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special feature: machine translation Counter Counterpoint point erpoint Counterpoint • No.4 • 2020 CEATL’s European Literary Translators’ E-zine
Counterpoint • No.4 • 2020 Contents From the editors 3 My three languages: 5 The political backdrop of a Polish translator’s career Hanna Jankowska Mad about graphs: 10 CEATL examines Europe’s literary translators’ working conditions Claudia Steinitz & Miquel Cabal-Guarro special feature: machine translation & literature Literary Machine Translation: 14 Are the computers coming for our jobs, asks James Hadley Duel with DeepL: 19 Literary translator Hans-Christian Oeser on machine translation and the translator’s voice CAT tools – the literary 24 translator’s new assistant? Katja Zakrajšek shares her experiences of working with MT 1
Counterpoint • No.4 • 2020 Less room for engagement: 26 Researcher Waltraud Kolb on literature and machine translation The future relationship of 28 literary translation and AI Reflections from CEATL president Morten Visby out and about 32 From Romania to Belgium: Seven questions to Doina Ioanid and Jan H. Mysjkin notes from around europe: sweden 35 A long and sometimes bumpy road Swedish literary translators from 1893 to the present day Lena Jonsson me and my dictionary 38 Variants – a lucky break for languages Jacqueline Csuss CEATL’s Click List: 41 Links to the world of translation 2
Counterpoint • No.4 • 2020 From the editors While preparing this new issue of for quite a while experienced the radical Counterpoint, a fascinating book came changes machine translation entails. to mind: the facsimile of a 12th-century When it comes to the translation of manuscript, written in the region that literary texts, the question of how used to be called Upper Mesopotamia. useful machines could be has for a In this text the author, İsmail al-Jazari, long time been met with cynicism. who some believe was a source of But recent developments show that inspiration for Da Vinci, describes and machine translation could very well draws a large number of mechanical become part of a literary translator’s devices he invented for daily use – a life in the not too distant future. hand-washing automaton with flush mechanism for ritual ablutions, a boat What would that be like, what would with machines that look like musicians it entail? Would it be ‘game over’ playing the saz, a servant filling your cup for literary translators? Will they whenever your drink is about to run out. be turned into high-end editors, correcting machine-produced errors? Machines doing work for human beings Will translators still be able to engage have stimulated human imagination with the author’s voice in a text in the for a very long time. And just as much same way as before, when there’s also as machines have been the subject the machine’s voice to be dealt with? of desire, they have also invariably What about the copyright of translators been approached with caution. What when a machine does part of the job? if their effects turn out differently to what had been envisaged? Five contributors raise these and other intriguing questions in the As literary translators, we might be special feature of our fourth issue: confronted with a game-changing machine translation and literature. machine sooner than we thought. Colleagues who (also) work as James Hadley, researcher at Trinity commercial translators have already College, Dublin, describes the 3
Counterpoint • No.4 • 2020 developments in machine translation that have taken place since the 1940s, and he clarifies the different principles that guide programmes such as Trados and Memo-Q on the one hand, and programmes working with neural systems like Google Translate and DeepL on the other. Two translators, Hans- Christian Oeser and Katja Zakrajšek, who have actually used different types Hanneke van der Heijden is a literary translator of machine translation to translate and interpreter from Turkish into Dutch, literary texts, share their experiences. and writes about literature from Turkey. Researcher Waltraud Kolb is conducting an experimental study on decision- Photo: Private Archive making in literary translation, and here in Counterpoint, she discusses her first results on differences in the cognitive processes involved in translating literature and in post-editing a machine- produced translation. And finally, Morten Visby, president of CEATL, reflects on the attitude among literary publishers towards machine translation and, among other things, the effects it might have in the domain of authors’ rights. Anne Larchet is a freelance interpreter and translator from Spanish to English. But there is more. In addition to our special feature you’ll find other Photo: Martin de Haan stimulating contributions concerning developments within CEATL, and the world of translators at large – from the benefits of a dictionary of variants in German, to the political backdrop of the career of a Polish translator. We hope you enjoy reading Counterpoint’s latest issue and, as always, welcome your comments and suggestions at editors@ceatl.eu Juliane Wammen is an award-winning Hanneke van der Heijden, literary translator from English, Anne Larchet and Juliane Wammen Norwegian and Swedish into Danish. Photo: Tim Flohr Sørensen 4
Counterpoint • No.4 • 2020 My three languages The political backdrop of a Polish translator’s career Hanna Jankowska I sometimes wonder if I still have the the Soviet Union”, supported the Arab right to call myself a translator of countries. The declared and obligatory Arabic? Yes, I graduated from Arabic political support, however, did not go studies at Warsaw University, and for hand in hand with the dissemination nearly 20 years I worked as a translator of information about these countries. and interpreter of this language (not I wanted to know what the Middle East every Oriental studies graduate was so turmoil was really about, to read the lucky).I mention three languages on my press and literature from the rather CV: Arabic, English, Russian, but for the unknown Arab side, to understand last 25 years I have rarely translated it and to present its arguments. And from Arabic. Since 2000, I have only to do so, knowledge of the language translated two books, one of which is was essential. So, I started to learn on waiting to appear in print (My Name my own with the Teach Yourself Arabic Is Adam by Elias Khoury) and several tutorial, a mimeographed textbook poems by an Iraqi poet, Hatif Janabi, for language courses and the Arabic- who happens to be my colleague. More Russian dictionary by Baranov. By the often I do fact checking of books about time I started my formal studies I could the Middle East for various editors. read a simple press article. The Arab press available at the time in Poland was I probably would have stayed with the weekly Al-Akhbar, an organ of the my profession as a translator of Communist Party of Lebanon, which had Arabic if it had not been for the quite a good cultural section. This is how changes in our part of the world. I became acquainted with the poetry of the Palestinian resistance movement, It was not the fascination with the exotic which fascinated me, and these were that brought me to Arabic studies, not thus my first exercises in translation. Arabian Nights, not an interest in Islam, but political events. In the six-day war of While still a student, I managed to have 1967, Poland, as well as other countries some translations of poetry published from the socialist camp “headed by in literary magazines, but my real 5
