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Friday, June 15, 2012

SWET Style Sheet

MATTERS OF STYLE

In general, follow the Chicago Manual of Style, 16th edition (CMS16). For spelling and hyphenation, follow Merriam-Webster’s Collegiate Dictionary, 11th edition. For style issues specific to material relating to Japan, see rules below (reference: SWET, Japan Style Sheet; hereafter JSS). Matters in question not detailed here will be resolved by the editor in consultation with the author and the SWET Editorial Team.

Spelling and Punctuation

• Use U.S. punctuation and spelling (reference: Merriam-Webster’s Collegiate Dictionary, 11th edition).
• Use the serial comma.
• Use only one space after terminal punctuation (periods, question marks, and exclamation marks).

Article Titles and Subheads
Use the headline style of capitalization (CMS16 8.157) for article titles and subheads. Long articles should have two or more subheads to break up the text.

Numbers

• Spell out numbers from one through ten; use numerals for 11 and up. This applies to both cardinal and ordinal numbers (nine pencils; the 12th edition).
• Use numerals for percents (50 percent). Do not use the symbol % in running text.
• Spell out ages (he was two; fifteen years of age); and ten-year age brackets (in their twenties). 

Japanese Words

• Use the old Hepburn system of romanization (use the “n rule”; see JSS).
• Italicize Japanese words that are not defined in Merriam-Webster’s Collegiate Dictionary, 11th edition.
• Do not italicize proper nouns.
• Do not italicize individual Japanese words or phrases that are marked off from the text already by quotation marks. (You have “kare” used in the Japanese. Who is kare?)
• Macrons are used to indicate long (extended) vowels. Authors should input macron vowels where needed in the text. Mac users may input from the keyboard using the U.S. Extended keyboard or from pop-up menu of diacritical characters (Lion 10.7 and up); Windows users should copy/paste macron vowels using Character Map. See JSS update article for details.

Japanese Names
As a rule, use Japanese name order, surname first, followed by given name, using the Hepburn system of romanization: Suzuki Yasuko. However, respect a person’s preference for given-name-first: Yasuko Suzuki; or for Kunrei system of romanization: Yasko Sudzuki.

Decades and Centuries

• Spell out decades (in lowercase) or use figures followed by an “s”: the twenties or the 1960s (not ‘20s, ‘60s).
• Spell out centuries rather than use superscript feature (nineteenth-century prints; a twenty-first-century technology).

Names on Second Mention
In write-ups of activities, etc., use a surname alone (with no courtesy title) or a full name in referring to a speaker or an individual e.g., Adachi said, or, Barbara Adachi said (not Barbara said).

Abbreviations
U.S. as an adjective, United States spelled out as a noun.
The abbreviations “i.e.” and “e.g.” should always be followed by a comma.

Special Handling

• Use curly or smart quotation marks, not straight quotation marks (reserve for inches/feet; min./sec.).
• Capitalize “the” when it is the first word in the title of a book (CMS16 8.161) but use lowercase “the” when citing a periodical (CMS16 14.179), except when it is at the beginning of a sentence (e.g., “We cite The Chicago Manual of Style and the New York Times.”). Do not capitalize the “The” of formal titles of organizations in running text (She works for the Asia Foundation.). But, when giving an address, do capitalize “The” (The Asia Foundation, x-x-x Minami Aoyama, Tokyo).
• Spell “email” as one word, no hyphen.
• Do not include http:// or ftp:// in URLs unless “www” is not the first item, i.e., http://monumenta.cc.sophia.ac.jp
.
• Spell “website” as one word, lowercase, but capitalize Internet, World Wide Web (three words), and the Web.
• Capitalize and italicize the word “Newsletter” when referring to the SWET Newsletter as simply the Newsletter.
• For a.m. and p.m., type in lower case with periods; for text intended for print, use small caps.
• For capitalization in titles, refer to CMS16 rule 8.159.  (Translation Issues in Twenty-First Century Japan).
• “SWET Kansai” (without quotation marks) is the correct name for this branch organization.

Submitting the Manuscript
Please query the editor about a submission.

