1. Translation Rhetorical Awareness and Language Use
Frederick: Writer’s Mind 1

2. Important Concepts Signified/Signifier Rhetorical Situation Genre
Rhetorical Discourse
Rhetorical Awareness
Rhetorical Analysis
“Fitting” response
Code Switching 2

3. Levels of Engaging with
Language/Texts
Quote Directly
Paraphrase
Summarize
Interpret
Translate (paraphrase + interpretation) 3

4. Some Kinds of Translation
Literal – Maintains original meaning to target language
Communicative (understandable)
Word-for-Word – exact translation that often leaves out key elements of meaning 4

5. Some Kinds of Translation
Semantic – Maintain aesthetics of original language to target language
Adaptation – Translate original to cultural context of target language (i.e. Americanization of Shakespearean plays into movies like “Taming of the Shrew” is “10 Things I Hate About You”) 5

6. Examples: Othello Translations
Semantic/Literal
Literal
Adaptation
Adaptation

7. Translation Process 1. De-Code original
Find the meaning, purpose, and aesthetic
Must exercise rhetorical awareness of context to which discourse community the language will be translated
2. Decide: 1. which method of translation you will use (a.k.a. how closely you will follow the original and toward what end) Will you be literal or adaptive? 2. what is your “target” language or aesthetic? 7

8. Translation Process, cont.
3. Establish the rules you will follow—what patterns, language, form, or aesthetic will you follow for your translation? Consider:
Dialect (regional variety of language adapted from standard language)
Jargon (often “invented” lingo used in closed systems like a field of study)
Vernacular (language native to a group and often unique to them)
note specific terms, cultural references, and language patterns you will use
4. Re-Encode to target language
Often requires code switching (deliberately moving between discourse genres)

9. Consider Shakespeare Step 1: Decode
HAMLET: To be, or not to be--that is the question:
Whether 'tis nobler in the mind to suffer the slings and arrows of outrageous fortune or to take arms against a sea of troubles and by opposing end them.
To die, to sleep—and by a sleep to say we end the heartache.
To die, to sleep—perchance to dream: ay, there's the rub, for in that sleep of death what dreams may come when we have shuffled off this mortal coil, must give us pause. There's the respect that makes calamity of so long life.
Step 1: Decode 9

10. Kind of Translation: Adaptation Target Aesthetic/Language: Valley Girl
Translation Rules (words, patterns, aesthetics I will adhere to)
Refusal statements like “whatever,” “duh,” “okay”, “you know,” and “so what”
Confirming statements like “stellar,” “killer” “rad” “stoked”
Damning statements like “bogus,” “no way,” “sketchy”
“like” in each sentence
“totally,” “so,” and “way” to emphasize
“as if” for disagreement or doubt 10

11. Re-encode Hamlet’s Monologue into Valley Girl

12. Consider:
Translator Link 12