TRANSLATED TEXTS
José Elias Yela
LAKE DI
GARDA
In northern Italy, right where the plains gazing upwards towards the
Alps, the Lake District, which coexist natural scenery, historical heritage and
artistic wealth. Close to cities mandatory visit, as Milan, Verona and Trento,
the mirror of water that is Lake Garda it takes over the space and deceives the
traveler into believing that it is a calm sea on the south shore, while in the
north more reminiscent of a Norwegian fjord. In addition, a mild microclimate
turns around the largest lake in Italy (370 km2) in a southern orchard-garden
where they grow crops like grapes, lemon, palm and laurel. Hence, from Roman
times to the nineteenth century, the aristocracy has risen villas on the edge
of the lagoon Lombard, whose banks also belong to the regions of Trentino and
Veneto.
The seaside town of Sirmione, located at the southern end of the lake,
is the starting point of this journey through the 150 kilometers of the
Gardesana, winding road that skirts the lake and gives stunning views; another
option, although slower, is to travel on ships that unite many peoples.
Sirmione sits on a peninsula that ends at the castle of Rocca Scaligera
(XIII century), surrounded by walls. The beaches are another attraction of the
place, as well as the Caves of Catullus, where the remains of a Roman villa in
which it is believed that the poet lived in the first century B.C. are which
gives its name; rooms, baths and patios are preserved, and the privileged
position over the lake.
Since there are only eleven kilometers Sirmione to Desenzano, the
capital of the lake and also its largest city. There is advisable to walk the
streets of the historic center and visit the church of Santa Maria Maddalena
(XVI century), where you can admire the Last Supper by Tiepolo.
The route continues to climb up the west bank, along stately villages,
farmhouses and hills with vineyards. On the way attractive stages as Salò, a town
linked to the memory of Benito Mussolini emerge, even today shines thanks to
its Renaissance palaces. A few kilometers you reach Gardone Riviera, where the
aristocracy of the nineteenth century art deco villages built II Vittoriale
degli Italiani and today a museum, or occupying the André Heller Foundation,
which shows a beautiful botanical garden.
It has now reached one of the most forested areas of Garda, where many
hiking trails are proposed. There is Tignale, famous for its sanctuary hung on
a hill, and Limone sul Garda, a town of Venetians and perfumed by citrus
buildings.
So Riva del Garda, the
northernmost town of the lake and one of the most beautiful is reached. In 1912
she resided in the writer D. H. Lawrence who also found there the inspiration
for several of his books, he left said that "the Garda is beautiful as the
beginning of creation." Riva abound in classical mansions, restaurants
bordering the lake and hikers that are based routes to the nearby Alps.
It now falls to the east bank Malcesine, village Gustav Klimt the
painter immortalized in 1913. It huddles around the slender Scaligero castle,
which includes a room dedicated to Goethe who mentions in his Voyage to Italy
(1813). A cable car up Mount Baldo (1,760 m), with one of the best views over
the Garda.
The relaxing coastal walk passes near the Punta San Virgilio, one of the
most charming corners of the lake, and ends in Bardolino. This town also is an
excellent gastronomic stage to enjoy the bardolino´s wines, marinated perfectly
with cheeses of Garda region.
More information
Getting there and around: From Spain it flies to Milan (Lombardy), from
where trains to Sirmione (137 km). Verona (Veneto) is 42 km away and Trento
(Trentino), 127 km. It is best to rent a car to explore the area freely.
Maria Victoria Ramos
CHOCOLATE, THE DIVINE BEVERAGE
THAT CONQUERED EUROPE
During the XVII century,
chocolate became a very popular beverage in the high class society of Europe.
On April 3 1502, Christopher
Columbus came, once again, from the port of Seville. His idea was to find a
seaway that from Central America, finally to carry out him to Asia. It was his
fourth trip to the New World, and the route had its difficulties. One day, in
the middle of a storm, the navigator and his crew were forced to land. It looks
like they intercepted a Maya ship that contained a few almonds that Columbus
did not give importance. Without knowing it, the Admiral had the first contact
with the seeds of the cacao tree.
Over two hundred years later,
Madrid consumed more than five tons of chocolate per year. According to
chronicles of the moment, there was no street in the capital where there were
sold. This can illustrate that a
bad beginning isn´t always determinant, because chocolate is obtained from almonds that Columbus had discarded.
We don´t know which was the
first contact between the Spaniards and
chocolate drinked by the Maya and Azteca, for whom this product was very
important. The Maya left the first written references of the history
consumption in the called Madrid Codex preserved in the Museum of America.
