any more than an Italian would conclude letters without a series of formal greetings to
the recipient of the letter and his relations. In both these cases, the letter-writing formulae and
the obscenity, the translator decodes and attempts to encode pragmatically.

The question of defining equivalence is being pursued by two lines of development in

Translation Studies. The first, rather predictably, lays an emphasis on the special problems of
semantics and on the transfer of semantic content from SL to TL. With the second, which
explores the question of equivalence of literary texts, the work of the Russian Formalists and
the Prague Linguists, together with more recent developments in discourse analysis, have
broadened the problem of equivalence in its application to the transiation of such texts. James
Holmes, for example, feels that the use of the term equivalence is 'perverse', since to ask for
sarneness is to ask too much, while Durisin argues that the translator of a literary text is not
concerned with establishing equivalence of natural language but of artistic procedures. And
those procedures cannot be considered in isolation, but must be located within the specific
cultural--temporal context within which they are utilized.

Let us take as an example, two advertisements in British Sunday newspaper colour

supplements, one for Scotch whisky and one for Martini, where each product is being
marketed to cater for a particular taste. The whisky market, older and more traditional than
the Martini market, is catered to in advertising by an emphasis on the quality of the product,
on the discerning taste of the buyer and on the social status the product will confer. Stress is
also laid on the naturalness and high quality of the distilling process, on the purity of Scottish
water, and on the length of time the product has matured.

The advertisement consists of a written text and a photograph of the product. Martini,
on the other hand, is marketed to appeal to a different social group, one that has to be won
over to the product which has appeared relatively recently. Accordingly, Martini is marketed
for a younger outlook and lays less stress on the question of the quality of the product but
much more on the fashionable status that it will confer. Thephotograph. accompanying the
brief written text shows 'beautiful people' drinking Martini, mernbers of the international jet
set, who inhabit the fantasy world where everyone is supposedly rich and glamorous. These
two types of advertisement have become so stereotyped in British culture that they are
instantly recoanizable and often parodied.

With the advertising of the same two products in an Italian weekly news magazirie
there is likewise a dual set of images-the one stressing purity, quality, social status; the other
stressing glamour, excitement, trendy living and youth. But because Martini is long
established and Scotch is a relatively new arrival on the mass market, the images presented
with the products are exactty the reverse of the British ones. The same modes, but differently
applied, are used in the advertising of these two products in two societies, The products may
be the same in both sncieties, but they have different values. Hence Scotch in the British
context may conceivably be defined as the equivalent of Martini in the Italian context, and
vice versa, in so far as they are presented through advertising as serving equivalent social
functions.

Mukalrovsky's view that the literary text has both an autonomous and communicative
character has been taken up by Lotman, who argues that a text is explicit (it is expressed in
definite signs), limited (it begins and ends at a given point), and it has structure as a result of
internal organization. The signs of the text are in a relation of opposition to the signs and
structures outside the text. A translator must therefore bear mind both its autonomous and its
communicative aspects and any theory of equivalence should take both elements into
account.
 Equivalence in translation, then, should not be approached as a search for sameness,
since sameness cannot even exist between two TL versions of the same text, let alone
between the SL and the TL version. Popovit's four types offer a useful starting point and
Neubert's three semiotic categories point the way towards an approach that perceives
equivalence as a dialectic between the signs and the structures within and surtounding the SL
and TL texts.

B. Common Mistakes in Translation

If you know the most common mistakes in the translation process, you can take steps to avoid
them. Here they are:

a. The translator leaves out some of the text that appeared in the source document,
such as a paragraph, a sentence, a phrase, or an item in a list that does not require
translation, such as a telephone number. All content in the source document
should appear in the tranclated document, ither as tranalated text or (as in the case
of title, numbers, and illustrations) duplicated exactly from the original. The
translator should find these mistakes in his or her review. If nol. you or a member
of your team may catch them in your review.
b. The translator misinterprets the meaning of the text, and the final translation gives
the wrong message, For example, "No, benefits will be provided anyway" is
translated as "No benefits will be provided anyway”.
c. The translator incorrectly identifies abbreviations or misinterpret specific
terminology. For example, the translator writes that CIS which in your
organization might mean "Customer Information Site” means "Citizenship and
Immigration Services.
d. The translator (or the client) includes text or exampies that are culturally
inappropriate for the intended audiences. The translator s inconsistent in using or
defining key words or phrases throughout urt document or across different
documents that are part of the same body of work. Inconsistency can be confusing
to readers, especially when the information being presented is new to them.
e. The client accepts changes to the translation offered by unqualified. ad hoc
reviewers. Many times, clients are tempted to put uveir laith in unqualified
reviewers, because those reviewers just happen to read or speak the language of
the translated document. Do not put your faith in a reviewer unless you know that
person is qualified that he or she is a well-educated native speaker and a good
writer who is knowedgeable about arammar, spelling, punctuation, and the other
elements of acceptable writing.

Jika Anda mengetahui kesalahan paling umum dalam proses penerjemahan, Anda dapat
mengambil langkah-langkah untuk menghindarinya. Di sini mereka:

a. Penerjemah mengabaikan beberapa teks yang muncul dalam dokumen sumber,

seperti paragraf, kalimat, frasa, atau item dalam daftar yang tidak memerlukan
terjemahan, seperti nomor telepon. Semua konten dalam dokumen sumber
 harus muncul dalam dokumen translasi, baik sebagai teks translasi atau
(seperti dalam hal judul, nomor, dan ilustrasi) digandakan persis dari aslinya.
Penerjemah harus menemukan kesalahan ini dalam ulasannya. Jika tidak.
Anda atau anggota tim Anda mungkin menangkapnya dalam ulasan Anda.

