 Molt especialment estar aquí per portar les veus del Dr. Josep Joan Moreso, rector de la nostra universitat, que per raons de gent que no ha pogut estar aquí amb vosaltres, com era el seu desig, té la importància que dona els estudis i aquesta facultat, i em toca, a mi, substituir-lo i donar-los a tots la benvinguda en el nou curs, els que comenceu per primer cop i els que hi ha sou d'anys anteriors. A continuació, doncs té la paraula el Dr. Luis Pegenauté de la Facultat de Traducció i Interpretació. Sí, moltes gràcies, li agrada això al vice-rector, la seva presència aquí amb nosaltres en aquest acte d'avui. Benvolguts, companys, benvolguts estudiants, us diré unes paraules molt breuament i després passaré a presentar el nostre convidat d'avui. Us saluda a tots i us dono la benvinguda a aquest acte amb que celebrem l'obertura del curs acadèmic. Ens trobem en una etapa sumament exigent per al món universitari. El procés d'armonització europea representa una oportunitat de canvi profund del sistema universitari català i espanyol, fer-lo creïble i assolir resultats amb èxit en les múltiples facetes que comporta, suposarà un notable esforç que s'hi llei sumar energia, posar en comú idees i debatre punts de vista molt diversos. Com ja sabeu, l'adaptació dels estudis a l'espai europeu d'educació superior comporta l'establiment d'un nou paradigma docent centrat en l'estudiant. Comporta també l'adopció d'una nova unitat de valoració de l'activitat acadèmica, el crèit europeu i una nova manera d'afrontar l'avaluació de l'aprenentatge. El de ganat d'aquesta facultat, de la facultat de traducció i interpretació, ha sumit la responsabilitat de liderar la preparació de noves titulacions que estiguin plenament d'acord amb l'espai europeu, no només pel que respecta als elements estructurals, sinó molt especialment en relació als enfocaments dels processos de senyament i aprenentatge i a l'avaluació dels assoliments de la formació reuda. Volem crear titulacions que responguin veritablement a les necessitats sociolaborals del nostre entorn, tenint en compte la diversitat d'ocupacions professionals en què es ubiquen els nostres graduats. Avui mateix, com a president de la Comissió de Programació de Estudis de l'Àmbit de Traducció i Linguística, hi ha des de la sol·licitud del vicepresident de docència i li he fet arribar la proposta que aquesta comissió ha consensuat de manera unànima. Articulant, a partir dels continguts de l'actual licenciatura de traducció i interpretació i de linguística, tenim la intenció de cobrir tot l'espai de formació en l'àmbit de la mediació lingüística i les llengües aplicades. Evidentment, la preparació dels nostres estudis serà responsabilitat d'una comissió que encara no està constituïda, que tindrà l'obligació de consultar les diferents parts implicades en la vida universitària amb la finalitat de aconseguir el major consens possible i d'aprofitar el màxim la llibertat que ens atorga ara el Ministeri d'Educació amb la nova normativa prevista. Pultament per descomptat aprofitar per presentar-vos al Conferència d'Avui el doctor Michael Croning, que és en secàpmina de dubta en una de les personalitats més destacades en el panorama actual de la disciplina dels estudis de traducció i interpretació dels estudis de traducció. El doctor Michael Croning és professor de la Dublin City University on dirigeix el Center for Translation and Textual Studies. La seva recerca s'ha centrat en la història de la traducció a Irlanda, en la relació entre traducció i viatges i en els efectes que ha tingut la globalització en el món de la traducció. Si alguna cosa caracteritza a Michael Croning, és el fet de saber-se moure amb la mateixa capacitat tant a l'hora de rastrejar la pràctica de la traducció al seu país, al llarg del temps com a l'hora d'estudiar l'impacte dels darrers avanços tecnològics en la manera de practicar i de concebre la traducció. Actualment està preparant un llibre, un estudi a la presència de la traducció en el món del cinema. És l'autor d'un bon nombre de llibres com Translating Ireland, Translation Languages Identities, del neuroentacis, Across the Lines, Travel Language and Translation, del 2000, Translation and Globalization, del 2003, Time Cracks, Scenes from the Irish Everyday, 2003, i ha editat llibres com Tourism in Ireland and Analyses, Anthology de Nouvelle-Irlandes, Unities in Diversity, Carbentrends in Translation Studies, etc. Un bon nombre de publicacions. Ja sense més preamble, ja li dono la... Gràcies, doctor Pegenauté, i ja ha continuat la paraula. Per què farà una pel·lícula? Una pel·lícula de la Universitat de Pompé de Valbra per convidar-me. Estic molt content que la vice-rectora és una persona extremament buscada i molt plàtica i gratificada. Té la lectura. Un especialment de grans gràcies a la professora Pegenauté, a qui he viscut en un nombre d'ocassions de la seva feina. M'adono. Estic molt gratificat per organitzar aquesta visita