Found an untranslatable word? I bet you haven’t…

On International Translation Day, Dr Christophe Fricker, Programme Director of our master’s degree in Translation here at Bristol, reflects on the nuances of language and how the art of translation relies on understanding your audience.

Headshot of Dr Christophe Fricker. Christophe is wearing a blue-and-white-checked shirt, a v-neck jumper and glasses, and is smiling at the camera.It’s International Translation Day, and I’m a translator. When I tell people, they pause and then they look at me triumphantly, saying that, surely, this particular foreign word they know could not possibly be translated into English. In a way, they’re right, but in practical terms, they’re not. Here’s why.

Take Energiewende, the German term for the political process facilitating the transition towards a zero-carbon economy. And now look back at the previous sentence. What you see is a German term and an English translation. There are three things to say about that translation, all of which are characteristic of what we do as translators – and what you do in your everyday life:

First, the translation serves a particular purpose and a particular audience – you! This is true of literally every translation ever produced. No translation is produced in the void. It is commissioned by someone, carried out by someone, and addressed and perceived by someone with specific interests and skills. The translation reflects and addresses them. This is not a weakness. In fact, it’s the unique strength of translation that it can – and will inevitably – be calibrated to meet a particular need. Yes, that means there will be a need for a new translation at some point, but that is true for the original utterance as well. There are no final words, in any language.

Secondly, my translation of Energiewende is different in length compared to the original. It would be quite unrealistic to expect otherwise. Different languages form their words and their sentences in different ways. A text you translate from English into German will end up being 10% longer in terms of characters but 10% shorter in terms of its word count. I am saying this because translators translate texts, not words. I have worked in this profession for a decade and a half and I have never been asked to translate a word. My clients come to me because they want an advertising slogan or a travel essay or a children’s book translated. When they are looking for a word in another language, they will turn to a dictionary rather than a translator.

What all of this tells us, thirdly and inevitably, is that no two statements map neatly onto each other, between any two languages. The beautiful thing is this, though: the same is also true for any two statements in the same language, and even the same statement in the same language uttered by different people or in different situations. When you say the words ‘I love you’ to your partner, they mean something different from when you say them to your son. When, in response, your partner asks: ‘Where have you been?’, the potential for misunderstanding may be so big that you wish a translator were at hand. Translation is not something that only happens between different languages; wherever we understand each other, we deliver a successful translation.

I get a sense, here, that you are intrigued but perhaps not entirely convinced. Let me give you a little homework – I am a teacher, after all. Imagine you live in an apartment block with people who speak lots of different languages, but the fire safety information sheet is only available in French. You are asked to translate it into English. What would be your first priority? That everybody who walks past appreciates the original French via your translation, or that they know where to go when their pants are on fire? I doubt they have time to worry about untranslatable French words at that point.

Debates about untranslatable words are fireside chat (for which there is definitely a place!). In the meantime, translators like so many of my wonderful colleagues make sure people are safe around the world, and today is the day we celebrate them!

Credit: iStock SDenisov

The MA Translation programme at Bristol combines language-specific practice with training in translation theory and translation technologies. To find out more about this online programme, go to the MA Translation web page or come and see us at one of our Postgraduate visits and open days.

International Day of the World’s Indigenous Peoples

Today, 9 August, marks the United Nations’ International Day of the World’s Indigenous Peoples, raising awareness of the needs of indigenous people across the globe.

Dr Camilla Morelli, a lecturer in social anthropology here at the University of Bristol, has been working with indigenous communities in Amazonian Peru for over a decade. Here we learn more about her most recent piece of research.

Amazonimations – co-producing animated films with indigenous people in Amazonia

Amazonimations is a collection of three animated films produced collaboratively with the indigenous Matses people of the Amazon rainforest. The films are the outcome of a research project (funded by the British Academy) that brought together academic research, art and animation with the objective of using collaborative film production as a means through which people living at the margins of technological and economic inclusion can find forms of self-representation and gain a sense of wider recognition.

Like many other indigenous societies, Matses people had no contact with outsiders until fairly recently, and they are now dealing with the challenges of urbanisation, socioeconomic change, and the impact of globalised media and markets. Amidst the difficulties they face, a key issue is the feeling of being largely unheard and cut out from wider society; their goal, as they phrased it, is for the world to know who they are. In each animated short, a different generation of Matses tells a story: the elderly talk about the traditional ritual of ‘acate’, an intoxicating substance that is said to create a connection between people and the forest; Matses children tell a story about rainforest animals and spirits; and young Matses who migrated from the forest to the city discuss their experiences of adjusting to urban life.

This work is quintessentially collaborative – the films have been scripted, narrated and illustrated by Matses people themselves, and the overall goal of this is to disseminate the animations widely in order to raise awareness about threatened indigenous lives and their precarious futures. Learn more about the Matses people and their culture by watching Amazonimations on Vimeo.