• Please always submit manuscripts as digital files and send by email as an attached RTF or MS Word document. When only physical copy is available, please contact the editor for assistance with inputting.
• Reprinted material from newspapers, magazines, etc.: send the reprint as an email attachment, not as text pasted into the body of an email message. Send a hard copy of the text by post (the quality of faxed material is not adequate for proofreading). The original is essential for the proofreader.
• When submitting Japanese text, send as an email attachment, not as text pasted into the body of an email message. Send a hard copy of the original text by post or fax.

Copyright License
The acceptance of a manuscript for publication by SWET grants SWET the right to publish on its website and occasionally in print publications. Copyright remains with the author and appears on the publication as

©  Year-of-First-Publication Name-of-author

Reprinting Copyrighted Material
Permission for use of previously published (copyrighted) material should be cleared with and obtained in writing from the author or original publisher before submitting articles. This includes, for example, Japanese text being reprinted or used for sample translation purposes, English text being reprinted, or photographs or other graphic material.

Permission request forms are available as Microsoft Word documents; please contact the SWET editor, and online as an Excel spreadsheet version.

PREPARING MANUSCRIPTS FOR DESIGN/LAYOUT

This section is primarily a tool for Editorial Team copyeditors and others who handle manuscripts in the final stages of the editorial and proofreading process.

Text Format

• Margins should be unjustified (i.e., ragged right,  also called “align left” in Microsoft Word).
• Font size should be set at 12 points and line height at 18 points (not double- or 1.5-spaced).
• The copyright sign, the copyright date, and the author’s name appear at the top of the article for the copyright notice.
• An introduction of 30–50 words containing the keywords of the article and highlighting its attractions should be written and placed after the title, as it will appear in the first text seen by visitors to the website. If not provided by the author, this text should be prepared by the editor. 
• Articles should not begin with a subhead, i.e., a subhead cannot appear between the title and the first paragraph of text.
• Leave a one-line space between the title and the body text; also leave a one-line space above subheads. 
• Paragraphs are indicated by an open line. Do not indent paragraphs, using spaces or tabs. 
• Ordinary roman, i.e., not italicized, text should be entered in a Latin-alphabet (English-language) font or as hankaku if an Asian version of Microsoft Word is used. Italics should be indicated by italicizing the text.

Special characters

• Enter standard European-accented characters from the keyboard, e.g., vis-à-vis, résumé. For macrons and other diacritics, see above.
• M dashes may be entered from the keyboard (—) or represented by two hyphens (—); in either case, no space precedes or follows the dash. N (en) dashes may be entered from the keyboard (–); in either case, no space precedes or follows the dash.
• Single and double quotation marks should be entered from the keyboard (as curly or smart quotes), not straight quotes.

Graphics
Authors are encouraged to supply images to accompany their text. Please consult with the SWET editor regarding choice and format of images and where they should be sent.

Specifications for image data:

• For a book cover and page from a book: a full-color scan, grayscale mode, TIFF format, 50 percent size of the cover, 300dpi resolution.
• For an illustration or comic: a comic can be scanned at 100 percent of size depending on the original size. Also, if the illustration has been done digitally, the original vector art is preferable.
• For a photo (color or b/w): TIFF or JPEG format. Check with editor about the images if the article is intended for print publication.
• Credit/copyright notices and suggested captions should always be included.

Copyeditor’s Checklist for Finalizing Manuscripts for Publication
✓ Final draft has been checked by author.
✓ Permissions for use of all copyrighted material, text, or illustrations are on file.
✓ Correct copyright notice is provided.
✓ Introductory.
✓ Author’s name is included.
✓ Text beginning after headings is flush left; remaining paragraphs are indicated by open spaces.
✓ Double spaces are removed.
✓ If long text has no subheads, two or three are added. (There should never be only one subhead under a heading.)
✓ Credits and captions are provided for photos.

Sunday, May 20, 2012

SWET Newsletter, No. 130

More details . . .