a Barcelona. Penseu una cosa. Aquesta jaqueta és una jaqueta molt, molt pesada. A la professora Pegenauté, a l'ofici, hi ha una molt, molt llarga, pesada. Si, de temps a temps, veig una mica de bèlgica, sóc intentant ajustar-me de 5°C a 25°C, doncs, puc explicar una altra manera. El que vull fer en aquesta lectura d'avui és basicament veure la manera en què les estudis de transició han canviat, les coses que veiem ara en les estudis de transició. I, en particular, la manera en què transició i transició són representades en una de les més poderoses media de l'influència en el món contemporànic, que és cinema en diverses formes. En altres, hi ha hagut una gran setmana de treball en les estudis de transició de les tecniques de transició relacionades amb cinema, doncs això serà dubbing, subtitling, i altres. Però més treball ha estat done en què transició i transició són representades en la escena. En altres, en què transició i transició són representades a les audiències de cinema? Perquè, si anem al voltant de la cinema silenciosa, si anem al L'Orland Party, si anem al Marx Brothers, si anem al Star Wars Trilogies, la original, i la preu, el que trobem és una longa història de cinema en engatge amb el tema i el tema de transició. Però, abans que veig això en algun detail, vull que, si vols, veig un context per a nosaltres. Una de les coses que s'ha dit sobre estudis de transició és que, per molts anys, els estudis de transició que s'ha viscut, i això va dir, primàriament, per la paradigmàstica, va ser una qüestió de text. Què ha passat a text quan van de l'un llenguatge a l'altre? O les transformacions en llengua i, sobretot, és el que som referents als estudis de transició cultural. I, quan les persones veuen més i més al tipus social, polític i històric de la transició i al tipus històric i cultural de context en què els text es tradueixen. A més recent, es pot dir que el que ha estat un focus major en transició personal i que és una qüestió de transició de transició a les translations de transició o per la transició cultural. El tema és el que es dibuixen en les translations de transició i d'un mateix per al dret. El tema és el que es basa en les translations de transició i d'allà. I són els de les translations transició o transició, o transició d'un mateix. dins socials, per part del sistema social en una setmana contemporària. Dels altres, com el professor Henal Degg, Jean Valil, Adrienne Pym, veu els translators, si us plau, en la setmana històrica. Com els translators, en els últims periods històrics, com els actives translators, com l'influència que han tingut, com han sigut influïnts d'altres cultures, pressupostos polítics, pressupostos polítics i altres altres. I en l'aigua d'escoltar, tenim algú com Donald Hurley, qui, amb aquesta teoria de social constructivisme, ve a la, si voldria, el translator d'un estudi, com un agent, algú qui és influïnt, amb l'influència social, en què ell o ella treballa, i també certes elements socials i psicològics. Però, per mi, una de les coses que tendim a miss és el sentit en què translators no són com objectes. En other words, quan parlem d'agents o d'agència, parlem de translators com algú que és fent alguna cosa, que és tirant una translació, o és fent una altra interpretació. Però una de les coses que sembla que puguem veure molt més és que translators és un objecte. En other words, how translators are presented or represented in various media. There's one of the things that's very striking, for example. If you look at just the last decade, it's the number of novels and books in which translators have been essential or key characters. We have gosh, Hungry Tide 2004. Translator is essential figure. Aguyer Marías, Corazon Tamlanco. Another book where an interpreter is a central figure. I I think gosh, so now, it was a day 2003, the translator of the book cost. Ada, Dan Brown, The Da Vinci Code, translation turns up all over the place in that particular book. Matthew Perls, The Dante Club. And the wonderful book by the Argentinian novelist, Alboris Andis, la traducción, que came out in 2000, where again and again and again in these books, translation and translators are at center stage. So one of the questions that I wanted to ask is why has this come about? Why should translators be objects of representation in novels but more explicitly wanting to look at this afternoon is on the big screen. However, before I do this, I wanted to advance or develop an idea which will be quite central or key to what I'm going to be arguing this afternoon. It's often been said that in the Western tradition of thought that people were, when people thought about thinking agents, somebody who was thinking about existence and being and the value of life and so on, that person was very much seen as a kind of disembodied agent. The person never felt sick, they never had brothers and sisters, they seemed to have no parents, they never went on holidays, they