Celebrating Pride Month

We’d like to wish all members of the LGBT+ community a very Happy Pride Month! We caught up with Dr Jamie Lawson, a queer anthropologist whose major research interest is in sex and sexuality, to find out more about his research, Pride, and the path to equality for all.

What was it that first drew you into the exciting world of anthropology?

It was a lucky accident really – I got very bored at school, so come university application time I felt a strong urge to study something new. Archaeology and Anthropology was the first thing in the UCAS course book that fit the bill. I fell in love with anthropology quite quickly, though – I enjoy the freedom of the discipline, and felt a strong pull towards an intellectual tradition that resists being pinned down. It’s a big, sprawling subject with as many definitions and angles as there are practitioners, which is what you might expect from a discipline that’s focussed on understanding people; we’re complicated things, after all. There’s a very thin line between anthropology and activism as well – I think I always found the political engagement of the discipline really exciting.

What was it about sexual minorities and human sexuality in particular that led you to pursue a research career in this area?

I developed an interest in sex and sexuality towards the end of my undergraduate degree, and followed it through to master’s and eventually PhD level. Initially I adopted an evolutionary perspective on the topic, but found that a little too heteronormative for my tastes, and have drifted over the years towards a more phenomenological position, focussed on queer identities and subcultures. This led me to my recent work on the puppy play community. It’s no coincidence that over the same time, I became properly politically engaged with my identity as a gay man, and got involved with activist work, including organising the first Pride up in Durham, and eventually writing my book. I think it’s important to challenge the dominant structures of society which act to marginalise and oppress anyone who doesn’t fit in with the trans- and homophobic, racist and patriarchal norms.

You were involved in the Art of Relationships project at the Open University, which was designed to explore the power of art to engage members of the public with social science research – can you tell us more about that?

That was a lot of fun. The project involved screening a set of short films that had been made to communicate research findings from a large, nationwide project on love and relationships called ‘Enduring Love’. In order to evaluate the impact those films had, I ran a reflexive group exercise called a visual matrix (based on a social dreaming matrix, for anyone who has encountered one of those). The method is designed to tap into group-level, collective ideas and feelings rather than individual, to see what the audience collectively had taken from the films. A visual matrix is a wonderfully egalitarian method which breaks down the distinction, to some extent, between researcher and informants. We used it to see what sorts of ideas had made their way from the films to the audience, to see if it was possible to communicate research findings through art (in this case, films).

June is Pride month here in the UK – what does Pride mean to you?

This is a favourite question to ask queer people around Pride time – I’m never really sure how to answer it. Pride is about visibility, community and celebration, sure, but we should never forget that it was born out of anger. The rights that the LGBTQ+ community has fought for and gained, the space it carved out for itself – that was all the result of anger, focussed against oppression. Pride this year comes at a scary time – the world is in the grip of a pandemic, and the hard right have risen in political power. The protests that are currently sweeping the world as a result of systemic racism and anti-Black violence in the United States are also an expression of anger, deeply and collectively felt. My hope is that we can all come together around that anger and push back against those who want to strip minorities of their rights and turn us against each other. I am a very angry queer, and very proud of that anger.

Last year you released your first book – Rainbow Revolutions: Power, Pride and Protest in the Fight for Queer Rights – which is aimed at children aged 12 and over. What inspired you to write specifically for this age group?

The opportunity landed squarely in my lap. I was approached by the publisher off the back of some consulting work I had done for them on another project, and they asked if I would like to write a book on queer history for children. I said yes almost immediately. The mainstream, cishet world does everything it can to stop queer people feeling connected with each other, including dismissing the idea of there being such a thing as queer history. Being disconnected from your own history makes growing up queer a very isolating thing – you feel lost, untethered in a society that only begrudgingly makes space for you. Knowing that you have ancestors, traditions, that you belong to a group of people who learned lessons collectively and had an impact on the world, that’s empowering and important. I wrote the book for young queers, hoping I might help them feel a little bit less lost.

What is the key message you hope young people will take away from your book, and what impact do you hope it will have?

I wanted the readers of Rainbow Revolutions to understand that queer rights were fought for and won – not given – and that the community has a history of its own , and perhaps most importantly that Black and trans voices inside the LGBTQ+ community have been some of the most important and most powerful we’ve had. As trans people are having their rights stripped away and their lives endangered around the world, and as the Black Lives Matter protests sweep the globe, it’s hugely important that the readers of my book understand how connected we all are, and that none of us are free until all of us are free. I tried to reinforce an idea that collective action that visibility en masse is key to liberation and safety. Most of all I wanted them to know that they are not alone.

