Vertimo studijos <p>Founded in 2008. Publishes articles covering a wide range of topics concerning translation and interpretation.</p> en-US <p>Please read the Copyright Notice in&nbsp;<a href="">Journal Policy</a>.&nbsp;</p> (Nijolė Maskaliūnienė) (Vigintas Stancelis) Mon, 28 Dec 2020 00:00:00 +0000 OJS 60 Exploring the Portrayal of Institutional Translators and Interpreters in the Republic of Ireland’s English-Language Print Media <p><strong>&nbsp;</strong>Although the Republic of Ireland has been a member of the European Union for nearly five decades, the country’s first official language, Irish, was only recognised as an official EU language on 1 January 2007. However, a lack of appropriately qualified linguistic personnel means that the language is currently subject to a derogation on its use in the EU institutions, which is scheduled to be lifted in 2022. Interviews conducted previously with interpreters in the Republic of Ireland (Hoyte-West 2020a) noted that practitioners generally viewed media coverage of the derogation as contributing to a positive image of the translational professions within the EU context; however, further research needed to be carried out on the topic. Accordingly, this article looks at how institutional translators and interpreters have been depicted in the Republic of Ireland’s English-language print media from 2007 to 2019. Using data obtained through a qualitative content analysis of the country’s three major English-language newspapers, an overview of the current situation is provided through analysis of the attitudes and opinions expressed.</p> Antony Hoyte-West Copyright (c) 2020 Antony Hoyte-West Mon, 22 Feb 2021 10:46:06 +0000 Editorial Board and Table of Contents Nijolė Maskaliūnienė Copyright (c) 2020 Authors Mon, 28 Dec 2020 00:00:00 +0000 Author Guidelines and Bibliographic Data <p>-</p> Nijolė Maskaliūnienė Copyright (c) 2020 Authors Mon, 28 Dec 2020 00:00:00 +0000 Stylistics and Translation of Raymond Queneau’s Work: Translation Analysis of „Exercices de style“ <p>The article covers the stylistics of the work “Exercices de style” by the French writer Raymond Queneau and the translation of this work into Lithuanian. Through the analysis of translations into Italian and English as well, the article investigates the distinctive feature of Queneau’s texts – how they play with various language tools. The article distinguishes and discusses the play of literary devices (these are figures of style and rhetoric), the play of linguistic devices (grammatical tenses, barbarisms, neologisms), the play of language registers (colloquial language, jargon), the play of genres and discourses, and the play of narrative techniques. While playing with the language, the author seeks to entertain the reader – the exercises are rich in various elements of comedy, parody and irony. It is not possible to systematically apply one translation strategy to translate this work, therefore the translator Akvilė Melkūnaitė focused on conveying the logic of Queneau’s rules, making the translation strategies related to semantic and stylistic translation of the text diverse and successful, while the complicated conveying of cultural realia (e.g. jargon) is offset by other means of translation.</p> Liucija Černiuvienė | Ieva Montrimaitė Copyright (c) 2020 Authors Mon, 28 Dec 2020 00:00:00 +0000 Translation of Character Names in Le avventure di Pinocchio by Carlo Collodi <p>Translating character names in fiction can be difficult, as names can perform different functions: not only naming, but also highlighting characteristic features. Translators of fiction have to make certain decisions how to render names in the Target Text and retain the functions and meanings they serve in the Source Text. The aim of this article is to analyse the translation of character names in C.&nbsp;Collodi’s&nbsp;<em>Le avventure di Pinocchio</em>&nbsp;into Lithuanian, Polish and Russian and to compare the translation startegies chosen by the translators. The results of this analysis show that the most common rendering method in the Lithuanian, Polish and Russian versions was direct translation. Also, it can be concluded that character names were rendered most accurately in their translation into Lithuanian, the second in terms of accuracy of rendering character names is the translation into Russian, and the third&nbsp;– into Polish.</p> Brigita Lukančenko | Rasa Klioštoraitytė Copyright (c) 2020 Authors Mon, 28 Dec 2020 00:00:00 +0000 Morphologically Complex Adjectives with a Negative Prefix: Translation Problems <p>The article addresses problems of understanding and translation of morphologically complex words. It is not unusual for English adjectives with a negative prefix to have unexpected meanings that cannot be predicted based on examining the adjectives’ morphological structure. One such complex example is the adjective <em>incapable</em>. It is argued that this adjective has a peculiar set of meanings and uses that are independent of the positive form&nbsp;<em>capable</em>&nbsp;and unrelated to the adjective&nbsp;<em>able.</em>&nbsp;The article adduces evidence of specific uses of&nbsp;<em>incapable</em>, in which it showcases the meaning of ‘unfit for, unsuitable’ – not documented in most dictionaries.