never seemed to eat, they never seemed to go to the toilet, disembodied, free-floating, rational agents. And if you like in a certain kind of tradition of Western rationalism, this was seen as the definitive thinking subject. Now this, in recent years, has been challenged by a number of philosophers such as Alistair Macintar and Charles Taylor, who, drawing on earlier work by Wittgenstein and Heidegger, have argued that in fact the way in which we can properly understand the human agent as somebody that is embodied in particular situations. In other words, the only way, or one of the only ways in which one can properly evaluate or understand the genesis of thought and marriages is to look at people as embodied creatures in particular sets of situations. And to give you an example of, a concrete example of what this means in terms of us thinking about translation, I want to refer to a passage in the novel by, and I salute the novel, it's more sort of a narrative, by Primo Levi. It's a question in formal, if this is a man, his account of the period or the time that he spent in Auschwitz. What happens when the deportees are brought from Italy to the camp in Auschwitz? There's a point where there's various German officers coming in and out. And at one point, the German officer asks if there is an interpreter. And at this point, a man called Flesch, he presents himself, like, as an interpreter. And he then, if you like, begins to interpret for the German officer. And the way in which Primo Levi kind of describes the scene is he talks about the words in the mouth of this interpreter, Flesch. And he says, his mouth was kind of writhing in the scot. He was spitting out the words as if it was a foul drink. I think he's the word he kind of uses in the book itself. So what you see then is that here he is as an embodied, he has a body, or he can be subject to coercion or torture by the German officers. But he's also using his body to communicate. So his body is both communicating, but it's also expressing the particular situation in which he finds himself. So at one level, his body is expressing its alimentary function. In fact, he can drink, he can take in nutrition and also expressing its linguistic dimension. So, of course, the difficulty for Flesch and this is one of the differences if you like between interpreting and translation, is that the point of production and the point of reception in the case of interpreting are coterminous. What I mean by that is that you produce a translation in Barcelona and it's very controversial and be read in Dublin or London or Stockholm. The fact is that you, as you later are producing it here in one city, you will not be there when the text is being read or re-entered to in another place. The point of production is not happening at the same time as the point of reception but in the case of interpreting the point of production Per això, la feina que tu tens, que tu ets un agent embolicat, significa que ets subjecte a les pressions que vegin de la qüestió de algú que reacciona o reacciona el text que ets oferint. Per això, el conveyor, com un agent embolicat, és una persona que és molt, molt sensitiva, molt únicament sensitiva, a la pressió de la qüestió de la seva qüestió. Per aquests que han vist l'amor del film d'Oberto Benigni, La vita è bella, et recordes que aquest escenari, que ha fet de la qüestió de Momo, és, en el cas, reproduït en el film, però fa una altra manera. Té l'oficial d'un officer que, en molt estereotípic, es veu les ordres de barca a la qüestió de la qüestió de la seva qüestió. I, en el cas d'Oberto Benigni, fa una transició completament fantàstica i lunàtica de les ordres d'oficial de la qüestió de la seva qüestió. Si et veu la qüestió de Benigni, o si et veu la qüestió de la qüestió de la seva qüestió de la seva qüestió, és unicament sensitiva a les pressions de la qüestió. Què vull considerar ara és l'extract que anirem a veure si la tecnologia funciona. És, com l'aigua de l'agència funciona en el cas de la qüestió de la qüestió de la seva qüestió. Un petit bit d'anàl·le, que és l'interpreter. Una de les coses que vull veure en aquesta qüestió de la qüestió de la qüestió és la manera en què les emocions són expressades. La relació entre la posició de l'interpreter i el director en la qüestió que anirem a veure i com, si l'emotió transmet la llengua o si és, en fait, un llenguí de llengua. I, doncs, sóc clar, quina veu la qüestió de la qüestió de la qüestió de la seva qüestió de la seva qüestió de la seva qüestió de la seva qüestió. Osayoliy, y 두 cocinadirem de tiempo. Estem enellait. Com veiem? Comencem. Comencem, görim calma, imatgem la lengua. En lobreak, s'emportem el sort. P soldiers a l'aut Brother Indoohi. An professors. I he wanted to turn, look in camera. That's all he said? Turn to camera. All right, do you want me to turn from the right or turn to the left? Ah, ha application. Ja dius, ja dius. Ah, with