Earticle

Drawing on the concept of thematic progression based on Daneš (1974) and Zhu’s (1995) classification, this paper quantitatively compares the thematic progressions in the literary work ‘The True Story of Ah Q’ and its 21 Korean translations, to demonstrate how Chinese in the original and Korean in translations achieve textual equivalence in terms of cohesion. The theme, what the text is talking about, and the rheme, the development of the theme, maintain the cohesion of the text through thematic progression. The data analysis reveals that thematic progression patterns and their shifts in translation pertain to certain regularities in their frequency. In the original work, the Chinese language mainly uses ‘TP with a constant theme’, ‘simple linear TP’ and ‘TP with a constant rheme’ to organize the text, while the Korean translations also use ‘TP with derived theme’ and ‘TP with split rheme’ to organize the discourses. It is fair to say the Korean translations use a richer thematic progression than the original work. It highlights the fact that translators will generally follow the thematic progression of the original text in the process of the translation, but they also use additional thematic progressions in accordance with the Korean language to organize the texts.

Unlike the interpreting education community in Korea, which provided synchronous mode of online learning using video conferencing platforms during the spread of COVID-19, interpreting education institutions abroad such as EMCI Universities provided both synchronous and asynchronous education using various ICT tools. Noting this fact, this study aims to introduce a music sharing platform, “SoundCloud” and a recording and editing program, “Audacity” and propose these tools can be effectively used in self learning sessions of interpreting. In addition, this paper identifies pros and cons of each tool, based on users’ experience and suggests potential areas of application. In a group interview, interviewees noted that the two platforms offer many benefits when they are used for a wide range of applications including interpreting practice and number conversion without time and space constraints, while they reduce psychological stress during practice sessions, leading to higher motivation.

This study aims to analyze various aspects of the multimodal cohesion formulated between visual elements on screen and offscreen/on-mute dubbing dialogues in a personally built multimodal corpus, named Multimodal Corpus of English-dubbed Korean Films, consisting of 12 films released in a DVD format in North America from 2002 to 2017. Based on the model of visual-verbal cohesion and the concept of information linking, this study identifies that the offscreen and on-mute dubbing dialogues show multiple forms of multimodal cohesion. Visual elements and dubbing dialogues form the relations of elaboration: dubbing dialogue making the image more specific (specification), and dubbing dialogues paraphrasing the image (explanation). The relation can be extended to make dubbing dialogues narratively cohesive or give a spoiler (extension). This study shows that visual elements and dialogues create visually cohesive relations, enhancing target audience’s understanding of dubbed films.

In fictional narrative, the character’s speech and thought is presented in meaningful and sometimes complex ways. It has been shown that choosing modes of speech and thought presentation is an important aspect of writing that could affect the reading experience. Nevertheless, there is little research on how modes of speech and thought can be (re)constructed for a different readership. This study analyzes the modes of speech and thought presentation in The Bronze Mirror ― Bruce and Ju-Chan Fulton’s translation of O Chŏnghŭi’s “Tonggyŏng.” The original and translated texts are compared in detail, according to Leech and Short’s (2007) categories of speech and thought presentation, i.e., direct speech/thought, free direct speech/thought, indirect speech/thought, free indirect speech/thought, and narrative report of a speech/thought act. Findings show that in general the translators used complex modes of presentation encoded in the original. However, in some narrative situations, they used different modes of presentation to make the unfolding narrative accessible and cohesive. This article concludes with a brief discussion of how to better translate fiction in terms of speech and thought presentation.

Although note-taking inarguably plays an important part in consecutive interpreting, prescriptive teaching of note-taking strategies can be challenging as the technique remains highly individual and requires practice. The constructivist approach has thus been embraced by a handful of researchers in the last few years to encourage group work and help students maximize learning outcomes. This study incorporates this recent direction in note-taking research to explore how students co-construct note-taking knowledge. Six note-taking techniques adapted from Rozan – verticality, nuance markers, symbols and abbreviations, noting the idea, links and logical connections, dynamic note-taking – were used as first year T&I graduate students engaged in constructivist classroom discussions and activities over the course of six weeks. Students’ experiences were captured in the form of journals and survey, which hinted at continued integration of new knowledge with the existing ones. As students engaged in group exercises designed to encourage inquiry-based learning and personal reflection, prior knowledge was brought to the learning process, thereby enabling students to shape and reshape their own concepts of note-taking. This study is expected to prompt interpreter trainers and learners to explore new possibilities for teaching and learning note-taking, thereby encouraging new knowledge formation.

This study considered the possibility of machine translation as a means of communication between police and foreigners. 203 sentences frequently used by the police were analyzed and error analysis was conducted through domestic translator Papago and non-domestic translator Google. There were 206 errors in Papago and 153 errors in Google. Looking at specific cases, there was a case of misinterpreting the detainee as a child, and there was a case where the word petition (陳情), meaning 'to state the facts or circumstances', was misinterpreted as sedation because it is a homonym but the context could not be grasped. Due to the nature of the Korean language, if the subject is omitted, it is sometimes misinterpreted as ‘the police will take the suspect on their own’ in fact in a situation where the police asks the foreign suspect to accompany him voluntarily. According to the performance analysis results of Papago and Google, in the case of the Korean-Russian language pair, the accuracy of machine translation was low and serious errors were included in many cases. As a means of communication with foreigners, machine translation should be used limitedly if necessary, and even if it is notified by machine translation, it is necessary for the human interpreter to check it again later. It is because the police's questions or notices to the subject are directly related to the fairness and effectiveness of the investigation.

What distinguishes novel from drama and poem is that the story is conveyed to the reader by the narrator. Therefore, the aesthetic effect of a novel is hugely influenced by its point of view and the narrative style. This thesis sorts out the concept and characteristics of the point of view and narrative style of the novel and discusses their influences on narrative distance. Then it compares and analyzes Hwang Sukyoung's The Road to Sampo and its four Chinese translations on the changes of narrative style in different points of view and how they influence the effects to the readers. The results of this analysis show that, when adopting the character-focalizer, Hwang uses words and expressions of personal speech style or narrative styles that emphasize the characters’ voices including free indirect discourse. However, the styles are altered frequently in the translations, which weakens the characters’ voices. Therefore, translators should carefully analyze the original texts when translating such kind of narratives.