What societal changes do you think are required to get to a point where we can ensure young members of the LGBT+ community are fully supported, included, and safe from discrimination?

That’s a big question, and there are a lot of moving parts, but if I could wave a magic wand and make one big change (and if I knew there were others out there with their own magic wands) I would disconnect the idea of sex from the idea of reproduction. The idea that “sex is for making babies” is at the absolute core of the oppression of queer people, and the oppression of women (queer or not), around the world. It’s dangerous most of all because it feels like such a self-evident fact, and is so deeply embedded in Western cultures. Alongside that, I’d make white people around the world turn to face the evils of colonialism, and engage with our collective responsibility to dismantle the structures that supported it, of which trans- and homophobia are important components. Big aims, both, but I have to believe they’re possible.

What more do you think could be done as a Faculty – and more widely across the University – to support the LGBT+ community and ensure equality for all?

I think the higher education sector is starting to shift in really interesting and quite radical directions, and that’s what we need here: radical change. If we don’t make active decisions to disrupt colonialist, oppressive structures then they persist. I think the pandemic has forced us to start to think properly about what universities could and should be and how they could and should work, and to confront difficult facts about access and inclusion. Finding new ways to imagine the University will be key to equality for staff and students alike.

Third Year History with Innovation student Jasmine Smellie on making the right choice studying an Arts degree

Third year History with Innovation student Jasmine Smellie talks to us about her degree, studying Innovation and why she made the right choice.

Before joining University, every time I mentioned I wanted to do an arts degree, the question that very quickly followed on was “what can you do with an arts degree?” In reply I would say “well what can you not do,” because I was confident in the skills I would acquire through university would set me with a range of understanding that could be moulded into any job position.

“I realise now how much I underestimated the true breadth of skills an arts degree could bring”

However, admittedly I remained secretly sceptical about what career it was, exactly, I was wishing to pursue. Since actually now studying History with Innovation, my perception has only got stronger. I realise now how much I underestimated the true breadth of skills an arts degree could bring, from analytical and comparative studies into textual information, to improved communication skills and learning how to work in teams.

“Some advice I would give to a new starter of an arts degree at University is to really have faith and belief in your own decisions and that you have chosen the right course for you”

Through Innovation, I have learnt skills that I have been able to apply during the summer whilst working at a cloud software based company, an internal communications design agency, and a variety of creative studios around Bristol. Which truly highlighted to me that when applied, the skills you acquire (sometimes unintentionally) through an arts based subject really can put you in good stead for any career area.

Some advice I would give to a new starter of an Arts degree at university is to really have faith and belief in your own decisions and that you have chosen the right course for you. Be confident to throw yourself into as many things you can, from drama and music, to working with the engineering and computer science based societies. The key is to explore all different areas, get to know what you like and dislike and where your strengths lie, but also see which areas you require people to work with you in order to create something.

Follow Jasmine’s blog on Linkedin for more information on studying Innovation and her internship experience at Home design studio in Bristol.

History PhD student, Chris Wemyss, tells us about his research and why Arts Matter

People often talk about the creative aspects of Arts and Humanities, but I was drawn towards studying History because I enjoyed the idea of challenging established facts and ideas. This has only grown through my Bachelors and Masters degrees, and now at PhD level I get the chance to design the questions I want to answer, and work out how to answer them.

My PhD research looks at the British community in Hong Kong from 1980 to 2000, tracking how it changed in preparation for the handover of the territory to China in 1997. Researching for this has taken me all over the UK, to the US, and to Hong Kong, allowing me to collect a variety of sources and interview many different people. Now in the final stages of my PhD, I am weaving these sources together to form a narrative that hopefully gives a unique insight into a relative recently period of history.

The Arts and Humanities have a reputation for exclusivity, and distance from the ‘real world’, but I have found this to be patently untrue during my studies. The stories I uncover on a daily basis, through newspapers, diaries, oral histories, letters, and other countless sources, put ordinary people at the centre of the historical narrative. They often have similar hopes and fears as people do today, and provide us with valuable insight into their period, and how it relates to today’s events.

History is also about developing skills that we sometimes take for granted. During my years of study I have learned how to research and find information quickly, comprehend the meaning of documents, and synthesise these into a narrative that can be written up. These skills are useful in everyday life, and I have used them extensively in jobs I have held during my studies.

The best thing about studying History, and the Arts and Humanities, is discovering the links between the city and country you live in, and much wider narratives. It helps give meaning to the streets you walk down everyday, and things we take for granted in everyday life, especially in a deeply historical city like Bristol. It also means that people here are interested in and care about the Arts and Humanities, and the times I have interacted with them at talks, debates, and exhibits have been the most rewarding of my time at university and remind me that arts matter outside the university just as much as inside.