intensity. He seemed like he said quite a bit more than that. I don't think it's about whisky. I know it. It's not about old friends. I don't think it's about intensity. I don't think it's about tension. I don't think it's about that. I'm just into the camera. I don't think it's about whisky. S'entreït. S'entreït. S'entreït. Potser és un bocaitat... S'entreït. del Marie Parij, és que tu estic en la assistència davant de tu, Santori Whiskey, al teatre, entens-te? I en sentint-te a la botela de whisky, posa una motió en... com a com a gent, i sentint-te a la càmera i gent, com si es viu un home, entens-te? Com a boge, com a Confridà Bogeart, Santori, i en el tècnic, el seu corporat és de la mateixa manera de fer-ho. SPO, el meu d'enixement, és un dilluns que deia que Vaig estar més bé, però era el suforники del dilluns, que va ser de la mateixa manera de fer-ho. Tens un cop que va ser una cosa de dos milions d'euros, i hi ha una cosa, que s'ha de trobar, es va considerar per què el seu dilluns amb intensitat. I llavors hi ha una gran passada, i la filla diu que ella transmet una o dues setmanes i diu que és allò que s'ha sentit. Però el que ella diu és que no és només whisky, sinó que és com si anéssim a un viell amic, perquè whisky és matura, com una relació matura. I llavors, gentllament, de la màquina de la teva raó, com si alguna cosa t'hagués de mantenir la passió. T'agraeixis la whisky, i com si es facés a fer una尶 de bodac? D'acord? I llavors... I llavors, veus? I llavors, divide-te. Medit structure. I llavors, veus? I llavors, veus? Ja, en torno a ser pitjor. I llavors, el sentit de la castigua en la teva voz. Això no és només un ordre de menjament. Un sentit expressat de ser en una situació castigua o de setmana. I ell diu, prepara-lo, la càmera de la gent comença, i després, quan veus l'endemà, ell comença a escoltar-ho, i ell diu, estigueu, estigueu. Tu no pots fer-ho d'acord, tu no entens, ets tu, tu ets la stupida, oi? Així, això és el que passa en aquesta... La cosa interessant en aquesta situació és que per a aquests que no eren japonès speakers en l'audiència, crec que és una bitta majoritari. Tu probablement fes-te una mica com en la situació de Bill Murray. A més a dir, en parlant una mica de llangüit, tu ets un sentit d'ajustament. És l'interpreter qui ha tingut l'anocli d'aquest resorç que és llangüit. I tu ets dependent de l'interpreter de Bill Murray en l'audiència. Què és interessant a mi en aquesta escena és que, si tu vols extractar tres elements d'això, una és que el que hem de fer en aquesta escena és completament reversa a les representacions stereotypícules d'orientals en l'anglophone d'anglophone d'anocli. A més a dir, la representació molt comenta d'orientals en les qüestions, són les qüestions d'inscrutables orientals. Que és impossible de rebre el que es pensaven de les expressions. És molt estereotípica amb aquesta imatge. Però el que podem veure aquí és que les persones que són, si ets excitable i molt expressiva, són els characters japonès. I les persones que són flanquant i inscrutables són els de l'interpreter de Bill Murray, que ens mostra una certa informació, però que es mantingui a un extent inscrutable. A un lloc on el que és fent és fer un particular estereotip, com que la farmània és al lloc on es veu les mans i fa estranyes, però a un altre lloc, és on demanar un particular estereotip de representació d'orientals. El segon, i això més sensualment relaciona a la transició, és la manera en què, si ets aquí, hi ha, a la una banda, l'interpreter és la persona que exerce el millor degree de control, perquè el que ella intenta fer és mediar entre el director, qui és molt emocionant, treballat i molt chargat, i el character de Bill Murray, que és molt reservat, en una qüestió. I ella és constantment, ella intenta menjar o negociar una posició difícil, perquè ella, de course, és un agent embolicat. La recepta de punt i la producció de punt són happening en el mateix lloc i temps en aquest particular estereotip. Però el que és interessant és que el que crea la gran dificultat en aquest escenari és precisament comunicar emoció. Recordo el que ella es diu, intensitat, emoció, intensitat, però és trying to capture that particular emotion or intensity is the most difficult, and this brings me, if you like, on to the third point, because this is where, if you like, what we're trying to communicate is embedded in the culture. Bill Murray's fundamental problem is that he does not understand the cultural resonance or importance of Santori Whiskey and Hibiki as one of the whiskeys in the Santori range. In other words, something that's extremely prestigious in Japanese culture and becomes totally opaque to Bill Murray. So the kind of that notion of maturity, of prestige, et cetera, and if you think of the importance in the globalized world of brands and the emotional resonance of particular brands, then you see how this relationship between