Meanwhile the Azteca thought the seed from which they obtained chocolate was
the materialization of Quetzalcoatl, god of wisdom.
From Tenochtitlan to Madrid
It was so important the cacao
for the Azteca Empire that they used the almonds as money. Pedro Martir de Angleria, chronicler of the new
world used to say: “They use coins but not metal coins; they are little nuts
from several trees that seem similar to an almond.” To understand better this
interchange made in the Azteca world, the Spaniards elaborated some equivalent
tables. Thanks to them, we know that a hare cost the same as a prostitute
services.
At the beginning, the
Spaniards showed rejection for chocolate because according to the chronicler
Gonzalo Fernandez de Oviedo, the lips were bloodstained after drinking it.
Apart from that its bitter and spicy taste didn´t convince to them. Girolamo
Benzoni, in his History of Mondo Nuovo, came to show that “Chocolate looked a
beverage for pigs than to be consumed by humanity.” Nevertheless, in the XVI century
it came to Spain and was presented to Charles V by Hernan Cortes. From that
moment, its acceptance would increase, reaching very high levels.
The triumph of chocolate
According to several authors,
the monks were responsible for spreading the chocolate consumption in
monasteries. Over time, the Cistercians were the ones who will obtain greater
fame as chocolatiers. But not all religious were in favor of its consumption. In
this sense, the Jesuits believed that chocolate were contrary to the precepts
of mortification and poverty. Given that the nutritious beverage also drank
into periods of fasting, it opened soon a debate between advocates and
opponents of that custom. It was in the seventeenth century when was given the
answer to the matter. It would come from the hand of the Cardinal François
Marie Brancaccio, who would end manifesting: "Liquidum non frangit
jejunum", ie, "the liquid does not infringe the fast." The Church
accepted the consumption of chocolate drunk.
It was precisely in the XVII
century that serving hot chocolate as beverage became to form indispensable
part of “lavish attention” ritual followed snacks time the noble offered to
their visitors. It used to be accompanied by biscuits and other sweets for
dipping. If the snack is celebrated in winter, it was normal to be taken in the
heat of the braziers, on the bench of the living room, between cushions and
tapestries. If chocolate starred a summer snack, it used to serve together to a
"snow vase", a glass of ice-cream.
Due to be consumed very thick,
the stains that produced to spill it were very annoying. But one day in 1640,
Mr. Pedro Alvarez of Toledo and Leiva, viceroy of Peru and first Marquis of
Mancera, came up a solution. He invented a recipient that consisted in a little
tray with a central clamp, which was held the calabash (gourd), small vessel
without a handle in which interior the chocolate is poured. In honor of its
inventor, the tray would be baptized like “mancerina
(silverware)”. According to the social level from who served the snack, the
“mancerinas (silverware)” could be
made of silver, porcelain or earthenware.
Fashion comes to Versalles
Chocolate consumption met in
Spain widely diffusion along of the XVII century and was announced in the
confectioneries such as the "drink that comes from the Indies." The
habit of drinking chocolate was so widespread that even the ladies of the
nobility requested it, and it was served in the middle of the long and boring
church sermons. The bishops, offended, banned this form of consumption.
Soon, the rest of Europe,
especially France, adopted that sweet tradition. One of those responsible was
Anne of Austria, daughter of Philip III, who exported the habit of snacking and
to have breakfast with chocolate after her wedding with Louis XIII. Maria
Teresa of Austria, daughter of Philip IV and wife of Louis XIV, strengthened
this practice by taking chocolate regularly in her new country.
When the Bourbons came to Spain
they were very fond to the chocolate, especially, Felipe V and his son Charles
III, who used to have breakfast with this beverage. It was precisely Carlos
III, in an effort for creating an industry that sit the basis of foundations of
economic development of the country, who allowed the exclusive exchange in
regime of monopoly between Madrid and the Real Captaincy General of Venezuela.
Through the centralized system that characterized his reign, the monarch
created an institution responsible for managing the trade called Royal Company
Guipuzcoana de Caracas. The product reached to the Spanish tables through
foodstuffs.
It was also in the XVIII
century when the chocolate bursts into the pastry. Juan de la Mata used it as
an ingredient to make sweets dry in some recipes from his book Art pastries. De
la Mata was a precursor of the chocolate mousse by inventing what he called
chocolate mousse, something very similar to the mousse.
