This book explores the practical aspects of intersemiotic translation, examining how different signs and sign sets can be transposed into different kinds of semiotic forms of reference. Drawing on theories from translation studies, semiotics, philosophy and stylistics, the author seeks to understand what happens when texts are translated from one genre or modality to another, and makes use of examples ranging from written texts to advertising, images, music, painting, photography, and sculpture. She also analyses related topics such as the differences between Romance and Germanic languages, the difficulties that arise when attempts are made to translate figures of speech or elements of authorial style, and how this interdisciplinary field relates to traditional language-based translation. This book will be of interest to students, teachers, translators and researchers working in the fields of translation studies and multimodality in particular.

This book analyses intersemiotic translation, where the translator works across sign systems and cultural boundaries. Challenging Roman Jakobson’s seminal definitions, it examines how a poem may be expressed as dance, a short story as an olfactory experience, or a film as a painting. This emergent process opens up a myriad of synaesthetic possibilities for both translator and target audience to experience form and sense beyond the limitations of words. The editors draw together theoretical and creative contributions from translators, artists, performers, academics and curators who have explored intersemiotic translation in their practice. The contributions offer a practitioner’s perspective on this rapidly evolving, interdisciplinary field which spans semiotics, cognitive poetics, psychoanalysis and transformative learning theory. The book underlines the intermedial and multimodal nature of perception and expression, where semiotic boundaries are considered fluid and heuristic rather than ontological. It will be of particular interest to practitioners, scholars and students of modern foreign languages, linguistics, literary and cultural studies, interdisciplinary humanities, visual arts, theatre and the performing arts.

When a reader picks up a book, the essence of the text has been translated into the visual space of the cover. Using Umberto Eco's bestseller The Name of the Rose as a case study, this is the first study of book cover design as a form of intersemiotic translation based on the purposeful selection of visual signs to represent verbal signs. As an act of translation, the cover of a book ought to be an 'equivalent representation' of the text. But in the absence of any established interpretive criteria, how can equivalence between the visual and the verbal be determined and interpreted? Re-Covered Rose tackles this question in an original and creative way, laying the foundation for a new research trend in Translation Studies. Marco Sonzogni is Senior Lecturer in Italian, School of Languages and Cultures, Victoria University of Wellington, New Zealand. A widely published academic and an award-winning editor, poet and literary translator, he is the Director of the New Zealand Centre for Literary Translation/Te Tumu Whakawhiti Tuhinga.

Translation Translation contributes to current debate on the question of translation dealt with in an interdisciplinary perspective, with implications not only of a theoretical order but also of the didactic and the practical orders. In the context of globalization the question of translation is fundamental for education and responds to new community needs with reference to Europe and more extensively to the international world. In its most obvious sense translation concerns verbal texts and their relations among different languages. However, to remain within the sphere of verbal signs, languages consist of a plurality of different languages that also relate to each other through translation processes. Moreover, translation occurs between verbal languages and nonverbal languages and among nonverbal languages without necessarily involving verbal languages. Thus far the allusion is to translation processes within the sphere of anthroposemiosis. But translation occurs among signs and the signs implicated are those of the semiosic sphere in its totality, which are not exclusively signs of the linguistic-verbal order. Beyond anthroposemiosis, translation is a fact of life and invests the entire biosphere or biosemiosphere, as clearly evidenced by research in “biosemiotics”, for where there is life there are signs, and where there are signs or semiosic processes there is translation, indeed semiosic processes are translation processes. According to this approach reflection on translation obviously cannot be restricted to the domain of linguistics but must necessarily involve semiotics, the general science or theory of signs. In this theoretical framework essays have been included not only from major translation experts, but also from researchers working in different areas, in addition to semiotics and linguistics, also philosophy, literary criticism, cultural studies, gender studies, biology, and the medical sciences. All scholars work on problems of translation in the light of their own special competencies and interests.

This volume sets out a new paradigm in intersemiotic translation research, drawing on the films of Ang Lee to problematize the notion of films as the simple binary of transmission between the verbal and non-verbal. The book surveys existing research as a jumping-off point from which to consider the role of audiovisual dimensions, going beyond the focus on the verbal as understood in Jakobsonian intersemiotic translation. The volume outlines a methodology comprising a system of various models which draw on both translation studies and film studies frameworks, with each model illustrated with examples from Ang Lee’s Crouching Tiger, Hidden Dragon; Lust, Caution; and Life of Pi. In situating the discussion within the work of a director whose own work straddles East and West and remediates between cultures and semiotic systems, Zhang argues for an understanding of intersemiotic translation in which films are not simply determined by verbal source material but through the process of intersemiotic translators mediating non-verbal, quality-determining materials into the final film. The volume looks ahead to implications for translation and film research more broadly as well as other audiovisual media. This book will appeal to scholars interested in translation studies, film studies, media studies and cultural studies in general.

The translation of legal documents in today’s globally interconnected world calls for novel approaches to overcoming traditional language barriers. The verbal language used in legal documents can be accompanied or even replaced by various types of semiotic resource, such as symbols, diagrams, and icons, while the advancement of digital tools and the introduction of new technologies offer those drafting contracts and other legal documents access to an ever-expanding toolbox for the translation process. This book makes a significant contribution to the existing literature on legal translation and intersemiotic translation by sharing valuable insights and opening up new avenues of inquiry, fostering further exploration of this evolving domain and enabling practitioners to use these diverse communication tools responsibly and effectively. Given the book’s structured multidisciplinary approach and extensive analyses of the characteristics of intersemiotic legal translation, its potential, and the complexities that arise at the intersection of law, language, and semiotics, it will appeal to legal practitioners, translators, semiotic scholars, and legal philosophers alike. Whether you are a legal professional aiming to expand your expertise, an academic seeking a new research direction, or are simply intrigued by the fascinating interplay of law, language, and semiotics, this book offers a valuable resource that sheds light on the unique dynamics of translating legal concepts using approaches other than traditional verbal communication. As such, it is an essential read for anyone who is interested in the changing landscape of law, language, and translation.

Here is a radically interdisciplinary account of how Charles S. Peirce's theory of signs can be made to interact meaningfully with translation theory. In the separate chapters of this book on semiotranslation, the author shows that the various phenomena we commonly refer to as translation are different forms of genuine and degenerate semiosis. Also drawing on insights from Ludwig Wittgenstein and Walter Benjamin (and drawing analogies between their work and Peirce's) it is argued that through the kaleidoscopic, evolutionary process of unlimited translation, signs deploy their meaning-potentialities. This enables the author to throw novel light upon Roman Jakobson's three kinds of translation - intralingual, interlingual, and intersemiotic translation. Gorlée's pioneering study will entice translation specialists, semioticians, and (language) philosophers into expanding their views upon translation and, hopefully, into cooperative research projects.