cultural resonance, emotional resonance and translatability becomes quite fundamental. Because what we get in this particular scene where they're doing this avertisement is almost like a vignette of the entire film, because what's happening in this particular scene is we see an American in Japan who seems to be in a world that he can recognize to some extent is the world of advertising, cinema, TV production, these things that seem to be part of a kind of global technological culture. But very, very quickly he runs into a kind of an opacity into points of translation difficulty which are to do with the culture in which he finds himself. And it's the translation or the interpreting scene which is the most effective way of highlighting the way in which, to some extent, one of the central problems in globalization is people wanting, if you like, the joies of connectivity without the pain of connectedness, the kind of labor that the translator or interpreter has to engage in. Another film which came out two years after Lost in Translation was the interpreter. This didn't have the same kind of success as Lost in Translation and probably for the very good reason is that it wasn't... The plot was extremely... It was quite complicated and it wasn't terribly credible for various levels. But what kind of interest me is again the fact that you've got a major Hollywood film that has an interpreter as the central character. The Nicole Kidman character, she plays the role of I'm going to call it Sylvia, a room who, one night, working in the... She goes back to the fact her belongs in the UN and she overhears in her headset somebody having a conversation where she claims they are plotting to kill the prime minister or the leader of a country called Moboto which seems to be loosely based on Zimbabwe. So an uncle, Edmund Mouane, who is the leader of Moboto, so she then goes and tells the UN security people about this plot. Now what then happens is, and of course, almost inevitably, is that she becomes an object of suspicion. The FBI wants to know why she's making this complaint. It's a way in which very often in any kind of detective novel they will tell you that it's often the person who reports the crime who is in fact the main culprit. And this is why, as you can see, time and time again. When these FBI want to find out who is the Sylvia Brune? So they check with UN security and until she's born in the United States, she grew up in Africa. She's a British mother. She's a quite African father. She studied music in Johannesburg. She studied linguistics in Sorbonne. And if that wasn't enough, she went off and learned several languages in different European countries. It's a bit exhausting. You probably feel you have a long way to go before you become a qualified interpreter for the UN. But what's interesting is the head of security in the UN says she is the UN. In other words, the Sylvia Brune is the quintessential embodiment of the UN with its diversity of cultures, languages, and so on. But then something happens which, if like, is interesting from our point of view, is that ultimately it does emerge that she is involved in or she has been involved in military resistance to the Moana regime that she's not quite as neutral as she claims. And so the FBI and CIA et cetera get more and more interested in her. So the question that the detective, Sean Penn, he asks is who is she? I want to know more about this woman. And then at one point she goes missing. And one of his colleagues then trying to find out who she is, they keep coming back and saying nobody seems to know this woman. But she seems to be kind of sort of an inscrutable figure that nobody seems to have a really detailed good knowledge or acquaintance with her. But what's interesting, if you think about it for a moment, this is a woman who is multilingual who has lived in different places although she is if you like somebody who's a European parent she's very assistant the fact that she is African very proud of her African identity, white African identity that she is someone if you like, who is the reason that people say that she's difficult to know or who is she is that she upsets conventional expectations. She can't be put into one particular box as a woman behaving in a particular way or as a white adult part of a European centre behaving in a specific way or linguistically sticking to one language and one place. She's somebody who sort of moves around between all these different things and we could say of course that this is characteristic of every single person in this room there's not one person in this room who is monolingual I would hazard a guess the majority of people in this room has spent periods of time elsewhere family connections with other parts of Europe and the world and this of course is the default condition of humanity the majority of human beings on the planet speak more than one language have different cultural