Chocolate Teachers
The preparation of the product
that would be consumed was the responsibility for the man who grinds the cocoa
seeds. He traveled the country with a curved stone on the back. He followed the
technique called the metate, consisted of grinding, on his knees, and on
well-known stone the cocoa seeds. Slowly, and with great effort, extracted a
uniform and liquid mass, known as cocoa paste. The Valencian lawyer Marcos
Antonio Orellana speaks of it in this poem: "O divine chocolate / that
kneeled grind it / folded hands whip it/ and eyes to heaven drinking it!"
Everything changed from the
XIX century, when the Industrial Revolution techniques favored further
cheapened consumption and cost. Soon, tea and coffee were moving to chocolate,
which began to associate with revelers and night walker. Far stayed the days
when it was considered divine character, as Valle-Inclan wrote: "Cocoa
language of Anahuac / gods is bread or Cacahuac".
Kelly
Yohana Castro Oca
THE VILLA FARNESINA: AN ART GALLERY UNDER THE TIBER
In
1879 an Urban renewal in Rome brought to light the ruins of a Roman house of
century I B.C. decorated with splendid
frescoes.
On December 28 1870 occurred a catastrophic spate of
the Tiber in its path through Rome.
Since its origins the city suffered recurrent floods
of this kind; but now, the Italian government decided to use all the means to
prevent them. It was created urgently a commission conformed by the best
hydraulic engineers of the time and in 1875 with the momentum of Giuseppe
Garibaldi it was approved Raffaele Canevari’s project which proposed besides erecting
high walls on the banks of the river, cleaning and expanding its riverbed until
reach one hundred meters wide in its path around the city.
At the height of the villa a beautiful Renaissance residence on
the right side bank of the river, the riverbed didn’t measure more than 40
meters. Therefore 60 meters more were dug until reach the width that Canevari’s
project indicated. It was in the course of those works when on March 1879 came
to light the “ruins of a noble private home Augustan period, adorned with the
most exquisite mural paintings never before admired in Rome”, As the
archeologist Rodolfo Lanciani said in his first report.
The residency indeed,
dated back from emperor Augustus’ epoch (27 B.C.- 14 A.D.) and highlighted by
decoration in frescoes and stuccos miraculously preserved. Until that time the examples of Roman parietal painting
appeared in the capital of the Empire were scarce – They were only known those
from the Livia’s house in the Palatino and those from the Mecena’s auditorium
in the Esquiline - so the study of ancient Roman painting was based almost
exclusively on contemporary Pompeian discoveries.
RESCUE
OPERATION
Archeologists had to work under a great pressure. The
architectural ruins of the house were removed by “public utility reasons”. Such
was the urgency that the engineer in charge of the monitoring and documentation
of the diggings, Domenico Marchetti, complained in June 1879 of not be able to
guaranty the accuracy
of his planimetries, so the ancient walls were demolished before he was able to
take measures or draw their position. The only thing which was decided to
preserve was the decorative elements: frescoes, stuccos and mosaics. Some of
them were lost – especially geometric mosaics in black and white – and other
were stolen or sold to art merchants who settled down next to the diggings to
bribe the workers. But most of the paintings were detached and transferred on
large planks to the neighboring Botanic Garden, until be taken to their final
destination in the Baths of Diocletian, the first seat of the Roman National
Museum in 1889.
This way the curiosity
that paintings had aroused from the beginning was filled up.
In September 1879 an admired journalist of The Stampa
wrote: “It is a very especial work, very curious, made with great ability and
patience. Each one of those frescoes just is ripped from the walls is taken
like if it were a fabric, it is equalized, cleaned and is placed in a
framework. This way, many beautiful paintings are formed. I’ve already seen
some of them framed and I can tell you that never before such beautiful thing
had been presented to the eyes”
It is believed that this beautiful villa was built by
Marco Vipsanio Agripa around 21 B.C. when he got married with Julia, Augustus’
daughter. It was located in the Trastevere, a neighborhood mainly occupied by
craft workshops and big warehouses like the wine storages which appeared in
1880 in the vicinity of the villa. Although this wasn’t a suburban residential
area as populated as the nearby slope of the Janiculum or
the Vatican area, the Latin sources locate in it other famous villas, like the
one belonging to Clodia, lover of the poet Catullus or the one from Casio
Longino, one of the Caesar’s killers, so like the beautiful gardens of the
dictator, the horti Caesaris connected to the heart of the city by a
bridge built by the same Agrippa.