Japanese to English Translation

• Of Eggs and Accents: Translating Kawakami Mieko, by Alison Watts

Alison Watts reviews lessons she learned about literary translation while tackling Chichi to ran (Breasts and Eggs) by Kawakami Mieko at the Summer School Workshop held by the British Centre for Literary Translation in July 2011. This article is based on a presentation given at a conference organized by the Japan Association of Translators in Nagoya, November 2011.

March 11, 2011: Continuing Stories

• Already a Year—Only a Year, by Ginny Tapley Takemori

Translator and book editor Ginny Tapley Takemori writes how the triple disaster that hit eastern Japan last year connected her in unexpected ways to her local community in Tsukuba, Ibaraki prefecture, and to a community in Ishinomaki, Miyagi prefecture, that was devastated by the tsunami. While volunteering in the reconstruction effort, she has been impressed by how survivors have found the strength to pick up the pieces of their shattered lives with warmth and humor. “It has been a defining experience in my own life,” she says.

SWET Events

• Journeying with J-Boys: Kazuo’s World, Tokyo 1965, by Avery Fischer Udagawa

Shogo Oketani, author of J-Boys: Kazuo’s World, Tokyo, 1965 (Stone Bridge Press, 2011), and his wife, Leza Lowitz, spoke to members of SWET and SCBWI Tokyo on December 6, 2011. Avery Fischer Udagawa, the translator of J-Boys, joined via Skype in the exchange, which was moderated by Holly Thompson at the Wesley Center in Minami Aoyama, Tokyo. The conversation traced the development of J-Boys from linked stories in Japanese for teens and up to a novel in English for middle grade (upper elementary) readers. Udagawa reflects further on the education the project afforded her in middle grade historical fiction. 

• Stories from Inspiration to Publication, by Suzanne Kamata

Suzanne Kamata spoke to SWET Kansai on September 11, 2011, about writing, editing, and publishing short stories using her own experience. She discussed how she comes up with ideas for her short stories, and suggested how aspiring writers might come up with their own; how she selects markets for her work; and how she found (and lost and found again) a traditional publisher for her work. Her collection, The Beautiful One Has Come, won a Silver Nautilus Award and was a winner for best short story collection in the Next Generation Indie Book Awards.

• Writing in Japan: Publishing Alternatives, by Alex Shishin

Describing experiences with publishing fiction and nonfiction over three decades, Alex Shishin’s March 11, 2012 Kansai SWET talk recalled the opportunities available to writers in Japan during the print-dominated era and the new conveniences and opportunities now available via the Internet. Shishin is a professor at Kobe Women’s University, where he teaches literature and writing.

From the Steerage

• Our Story in Print: The SWET Newsletter 1 to 130
• To mark the publication of the 130th issue of the SWET Newsletter, and the transition to new means of information sharing in SWET, members of the Editorial Team contributed to this Q&A about the Newsletter’s past and present. We hope this exchange will both add to the record of an era in SWET’s history and help readers appreciate the professionalism and sense of mission of the many volunteers and contributors over the years since the first issue was published in 1981.
• SWET’s New Online Look, by Richard Sadowsky

This year SWET enters a new era with a redesigned and enhanced website at swet.jp setting the groundwork for SWET’s future development. From now on, the website will be the place to go for SWET news, articles, and information for members and others with an interest in SWET topics. The launch is currently planned for the end of June 2012.

Japan Style Sheet Updates

Editors, translators, and proofreaders turn to the Japan Style Sheet (Stone Bridge Press, 1998) in making style decisions for their work related to Japan. While the editorial options and recommendations given in JSS are as reliable as ever, technology has moved on, resolving some of the difficulties regarding inclusion of kanji and macrons (long-vowel marks for romanized Japanese). This article updates the JSS on “Using Kanji in English Text” and augments and corrects the advice on long vowels in “Macrons and Other Diacritics.” Copies of the Japan Style Sheet are available at discount from SWET by contacting info@swet.jp.

Book Reviews

• Translating Translation by William Wetherall

Is That a Fish in Your Ear? Translation and the Meaning of Everything, by David Bellos. (New York: Faber and Faber, 2011). viii + 373 pages.

• Hasegawa’s Course in Translation, by Deborah Iwabuchi

The Routledge Course in Japanese Translation, by Yoko Hasegawa. (London: Routledge, 2012). ISBN 978-0-415-48686-6. Price ¥4,092).