</p> Artūras Ratkus Copyright (c) 2020 Authors Mon, 28 Dec 2020 00:00:00 +0000 Designation of the General Concept of Compensation for Work in English and Lithuanian <p>As part of a systematic knowledge-based analysis of terms related to regulation of wages, the paper analyzes the meaning, usage, and translation of terms designating the general concept of compensation for work in English and Lithuanian. The analysis is based mainly on Chapter IX of the Labour Code of the Republic of Lithuania and its translation into English, as well as the translation of conventions of the International Labour Organization (ILO) and some other legal texts related to wages into Lithuanian. It has been established that while some English and Lithuanian terms with the general meaning of compensation for work are very similar both semantically and functionally, it is possible to trace certain smaller or greater differences between them.</p> Aušra Tekoriūtė Copyright (c) 2020 Authors Mon, 28 Dec 2020 00:00:00 +0000 Unexpected Laureate: Louise Glück in Lithuania <p>The aim of this paper is to give an overview of the work of the American poet, Louise Glück, winner of the 2020 Nobel Prize in Literature, with a discussion of what kinds of challenges her poetry might pose for translators. Very few people knew of her work in Lithuania prior to the Nobel Committee’s announcement. Her poems were only published in Lithuanian translation for the first time in July, 2020, and only a handful at that. This paper argues that her work has important similarities and differences to Lithuanian poetry of the twentieth century, and that despite her free-verse lyrics written in rather plain diction, there are still many challenges to rendering her work in another language. The Lithuanian translations reveal stumbling points over ambivalent word choices, surreal imagery caused by ambiguous syntax, and the need for careful attention to the tone of the narrative voice (the lyrical subject) of the poems.</p> Rimas Užgiris Copyright (c) 2020 Authors Mon, 28 Dec 2020 00:00:00 +0000 Latvian Translation Scene at the Turn of the 19th and 20th Century <p>The paper looks at the Latvian translation scene at the end of the 19<sup xml:lang="en-GB">th</sup>&nbsp;and the beginning of the 20<sup xml:lang="en-GB">th</sup>&nbsp;century. It is a continuation of the study of translation history in Latvia reflected in previous issues of&nbsp;<em>Vertimo studijos&nbsp;</em>(vol. 7, 8, 11).<em>&nbsp;</em>These decades are marked by a huge growth of translation, especially in periodicals. German was gradually losing its dominant position as a source and intermediate language, Russian was advancing, so was also the scope of other languages. In contrast to previous periods there was a particular interest in the quality of the originals and modernity.<br>This period also saw a change of generations among translators, and women became visible in translation scene. Translators among whom there were all the great Latvian writers gradually emerged as professionals. Frequently translations had prefaces and explanations by the translators. There were numerous parallel translations of the same works, some reaching up to ten versions. Translations included various genres and the traditional Latvian interest in plays was very obvious. So was the focus on specialised literature on agriculture. The translation method changed from localisation to a fidelity mode with a tendency to apply elements of foreignisation.</p> Andrejs Veisbergs Copyright (c) 2020 Authors Mon, 28 Dec 2020 00:00:00 +0000 Reviewing the Reviewers: (Re)Translations and the Literary Press <p>Within the wider context of (re)translation and reception, this paper outlines a model for assessing how literary review publications address (re)translated works and whether there has been any discernable evolution in their approach over the period during which Translation Studies has emerged and consolidated itself as an academic discipline: the corpus comprises all issues over three separate years (1980, 2000 and 2018) of two international, English-language literary reviews (<em>The New York Review of Books</em>&nbsp;and&nbsp;<em>London Review of Books</em>). The analysis covers all reviews of works of literature translated from any language into English, both for the first time and retranslations, assessing whether there is any observable diachronic change over the time period in question. Although the scope of the material under inspection is limited, this study outlines the methodology developed for analyzing the manner in which reviews address translated texts and, more specifically, retranslations: this methodology, which involves classifying the corpus according to a taxonomy of features typical of the genre, is applicable to wider investigations across different languages, text types, time spans, platforms. Issues examined include how the reviewers assess the quality of the (re)translations; how texts are quoted; the significance of paratextual elements; the figure of the reviewer; whether retranslation is highlighted and/or reviewed differently to first translations. Future applications of the model are also considered.</p> Mary Wardle Copyright (c) 2020 Authors Mon, 28 Dec 2020 00:00:00 +0000