LUXURY
NEXT TO THE TIBER
Watercolors of Domenico Marchetti and Rodolfo Lanciani’s
report are the only ones testimonies preserved of the villa’s architecture. It
was about a residence on the banks of the Tiber with views to the Mars Field
and a scenographic architecture composed of two symmetrical bodies on both
sides of a great exedra. The paintings decorated nine rooms from the winter
side: three bedrooms, the triclinium or dining room, the hall, the entrance, a
half buried hallway (cryptoporticus), which communicated with the servant’s
rooms, the garden and the internal hall of the central exedra.
The quality of the paintings, the amount of details and
the decorative motifs depended on the function of the spaces and the social
status of the people who had access to it. Thereby the environments in which
the patron received his clientele presented a more austere decoration while
those where he received his guests had the richest and most elaborated
paintings. These magnificent frescoes are preserved today exposed in the palace
Massimo alle Terme,
in the lounges that recreate the original plant of the house.
Gabriel Rubio Vera
Gabriel Rubio Vera
MADAGASCAR, The big island in the
Indian Ocean.
Route for this paradise of giant
trees, unique animals and coral beaches.
I went to Madagascar to admire the baobabs of
Morondava, but I found an island 1.600 kilometers long that love me for its
varied landscapes: paddy fields, lush vegetation, animals as curious as lemurs
and magnificent beaches south and north.
In Madagascar almost all it starts in the capital,
Antananarivo (Tana for friends), a noisy city that spreads by 18 hills, with
street markets, a lake and a palace. In Tana I became familiar with the local
currency, the ariary, I learned that rice is the staple food and rented, with
my friend Patrick, a French guide who has spent years on the island, an SUV to
go to Morondava.
On leaving tana everything changes. The urban chaos is
diluted and overlooks the highlands, a green landscape of rolling hills, red
soil and paddy fields. <<The mixture of Africa and Asia in the landscape
is because the Indonesian island peopled>>, Patrick tells me. We passed
many Taxi-Brousse, minibuses loaded in excess whose drivers risk their lives to
earn a few minutes.
In Antsirabe, 160km south of Tana, the pousse-pousses
(carts pulled by a man) confirm the asian vocation of the island. Here the road
is diverted to Morondava through a landscape where meadows where grazing zebu
alternate with sugar cane plantations and forests depleted illustrating
deforestation of the island. A mouthwatering samosas (typical South Asian
dumplings) are served as lunch at one of the many stops next to the road.
Shortly before the first baobabs Morondava appear,
reigning over the rice fields. They are the type Adansonia grandidieri,
reaching 30 meters high. Baobabs only grow in Africa and the west coast of
Australia, but in Madagascar live up to seven species. Hence to be known as
<<the mother island of baobabs>>, although the British writer
Gerald Durrell (1925-1995) preferred fauna, whose protection is still devotes
Durrell Wildlife Conservation Trust.
Just at the entrance of Morondava a poster announces
the school Le Petit Prince with a
drawing of the little prince of Saint-Exupery. Beyond, a dusty streets and a
beach battered by cyclones Morondava become a soulless population.
Just at the entrance of Morondava a poster announces
the school Le Petit Prince with a
drawing of the little prince of Saint-Exupery. Beyond, a dusty streets and a
beach battered by cyclones Morondava become a soulless population.
When evening falls we approach the so-called Avenue of
the Baobabs, close to the city. The slanting light of evening shadows lengthen
and beautifies the red trunks, while a cart moving on the road. <<I came
from Tokyo just to see this>>, a Japanese confesses me with tears of
emotion. A few steps, a few baobabs entwine their trunks: it is the tree of the
lovers.
About 200 kilometers north of Morondava is the Tsingy
Bemaraha Park. It's like an enchanted forest of stone, with sharp limestone
pinnacles that also populate the reserve of Ankarana in the north. Here we must
be careful with the fady, the Malagasy word for taboo and indicating, for
example, you should never point a tomb with your finger.
Madagascar is a large island you learn as you go
devouring kilometers. In my journey south, herds of zebu and Malagasy
shepherds, wrapped in colorful blankets, foreshadow the arrival in Ambositra.
In this city jams pousse-pousses are repeated, but there is also a special
agitation as Savika parties are held. We followed the crowd to a stadium where
young people compete trying to mount threatening zebu horns.
A few kilometers away, around Fianarantsoa they are an
ideal place for trekking through rice fields and villages minimal field. But it
is in the gorges of Isalo park with lakes and waterfalls, where the view of the
ringed brings me back to Madagascar lemurs dreamed. improvised settlements
seekers sapphires, fever Madagascan gold, preceding later the return of baobabs
in the region Tulear, a population that has sandy beaches and restaurants
serving steak flavored zebu with spices on the island especially vanilla.