b. Penerjemah salah menafsirkan makna teks, dan terjemahan akhir memberikan

pesan yang salah, Misalnya, "Tidak, manfaat akan tetap diberikan"
diterjemahkan sebagai "Tidak ada manfaat yang akan diberikan".

c. Penerjemah salah mengidentifikasi singkatan atau salah menafsirkan

terminologi tertentu. Misalnya, penerjemah menulis bahwa CIS yang di
organisasi Anda mungkin berarti "Situs Informasi Pelanggan" berarti
"Layanan Kewarganegaraan dan Imigrasi.

d. Penerjemah (atau klien) memasukkan teks atau ujian yang secara budaya tidak
pantas untuk audiens yang dituju. Penerjemah tidak konsisten dalam
menggunakan atau mendefinisikan kata kunci atau frasa di seluruh dokumen
asli atau di seluruh dokumen berbeda yang merupakan bagian dari karya yang
sama. Inkonsistensi dapat membingungkan pembaca, terutama ketika
informasi yang disajikan baru bagi mereka.

e. Klien menerima perubahan terjemahan yang ditawarkan oleh wajar tanpa

pengecualian. pengulas ad hoc. Sering kali, klien tergoda untuk menempatkan
uveir laith pada pengulas yang tidak memenuhi syarat, karena pengulas tersebut
kebetulan membaca atau berbicara dalam bahasa dokumen yang diterjemahkan.
Jangan menaruh kepercayaan Anda pada pengulas kecuali Anda tahu bahwa orang
tersebut memenuhi syarat bahwa dia adalah penutur asli yang berpendidikan baik
dan penulis yang baik yang memiliki pengetahuan tentang arammar, ejaan, tanda
baca, dan elemen lain dari tulisan yang dapat diterima.

C. Translation Problems and Solutions

1. Titles

Literal translations of titles will often fail to grab the prospective audience for the
book. Sometimes a complete change is required to make the book saleable in English-
speaking countries, and difficult decisions may have to be made. Ultirnately, the title is a
commercial decision on which the publisher will have the final say, but creating a bland new
title in order to avoid alienating readers is not good practice. The editor (with ammunition
from the translator and possibly the author) should stand his or her ground, and offer more
viable solutions that better reflect the book.
 Sandra Smith, who translated Suite Francaise, was concerned about the decision to
leave the title in French--particularly for the American market. She worried that readers
would assume they had to go into a specialist French bookshop to order it, but was proved
wrong on all counts. Suite Francaise was one of the top 100 bestselling books in the UK in
2007, and did equally well in America.

Primo Levi was often vocally outraged by changes made to the titles of his books. For
example, the title of If This Is a Man is an integral part of the book, but it was changed in the
American edition to Escape from Auschwitz-a label he considered inept and vulgar. His title
Meccano d'amore was naively translated as the hardly compelling Love's Erector Set. La
chiave a stella was published in the US as The Monkey's Wrench. The Italian title
specifically means a socket wrench. and adding the apostrophe compounds the error.

So literal translations are often a dreadful mistake when it comes to titles, and editors
and translators must be prepared to be creative, Some titles lend themselves neatly to English
translations; for example, La sombra del viento was the original Spanish title for the
intemational bestseller The Shadow of the Wind, by Carlos Ruiz Zafon. But others do not,
and a misleading and off-putting title can badly damage potential sales.

1. Judul

Terjemahan harafiah dari judul-judul sering kali gagal menarik calon pembaca buku.
Terkadang perubahan total diperlukan untuk membuat buku tersebut dapat dijual di negara-
negara berbahasa Inggris, dan keputusan sulit mungkin harus dibuat. Pada akhirnya, judul
adalah keputusan komersial di mana penerbit akan memiliki keputusan akhir, tetapi membuat
judul baru untuk menghindari mengasingkan pembaca bukanlah praktik yang baik. Editor
(dengan amunisi dari penerjemah dan mungkin penulis) harus berdiri tegak, dan menawarkan
solusi yang lebih layak yang mencerminkan buku dengan lebih baik.

Sandra Smith, yang menerjemahkan Suite Francaise, prihatin dengan keputusan untuk
meninggalkan judul dalam bahasa Prancis--khususnya untuk pasar Amerika. Dia khawatir
bahwa pembaca akan menganggap mereka harus pergi ke toko buku spesialis Prancis untuk
memesannya, tetapi terbukti salah dalam semua hal. Suite Francaise adalah salah satu dari
100 buku terlaris di Inggris pada tahun 2007, dan juga berhasil di Amerika.

Primo Levi sering kali sangat marah dengan perubahan yang dilakukan pada judul
bukunya. Misalnya, judul If This Is a Man merupakan bagian integral dari buku ini, tetapi
dalam edisi Amerika diubah menjadi Escape from Auschwitz—label yang dianggapnya tidak
pantas dan vulgar. Judulnya Meccano d'amore diterjemahkan secara naif sebagai Set Erector
Cinta yang hampir tidak menarik. La chiave a stella diterbitkan di AS sebagai The Monkey's
Wrench. Judul Italia secara khusus berarti kunci pas soket. dan menambahkan apostrof
menambah kesalahan.

Jadi terjemahan literal sering kali merupakan kesalahan yang mengerikan dalam hal
judul, dan editor dan penerjemah harus siap untuk menjadi kreatif, Beberapa judul cocok
untuk terjemahan bahasa Inggris; misalnya, La sombra del viento adalah judul asli Spanyol
untuk buku terlaris internasional The Shadow of the Wind, oleh Carlos Ruiz Zafon. Tetapi
yang lain tidak, dan judul yang menyesatkan dan tidak sopan dapat merusak penjualan
potensial.