Counterpoint • No.4 • 2020 “By translating As it turned out later, my first three translated Arabic books were among the Arabic literature, first 15 of the best hundred Arab novels selected by the Arab Writers Union. The third was Zayni Barakat by Gamal Ghitani I hoped I would published in 1990. Shortly afterwards, I also completed the translation of this break entrenched author’s second book, The Zafarani Files, but PIW abandoned its publication for stereotypes of financial reasons. State funding was over. English taking over the Arab world” At the beginning of the 1990s, not only political but also cultural priorities changed. Private publishing houses which mushroomed at that time tried debut did not come until 1984: Beirut to make up for lost time in presenting Nightmares by Ghada Samman. The world literature to Polish readers. And book was very important to me, because “world” at that time meant mainly a few years earlier I had worked as an Anglo-American. The book market was interpreter for a group of wounded flooded with crime novels, thrillers, victims of the Lebanese Civil War who had come to Poland for treatment. Listening to their stories, I felt sorrow and helplessness. When I found out that such a book had come out, I did my best to get it. I proposed it to the Państwowy Instytut Wydawniczy (PIW) publishing house which had greatly contributed to the promotion of world literature in Poland (it had published the full edition of Arabian Nights and the first modern translation of Quran). The next book was offered to me by the same publishing house, and it too was a book of my dreams: The Secret Life of Saeed the Pessoptimist by Emile Habibi. A professor of Arabic studies, who had reviewed it for the publisher, declared it to be untranslatable due to its language full of puns, the local realities unknown to the Polish reader, and so on. But I dared to do it, and the book was received very well by Copy of the old Baranov dictionary reviewers in literary periodicals. Photo: Hanna Jankowska 6
Counterpoint • No.4 • 2020 tear-jerkers, pop-psychological guides – all those kinds of books that “Reading crime stories […] I had been unwelcome in communist Poland. As one translator of Swedish, who unsuccessfully tried to persuade publishers to publish translations of Swedish literature, put it, “Polish discovered a lively publishers firmly believe that God speaks English”. Even today, translations modern language that we were not from English account for around 60% of all translations of foreign literature published in Poland, and according to various estimates translated books account for 26-40% of the book market. taught at school” In that strange chaotic period at the had some connection with my beginning of the transition there was specialisation – a friend of the editor such a demand for translators from who was looking for a translator for English that many people with various Not Without My Daughter by Betty language skills tried their hand at Mahmoody remembered that she knew the profession. Some have proven someone who had graduated in Oriental themselves as literary translators, others studies. (Iran – Iraq – apparently that have not. I tried it, and I succeeded. didn’t make much of a difference?). My first translations from English Together with my late friend Grażyna Gasparska we translated the book under a pseudonym. The second one, about oppressed Saudi princesses, which was also a co-translation with Gasparska, I do not even want to mention. I am not proud of those translations, being aware that I have contributed to the consolidation of the orientalist stereotypes that I so wanted to fight against. Fortunately, no publisher asked me again to translate books of this kind (and if they did, I would refuse). Having no background in formal English studies, especially in English literature, I did not dare to translate English fiction. In my work with Arabic I focused on language, style, cultural background, etc. In working with English, which I consider a kind of contemporary Latin, the subject matter is important. I was (and still First page of Teach yourself Arabic am) lucky to translate books on themes Photo: Hanna Jankowska that interested me. I found fulfilment 7
Counterpoint • No.4 • 2020 in translating non-fiction literature, essays, biographies, travelogues. After several years of dealing only with Middle Eastern issues it seemed to me that new worlds were opening up to me. I cannot but be proud of acquainting Polish readers with the books of such distinguished authors as Benjamin Barber, Richard Sennett, Naomi Klein, Alberto Manguel, Michael Walzer, Tony Judt and others (perhaps it was a kind of compensation for my unfinished PhD thesis in political science). A sense of mission Until the mid-1990s it seemed that Arabic literature would disappear irretrievably from the Polish market. But this did not happen. Poland turned out to be the only East and Central European country where more books translated from Arabic were published after the transition than before it. For example, in the early 2000s the Smak The Polish translation of H is for Hawk Słowa publishing house published Photo: Hanna Jankowska several translations of modern Arab prose. Nevertheless, translations from bluntly: if someone wants to do this Arabic represent only about 0.09% work, they must have another source of all translated books in Poland. of income, because they can’t earn a living from translation. English has I remember that in my youthful naivety enabled me to become a freelancer I had a sense of mission: I hoped that and a full-time literary translator. It by translating Arabic literature I would gave me the freedom so that I, in the break entrenched stereotypes of the Arab mid-1990s, was able to leave my job world. Now I am aware that in the reality at an Arab embassy in Warsaw where, of the present book market original due to the dwindling political and ambitious literature can hardly compete cultural relations, my work had become with sex-and-violence thrash books rather pointless and unsatisfactory. on oppressed Muslim women and bad terrorists. But its presence is important, Missing the Russian melody and it is available for these who care. As for Russian, that’s another story. I have always had a sentiment for this The majority of the few Polish literary language, for its melody, for Russian translators from Arabic have been poetry, classic novels and songs. At and are academic scholars. To put it the beginning of the 1990s, access to 8