allegiances and what in fact the character Silvia Roon is suggesting as a kind of representation of an interpreter is that the person of the translator of the interpreter is in some ways not so much an exceptional being there are of course exceptions but they are unexceptional insofar as that most beings on the planet have kind of composite identities both linguistic and cultural and that what translators and interpreters bring to form make explicit is what is implicit or latent for many people in our global age one of the things that happens very early on in the film when Silvia Roon is being interrogated by an agent he wants to know what does she actually think of this guy and he says to her would you prefer if she was gone and that's the word that he uses and she says yes I would prefer if he was gone and then he says you mean dead and then she says dead and gone are not the same thing if I interpreted dead as gone at the UN I would be out of my job tomorrow morning and Ketter has enabled the police detectives to stop playing around with words that's just kind of words play and she says words and compassion are the better way even if slower than the gone so words and compassion are the better way even if slower than the gone and for example a little later on in the film she meets somebody who is the leader of the armed resistance to Roon's regime in Boboto and he says what are you doing now so I'm working as an interpreter and he says oh the United Nations layers of languages signifying nothing so he thinks like a police detective this is all just words if you like all the kind of personal tragedies in her life and this is the scene which opens the film her brother gets killed gets assassinated is her brother is compiling lists of names of people who have been killed by the Boboto regime and when there are children he used to compile lists of exotic and interesting words and as adults what the brother is doing he sees compiling the lists of all the victims of the regime one of the things that he's doing is he's breaking a tabú in the Boboan culture which is you should not name the debt it's the same in Irish Gaelic culture it was considered to be a bad love to mention the name of the debt person but what he's doing is he's breaking this tabú and he's naming the debt but what Roon is suggesting to Ketter what she suggests to the leader of the armed resistance who has been killed is suggesting that words and language are important termological accuracy is important debt and don are not the same thing and she says at one point that if we don't take care of language language will take care of us in other words we will become victims of a language that will be used in an exploitative and coercive way by others I think you can see that what she interpreted in this film she's handling language at the end she does resort to a gun in her early life she did but she's talked out of the use of the gun so words if you like ultimately carry greater weight so what the figure of the interpreter or the translator is suggesting is that language is the essential precondition and context of compassion and of course I suppose it goes without saying that this is happening or this film has been made against the backdrop of what was happening in Iraq there are many many other examples in recent cinema of translators and interpreters for those of you who have seen the Steven Spielberg film Munich when it looks at the assassination of the Israeli athletes in Munich in 1972 the first person of the Assad squad go to hunt down the people who are escaped who are a part of the assassins what's interesting is the very first two people that we get to meet who are assassinated by the Assad squad the first person becomes the Italian translator of a thousand and one nights he's the translator of the Arabian nights the second person who is assassinated is the person who works as the interpreter for the PLO militants when they finally go to, I think, Tunisia after they escaped so again and again and again we get the figure of the translator or the interpreter who are offered to us, if you like as central figures in these films what I'd like to do is to advance for reasons for why, I think not only is this so now but why it's going to continue into the future and why it's very important it seems to me that when we study translation and interpreting we look not just as translations as agents, as subjects but as objects of representation the first it seems to me relates this concept which we use a great deal at these times which is that of globalization one of the greatest difficulties presented by globalization is the problem of identification and the problem of empathy in other words if we talk about globalizing forces whether they be political whether they be financial whether they be military if you're talking about something happening at the globe internationally the more extended these systems are the