Thursday, January 05, 2012

From the Steerage • The Future of the SWET Newsletter

by Lynne E. Riggs

The SWET Newsletter is going to change. As announced in No. 128, the present Newsletter will continue through No. 130, to come probably in February or March. After that, the new incarnation of the Newsletter will appear sometime in 2012, as part of our redesigned website (details on which see below).

Preparations for these changes have been going on for more than a year. At an October 8, 2011 meeting of a small group of SWET members, it was proposed that the Newsletter should become more bulletin-like and that it should be published primarily on the website instead of in print. Most of the online material would be in brief form (short articles, notices, reviews, event announcements, reports, etc.), with the general information made openly available and some longer pieces or details reserved for dues-paying members. The content would be authored by any interested SWET member or even non-member, and edited and proofread by editors volunteering on a rotating basis.

At the same time, we agreed we did not want to totally abandon the substantive articles and event reports that we have been publishing especially since 2004. That original and distinctively SWET content is probably the biggest benefit of being a SWET member for many in our scattered group.  Our solution: why not publish such articles online, and then collect those of enduring value for publication in a print annual to be sold for profit? Subsequent discussion on the Steering Committee and Newsletter Committee mailing lists essentially brought consensus.

Although we now agree on where we want the Newsletter to go, we still need your help to make things happen. The exact form of the new publication (e-zine, printable, searchable PDFs, etc.) has yet to be determined, and those interested are invited to contribute to the discussion by joining the Newsletter Committee (SWET-NC).

The Newsletter is also looking for a new name. Suggestions so far include Transactions of the Society of Editors, Writers, and Translators (TSWET), SWET Journal, Proceedings of SWET, and SWET Offline, but we are still looking for better ideas.

Finally, we welcome contributions of all kinds to the final print issue of the Newsletter. Help us commemorate this landmark with your story, insights, and your professional experience.  SWET, after all, is only what its members make it.

New SWET website

In September 2011, the Web Design Committee asked a professional designer to redesign the SWET website. The Steering Committee has delegated decisions about the redesign to the “active team” for web design and maintenance, which is led by webmaster Sako Eaton; his assistant for the redesign, Richard Sadowsky; and manager of updates and new content, George Bourdaniotis. Other members of the WDC including Hugh Ashton, Neil Ramsay, Lynne Riggs, and Fred Uleman have also volunteered to support the effort.

The main objectives of the website redesign are to:

• improve the look and function of the site
• make it easy to find by wordsmiths of the SWETerly kind
• make it easy to use by wordsmiths, with separate sections for editing, writing, and translating, and a good search function
• facilitate the public sharing of SWET expertise
• provide a blog-like news page for event notices, topics of interest, and brief reports
• make selected articles and guidelines provided by SWET easily available to interested professionals (both members and non-members)
• offer longer “proceedings of SWET” articles as they are generated, and archive past SWET Newsletter issues in PDF format for dues-paying members
• maintain SWET administrative data, such as membership information, to facilitate dues payment and serve members

The site map has been discussed and revised several times and is now in its final form. The WDC reviewed the design proposals in January and the new site will open by early spring 2012.

Once this happens, volunteers will be needed to help prepare material, populate the SWET blogosphere, and otherwise enrich the site. We hope all SWET members will consider participating in building up the site as a new means of networking and accessing information for their professional needs.

Volunteers in charge of core SWET functions change hands

SWET is run by a group of core volunteers who oversee the vital tasks of the organization. The posts of general secretary, treasurer, and membership secretary have rotated several times during SWET’s 30-year history, and this year they changed for the first time in a decade. The new volunteers are as follows:

Membership secretary: Kevin Cleary
Treasurer: Imoto Chikako
General secretary: Lynne Riggs

A special thanks to our old officers, Neil Ramsay, Bob Poulson, and Naomi Otani, for ten years of dedicated and efficient service!

In the wake of the March 11 disaster in the Tohoku region, many of us have wondered whether SWET is still needed and relevant. But as long as there are professional wordsmiths working with or related to Japan, the benefits of networking with other professionals and tapping the accumulated resources built up by members over the past several decades will be important reasons for keeping our society alive. We look forward to your involvement and support.