Counterpoint • No.4 • 2020 Hanna Jankowska is a literary and audiovisual translator of Arabic, English and Russian into Polish and has translated about 90 books, mainly non-fiction, and dozens of documentary films. In 1997 she received the award of the Polish Translators’ Association for the translation of The Clash of Civilizations by Samuel P. Huntington. Jankowska has a MA in Arabic studies from the University of Warsaw and is an active member of the Polish Literary Translators’ Association (STL). Hanna Jankowska. The text on her T-shirt is one of the slogans of STL: “Love translators!” Photo: Iwonna Natkańska Russian culture was practically cut off, Publishers remember me when they look which was quite a natural reaction to for translators of books by Arab authors forced love for the Soviet Union. I missed who write in English (Anthony Shadid, it – not the USSR but the culture, of Hisham Matar). My old fascinations course. I borrowed Russian books from have faded, but still there is one book a rental shop in one of the booths of I would love to translate. It is Fadwa Jarmark Europa, the giant bazaar in Tuqan’s autobiography A Mountainous Warsaw Stadium. Reading crime stories Journey that enchanted me many years by Marinina and Dontsova, I discovered ago. Maybe someday I will have a chance a lively modern language that we were to present it to Polish readers … not taught at school. After several years Russian films returned to some new TV channels and my refreshed Russian turned out to be of use when I was asked to translate feature films and TV series. Have I completely moved away from Arabic literature? It’s hard to tell. I do not follow its recent developments as carefully as my colleagues in the Academia do but I keep up with its publications in the Polish book market. From time to time I translate poetry. 9
Counterpoint • No.4 • 2020 Mad about graphs CEATL examines Europe’s literary translators’ working conditions Claudia Steinitz & Miquel Cabal-Guarro “I’m mad about graphs and statistics” time, one survey was formulated for Miquel states, to which Claudia adds “I all translators in Europe – association put my whole life into Excel files”. And members or not, full-time or part-time a good thing too, because these are translators, experienced colleagues well-needed qualifications for entering and newcomers – in 25 languages. In the CEATL working group on working order to get the broadest response conditions. Of the six working groups possible, CEATL representatives CEATL currently has, it was the first in all member associations had to to be created, in 2005, with the aim convince their members and other of collecting facts on the general and translators in their countries using financial situation of literary translators good arguments. It’s always difficult all over Europe. In 2008 it published to get people to talk about money… a first ground-breaking report on the catastrophic income situation of Working conditions after Covid-19 literary translators in 23 European Out of 3700 responses, there were countries and regions. In 2012, the group almost 2000 complete answers. carried out a survey on the visibility of Currently, the Working Conditions literary translators as authors of their WG is sorting, coding and translating translations. It included questions collected data in order to begin to about naming the translators in the evaluate the results. The answers on translated books as well as in reviews general questions, e.g. about age and on radio and TV or in newspapers. experience, show that all categories mentioned above are represented in The most recent survey on income in the dataset. Here are some graphs all CEATL member countries took place summarising the general questions: in May and June 2020. For the first 10
Counterpoint • No.4 • 2020 Figure 1: Years of working experience Figure 2: Full or part-time work as literary translator Figure 3: Age of respondents Figure 4: Number of translations published 11
Counterpoint • No.4 • 2020 As it was (and still is) quite a special year, The responses about translation fees, last-minute questions about the initial royalties, subsidies and prices, which consequences of the COVID-19 crisis in form the greater part of the data, Europe were included. Questions asked will be evaluated and summarised were: if the crisis affected translators in by the end of 2020, when it is hoped their work, if they had a lower workload, the final report will be published. if deadlines of existing contracts were re- negotiated, and also if they were able to How the data will help translators concentrate and work under the stressful The results of the surveys on working circumstances as well as they did before. conditions are used for different purposes: Firstly, CEATL needs this data for lobbying the EU institutions for “Last-minute better working conditions, more grants and subsidies for literary translators and publishers, as well as for more authors’ questions about rights, public lending rights and cultural recognition and visibility. Secondly, we the initial want to make data available to national funding organisations which promote consequences of their national literature and therefore fund translations into other languages by translators in other countries. This data the COVID-19 could be very useful to the “European network for translation” (ENLIT). crisis were Finally, every member association of CEATL can use the data for their own included” policies and lobbying and for comparing their situation with other countries. Nowadays, speed becomes ever more The answers show that in May and important. That’s why we are thinking June about 30-40 per cent of the about new ways of collecting data respondents experienced delayed via shorter and quicker surveys and payments, postponed contracts or reporting the results on CEATL’s contracts put on hold, re-negotiated website, our national translators’ deadlines, and loss of expected income associations’ websites as well as on from literature-related public events. Facebook, Twitter and in this e-zine. 12
Counterpoint • No.4 • 2020 Miquel Cabal-Guarro is a literary translator from Russian to Catalan. He has a PhD in Linguistics and currently teaches Translation, Linguistics and Russian Literature at Barcelona University (UB), Pompeu Fabra University (UPF) and the Open University of Catalonia (UOC). He is a board member of the Catalan Writers‘ Association (AELC) and is their delegate in CEATL. He is one of the two vicepresidents of CEATL. Miquel Cabal-Guarro Photo: Elvira Jiménez Claudia Steinitz has been translating literature from French to German for 30 years. She was one of the founders of Weltlesebühne e.V., an association which brings translators onto the world stage and promotes their public recognition. She was awarded the Jane-Scatcherd-Prize for translation in 2020. Claudia lives in Berlin and is the CEATL delegate of the German association VdÜ. Claudia Steinitz Photo: Guido Notermans 13