2. Stylized language

Transiating a book written in a particular style (baroque, for example), even when
written by contemporary authors, poses its own problems. Do transiators 'update' the text to
refresh it and make it accessible, thereby losing distinctive use of vocabulary and turn of
phrase, or do they labour to match it? No one would expect to read Shakespeare in modem
English (apart. pernaps, from lazy students), nor would they expect to lose the beauty of
Francesc Fontanella's or Francesc Vicenc Garcia's prose by having it written in a
contemporary style.

If the author is alive, his or her help will be invaluable. Robert Chandler says that he
could not have unravelled the sometimes-baroque syntax and deftly interwoven stories of The
Railway without author Harnid's help. But translators may not always have this option, and
artistic licence is required, In older works, translators are often required to source and
examine original material and critiques in both languages in order to establish the correct
mood, tone and style.

Another stylistic problem can be presented by purposeful awkwardness in the original

that simply does not work in the new language, There's always a danger that it will just read
like a bad transiation. You can try to convey the sense of awkwardness in other Ways-by
subtly referring to it, for instance, or moving direct dialogue into indirect, etc.--but sometimes
you simply have to leave the passage out. Something will have been lost, but the important
thing is that the transiation should not call attention to itself in a way that will mar the
reader's experience of the book.

2. Bahasa bergaya

Menerjemahkan buku yang ditulis dengan gaya tertentu (barok, misalnya), bahkan
ketika ditulis oleh penulis kontemporer, menimbulkan masalah tersendiri. Apakah
penerjemah 'memperbarui' teks untuk menyegarkannya dan membuatnya dapat diakses,
sehingga kehilangan penggunaan kosakata dan pergantian frasa yang khas, atau apakah
mereka bekerja keras untuk mencocokkannya? Tak seorang pun akan berharap untuk
membaca Shakespeare dalam bahasa Inggris modern (selain pernaps, dari siswa malas),
mereka juga tidak akan berharap untuk kehilangan keindahan prosa Francesc Fontanella atau
Francesc Vicenc Garcia dengan menulisnya dalam gaya kontemporer.

Jika penulis masih hidup, bantuannya akan sangat berharga. Robert Chandler
mengatakan bahwa dia tidak dapat mengungkap sintaksis yang kadang-kadang-barok dan
dengan cekatan menjalin cerita The Railway tanpa bantuan penulis Harnid. Tetapi
penerjemah mungkin tidak selalu memiliki pilihan ini, dan lisensi artistik diperlukan. Dalam
karya-karya yang lebih tua, penerjemah sering diminta untuk mencari sumber dan memeriksa
materi asli dan kritik dalam kedua bahasa untuk membangun suasana hati, nada dan gaya
yang benar.

Masalah gaya bahasa lain dapat disajikan oleh kecanggungan yang disengaja dalam
aslinya yang sama sekali tidak berfungsi dalam bahasa baru, Selalu ada bahaya bahwa itu
hanya akan dibaca seperti terjemahan yang buruk. Anda dapat mencoba menyampaikan rasa
canggung dengan Cara lain-dengan merujuknya secara halus, misalnya, atau memindahkan
dialog langsung ke dialog tidak langsung, dll.--tetapi kadang-kadang Anda harus
mengabaikan bagian itu. Akan ada sesuatu yang hilang, tetapi yang penting adalah
terjemahannya tidak menarik perhatian dengan cara yang akan merusak pengalaman pembaca
terhadap buku tersebut.

3. Regional dialects

There's a fine line between making foreian autbors accessible to English-speaking

readers and making themesound like English writere, The rhythms and patterns of their own
languages are part of what makes them interesting and it can be a mistake to iron them out
completely.

Hanan al Shaykh, the Lebanese author of The Sands of Zahra and Women of Sand
and Myrh, is no stranger to the complexities of the process of translating and has often argued
for dialect phrases to be kept in her books. In one example, she had a character say: 'My heart
was pounding as if it was wearing wooden clogs.' This is the direct translation of a phrase in a
southern dialect of Arabic, and Hanan wanted to keep it but her translator said it sounded
clunky in English. Hanan, however, stuck to her guns and it stayed in. After that she started
getting more involved in her translations because she wants to maintain the idioms of the
original language in her work.

Sometimes the idiom needs a little explanation for English readers. In another
example, she wrote: 'I thought she must be imagining that a hyena had pissed on our leg.' In
Arabic, this phrase means 'to hypnotise and capture.' In English, the translator had to add, 'I
thought she must be imagining that a hyena had pissed on our leg and stolen us away to its
lair.' It didn't make sense without this addition.

Hanan says, 'Many people think of Arabic as an archaic, classical, old language, as in
the Qu'ran, but you need to approach it with a modemn outlook. You can't be entirely
faithful--sometimes you need to explain it as well.'

While leaving in too many 'unknown' cultural references will weaken a book, and lose
readers, there must, still, be an essence of somnething different. Some languages need
lengthy explanations, which can be cumbersome, and force the translator to rely on glossaries
and notes in order to provide the necessary explanations.

3. dialek daerah

Ada garis tipis antara membuat penulis asing dapat diakses oleh pembaca berbahasa
Inggris dan membuat tema terdengar seperti penulis Inggris. Ritme dan pola bahasa mereka
sendiri adalah bagian dari apa yang membuat mereka menarik. Ini bisa menjadi kesalahan
untuk menyetrika mereka sepenuhnya.

Hanan al Shaykh, penulis Libanon The Sands of Zahra dan Women of Sand and
Myrh, tidak asing dengan kerumitan proses penerjemahan dan sering berargumen agar frasa
dialek disimpan dalam buku-bukunya. Dalam satu contoh, dia memiliki karakter yang
mengatakan: 'Jantung saya berdebar-debar seolah-olah memakai bakiak kayu.' Ini adalah
terjemahan langsung dari sebuah frasa dalam dialek bahasa Arab selatan, dan Hanan ingin
menyimpannya tetapi penerjemahnya mengatakan itu terdengar kikuk dalam bahasa Inggris.
Namun, Hanan tetap pada pendiriannya dan tetap bertahan. Setelah itu dia mulai lebih terlibat
dalam terjemahannya karena dia ingin mempertahankan idiom bahasa aslinya dalam
karyanya.

