Research emphasizing the communicative aspect of conference interpretation has led to preliminary conclusions that change the understanding of the interpreter's role and redefines her job. This not only has implications for teaching interpretation, specifically for which aspects are emphasized during training, but also for teaching and learning in general. Focusing on the importance of structures and relationships beyond content alone encourages both discipline and flexibility, both in interpreting and more broadly in education. Two important contributions confirm the direction of this research: on the one hand, texts dealing with general semantics which focus on the evaluative capacity fundamental for human interaction; and on the other, the latest and promising findings in neurosciences that throw open the doors for human development and its evolution. In brief, combining general semantics with dynamic cognitive sciences generates a flexible mind-frame and a constructive disciplined attitude which have proven to be useful both to train interpreters and to foster richer dialogues and healthier interaction in any context. Anyone who wants to work as a conference interpreter should incorporate these practices with their linguistic and cultural understanding.

Una investigación que puso el énfasis en los aspectos comunicacionales de la interpretación llevó a varias constataciones que cambian de perspectiva el trabajo del intérprete y redefinen su labor. Esto no sólo tiene un impacto en la forma de enseñar interpretación y en los aspectos a enfatizar durante la misma, sino que también puede enriquecer la enseñanza y el aprendizaje en general, al acentuar la importancia de las estructuras y relaciones más allá de los contenidos y al propender a la disciplina con flexibilidad. Dos aportes importantes confirman la orientación de esta investigación: por un lado, la corriente de pensamiento y los textos referidos a la semántica general que enfatizan la capacidad de evaluación humana fundamental para cualquier interacción, y por otra, los últimos y promisorios hallazgos de las neurociencias que confluyen en algunos casos con la experiencia de prácticas milenarias de meditación entre otras y abren grandes las puertas del desarrollo humano y su evolución.
En síntesis, la combinación de orientaciones de semántica general + una amplia dinamización cognitiva contribuyen a generar actitudes, diálogos y modos de interacción enriquecedores. Quienes quieran trabajar como intérpretes de conferencia, deberán agregar al profundo conocimiento de dos o más idiomas y culturas estas disciplinas y prácticas.

This article will demonstrate and illustrate the way in which Franz Kafka's Die Verwandlung has been translated from English into Thai by using two different translation methods: literal translation and free translation. The criteria used in the selection of these translated works being: 1) Recent translations of a classical work of Franz Kafka; 2) Translation into Thai from an English version; 3) Each version employing a different method of translation. Under these criteria the version translated by Dolasit Kombangkom (2006) and that of Montri Phumie (2001) have been selected. The analytical comparison focuses mainly on three aspects: the translation process, the rendering of Kafka's stylistics, and the choices of equivalents of the cultural settings.

Some highly conceptual terms are not easy to translate, and we may think that the choices usually made in translation, and somehow or other justified, are not entirely satisfactory in the philosophy of art. This is the case for terms such as «志 zhì» and «神 shén» because their translations from Chinese into Western languages prove to vary depending on the field of use, pure philosophy or philosophy of art (aesthetics). Various words are used for «志 zhì» and only a few for «神 shén» in philosophy, while one may be better than others for «志 zhì» and several are useful for «神 shén» in aesthetics. In the image of Dao, indefinable but perceptible through its multiple expressions, 志 zhì and, moreover, 神 shén are understandable in their whole meaning only through the multiple aspects of their applications. Where the Chinese language, by nature, allows to propose and repeat a single term, because its multiple connotations, inherent to the language of the past, appear and prevail alternately or simultaneously according to the context as well as to the reader, a Western language often requires deciding among mutually exclusive possibilities. Our purpose, through the study of the way these two terms, 志 zhì and 神 shén, are perceived in the process of translation, is to show how the Chinese language and its specificities – both structural and cultural – contribute to the discussion on the relation between denotation and connotation in debate for Western languages.

Certains termes, conceptuellement exigeants, sont difficiles à traduire et les choix traditionnellement faits et, d'une certaine manière justifiés, sont parfois ressentis comme réducteurs en philosophie de l'art. Paradoxalement, 志 zhì diversement traduit ( «volonté», «ambition», «but», «idéal», «intention», «aspiration», etc. ) alors que 神 shén est constamment traduit par «esprit(s)» ou «divinité(s)». Lorsqu'il est en position de verbe, 志 zhì prend naturellement la forme verbale associée ( «vouloir», «aspirer à», etc. ) et 神 shén, en position d'adjectif, prend aussi directement la forme associée ( «spirituel» ou «divin» ). Or en Chine, c'est l'étude du geste et de la pensée du geste, phénoménologique, qui prédomine et façonne une appréciation qui, en philosophie de l'art, porte sur l'intention agissante, combinaison conceptuelle dynamique ( substantif et verbe ). Autrement dit, une certaine univocité1 de 志 zhì comme «volition» ( acte par lequel la volonté se détermine aà quelque chose ) est sous-jacente aux multiples traductions du terme et, à l'inverse, la traduction de 神 shén, niveau supérieur de réalisation artistique, par «divin» ou «inspiré» est relativement insatisfaisante au regard de la pluralité des manifestations du Dao de l'art, un «pluriel du beau» ( Munch 1991 ). Dans le prolongement de l'étude de la puissance de la métaphore liée aux connotations multiples associées à différents termes en particulier en art ( Journeau 2005 et 2008 ), et à travers l'étude de la perception en traduction de ces deux termes, 志 zhì et 神 shén, nous proposons de montrer comment la langue chinoise et ses spécificités tant structurelles que culturelles contribuent au débat sur la relation dénotation-connotation telle qu'elle est posée pour les langues occidentales.