Counterpoint • No.4 • 2020 special feature: machine translation and literature Literary machine translation: Are the computers coming for our jobs? James Hadley In the wake of the second world of machine translation would be fully war, experiments in machine solved within three to five years. translation began. In 1947, American mathematician Warren Weaver laid Multiple exceptions to language rules out in a memorandum his vision for Rules-based systems, comprising how digital computers might be used bilingual dictionaries, along with to translate human language. Earlier logical rules for how to handle the in the decade, a series of computers, textual information were based on the including the Bombes and Colossus had traditional language teaching methods. been used by the Allies at Bletchley Park However, as anyone who has learnt a to decode Nazi messages. By comparing second language knows, language rules translation to decoding, it was not a tend to come with multiple exceptions, great leap of imagination to conceive meaning that these systems quickly of machines being used to render became unwieldy, slow, and plagued with messages from one language to another. errors. In 1966, the Automatic Language Processing Advisory Committee During the 1950s and early 1960s, concluded that despite significant research devoted to creating machine investment, machine translation translation systems, primarily of the systems were not likely to reach the English-Russian language pair, was same standards as human translators in seen as a national security priority on the near future, and that efforts should both sides of the Iron Curtain. One of the be moved towards developing tools to most notable events of this decade was assist translators, what later came to be the 1954 Georgetown–IBM experiment, known as CAT tools, such as Trados. in which the automatic translation of more than sixty Russian sentences into Thus, for over a decade, machine English was carried out by a rules-based translation research in the US slowed system. This experiment was seen as to a crawl. However, it continued in such a success at the time that it was other countries, with the focus falling confidently claimed that the problem on a very small number of languages, 14
Counterpoint • No.4 • 2020 such as English and French, as in the data, they can produce translations case of the METEO system used in that are indistinguishable from texts Canada from 1977-2001 to translate produced by human translators. weather forecasts between the country’s two official languages. Around the So, is it game over for the human same time, rules-based systems were translators? Well, no. being replaced by statistical machine translation (SMT) systems, which did not rely on manually coded rules, but “Authorial on large corpora of parallel sentences which a computer uses to produce new translations. These systems originally styles are not worked word-by-word, and later came to work phrase-by-phrase. Thus, they necessarily work relatively well for high-resource, relatively similar languages pairs, transferable” where the huge number of parallel sentences required to build the corpora While neural systems are extremely are available. However, in the case of effective at translating certain types of languages with substantial differences texts, especially those of a formulaic in word order, or a limited availability of nature with short sentences, they are still parallel data, they tend to fair less well. very restricted in terms of what they can do well. This is because of technicalities Statistics versus neurons that underlie the systems. In order to By 2014, these were being superseded train a system, a large corpus of parallel by systems using neural machine sentences is required, and the system translation (NMT). These also rely on will perform better when it is trained large corpora of parallel sentences in on the kinds of sentence that it will be the two languages under consideration. asked to translate. For example, a system However, neural systems are modelled trained on parallel sentences all taken on the way that neurons communicate from car manuals will likely perform in the human brain, where many very well at translating car manuals, and small processes are brought together less well at translating cookery books. to create the final product. So, they Getting past this issue is not as simple depart from statistical systems in that as just training a system on every kind statistical systems use their corpora as of text, because the machine has no way the ingredients for their translations, of distinguishing which kinds of text it is whereas neural systems use their corpora trained on and dealing with in any given effectively to learn how to translate for instance. Therefore, training a system themselves. These newer systems tend on a wide range of text types will likely to produce translations more quickly and mean that the outputs for any of them to a much higher quality – to the extent will not be as strong as if the system were that if they are given enough training trained specifically on any one of them. 15
Counterpoint • No.4 • 2020 Millions of parallel sentences Even though they are both kinds of This problem is not particularly grave poem, a sonnet is very different from when it comes to most technical texts, a limerick. Even though they both fall because the writing conventions that into the fantasy genre of novels, Harry govern cookery books are not a million Potter is very different from The Lord miles away from the conventions of the Rings. The problem for machine governing car manuals. So, while a translation systems is that for much system trained on all sorts of technical literature, authorial styles are not texts may not, statistically speaking, necessarily transferable, and there is no perform as well as a system trained precedent on which to build a system. on only one, the difference is often Whereas there may be many parallel not so great as to cause serious issues. examples of contracts, for example, in The same cannot be said for literature, the two languages with which a system however. In literature, not only are can be trained, how is it possible to say the writing conventions substantially what is the parallel of Dante in Swahili, different from many technical texts, or Tolstoy in Vietnamese? The nearest these conventions differ substantially thing we could come up with would between authors, time periods, be a human translation of Dante into genres, and forms of literature. Swahili, or Tolstoy into Vietnamese. But a training corpus needs millions of parallel sentences to work effectively, which might work out as hundreds of books - many more than any one author is likely to have produced during their career. And practically speaking, if human translations for all these texts already exist, what is the point of training a system to translate the same texts in the same way again? A corpus won’t help with text style It may be tempting to think that authorial style is not the end of the world. Surely, the “meaning” is what counts first? Well, that is not really the case when it comes to either literature or machine translation, where form and function are bound together. This was recently brought home to me in an experiment where we experimented with translating some poems from the Arabian Nights with a system which had been ‘The Long Room’ in the old library, trained using the only parallel corpus Trinity College Dublin available for Arabic-English, which is Photo: Sarah Shaffe, Unsplash comprised mainly of Quranic translations 16