Terkadang idiom membutuhkan sedikit penjelasan untuk pembaca bahasa Inggris.

Dalam contoh lain, dia menulis: 'Saya pikir dia pasti membayangkan seekor hyena
mengencingi kaki kami.' Dalam bahasa Arab, frasa ini berarti 'menghipnotis dan menangkap.'
Dalam bahasa Inggris, penerjemah harus menambahkan, 'Saya pikir dia pasti membayangkan
seekor hyena mengencingi kaki kami dan mencuri kami ke sarangnya.' Tidak masuk akal
tanpa tambahan ini.

Hanan berkata, 'Banyak orang menganggap bahasa Arab sebagai bahasa kuno, klasik,
dan kuno, seperti dalam Al-Qur'an, tetapi Anda perlu mendekatinya dengan pandangan
modern. Anda tidak bisa sepenuhnya setia—terkadang Anda perlu menjelaskannya juga.'

Sementara meninggalkan terlalu banyak referensi budaya 'tidak diketahui' akan

melemahkan sebuah buku, dan kehilangan pembaca, tetap harus ada esensi dari sesuatu yang
berbeda. Beberapa bahasa memerlukan penjelasan yang panjang, yang dapat menjadi rumit,
dan memaksa penerjemah untuk mengandalkan glosarium dan catatan untuk memberikan
penjelasan yang diperlukan.

4.Strong language

Expletives that are integral to a book should always remain. The difficulty lies in
making the language accessible and relevant, without offending more delicate sensibilities. In
some cultures, swearing is an everyday activity, whereas in many English-speaking countries
bad language is considered to be less acceptable and gratuitous swearing may be frowned
upon. Another problern, too, is the wealth of expletives in other languages, which simply
cannot be matched by English equivalents.

Martin Riker notes that often a translator will 'clean up' the strong language in the
ariginal without even realizing, simply because he or she is not comfortable with it, even
though the original writer was. This happens more often than one would expect, and
translators tend to realize it only after an editor has pointed it out.

Robert Chandler encountered problems with foul language when translating The
Railway. He says:
 'Curses and swearwords present a particular problern for translators into
contemnporary English. Our lexicon of abusive language is oddly limited, and the more florid
curses still common in Russian tend to sound laughable if translated at all literally.
Reluctantly, I simplified much of the foul language. In one chapter I tried to compensate for
this impoverishment by adding my own brief evocation of the essence of Russian mat or foul
language: '"those monstrous, magnificent, multi- layered and multi-storied variations on
pricks and cunts and mother- fucking curs." '

4. Bahasa yang kuat

Sumpah serapah yang merupakan bagian integral dari sebuah buku harus selalu ada.
Kesulitannya terletak pada membuat bahasa tersebut dapat diakses dan relevan, tanpa
menyinggung perasaan yang lebih sensitif. Di beberapa budaya, mengumpat adalah kegiatan
sehari-hari, sedangkan di banyak negara berbahasa Inggris, bahasa yang buruk dianggap
kurang dapat diterima dan sumpah serapah mungkin tidak disukai. Masalah lain juga, adalah
banyaknya kata-kata umpatan dalam bahasa lain, yang tidak dapat ditandingi oleh padanan
bahasa Inggris.

Martin Riker mencatat bahwa seringkali seorang penerjemah akan 'membersihkan'

bahasa yang kuat dalam bahasa aslinya tanpa menyadarinya, hanya karena dia tidak nyaman
dengannya, meskipun penulis aslinya merasa nyaman. Ini terjadi lebih sering daripada yang
diperkirakan, dan penerjemah cenderung menyadarinya hanya setelah editor
menunjukkannya.

Robert Chandler mengalami masalah dengan bahasa kotor saat menerjemahkan The
Railway. Dia berkata:

'Kutukan dan kata-kata umpatan menghadirkan masalah khusus bagi penerjemah ke

dalam bahasa Inggris kontemporer. Leksikon bahasa kasar kita anehnya terbatas, dan kutukan
yang lebih florid masih umum di Rusia cenderung terdengar menggelikan jika diterjemahkan
sama sekali secara harfiah. Dengan enggan, saya menyederhanakan banyak bahasa kotor.
Dalam satu bab saya mencoba untuk mengimbangi pemiskinan ini dengan menambahkan
kebangkitan singkat saya sendiri tentang esensi tikar Rusia atau bahasa kotor: '"variasi yang
mengerikan, luar biasa, berlapis-lapis dan bertingkat pada tusukan dan vagina dan keparat
ibu. ." '

5. Colloquialisms

Similar considerations apply to colloquialisms as to expletives. Martin Riker says that

the most imnportant issue with slang is time liness will the approximate slang chosen by the
translator remain relatively current? With some translations you can almost identify the year,
if not the month, in which it must have been translated, especially when it comes to teenage
slang.

Once again, it can be a question of getting exactly the right translator for the job. Euan
Cameron says that with Argentine writers such as Edgardo Cozarinsky or Alan Pauls, he
looked for a translator who was sensitive to the cultural and colloquial differences in
Argentine Spanish, and found the ideal person in Nick Caistor, who had lived in Argentina
for many years. It can also help to employ a second translator, with a good working
knowledge of colloquialisms, dialect and slang in the native country, who can get across their
meaning and help to come up with English equivalents that are appropriate, do not jar with
the reader and, most importantly, do not date.