A few days later we flew north to the island of Nosy
Be, where tropical vegetation surrounds beaches where fish, lobster and black
coral abound. On the east coast of Madagascar there is a similar paradise in
Sainte-Marie island with palm fringed beaches and crystal waters.
Back on land, we follow the north coast by taxi-brousse
to Diego Suarez, a city which left its mark French colonial presence. It was
here that pirates founded in the seventeenth century, the utopian republic of
Libertalia. The spoils were divided equally>>, Patrick tells me, <<but
did not have the local population. One day down the Madagascan mountains and
ended with everyone and everything. Long ago there is nothing of that ephemeral
pirate republic, but on the main street of Diego Suarez a painted recalls the
utopia that reigned in the north of this island dream.
MORE
INFORMATION
Documents: passport and a visa is processed at the
Consulate of Madagascar in Barcelona.
Languages: Malagasy and French.
Currency: ariary ( Ar) .
Hours: 4 hours.
Health: Malaria prophylaxis and tetanus and hepatitis,
among others recommended. Drink bottled water.
Getting there and around: There are direct flights to
Antananarivo from Milan and Paris ; the alternative is via Nairobi ( Kenya ) or
Mauritius. To explore the island as comfortable is to hire a car with driver.
Brousses taxi- vans are covering short distances.
Jimy Arvey Delgado Pupiales
Landscapes that inspired the life and work of the artist from Gerona
Few artists have had such link and fascination for his
homeland as Salvador Dalí in the Empordà. He himself recognized that the north
wind, the wind that often plagues this Catalan region, was responsible for his
"complete madness". In the Empordà he was born, lived, created and
died. And in this corner of the province of Girona much of his legacy it is
exhibited in places that it was witness of his life and scenarios for his inspiration.
To understand Dalí must visit Figueres, the city where he
was born and where the young Salvador would spend his youth. He came into the
world in 1904 at number 6 of the Monturiol street that himself, years later,
would put the nickname "Street geniuses." Dali was baptized in the
church of Sant Pere, located in the eponymous street, two blocks from his home.
In the same way is located the
Toy´s Museum of Cataluña where, among porcelain dolls, cars
and zoetropes, there is an exhibition
dedicated to infant Dalí, with many family photographs and the inseparable doll
of the artist: The Marquina bear.
Near the museum is located La Rambla, in which center
cafeterias one teenager Dalí spent hours
drawing the life around. In one of them, the Coffee Emporium, wrote years later
with Luis Buñuel the script of the film “Un perro andaluz” (1929).
Young, Dalí already made his life a constant performance
and never tired of giving free rein to extravagance. However, the culmination
of that exhibitionism arrived at maturity with the conversion that He himself
directed the theater of Figueres to make
it the current Theatre-Museum Dali, in his words, was "an absolute
Surrealist object '. The museum shows a unique number of works and times of the
artist and includes some of his most acclaimed paintings, including
Autorretrato with fried bacon (1941) and Galatea de las Esferas (1952), as well
as sculptures, ceramics, prints, photographs, holograms and the extraordinary
collection of jewelry designed by him between 1941 and 1970.
For the adolescence of the artist, the Dalí´s family
spent the summer on the Costa Brava, in the picturesque village of Cadaques (35
km). There Salvador had his first painting studio in a fisherman's house next
to Port Algher. In the years he spent in this place was visited by great
friends like Garcia Lorca and Buñuel, and there he met the love of his life,
Helena Ivanovna the world would know her
as Gala, who settled in the Miramar Hotel
today La Residencia to spend the
summer of 1929.
Dali reflected in his paintings the landscapes He so
admired. The stony orography of the Costa Brava between Cadaqués y el Parque
Natural del Cap de Creus is found in works as Muchacha en la ventana (1925) El
espectro del sex-appeal (1932) or the destete del mueble alimento (1934). Other
no landscape elements also became part of the Dalinian universe. Espardenyes
for example, the traditional footwear of the region contained in some of his
sculptures, jugs and breads pagès that used to introduce into their creations as
an allegory of "art as food."
The route follows the master ampurdanés terse Portlligat
fishing village - two kilometers from Cadaques - where Dali and Gala moved in
1949 after his retirement in New York. His house, now converted into a museum,
again shows that Dali Surrealism embodied not only in his works, but also in
his life. The labyrinthine architecture, the crowded and a kitsch
decoration - stuffed polar bear included
were the love nest and the creative workshop of the couple for more than three
decades. Portlligat House Museum just opened a new exhibition space, La Torre
de las Ollas, where Dali used to work on their ceramics and sculptures.