Counterpoint • No.4 • 2020 and data from the UN. Although the language A to language C, a mediating vast majority of the words in the poems or “bridging” translation in language B appeared in the training data, the might be used. While sentiments about style of the texts was so different from whether this practice should take place what the system was trained on that at all have historically overwhelmed the in most cases, it simply drew a blank. fact that it has and does take place very widely, this project is interested in how A related point is that machine the practice can be useful in helping translation systems today work on us spreading knowledge and literature the sentence-level, meaning that they to languages that have historically translate one sentence in isolation, been overlooked. One of the things and then forget about it as soon as the QuantiQual project is doing just they move onto the next. Again, this is now is to work out how the strengths generally not a big issue when dealing of machine translation, in drawing with technical texts. But for literature, on a very wide range of information where ideas, metaphors, allusions sources; categorising technicalities; and images can be recalled sentences, and identifying patterns, can be used to paragraphs, or even chapters later, support human translators. The team the machines have a long way to go is finding ways to help a translator who before they will be able to approach the is faced with something like the poems skills of a human literary translator. in the Arabian Nights, and needing to render them into another language. Software as the literary translator’s assistant For these and many other reasons, machine translation programmers are “Any serious challenge to generally extremely tentative about what they expect from their systems and by when. Thus, what we are currently seeing is developers working on tools specifically to help literary translators. human literary While some literary translators already make use of CAT tools, such as Memo-Q, translators is still a long way off” many have not found these as relevant to them as to technical translators. But machines do have the ability to help with issues specifically relevant to literature. They are building a system which will For example, the QuantiQual Project is not create translated poetry itself, but researching indirect literary translations will give the human translator key details produced by humans and machines. about the source text at a glance, which Indirect translations are translations will allow them to work as efficiently of translations. For example, if a as possible. For example, the software translation cannot be made directly from can tell the translator which of the 17
Counterpoint • No.4 • 2020 James Hadley is Ussher Assistant Professor in Literary Translation at Trinity College Dublin, and the Director of the College’s award-winning MPhil in Literary Translation master’s degree. He is also the principle investigator on the QuantiQual Project, generously funded by the Irish Research Council’s COALESCE scheme. James Hadley Photo: Private Archive rhyming patterns found in this type of So, while “never say never” is probably a poetry each text corresponds to, show good maxim, it is worth bearing in mind where the rhymes, alliterations, and that pessimistic translators have been assonances are, tell the translator what foretelling the arrival of their mechanical the word counts, and average sentence replacements since 1954. In translation lengths are, and give thesaurus-like studies and machine translation alike glossaries in the target language for over the past seventy years, the more each of the words found in the poems. we have found out about translation, This way, the human translator is still the more we have seen that it is much the one choosing the most appropriate more complicated than we ever could options and producing the translations, have assumed. Any serious challenge but the software is assisting them by to human literary translators is still a allowing them to focus their attention long way off, but we are already starting on producing text, rather than on to see tools being developed that will searching, and collecting supporting assist literary translators in their work. information from multiple sources. Compared to this highly complex text type, adapting a similar system to work with texts such as novels to assist translators in maintaining certain elements of style, such as sentence length, pronoun usage, or idiosyncratic word usages is a relatively small step. 18
Counterpoint • No.4 • 2020 special feature: machine translation and literature Duel with DeepL Literary translator Hans-Christian Oeser on machine translation and the translator’s voice What experience have you When I did try out translation had with MT tools? applications such as Babel Fish or Google I have been working as professional Translate, I found them quite useful in literary translator from English to day-to-day contexts but utterly lacking German for the past forty years, in quality and reliability when it came slowly advancing from mechanical to to literary texts. When approached by electric to electronic typewriters and two computer linguists who wished from a non-IBM-compatible Amstrad to carry out empirical research into to a variety of PCs and laptops. In a the benefits or otherwise of machine sense, my work practice has mirrored translation tools for literary translation, the onward march of technological I agreed rather apprehensively to progress over the decades, albeit in a participate in two experiments, the rather halting and hesitant fashion, first serving as a pilot study for a owing to my innate conservatism. So broader in-depth investigation. computer-assisted translation tools were far beyond my horizon ... In autumn 2018, I was asked to revisit With the advent of the internet, my F. Scott Fitzgerald’s The Beautiful and wide range of well-thumbed physical Damned, a novel I had translated into dictionaries has gradually been German as early as 1998. In spring 2019, superseded by electronic dictionaries, I was handed an excerpt of about six although I had been quite dextrous at pages, which I was to have processed by finding the right lemmata at a fingertip a machine translation program and to even in large volumes such as the post-edit. The purpose of the exercise Große Muret-Sanders (an arduously was to compare the ensuing result with acquired skill!). Obviously, online my purely “human” translation of dictionaries have the huge advantage 1998 in terms of style and vocabulary of regularly being brought up to date, and to examine “how the translator’s whereas printed lexica are hopelessly voice is affected in workflows antiquated soon after publication. involving machine translation”. It was 19