5. Bahasa sehari-hari

Pertimbangan serupa berlaku untuk bahasa sehari-hari seperti untuk sumpah serapah.
Martin Riker mengatakan bahwa masalah yang paling penting dengan slang adalah ketepatan
waktu akankah perkiraan slang yang dipilih oleh penerjemah tetap relatif saat ini? Dengan
beberapa terjemahan, Anda hampir dapat mengidentifikasi tahun, jika bukan bulan, di mana
itu pasti telah diterjemahkan, terutama dalam hal bahasa gaul remaja.

Sekali lagi, ini bisa menjadi pertanyaan untuk mendapatkan penerjemah yang tepat
untuk pekerjaan itu. Euan Cameron mengatakan bahwa dengan penulis Argentina seperti
Edgardo Cozarinsky atau Alan Pauls, dia mencari penerjemah yang peka terhadap perbedaan
budaya dan bahasa sehari-hari dalam bahasa Spanyol Argentina, dan menemukan orang yang
ideal dalam diri Nick Caistor, yang telah tinggal di Argentina selama bertahun-tahun. . Hal
ini juga dapat membantu untuk mempekerjakan penerjemah kedua, dengan pengetahuan kerja
yang baik tentang bahasa sehari-hari, dialek dan slang di negara asalnya, yang dapat
memahami maknanya dan membantu untuk menemukan padanan bahasa Inggris yang sesuai,
tidak mengganggu pembaca dan, yang paling penting, jangan berkencan.

6. Humour

Just as slang or colloquialisms often fail to translate, so humour can present a problem
for translators. Something hugely funny in another language can fall flat in English, without
lengthy explanations that certainly reduce any hurnour involved. Equivalents may simply be
out of context with the book itself, and often seem nonsensical, Robert Chandler says:

'Humour, of course, tends to be what gets lost most easily in translation. We speak of
jokes being "barbed" or "pointed," and jokes do indeed have something in common with darts
or arrows. If a joke is to survive the journey into another language, if it is to hit the mark even
when its cultural context can no longer be taken for granted, its point may need to be adjusted
or somehow re-sharpened. A sentence about "Bolta-Lightning' [the English nicknamne
chosen for the town electrician in The Railway] counded irritatingly plodding even after
soveral revisions. It was only after my wife suggested replacing the literal "explained to" by
the wittier 'explained over the heads of that the English version began to seem as funny as the
original: "Bolta-Lightning climbed the column in the middle of the square, hung the banner
on the loudspeaker and explained over the heads of the entire backward bazaar both the
progressive meaning of the slogan and the precise time the proletariat was to unite."'

He goes on to say:

'There is often an element of paradox in the work of a translator; I have never before
had to work so hard to understand the literal meaning of the original tex!--and I have never
before allowed myself to depart from the literal meaning so often and so freely. Not every
pun in the original is translatable, and I have omitted jokes that needed too much explanation:
I have compensaled, I hope, by gratefully accepting any appropriate pun that English offered.
Somnetimes these puns seerned to arise without any effort on my part; it would have been
hard, for example, for an English translator to avoid a pun (a pun not present in the original)
in the passage where the sight of Nasimn's huge "male member" makes Khaira "remember"
facts about her life that she had forgotten for decades."

Martin Riker agrees that the most successful translations of jokes are more likely to be
replacements than literal translations—replacing jokes from the original language with a
comparable joke in the new one. He thinks that humour translates more often than jokes,' per
se.

Plays on words are obviously specific to their original language. An equivalent has to
be found in the new language and sometimes these simply don't work or need to be cut, or a
completely different play on words has to be invented to retain the liveliness of play. In such
cases, the translator and editor might have to decide which is more important to the passage-
the literal sense of the phrase or the playfulness that it brings to bear.

A fresh pair of eyes can be particularly helpful when it comes to translating humour.
It is no coincidence that many comedians write in couples or even tearns.

6. Humor

Sama seperti bahasa gaul atau bahasa sehari-hari yang sering gagal diterjemahkan,
humor juga dapat menimbulkan masalah bagi penerjemah. Sesuatu yang sangat lucu dalam
bahasa lain bisa gagal dalam bahasa Inggris, tanpa penjelasan panjang lebar yang tentu saja
mengurangi humor yang terlibat. Setara mungkin hanya keluar dari konteks dengan buku itu
sendiri, dan sering tampak tidak masuk akal, Robert Chandler mengatakan:

'Humour, tentu saja, cenderung menjadi hal yang paling mudah hilang dalam
terjemahan. Kami berbicara tentang lelucon yang "berduri" atau "runcing", dan lelucon
memang memiliki kesamaan dengan panah atau panah. Jika sebuah lelucon ingin bertahan
dalam perjalanan ke bahasa lain, jika ingin mencapai sasaran bahkan ketika konteks
budayanya tidak lagi dapat diterima begitu saja, intinya mungkin perlu disesuaikan atau entah
bagaimana diasah ulang. Sebuah kalimat tentang "Bolta-Lightning' [julukan bahasa Inggris
yang dipilih untuk tukang listrik kota di The Railway] dianggap sangat lamban bahkan
setelah beberapa kali revisi. Itu hanya setelah istri saya menyarankan untuk mengganti literal
"dijelaskan" dengan 'dijelaskan lebih lucu'. kepala itu versi bahasa Inggris mulai tampak lucu
seperti aslinya: "Bolta-Lightning memanjat kolom di tengah alun-alun, menggantung
spanduk di pengeras suara dan menjelaskan di atas kepala seluruh bazaar mundur baik arti
progresif dari slogan dan waktu yang tepat bagi kaum proletar untuk bersatu."'