more abstract they become the more difficult it becomes to actually get any proper understanding or feeling for what these globalizing forces are and this is where the translator and the interpreter are so crucial in hollywoodian and our argumentative strategies of representation because what they do is to see how global forces whether they be military whether they be financial whether they be cultural operates through the agency of one particular individual in other words by seeing their lost translation a concrete embodiment of cultural difficulty and attempts at cultural exchange it allows one to have a much more direct experience or an attempt to understand what is happening with respect to more abstract systems so if you like what is true for a narrative kind of basic principle that it's easier for reader to identify with specific individual characters is also the true intent to if you like understand greater abstractions as they relate to globalizing systems of one kind or the other the second is to do with what I call dual valency and what I mean by dual valency is the notion that one of the great difficulties in all translation exchange and indeed in cultural exchange is on the one hand we often think of emotions as transcending language barriers for example even though we might understand Japanese we seem to sense that the director is very bothered is very annoyed is very troubled by what the actor is doing so we kind of feel that there's almost a universal emotional language it's one of the reasons for example why when people are trying to communicate with some other language and we don't quite understand what they're saying look at what people do unfortunately in the Anglophone world we just tend to sort of start shouting to raise our voice the idea being that if you shout louder you're going to be... there's actually a good reason though for that is when you shout you speak more slowly and you articulate better so there's a certain kind of reason is that people grin they are going to grin the idea being that situations of non communication if you think of all the science fiction movies that are ever seen when people come down these big strange languages it's usually a sign that you're in trouble the next thing they're going to start producing radons or you're going to disappear so the notion of smiling is to if you like say I come in good will I mean you good will I might understand what you're saying or I might have difficulty communicating but I mean well so what we're doing there is we're supposing that there's a kind of universal language of emotion but one of the things that's most difficult this is what Sylvia Brum finds in The Interpreter this is what our young Japanese interpreter finds here in Austin translation is that the most difficult thing of all to communicate is emotion and it's often because of emotional misunderstandings that we get tragic consequences like Sylvia Brum, one state says you know when she's talking she meets a man called Lilz Lud who is the head of security services of Moane Moane is coming to the UN to speak and he says why did you leave Africa to go to the UN and he says well I wanted to do a bit of quite diplomacy and he says but with respect you're only an interpreter and she says but countries have gone to war with each other because they've often misinterpreted what each other said that was one of the reasons for the outbreak of the Fressel war was the misinterpretation of all the telegram another from Japanese translation history one of the arguments is the Alan Bong might not have been dropped if a particular word had been translated appropriately from Japanese into English and vice versa so there is a certain element of truth in that historically it's what she's suggesting is that in translation we have both emotion that seems to go beyond language but yet one of the things that translators are most difficult to deal with is precisely that thing that will not go beyond language which is emotion the third element is what I call triangulation triangulation is the one of the things that's happening unfortunately in contemporary politics is a tendency to set up polarities in the world between what's called the Jihad versus Mac World or Samuel Huntington talks about the great clash of civilizations so you've got Islam on one side some notion of Christian west on the other sometimes it's the Asian world that's held up et cetera so there's all these kind of polarities what the English critic Jillian Rose has suggested is that when you get two opposites two polarities if they head to each other they would of course there would be impact and there would be an explosion the only way to avoid impact between two polarities is the two from having a head on collision and this is the work of triangulation triangulation is diplomacy triangulation is cultural variation but triangulation is also translation so one of the things in an