Counterpoint • No.4 • 2020 found that my “textual voice” was This work of 333 pages was deemed somewhat diminished in my post- suitable for a full-length comparison edited work compared to its stronger of original text, machine-generated manifestation in my earlier machine- translation and post-edited version. independent German version. And thus it was that, in spring 2019, In my comments on those findings, I I fed the DeepL Translator window argued that the diminution detected by with small portions of the original qualitative corpus analysis might also, (the limit for any one feed is c. 5000 if not more, have to do with a general characters) – a process that took, impoverishment of my vocabulary believe it or not, less than seven hours, which seems to have occurred over meaning that an English-language time in spite of the amassed wealth novel of considerable length could be of experience as a literary translator. presented to the prospective German In other words, there was not only reader in less than one working the opposition “man v. machine” to day. But would it be a faithful and consider, but also that of “then v. now”.1 creative rendering of Christopher Isherwood in German? Would there be Which tools did you use? a recognisable translator’s voice at all? My suggestion to the researchers was to use DeepL Translator, the free In addition to those aesthetic questions, commercial machine translation service I fear certain repercussions not so much launched in 2017, which I judged to be for not using the tool but, indeed, for more accurate than Google Translate using it. To my non-expert mind, there or Bing Microsoft Translator, if by no might very well be legal and contractual means adequate for literary purposes. implications. Whose work is the As the translation in question as well finished product? The machine’s (or its as the more comprehensive follow-up producers’ and providers’), the human was or is to be a once-off experiment translator’s or both? Who can, in the end, and I do not necessarily wish to proceed claim copyright? Could DeepL Translator wholesale with machine translation, rightfully maintain that, in spite of my I did not purchase DeepL Pro. post-editing efforts (which would place me in a position similar to that of a I was then asked to engage in a quasi- publisher’s editor and copy editor), I had supervised translation research project appropriated “their” translation? Could on a much larger scale, the funding the publishers contend that not I myself of which has not yet been approved. but rather a translation program was the A German publishing company based originator of the German version and in Hamburg had commissioned me that therefore I should receive less pay? to translate Christopher Isherwood’s novel The World in the Evening (published in autumn 2019). 1 The findings were published in Dorothy Kenny & Marion Winters, “Machine Translation, Ethics and the Literary Translator’s Voice”, in: Translation Spaces, vol. 9, issue 1 (August 2020), pp. 123-149. See also the Click List in this issue of Counterpoint. 20
Counterpoint • No.4 • 2020 have been accomplished – a welcome boost to your self-esteem. Also, in terms of the time spent on post-editing, as opposed to translating from scratch, it could be argued that the overall effort is somewhat less time-consuming. On the downside, the translation, as proffered by the machine, bears no resemblance whatever to a readable – and enjoyable – human translation, deficient as the latter may be. The machine has, as of yet, no proper sense Al-Jazari piston rod and water wheel of context, of wordplay, ambiguity, Photo: Werner Forman Archive polysemy and metaphor or of rhetorical devices such as alliteration and Were you trained in how to use assonance. It frequently mistranslates, this tool? using inappropriate words and phrases, No training was needed. It was a seemingly chosen at random from cakewalk. its vast lexicon. Two examples (from another attempt at machine translation) And your overall views? may suffice: “Ungeöffnete Buchstaben I must confess that whenever liegen auf einem Stapel” for “Unopened colleagues working in the domains of letters are in a pile”, where ‘letters’ is commercial, technical, legal or medical translated in the meaning of ‘sound translation mentioned computer- symbol’, not of ‘writing’. Or: “Das aided translation tools such as Trados Bild wird gehalten, wenn Anita bei einer (and that happened in the eighties!), Landung innehält” for “The image is I had to plead ignorance or expressed held when Anita pauses on a landing”, doubts and suspicions, being unable to where ‘landing’ is translated as the abstract from my own field of literary touchdown of an aeroplane rather translation with its particular and than as part of a staircase. These errors peculiar challenges of individual style, are easy-peasy and can be rectified including rhythm, sound, musicality etc. without difficulty. But on a syntactical level, sentence structures often remain As for DeepL Translator, I would very “English” if they are not outright summarise my admittedly limited ungrammatical. Occasionally, it can be experience as follows. There are disheartening to have to disentangle advantages and disadvantages in the machine’s gobbledygook. employing machine translation for works of literature. Psychologically Worse still, the machine has no speaking, it is comforting to have an awareness of elegance, of beauty, of entire novel at the ready within a few stylistic coherence (or indeed intended hours. It feels (and, of course, that breach of style) and is unable to create an feeling is a huge fallacy!) as though the unmistakable “sound”, combining the work to be carried out might already original author’s personal voice with that 21
Counterpoint • No.4 • 2020 of the translator. Its output is altogether word selection and sentence formation. uninspired and uninspiring. “Post- Whereas, if confronted with the original editing”, in fact, entails painstaking alone, you are compelled to find retranslation. Hence, in the case of innovative solutions of your own to each Christopher Isherwood’s novel there and every challenge. Your professional was hardly a sentence that did not have experience, your educational habitus, to be thoroughly revised and rebuilt. your instinctive feeling for language, your aesthetic intuition, the spontaneous There is another trap. When you revise inspiration of the moment will a pre-existing translation, and the suggest words, phrases and sentence machine translation is a pre-existing constructions utterly different from translation and not a rough draft of those suggested and indeed pre-empted your own making, you are faced with by the machine. Your translational a dilemma not encountered when activity might be aided on one level but embarking on a fresh translation that is on another it is hampered and impeded. not machine-produced. It is a dilemma known to every editor proper: how to Was your translation fee any different respect both the original author’s and than if you hadn’t used an MT tool? the