Dia melanjutkan dengan mengatakan:

'Sering ada unsur paradoks dalam karya seorang penerjemah; Saya belum pernah
bekerja begitu keras untuk memahami makna literal dari teks aslinya!--dan sebelumnya saya
tidak pernah membiarkan diri saya menyimpang dari makna literal begitu sering dan begitu
bebas. Tidak semua permainan kata dalam aslinya dapat diterjemahkan, dan saya telah
menghilangkan lelucon yang membutuhkan terlalu banyak penjelasan: Saya berharap, saya
telah memberikan kompensasi dengan menerima permainan kata-kata yang sesuai yang
ditawarkan bahasa Inggris. Kadang-kadang permainan kata-kata ini tampaknya muncul tanpa
usaha dari saya; akan sulit, misalnya, bagi seorang penerjemah bahasa Inggris untuk
menghindari permainan kata (permainan kata-kata yang tidak ada dalam aslinya) di bagian di
mana melihat "anggota laki-laki" Nasimn yang besar membuat Khaira "mengingat" fakta-
fakta tentang hidupnya bahwa dia telah dilupakan selama beberapa dekade."

Martin Riker setuju bahwa terjemahan lelucon yang paling sukses lebih cenderung
menjadi pengganti daripada terjemahan literal—mengganti lelucon dari bahasa aslinya
dengan lelucon yang sebanding dengan yang baru. Dia berpikir bahwa humor lebih sering
diterjemahkan daripada lelucon,' per se.

Permainan kata-kata jelas khusus untuk bahasa aslinya. Padanannya harus ditemukan
dalam bahasa baru dan terkadang ini tidak berfungsi atau perlu dipotong, atau permainan kata
yang sama sekali berbeda harus diciptakan untuk mempertahankan keaktifan permainan.
Dalam kasus seperti itu, penerjemah dan editor mungkin harus memutuskan mana yang lebih
penting untuk bagian tersebut—arti harfiah dari frasa atau kejenakaan yang dibawanya.

Sepasang mata yang segar bisa sangat membantu dalam hal menerjemahkan humor.
Bukan kebetulan bahwa banyak komedian menulis berpasangan atau bahkan menangis.

7. Untranslatable words and culture-specific references

When transiating Tiziano Scarpa's Venice Is a Fish Shaun Whiteside had to rely on
extensive discussions with the author as well as a great deal of research to work out English
equivalents for some of the more specialist vocabulary. He says:

'The incredibly helpful author, who speaks impeccable English, was very keen to help
with the list of fish--sea bass, gilthead, dentice, umbrine, etc. Tiziano was also very solicitous
about the more arcane snack-foods marsioni (goby), schie (shrimp), nervetti (pork or beef
tendon). That was incredibly helpful, as these dishes tend to be local to the city.

Martin Riker says:

'If references are not obscure or difficult for the original audience. they should not be
obscure or difficult for the new audience. Of course there are real limits to the extent to which
it is possible to make such references familiar, but certain simple tricks can contextualize for
the reader without damaging their experience of the book. For example, you can add an
inconspicuous explanatory phrase, or mention that So-and-so is a "town," or add the word
"Avenue" where it was left out of the original. Here as elsewhere the translation editor has to
assume the position of the reader, and should consider the overall experience of reading the
original and how best to approximate that experience for readers in English.'
 if readers will baulk at croque monsieur, it's easy to add an unobtrusive description
(for example, 'the cheese oozed over the salty ham of his croque monsieur sandwich') to
enlighten them. There is no reason, either, why general explanations cannot be offered from
time to time; for example, adding 'three miles out of the city after a town that someone local
to the region would know instinctively, adding a paragraph describing the ingredients of a
particularty native culinary dish, or even giving background to a cultural practice or event by
giving a character more dialogue. Sometimes it's best to be vague, e.g., substituting 'a fragrant
spice mix' for Ras al-hanut (Moroccan)

Some words, however, simply don't translate. Ros Schwartz usually prefers to leave
these in the text and to provide the reader with a glossary, which can serve the purpose of
explaining more obscure geographical and cultural references, without interrupting the flow
of the text with lengthy descriptions and expianations. A map can also prove invaluable for
readers. Eliminating traces of foreignness completely can iron out the quirks and flatten the
text, and this is a potential problern that calls for viqilance.

Euan Cameron feels that it is expecting a lot for translators to get beneath the surface
of the words and convey cultural anomalies without relying upon footnotes to some extent.
He says:

'At Harvill we published several novels by Pierre Magnan, a writer who lives and sets
all his work in Provence, and uses many Provencal words and expressions. Patricia Clancy,
his translator, had particular problems to resolve how to deal with these and to convey the
right tone without using too many footnotes.'

She was successful in coming up with solutions, but in the end footnotes may be the
only option, and they are certainly a better alternative to lengthy discourses interrupting the
flow of the text.

7. Kata-kata yang tidak dapat diterjemahkan dan referensi khusus budaya

Ketika mentransisikan Tiziano Scarpa's Venice Is a Fish Shaun Whiteside harus

mengandalkan diskusi ekstensif dengan penulis serta banyak penelitian untuk menemukan
padanan bahasa Inggris untuk beberapa kosakata yang lebih khusus. Dia berkata:

'Penulis yang sangat membantu, yang berbicara bahasa Inggris tanpa cela, sangat
ingin membantu dengan daftar ikan--ikan bass, gilthead, dentice, umbrine, dll. Tiziano juga
sangat peduli tentang makanan ringan yang lebih misterius marsioni (goby) , schie (udang),
nervetti (tendon babi atau sapi). Itu sangat membantu, karena hidangan ini cenderung lokal ke
kota.