From the fishing of the couple home in Portlligat is now continuing into the
Empordà to know other enclaves of Route
Dali. A fifty kilometers we arrive to
the Santuari dels Angels, high on a hill surrounded by pine trees.
There, betraying his exhibitionism, Gala and Dalí got married in secret and in
the strictest privacy in 1958.
Decades later, the artist's wife wanted to retire from
public life so the marriage took Pubol Castle, 10 km from the sanctuary, which
Gala would move at 76th birthday. She took care of decorating with an aesthetic
that reminded her aristocratic Russian origin. The muse of genius died in 1982
and, after being embalmed, was buried in the crypt of the castle, dressed in an
elegant red dress Dior. Right next door there was another crypt, initially
conceived to bury Dalí. But it was empty, as the ampurdanés genius decided, at
the end of his days, he wanted to rest eternally in the museum of his native
Figueres and He had built a mausoleum in one of the rooms. He was buried in
1989, exactly 25 years ago.
TEXTS ABOUT THE PROBLEMS
FACED AND TECHNIQUES APPLIED
Kelly Yohana Castro Oca
Doing the translation of
this text was a little difficult because I didn’t know some words and
expressions, especially because most of them were ancient names and they were
written in Italian language.
This is the list of words
and expressions that were a little difficult to translate:
·
“Quedaba así colmada la curiosidad que
las pinturas habían suscitado desde el principio”. At this part I used MODULATION because
I had to use a different phrase to convey the same idea and the result was: “This way the curiosity
that paintings had aroused from the beginning was filled up”
·
Janículo: “Janiculum” which is the name of a hill in
the city of Rome. for
this Word I used the translator
·
ala
invernal: At this part I used MODULATION
because I had to use a different word to convey the same idea and the
result was: “winter side”
·
Triclino “triclinium” which is a dining table used in
ancient Rome. for
this Word I used the translator.
·
“Public
utility reasons”. Here I used LITERAL
TRANSLATION.
·
Botanic Garden. Here I used LITERAL
TRANSLATION
·
Archeologists
had to work under a great pressure. Here I used LITERAL TRANSLATION
·
“Half
buried”. Here I used the CALQUE technique.
·
“Patron”.
Here it is used the BORROWING technique.
Maria
Victoria Ramos
There are words that are difficult to translate because some of them are
slangs from Mexico; other words are written in Latin and another words haven´t
any translation.
Words and expressions have been difficult to translate and techniques
that were applied for best results:
“lo llevase, al
fin, a Asia…” “, finally to carry out him to Asia”. I used descriptive equivalent technique because I explained it in some different words.
“Maya and Azteca” I employed through-translation technique (also called calque) because they are
the literal translation of names of communities.
Quetzalcoatl, (name of god of wisdom). I used transcription or 'borrowing' technique
because I reproduced exactly from the original term.
“…reaching very
high levels”. (llegando a alcanzar cotas muy altas). I employed cultural equivalent technique because I
replaced a cultural word (cotas by levels) however, "it isn´t exact".
“…History of
Mondo Nuovo…”I used direct
translation technique because the words “mondo nuovo" is written in
Italian language, so I wrote it exactly to the source language.
"Liquidum non frangit jejunum", ie,
"the liquid does not infringe the fast. I used direct translation technique because this phrase is written in
Latin language, so I wrote it equal to the source language.
Mancerina: is a word that hasn´t translation but
according to the text it could be “silverware”. I used transcription or 'borrowing' technique because I reproduced exactly
from the original term.
“…metate” (it means a flat stone for grinding) I
used transcription or 'borrowing' technique because
I reproduced exactly from the original term.
“…Cacahuac”: I used
transcription or 'borrowing' technique because I reproduced exactly from the
original term.