translator’s voice? You do not have As no one was aware of my doings, I was to “respect” the machine’s “efforts” paid my usual fee. However, there are but you have to set to work against justified fears among literary translators two backdrops at once: the original that in future publishing houses and the pre-existing translation, might commission book translations each posing its own difficulties. stipulating the use of machine translation tools in order to reduce fees and to downgrade the literary translator, “Post-editing”, who only recently has been able to secure some degree of social standing, in fact, entails to the role of out-of-house editor. painstaking How do you see the future of literary translation in relation to both CAT and MT tools? retranslation” Technological progress, including the development of artificial intelligence and its offshoots, seems unstoppable, Psychologically and mentally, more irrespective of ethical and practical often than not your creative energy is considerations. There is no doubt that channelled along predefined paths which sooner rather than later neural machine you might not even have known to exist translation tools will be further refined, and which might not at all correspond incorporating ever greater quantities to your own writing style as it has of text corpora and ever more subtle developed over time. This might result logarithms doing greater justice to in a constraint if not a loss of linguistic complex grammatical features. and literary competence in terms of 22
Counterpoint • No.4 • 2020 Hans-Christian Oeser studied German and Politics in Marburg and Berlin. In 1980 he moved to Ireland to take up a post as Lecturer in German at UCD. Since then he has been working as a literary translator of works by, amongst others, Jamie O’Neill, Patrick McCabe, Sebastian Barry and Christopher Isherwood, as an editor and travel writer. Oeser received several awards for his translations, including the 2010 Rowohlt Prize for his life’s work. His website offers an overview of his work. Hans-Christian Oeser Photo: Barbara Schaper-Oeser My savvy computer linguists seem I, for my part, shall continue to avail to think that the advantages of both of electronic tools but, being conscious machine translation and human of the dangers arising to my artistic translation could be combined by autonomy, only to spot-check and not “personalising” the tools on offer. over a wide area of text. As an organised By means of computer-aided text community, however, we must strive analysis all previous works of one to resist and reject any attempt by literary translator could be assembled publishers (some of whom are already as a comprehensive text corpus which rumoured to contemplate steps in that would form the basis for future text direction) to transform, as part of a cost- generation to be used and polished minimising exercise, from machine- by the selfsame translator. aided human translation to human- aided machine translation that which is For now, I would propose that every rightly our work. We will have to be the literary translator ought to have the Luddites of the humanities! For as long possibility and the right to utilise every as publishers regard literary translation tool at their disposal, that is to say: not not primarily as a commercial only analogue and digital dictionaries, commodity but as a product of the not only translation memory and human intellect, the human imagination terminology management software and the human spirit, for as long as but also online or offline translation they are interested in high literary programs of every description. On the quality, we may harbour some hope. other hand, no literary translator must be coerced into doing so or made to merely redact machine translations, with the corresponding loss of income and status. 23
Counterpoint • No.4 • 2020 special feature: machine translation and literature CAT tools – the literary translator’s new assistant? Katja Zakrajšek shares her experiences of working with MT What CAT tools have you used supply the original in a format that for literary translation? would allow me to use a CAT tool. I’ve used both MemoQ and Trados, I may get paper, or scanned copies mostly the latter. I think they are – whatever was obtained from the comparable in terms of functionality agent. It’s all rather 20th century! for a literary translator. While I also have some experience with OmegaT, I Were you offered any training would not use it for literary translation; and did using the tools have I find the interface is not suited to any influence on your fees? that. What you need – at least, what I’ve had some training for MemoQ, I need – is having the original and which is very transferable to Trados, the translation side-by-side. but that was on my own initiative. And I’ve had a lot of peer-to-peer help, What kind of texts did you mostly from non-literary translators, use CAT tools for? who are more likely to use CAT tools. Creative fiction and nonfiction. For My fees have remained the same. verse – especially rhymed verse – I feel the need to go freeform on the page. How do CAT tools affect the quality of your translations and the Was it your choice or did a publisher/ amount and nature of the work? employer ask you to use a CAT tool? I don’t think a publisher would It’s entirely my choice. If anything, necessarily notice a difference in the publishers tend to be surprised end result, but the CAT tools certainly – and sometimes even unable to make a difference in the process of 24
Counterpoint • No.4 • 2020 Katja Zakrajšek translates from English, French and Portugese into Slovenian, moving between the humanities and literary fiction, where she is particularly interested in writing by African and African-diasporic authors. Currently working on Girl, Woman, Other by Bernardine Evaristo. Katja Zakrajšek Photo: Gordana Grlič getting there. It’s just easier to produce How common, in your view, is the use of a consistent translation. Sometimes I machine translation tools in your field? use glossaries, which are really meant In literary translation, it’s not common for terminology but work just as well if at all. It’s not unheard of – I tried it at a literary text has words or phrases that the recommendation of another literary crop up repeatedly. (Or for names, so I translator – but so far, we’re a small don’t have to misspell and then correct minority. It may be more common them a hundred times.) Translation among people who move between memories help with repetitions and literary and non-literary translation. variations as well. Furthermore, a CAT tool makes it easier not to miss bits of How do you see the future of literary text. And for rereading and checking translation in the light of CAT tools? the translation? It’s glorious. Finally, However helpful CAT tools are, I don’t I find it’s a more ergonomic way of see them revolutionising literary going about translation – a somewhat translation even if – or when – they unexpected but invaluable advantage become more widespread. The main for me. (Book below screen, book tool is still the literary translator’s beside screen, two screens: I’d tried brain, aided and abetted by their peer them all, with no luck. There’s a lot to network and the book’s editorial team. be said for not being in pain because of your work.) On the other hand, I have lost work to mysterious technical issues with the tool. It’s not perfect. 25