Martin Riker berkata:

'Jika referensi tidak jelas atau sulit bagi audiens asli. mereka tidak boleh tidak jelas
atau sulit bagi audiens baru. Tentu saja ada batasan nyata sejauh mana mungkin untuk
membuat referensi semacam itu menjadi akrab, tetapi trik sederhana tertentu dapat
mengkontekstualisasikan pembaca tanpa merusak pengalaman mereka tentang buku tersebut.
Misalnya, Anda dapat menambahkan frasa penjelas yang tidak mencolok, atau menyebutkan
bahwa Anu adalah "kota", atau menambahkan kata "Jalan" di tempat yang tidak sama dengan
aslinya. Di sini, seperti di tempat lain, editor terjemahan harus mengambil alih posisi
pembaca, dan harus mempertimbangkan keseluruhan pengalaman membaca yang asli dan
cara terbaik untuk memperkirakan pengalaman itu bagi pembaca dalam bahasa Inggris.'

jika pembaca akan menolak croque monsieur, mudah untuk menambahkan deskripsi
yang tidak mencolok (misalnya, 'keju mengalir di atas ham asin dari sandwich croque
monsieurnya') untuk mencerahkan mereka. Juga tidak ada alasan, mengapa penjelasan umum
tidak dapat ditawarkan dari waktu ke waktu; misalnya, menambahkan 'tiga mil dari kota
setelah kota yang secara naluriah diketahui oleh seseorang lokal di wilayah tersebut,
menambahkan paragraf yang menjelaskan bahan-bahan masakan kuliner asli tertentu, atau
bahkan memberikan latar belakang praktik atau acara budaya dengan memberikan karakter
lebih banyak dialog. Terkadang lebih baik untuk tidak jelas, misalnya, mengganti 'campuran
rempah-rempah yang harum' untuk Ras al-hanut (Maroko)

Beberapa kata, bagaimanapun, tidak diterjemahkan. Ros Schwartz biasanya lebih

memilih untuk meninggalkan ini dalam teks dan menyediakan pembaca dengan glosarium,
yang dapat melayani tujuan menjelaskan referensi geografis dan budaya yang lebih kabur,
tanpa mengganggu aliran teks dengan deskripsi dan penjelasan yang panjang. Peta juga
terbukti sangat berharga bagi pembaca. Menghilangkan jejak asing sepenuhnya dapat
menghilangkan kebiasaan dan meratakan teks, dan ini adalah masalah potensial yang
membutuhkan kewaspadaan.

Euan Cameron merasa bahwa para penerjemah berharap banyak untuk memahami
kata-kata dan menyampaikan anomali budaya tanpa bergantung pada catatan kaki sampai
batas tertentu. Dia berkata:

'Di Harvill kami menerbitkan beberapa novel karya Pierre Magnan, seorang penulis
yang tinggal dan menetapkan semua karyanya di Provence, dan menggunakan banyak kata
dan ekspresi Provencal. Patricia Clancy, penerjemahnya, memiliki masalah khusus untuk
memecahkan bagaimana menangani ini dan untuk menyampaikan nada yang tepat tanpa
menggunakan terlalu banyak catatan kaki.'

Dia berhasil menemukan solusi, tetapi pada akhirnya catatan kaki mungkin menjadi
satu-satunya pilihan, dan itu tentu saja merupakan alternatif yang lebih baik untuk wacana
panjang yang mengganggu aliran teks.

8. Quotations from other sources

In most cases, it is good practice to seek out existing English translations of quotes or
material such as poetry or song lyrics, rather than re-translating-not only because of the time
constraints involved in creating associations and rhythm between the words of yet another
author, but because it is, in essence, a different 'art' The demands of finding equivalent
vocabulary that is as rich with allusions and meaning, along with recreating rhythm and
rhyme can pose an insurmountable problem. It is, however, often necessary for a translator to
do the work him or herself, because there is no English equivalent available. Robert Chandler
says;

'Sometimes I spend days looking for a synonym for a particular word or trying to
improve the rhythm of a particular line of poetry. And then, after wasting a lot of time, I
realize that the problem is not in the place where I thought it was. If I change something in
the previous verse or sentence, then the problem disappears just like that.'

Some quotes simply do not translate, and are best dropped, Others must be altered to
make their meaning and relevance to the text clear. In these cases, a translator must be given
some licence to make appropriato Changes dropping the original rhyme structure, for
example, or altering the rhythm, A direct replacement might also be necessary, in the case of
lyrics, for example, to something that has the right resonance with English readers. These are
all choices that must be made en route to the final translation, and which should be discussed
with the author and the editor. In many cases, the author may be able to provide insight into
something that completely befuddles both editor and translator. Sometimes a footnote
explaining the meaning of the poem or quote, and leaving it in its original language, is the
best alternative.

A note should be made of any other sources from which translations are taken and
given to the copyeditor along with the transiator's notes. In some cases, permission may be
required to reproduce someone else's translation.

8. Kutipan dari sumber lain

Dalam kebanyakan kasus, adalah praktik yang baik untuk mencari terjemahan bahasa
Inggris dari kutipan atau materi seperti puisi atau lirik lagu, daripada menerjemahkan ulang-
bukan hanya karena kendala waktu yang terlibat dalam menciptakan asosiasi dan ritme antara
kata-kata lain. penulis, tetapi karena pada dasarnya merupakan 'seni' yang berbeda. Tuntutan
untuk menemukan kosa kata yang setara yang kaya dengan kiasan dan makna, bersama
dengan menciptakan ritme dan sajak dapat menimbulkan masalah yang tidak dapat diatasi.
Akan tetapi, seringkali penerjemah perlu melakukan pekerjaan itu sendiri, karena tidak ada
padanan bahasa Inggris yang tersedia. Robert Chandler mengatakan;

'Kadang-kadang saya menghabiskan berhari-hari mencari sinonim untuk kata tertentu

atau mencoba meningkatkan ritme baris puisi tertentu. Dan kemudian, setelah membuang
banyak waktu, saya menyadari bahwa masalahnya bukan pada tempat yang saya kira. Jika
saya mengubah sesuatu dalam ayat atau kalimat sebelumnya, maka masalahnya hilang begitu
saja.'