odd way for an interesting way that certain kinds of Hollywood I'm not talking about art but mainstream cinema is trying to suggest is to look at the possibilities the necessary possibility of triangulation in a world of dangerous by polarity and finally and this is perhaps to finish up on a rather ambitious point and it's to do with the fact that one of the reasons it seems to me that the translator as an embodied agent is central as an object of representation in contemporary cinema is the shift from epistemology to ontology what I mean by that is that it's whereas before you would make films about other places to show you what other cultures were like what was like to go around the city of Paris or Amsterdam or Barcelona or whatever so you're getting to know other places and other cultures so this would be epistemological increasingly it seems to me what's happening with the translator is we're having an ontological perspective in other words what's like to be a particular person in a specific place at a specific time and that one of the things in trying to move towards a better world for people to live in a better place for people to live in is to recognize the fact that the vast majority of people on the planet do not move 85% of the world's population do not travel outside 27 kilometers of the place in which they were born this is despite all our talk about movement and migration so people are affected in their daily lives in specific places in which they live they enjoy things they suffer and they die and that by if you like making the ontological perspective central, making the figure of the interpreter somebody who is embodied we get a much more accurate and a much better vision of what it is like to be human being in our global age so many thanks for listening to me this afternoon and I hope very much I've been doing some work on the Star Wars trilogies and I hope you haven't felt that you've spent too much time listening to the dark side of the force i canton, for discussion and conversation for talking this evening Thank you professor you, for for moving news I hope I applause yes for the applause Deixeu dir-vos alguns mots per acabar aquesta acta i per cloure aquesta acta en nom del rector i de la universitat i senyalar breuament alguns objectius de la universitat pel que fa a la recerca i per què fa a la docència en el qual la vostra facultat també està implicada i participa. Sabeu doncs que tenim en aquests moments pel que fa a la recerca tres objectius clarament definits que són la recerca que es fan al parc de recerca biomèdica com a gran centre de biomedicina, el que es farà també a l'Acalarañó, en el districte 22 Arroba, sobre la recerca en comunicació i les noves tecnologies de la informació i també el nou centre de recerca amb humanitats i ciències socials en els quals jo crec que la vostra facultat també hi té molt a dir. I pel que fa a la docència, recordar que estem en plena reforma, ja ho ha dit el Degà en el seu discurs anteriorment, d'apostar per l'espai europeu d'ensenyament superior i, per tant, atès que ha desaparegut els catàlegs de titulacions, ens toca ara, en aquests moments, procedir a la reforma dels plans d'estudi i confegir amb tota llibertat i autonomia, però també amb tota responsabilitat el nou pla d'estudi que, com ha assenyalat el Degà, ha començat a funcionar a través de la correspondent comissió. També, en aquest sentit, tenim gran interès en què els graus siguin segits d'un posgrau que el qual ja ha començat, encara que paradoxalment ha començat abans del posgrau que el grau, però en el qual la mobilitat dels estudiants sigui un referent i també la internacionalitat. I aquí també, vosaltres, ha sigut pioners en aquest punt, la importància de conèixer altres cultures, altres llengües, altres països, tant pel que fa anar d'aquí cap allà com els de ja venir cap aquí i conèixers a nosaltres. També permeteu-me recordar que un altre dels objectius que té aquest rectorat és el del multilingüisme, apostar per una política de multilingüisme a fi de que se vagi avançant mica en mica i que sigui possible que a la Universitat Bonpeufabra, dintre de poc temps tothom pugui utilitzar a menys tres llengües, si no més, i no s'osament d'on està. I ja per acabar, si em permeteu per afrejar a Pau, en la seva epístola, als corins, que senyalava que l'esperit era un, però que els dons eren diversos pel bé de tots. I entre aquests dons, que hi havia de la paraula profunda o el de saber desglossar la veritat, també hi afegia el do de coneixement de les llengües misterioses i de la seva interpretació. Bé, vosaltres, com a facultat, teniu aquest do, teniu aquesta facultat de la traducció i de la interpretació, i jo us deixo ara que pel bé de tota la Universitat, aquest curs 2007 i 2008 de la facultat d'interpretació i traducció de l'UPF, que de clar i inaugurat, sigui ben fecund i molt satisfactori per tots vosaltres. Moltes gràcies. Se checa l'estació.