Counterpoint • No.4 • 2020 special feature: machine translation and literature Less room for engagement Researcher Waltraud Kolb on literature and machine translation Could you describe the main to post-edit a machine-translated focus of your research? version (DeepL). To capture these My research on machine translation is processes for later analysis, they used part of a larger ongoing research project keylogging software that unobtrusively regarding decision-making in literary registered keystrokes, pauses, edits, translation. Why do we translate the way etc. At the same time, they talked we do? Why and how is one word chosen aloud while working, voicing their over another, one style over another? thoughts and reflections, and this was How do decisions, processes, and audio-recorded. I have an enormous routines involved in translating a literary amount of data, keylogs and verbal work differ from the cognitive processes records, and am currently analyzing it. that go into post-editing a machine “High-quality translation of a literary text? How does this impact the final target text? What methods you use? Traditionally, we look at published post-editing is translations, prefaces or interviews by translators to study translation; but not much faster” that kind of analysis comes “after the fact”, as George Steiner once famously What gave you the idea for the said. Through my research, I aim to gain topic of this research project? insight into the translation process as Translators and publishers have started it happens, the translator’s (and post- using machine translation, even if, editor’s) thinking, but also their actions more often than not, it is probably still when they work on auto-pilot. I asked in an experimental stage. Computer five literary translators to translate an linguists and the machine translation Ernest Hemingway short story from community have also begun to pay scratch and five different translators attention to literary translation from 26
Counterpoint • No.4 • 2020 Waltraud Kolb is Assistant Professor of Literary Translation at the University of Vienna. She studied translation (English, French, Portuguese/German) and holds a PhD in comparative literature. One focus of her research is literary translation processes and machine translation. She has been working as a freelance translator since 1985 and is a member of the executive board of the Austrian Association of Literary Translators. Waltraud Kolb Photo: Private Archive their own unique perspective, while How do you see the future of it is still largely unexplored from a literary translation in relation to literary translation studies perspective. machine translation tools? I expect to observe a shift away from Can you tell us something about translation to post-editing work in the your preliminary results? medium term, with the key factor being One result, not surprising, is that time: will it be faster to translate a book high-quality post-editing is not much or post-edit a machine version? This faster: even though Hemingway’s will be more relevant for some sectors story is simple and straightforward, of the book market than for others, the post-editors changed 90% of the but generally I anticipate increasing sentences – the main problems the pressure from publishers to cut costs machine had were cohesion, reference, this way, even though post-editing idioms, polysemy. Another preliminary may be as cognitively demanding and finding is that the two groups seem time-consuming as translation. And to distribute their efforts differently. I am sure this will have all kinds of While the translators spent ample time implications for copyright issues. The on repetitions and ambiguity, stylistic other issue at stake is quality, and the features typical of Hemingway, the post- main risk I see is that post-editing will editors did so to a much lesser extent. often not be done by translators. Is there This indicates that engagement with the also a long-term risk that, with the source text/author differs between the increasing use of machine translation, two modes. With post-editing, there is (literary) language will eventually an additional layer to deal with, much of become more uniform? Possibly. the cognitive effort going into deciding what to do about the machine version, and this seems to leave less room for engagement with the source text/author. 27
Counterpoint • No.4 • 2020 special feature: machine translation and literature The future relationship of literary translation and AI Reflections from CEATL president Morten Visby While it is certainly an interesting we might not like it, the fact is that question how AI-based machine machine translation of genre literature translation would fare in dealing is actually quite good – meaning that it with densely written, highly complex is not always obvious whether a human literature, particularly when translating being or a machine have translated the between languages and cultures that text. And in this regard, it is important are very far apart linguistically or not to take free Google Translate services historically, the more pressing concern as an indication of the level of quality for literary translators living and working for AI translation. Also, due to the logic today and tomorrow is the commercial of ever-increasing processing power viability of AI-based machine translation AI translation can only be expected of contemporary genre literature, not to become even better. And we know least when the languages are closely from unpleasant experiences in other related – e.g. the Nordic languages or quarters of our professional field that the Romance languages. I am referring publishers are, if not more than happy, to the translation of crime, suspense then at least sometimes willing to and romance between linguistic accept less good, but workable solutions domains that are closely related in to translation. Particularly if these time and culture. At this moment we solutions hold promise of a cheaper need to look at the actual, real-life and more streamlined production of implications of AI-assisted machine translated literature, to the detriment of translation for us as literary translators. what would otherwise be considered fair, And regarding that issue, I do have decent and sustainable in the long term. a couple of notes. Some of them are rather pessimistic. Others less so. So, let’s get real on this topic. This is not the time to feel safe in the belief Getting real on people vs. machines that the human brain will always, in I believe that we underestimate the the end, be superior to stupid machines. powers of AI at our own peril. Although The issue of AI in literary translation 28
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