José Elias Yela
The
main problems encountered when performing the translation of Il Lake di Garda
were as follows:
· The words have a certain metaphorical sense and that is not an accurate translation must be replaced by another with a similar meaning as:
ü pueblos balnearios y villas señoriales (village’s spa and magnificent villas),
ü las llanuras alzan la vista hacia los Alpes (the plains gazing upwards towards the Alp),
ü la sinuosa carretera (winding road),
ü barcos que unen muchos pueblos (ships that unite many people)
· The names consist of two words also present difficulties for translations such as:
ü microclima
ü huertojardín
ü In this case you should find the words separately or together do not alter the meaning, such as:
ü Microclimate instead of micro- weather and orchard-garden for huertojardín
· The names of locations such as villages or towns that have more than one word cannot be translated because they are proper names, so they must be left as is. Such as:
ü Santa Maria Maddalena,
ü la Gardesana,
ü Il Vittoriale degli Italiani,
ü Riva del Garda,
ü Punta San Virgilio
· The words have a certain metaphorical sense and that is not an accurate translation must be replaced by another with a similar meaning as:
ü pueblos balnearios y villas señoriales (village’s spa and magnificent villas),
ü las llanuras alzan la vista hacia los Alpes (the plains gazing upwards towards the Alp),
ü la sinuosa carretera (winding road),
ü barcos que unen muchos pueblos (ships that unite many people)
· The names consist of two words also present difficulties for translations such as:
ü microclima
ü huertojardín
ü In this case you should find the words separately or together do not alter the meaning, such as:
ü Microclimate instead of micro- weather and orchard-garden for huertojardín
· The names of locations such as villages or towns that have more than one word cannot be translated because they are proper names, so they must be left as is. Such as:
ü Santa Maria Maddalena,
ü la Gardesana,
ü Il Vittoriale degli Italiani,
ü Riva del Garda,
ü Punta San Virgilio
Gabriel Rubio Vera
Possible problems
with translation
I did not have many
problems for the translation of the text. Perhaps the only thing is I had to
look about the geography of Madagascar since the text speaks about many places
that are there and lent itself to confusion.
In some parts of the text I found words that
are native and therefore had no translation, however it could investigate and
find its meaning. For example in the
part of the text: “We passed many Taxi-Brousse”, the word Taxi-Brousse reffers
to a minibusses.
Another of the moments when I had a question
was when quoting what the author said in the first person ; why I chose to do
as put in the text
Jimy Arvey Delgado Pupiales
Problem
Literal
text
|
Meaning
in Spanish
|
Translate
English
|
Techniques
Applied
|
Gerundense
|
Perteneciente a Gerona
|
From Gerona
|
Modulation
|
Muñeco de porcelana
|
Muñeco de porcelana
|
Porcelain doll
|
Transposition
|
Tramontano:
|
Viento que sopla
del norte
|
north wind
|
Adaptation
|
la ciudad que lo
vio nacer
|
Ciudad donde nace
|
city where he was born
|
Modulation
|
Pasaría tiempo
|
Transcurrir tiempo
|
He would spend time
|
Compensation
|
Vino al mundo en
1904
|
Nacer en 1904
|
He was born in
1904
|
Adaptation
|
Dos manzanas de
su casa natal
|
Dos cuadras o
bloques de su casa
|
Two blocks of his
home
|
Adaptation
|
El adolecente
Dalí pasaba horas
|
El adolecente
empleaba horas
|
The teeneger Dalí spent hours
|
Adaptation
|
Que
diseñó entre 1941 – 1970
|
Diseñado por
Él entre 1941 – 1970
|
Designed
by him between 1941 and 1970.
|
Transposition
|
Recibió la visita de grandes
amigos
|
Fue visitado por grandes
amigos
|
He was visited of great friends
|
Transposition
|
Ahí topó con el amor de su vida
|
El encontró el
amor de su vida
|
There he met with
the love of his life
|
Modulation
|
A medio centenar
de kilómetros
|
A cincuenta
kilometros
|
A fifty kilometers
|
Modulation
|
Y
rodeado de pinos:
|
Y rodeado de
árboles de pino
|
and surrounded by pines trees
|
Modulation
|
tras de ser embalsamada
|
Después de ser
embalsamada
|
after being embalmed
|
Modulation
|
Ataviada
|
vestida
|
dressed
|
Compensation
|
Para dar sepultura a Dalí
|
Sepultar -
enterrar
|
To bury Dalí
|
Modulation
|
Y mandó
construir
|
Mandar a construir
|
He had
build
|
Modulation
|
CHARTS OF EACH STUDENT
Kelly Yohana Castro Oca
METHOD
|
STRATEGY
|
TECHNIQUE
|
It refers to the way a particular translation process is carried out
in terms of the translator’s objective.
|
Strategies are the procedures (conscious or unconscious, verbal or
nonverbal) used by the translator to solve problems that emerge when
carrying out the translation process with a particular objective in
mind
|
It is a procedure to analyze and classify how translation equivalence
works.
|
·
Interpretative-communicative (translation of the sense),
·
literal (linguistic Transcodification),
·
Free (modification of semiotic and communicative categories) and
philological (academic or critical translation).
|
It is part of the process
|
It affects the result.
|
Techniques have five basic
characteristics:
1. They affect the result of the translation
2.They are classified by comparison with the original
3.They affect micro-units of text
4.They are by nature discursive and contextual
5.They are functional
|
Maria Victoria Ramos Hurtado
METHOD
|
STRATEGY
|
TECHNIQUE
|
Method implies a manner in which a thing is
done. It refers to a kind of procedure or way to translate.