This article outlines the development of a linguistic tool designed to facilitate translation from French to Spanish and Spanish to French. The elaboration of this tool was informed by a comparative study of phraseology in two French-speaking areas, Québec in Canada ( FQ ) and metropolitan France ( FF ). The possible meanings on the French-speaking "stage" led us to analyze and construct a corpus of three categories of expressions which present difficulties in the translation process due to their opacity and possible polysemous dimension. The three categories are: expressions with a double figurative meaning ( in FF and FQ ); expressions with a literal meaning in FF and a figurative one in FQ and finally, expressions specific to Québec, that is to say syntagms with a figurative sense only in FQ.

Dans le cadre d'une étude comparative sur la phraséologie du français du Québec ( FQ ) et du français de France ( FF ), nous présentons le projet d'élaboration d'un outil linguistique destiné à la traduction français-espagnol-français. Les possibilités de multiplicité de sens sur la scène francophone nous ont amené à analyser et élaborer un corpus constitué de trois catégories de particularismes posant des difficultés au cours du processus traductologique en raison de leur opacité et de leur éventuelle dimension polysémique. Il s'agit d'une part, de particularismes phraséologiques ayant un double sens figuré ( en FF et en FQ ), d'autre part, de particularismes phraséologiques ayant un sens propre en FF et un sens figuré en FQ et finalement, de particularismes québécois ou québécismes, c'est-à-dire de syntagmes ayant un sens figuré uniquement en FQ.

In this paper, an attempt is made to link the deployment of translation strategies in the target text with the act of conceptual mediation at the cognitive level. Data are drawn from how alien sources are translated from and into Chinese. It is argued that conceptual mediation in terms of processing economy is related to how a strategy might be deployed. In this respect, source deletion is the most economical but its outcome the least desirable for translation. On the other hand, substitution is the least economical but could preserve both the imagery and underlying concept of the source. Trans-coding and paraphrasing stand in between, with the former preserving the imagery and the latter the underlying concept. The statistics from four translated texts is in agreement with this processing economy conceivable at the cognitive level.

Science fiction films, with their unique features of speculative and science-based delineation of futuristic phenomena, mesmerize the audience to an unpredictable world. Subtitle translation of such films undergoes an inferential process to recover the communicative intention of the directors and makes manifest to the audience a set of assumptions by means of various stimuli. This paper adopts a relevance theory approach to investigate an optimally relevant subtitle translation of science fiction films, using Minority Report – one of the top science fiction films in the 21^st century as a case study, with the aids of conversation analysis and protocol analysis of two episodes of the film. Verbal reports of 99 subjects from two groups of potential translators, consisting 73 students from Hong Kong and 26 students from Beijing, who have attended media translation courses and with some subtitle translation knowledge, were analysed. Supporting examples are also retrieved from the movie script, the TV subtitles in Hong Kong, as well as the two versions of DVD, separately with traditional and simplified Chinese subtitles.

龐德的翻譯理論常被稱為「閃光的細節理論」。本文梳理了「閃光的細節」之構成與涵義，並以《華夏集》為例，從互文性、富於孕育性的頃刻、戲劇性、化美為媚、有意味的形式五大視角，研析了「閃光的細節」形成之原理及其在翻譯中的藝術表現形式與美學效果，一方面旨在幫助讀者更好地理解龐德的詩歌翻譯藝術，另一方面旨在揭示出「閃光的細節理論」之於文學翻譯以及跨文化交流的價值與意義。

Ezra Pound's translation theory is otherwise known as the "Theory of luminous details." The present paper elaborates on the composition and connotation of "luminous details" as well as their theoretical underpinnings, artistic representations and aesthetic effects in reference to the Chinese-English translation of Cathay from perspectives of intertextuality, pregnant moment, dramatization, transformation of beauty into charm and significant form. It aims to shed light on Ezra Pound's art of poetic translation on the one hand and to unveil the value and significance of the "theory of luminous details" to literary translation and across-the-cultural communications on the other.

商務印書館成立一個多世紀以來，歷經中國社會的滄桑與變遷，對中國近現代文化格局的形成產生了深遠的影響。早在二十世紀初葉，商務印書館正處於起步發展時期，就已經出版了大量外國文學翻譯作品，為中國翻譯文學的發展作出了重大貢獻。本文首先對二十世紀初葉商務印書館的外國文學翻譯進行追溯，將這些翻譯作品劃分為「林紓模式」、「弱國和強國模式」、「通俗文學模式」三個大類，然後從中發掘這些模式與商務印書館贊助類型變遷之間的相互關係。商務印書館的出版贊助與翻譯模式之間的演進磨合見證和促進了中國翻譯文學從傳統到現代的轉型。

The Commercial Press, established over a century ago, has witnessed great cultural changes take place in China and its books have had a profound effect on modern Chinese culture. Since the early 20th century, the Commercial Press has published a host of translated literary works, which have contributed greatly to the development of Chinese translated literature. This paper first attempts to define the translated literary works published by the Commercial Press in the early 20th century, and then analyzes them within three categories of translation approaches. Next, the relationship between these approaches and patronage types is investigated. The research shows that patronage types and translation approaches work together to promote the transformation of Chinese translated literature to achieve its modern outlook.