TRANSLATION METHODS (hypothesised by Peter Newmark1)
1 WORD FOR WORD
● Each word is taken singly
● No shift in syntax if possible
● Words taken out of context (highest frequency translation)
● Cultural words are translated literally
La penna è rossa
the pen is red
La penna rossa è vicina al fiasco
the pen red is ckose to the flask
Monza è vicina a Milano
Monza is close to Milan
Are there alternative translations in other contexts?
Are there more natural alternatives?
Festività = LITERALLY _______________
= CULTURALLY _______________
Bank holiday = LITERALLY _____________
= CULTURALLY _____________
Rarely used; basic instructions, components lists, processes
2 LITERAL TRANSLATION
● As similar as possible to syntax, grammatical chunks
● Words translated out of context with highest frequency translation
L’informazione è stata trasmessa a tutti
___________________broadcast__________
MORE NATURAL:
Monica non si sente molto bene _____________________________
MORE NATURAL:
Rarely used; basic instructions, components lists, processes
3 FAITHFUL TRANSLATION
● Attempts to stay as adherent to the SL grammar as possible
● Takes context into account and makes choices for terms
La famiglia che abita sopra di me viene dalla Francia
FAITHFUL _________________________________________
NATURAL The family above me is / are from France / French
This may be suitable when we are translating technical material, instructions,
specific sectorial documents (eg medical, legal) and we are keen to communicate
the author as directly as possible and eliminate all possible ambiguity. Style and
elegance are irrelevant to the purpose of the translation. Adherence to the
information given in the ST is vital
4 SEMANTIC TRANSLATION
● Remains generally faithful to the flow, coherence and organisation of the ST
● Attempts to privilege the aesthetic aspect of the text, looking for natural flow
and sound
● Will eliminate cultural references and idioms looking for something nearer the
TL or a neutral term which carries the same meaning
● Will eliminate “sound play” where it contrasts with the naturalness of the text
Da piccola giocavo con i maschietti della zona - ero considerata un vero maschiaccio.
____________________________________________________________________
The sales will start on Boxing Day, so break open your piggy bank and get your
sensible footwear on ready for the onslaught!
____________________________________________________________________
Probably one of the most commonly used types: journalism, websites, advertising,
the arts… Informative texts where imagination is useful; single author opinion
pieces
5 COMMUNICATIVE TRANSLATION
● attempts to preserve the exact contextual meaning so that both content and
language are clear and natural for the TL reader
● sacrifices adherence to the text in preference for reader expectations, whether
linguistic or cultural
La acque cristalline, le spiagge di sabbia bianca, il dolce infrangersi delle onde sullo
scoglio, tutto questo sarà vostro se prenotate nella nostra struttura sul mare
Used in similar contexts to semantic translation but where the reader’s emotional
reaction is important, and there is no legal or informative reason to stay adherent
to the text. E.g. advertising OR commercial novels where content and effect are
important, but the author is not a “literary genius!
6 IDIOMATIC TRANSLATION
● Privileges natural, conversational idiom to the point that it will introduce it in
the TT where there is neutral language in the ST
La giacca era molto cara ____________________________
Not frequently used in commercial translations. Possibly if a publication has a
house style and the original copyright holder is in agreement
7 FREE TRANSLATION
● Total sacrifice of text, organisation and coherence, often also of image and
idiom in order to present the core subject and meaning of the text
From Binsley Poplars, Gerard Manley Hopkins (1879)
Not spared, not one
That dandled a sandalled
Shadow that swam or sank
On meadow & river & wind-wandering weed-winding bank
Neanche uno sopravvisse, neanche uno
Il dondolo del pendolo dell’ombra
Fermo, mai più nuotare, mai più sprofondare
Nel prato, nel fiume, nella riva dal vento avvolta, dalle erbacce abbracciata
Creative texts where the content, the emotion, the feeling, the images suggested by
the language are considered more important than an attempt to render the exact
language used. There is considerable sacrifice
8 ADAPTATION
● Rewriting to suit a new context or culture. This is also done in the same
language with no translation to a new TL
Eg Shakespeare, Dante, Molière in modern langauge
Film, series and TV versions of novels and drama, new theatre productions of
drama
1
NEWMARK PETER, 1988, A Textbook of Translation, Prentice Hall