Translation methods:
relate to whole texts.
Translation procedures:
are used for sentences and the smaller units of language (Newmark 1988b).
|
It is a plan that specifies the concepts that
aim to achieve a certain goal.
There are two translation strategies: literal translation: it´s focused on
the level of words.
Free translation: Makes emphasizes on
the creation of a target text that sounds natural in the target language.
|
It´s used when structural and conceptual
elements of the source language can be transposed into the target language.
|
Methods of translation:
v Word-for-word
v Literal translation
v Faithful translation
v Semantic translation
v Adaptation
v Free translation
v Idiomatic translation
v Communicative translation
Techniques for translating:
v Functional equivalence
v Formal equivalence
v Descriptive or self-explanatory translation
v Transcription or borrowing
Translation procedures:
v Naturalization
v Cultural equivalent
v Transference
v Functional equivalent
v Through-translation
v Modulation
|
Variety of oppositions:
v Word-for-word translation vs. sense-for-sense
translation
v Source-oriented translation vs. target-oriented
translation.
v Direct translation vs. oblique translation
v Adequacy vs. acceptability,
v Formal equivalence vs. dynamic
v equivalence semantic translation vs. communicative
v translation (by Peter Newmark),
v overt translation vs. covert
|
Include:
v Borrowing
v Calque
v Literal Translation
Oblique translation techniques include:
v Transposition
v Modulation
v Reformulation or Equivalence
v Adaptation
v Compensation
v Transposition
v Compensation.
|
José Elias Yela
METHOD
|
STRATEGY
|
TECHNIQUE
|
Translation method refers to the way a particular translation process
is carried out in terms of the translator’s objective, i.e., a global option
that affects the whole text.
|
Strategies are the procedures (conscious or unconscious, verbal or
nonverbal) used by the translator to solve problems that emerge when carrying
out the translation process with a particular objective in mind.
|
It is an application of a conscious decision during the fixation
method translator.
|
There are several translation methods that may be chosen, depending on
the aim of translation techniques revisited
|
The strategy is individual and procedural nature, and consists of the
mechanisms used by the translator to solve the problems encountered in the
development of the translation process based on their specific needs
|
five basic steps:
1) affect the result of the
translation,
2) are cataloged in comparison to the
original,
3) refer to textual micro-units, 4)
have a discursive and contextual,
5) they are functional
|
ü
INTERPRETATIVE-COMMUNICATIVE (translation of the
sense)
|
||
ü LITERAL
(linguistic Trans codification),
|
||
ü
FREE (modification of semiotic and communicative categories)
|
Is aimed at solving similar problems throughout the translation
(problem-solving oriented)
|
|
ü
PHILOLOGICAL (academic or critical translation)
|
||
Whatever method is chosen, the translator may encounter problems in
the translation process, either because of a particularly difficult unit, or
because there may be a gap in the translator’s knowledge or skills. This is
when translation strategies are activated.
|
Gabriel Rubio Vera
APPROACH
|
METHOD
|
TECHNIQUE
|
The approach
is the fundamental basis of the theory of a method. The approaches are
axiomatic and describing the nature of the subject. Approaches
necessarily belong to pedagogy.
|
The method is
the orderly planning of materials within an educational context. Methods are
procedural, therefore must keep accurate to meet the objectives set order.
|
The technique
is the procedure with which the objectives are achieved within an educational
context. The technique is implementational and developed in the classroom constantly.
|
Jimy Arvey Delgado
COLLABORATIVE ACTIVITY 1
TUTOR: JULIO CESAR TULANDE RENGIFO
JOSÉ ELIAS YELA – ID. 98348909
GABRIEL RUBIO VERA – ID. 94.480.189
KELLY YOHANA CASTRO OCA – ID. 29673665
MARIA VICTORIA RAMOS HURTADO - ID. 31198120
JIMY ARVEY DELGADO PUPIALES – ID.1085902429
GROUP:
6
OPEN
AND DISTANCE NATIONAL UNIVERSITY- UNAD
SCHOOL OF SCIENCE EDUCATION
BA IN ENGLISH AS A FOREIGN LANGUAGE
JULY 2016