Beberapa kutipan tidak diterjemahkan, dan sebaiknya dihilangkan, Lainnya harus

diubah untuk memperjelas makna dan relevansinya dengan teks. Dalam kasus ini, seorang
penerjemah harus diberi lisensi untuk membuat Perubahan yang sesuai dengan
menghilangkan struktur rima asli, misalnya, atau mengubah ritme. Penggantian langsung
mungkin juga diperlukan, dalam hal lirik, misalnya, untuk sesuatu yang telah resonansi yang
tepat dengan pembaca bahasa Inggris. Ini semua adalah pilihan yang harus dibuat dalam
perjalanan ke terjemahan akhir, dan yang harus didiskusikan dengan penulis dan editor.
Dalam banyak kasus, penulis mungkin dapat memberikan wawasan tentang sesuatu yang
benar-benar membingungkan baik editor maupun penerjemah. Terkadang catatan kaki yang
menjelaskan arti puisi atau kutipan, dan membiarkannya dalam bahasa aslinya, adalah
alternatif terbaik.

Catatan harus dibuat dari sumber lain dari mana terjemahan diambil dan diberikan
kepada copyeditor bersama dengan catatan penerjemah. Dalam beberapa kasus, izin mungkin
diperlukan untuk mereproduksi terjemahan orang lain.

9. Difficult' languages

There are some languages for which high-quality translators are few and far between,
forcing publishers either to abandon the idea of translating, or to rely on the joint efforts of a
prose stylist and a native- speaker to get the balance right. It may also be necessary to
translate from a separate language altogether, because a good native translator simply can't be
found.

English is often the key bridging language into other languages-a translator in India
will be more likely to be able to translate a book from English than from Finnish or Dutch,
for example. Thus, to publish an excellent translation in English is to open up possibilities of
further translation of that title into other languages throughout the world. This should be a
point ot pride tor translators, tor their role will be much greater than simply introducing an
author and recreating his or her book for a new audience, and it's something that should be
borne in mind throughout the writing process. What would other oultures make of what you
are writing?

A translator whose work will be re-used in this way should be paid a fee for that re-
use, and given a proper acknowledgement or credit in the new translation. Also, permission
would need to be cleared with the rights holders of both the English-language translation and
the original work.

Historically, the lack of good translators working in a specific language may have
deterred readers from picking up literature in translation. Hanan al Shaykh tells how, as a
child, she was confused by an Arabic translation of Stefan Sweig's Troubled Souls, in which
a cat appeared to go to the fridge for a glass of milk, changing his mind and deciding in
favour of a whisky instead. How can a cat do all this, she wondered? She asked her teacher at
school, who had a German husband. and he worked out that the Arabic translator had
translated the German Herr ('mister') as the similar-sounding Arabic word for cat. This was
her first experience of the effects of bad translation and put her off reading literature in
translation for a long time. But she says that now they have some brilliant translators working
into Arabic and the whole area has opened up.

9. Bahasa yang sulit

Ada beberapa bahasa di mana penerjemah berkualitas tinggi sangat sedikit dan jarang,
memaksa penerbit untuk mengabaikan gagasan menerjemahkan, atau mengandalkan upaya
bersama dari penata prosa dan penutur asli untuk mendapatkan keseimbangan yang tepat.
Mungkin juga perlu untuk menerjemahkan dari bahasa yang terpisah sama sekali, karena
penerjemah asli yang baik tidak dapat ditemukan.

Bahasa Inggris sering menjadi bahasa penghubung utama ke dalam bahasa lain—
penerjemah di India akan lebih mungkin untuk menerjemahkan buku dari bahasa Inggris
daripada dari bahasa Finlandia atau Belanda, misalnya. Dengan demikian, menerbitkan
terjemahan yang sangat baik dalam bahasa Inggris berarti membuka kemungkinan terjemahan
lebih lanjut dari judul tersebut ke dalam bahasa lain di seluruh dunia. Ini harus menjadi
kebanggaan bagi para penerjemah, karena peran mereka akan jauh lebih besar daripada
sekadar memperkenalkan seorang penulis dan menciptakan kembali bukunya untuk pembaca
baru, dan ini adalah sesuatu yang harus diingat selama proses penulisan. Apa yang akan
dibuat oleh budaya lain dari apa yang Anda tulis?

Seorang penerjemah yang karyanya akan digunakan kembali dengan cara ini harus
dibayar biaya untuk penggunaan kembali itu, dan diberikan pengakuan atau penghargaan
yang layak dalam terjemahan baru. Selain itu, izin perlu disetujui dengan pemegang hak
terjemahan bahasa Inggris dan karya aslinya.

Secara historis, kurangnya penerjemah yang baik yang bekerja dalam bahasa tertentu
mungkin telah menghalangi pembaca untuk mengambil literatur dalam terjemahan. Hanan al
Shaykh menceritakan bagaimana, sebagai seorang anak, dia bingung dengan terjemahan
bahasa Arab dari Troubled Souls karya Stefan Sweig, di mana seekor kucing muncul untuk
pergi ke lemari es untuk segelas susu, berubah pikiran dan memutuskan untuk memilih wiski.
. Bagaimana kucing bisa melakukan semua ini, pikirnya? Dia bertanya kepada gurunya di
sekolah, yang memiliki suami Jerman. dan dia menemukan bahwa penerjemah bahasa Arab
telah menerjemahkan Herr Jerman ('tuan') sebagai kata Arab yang terdengar mirip untuk
kucing. Ini adalah pengalaman pertamanya tentang efek terjemahan yang buruk dan
membuatnya menunda membaca literatur dalam terjemahan untuk waktu yang lama. Tetapi
dia mengatakan bahwa sekarang mereka memiliki beberapa penerjemah brilian yang bekerja
ke dalam bahasa Arab dan seluruh area telah terbuka.