SWET Steering Committee and Newsletter Committee

 

SWET Calendar

SWET Events in 2011

February	• SWET Kansai: Editing J-to-E Translations for Better Communication, with Lynne E. Riggs
March	•SWET Kansai: Publishing the Secret Diaries of a WWII British POW in Japanese, with David Moreton
May	•SWET Tokyo: Honoring KI Books, with Book Exhibit and Special Benefit Book Fair
June	•Researching a Bicultural YA Novel in Verse, with Holly Thompson •SWET Kansai Pool Party
July	•SWET Tokyo: Summer Party and Book Fair •Kyoto: Japanese Children’s Literature and the Discovery of the Child, with Joan Ericson
September	•SWET Kansai: The Beautiful One Has Come: Stories, from Inspiration to Publication, with Suzanne Kamata
October	•Planning the Future of the SWET Newsletter
December	•J-Boys: From Inspiration to Translation: The Story of Middle Grade Novel J-Boys: Kazuo’s World, Tokyo 1965, with author Shogo Oketani, editor Leza Lowitz, and translator Avery Udagawa •SWET Kansai Bonenkai

Originally published in the SWET Newsletter, No. 129, November 2011.

Updated for web publication January 5, 2012.

Thursday, December 15, 2011

Slave to the Word

Translators—human translators—have often greeted the prospect of computer translation with naked fear. Will we be out-competed by efficient machines, as so many professions have? We love the productivity-boosting Web, home of online dictionaries, search engines, and even translation memory tools, but Web-based statistical machine translation, which essentially catalogs the translation labors of the past, is making tremendous strides. Perhaps our days are numbered.

But not so fast. Against this mechanical efficiency, human translators offer “understanding.” In a recent article, I speculated that the way translation forces us to demonstrate the completeness of our understanding could instead increase the value of what we do.¹ A growing body of evidence suggests that intensive exposure to the Web is impairing our cognitive abilities: to read, to understand, to think.² The general idea is that the decision-making the Web demands (whether to click links or not) overloads our working memory, the part of the brain that holds the information we are using at the moment, preventing it from forming those links to other information, experiences, and emotions that occur when we engage in creative thought. Translators are practiced in drawing constantly on inference, knowledge, and experience to understand a source text. This could be the greatest skill that translators have.

If understanding matters, that is. If it is possible to translate without understanding, the eventual reign of computers over all but the most celebrated works of art seems assured. So I sought to find out more about what it means to understand, what happens in the brain when we do, and if that could help explain why Japanese-to-English translation is one of the language combinations in which computer translation has been, so far, among the least successful.

How Does the Brain Translate?

The essence of translation is reproducing as complete an understanding as possible in a different language. What does that entail in terms of brain function?

Let’s say I am going to translate a sentence. First, I look at my text, a simple workaday source text:  データベースの検索手順を次の図に示します. I say to myself, it’s Japanese. Then I read it. Well, actually I scan it first to get a feel: データベース, 手順. It’s a familiar subject, instructions about software. I can read it fluently and just take in the meaning. It refers to something that is next, a figure, so I look at the figure. I see how long the procedure is, who does what. It is time for a test translation. I disengage from Japanese and switch to thinking in English. Database. No, procedure should come before database. No, search procedure. A database search procedure, or a procedure for searching a database. And a next figure, which is shown there. So that’s what it says: The database search procedure is shown in the next figure. My translator experience rejects this as too Japanese, too faux-English. The next figure shows the database search procedure. Or is it the following figure, or the figure below? Is it shown or illustrated or depicted? I decide: The following figure shows the procedure for searching a database. Is it the database? I have to read a bit more for that one, both before and after my text. A database it is.

データベースの検索手順を次の図に示します
The figure below shows the procedure for searching a database.

That’s a lot going on for one short, simple sentence, and yet I do this all the time, nearly automatically, usually entirely unaware of the process. I identify the language, switch into that language, arrive at an understanding, refine that understanding, and test my understanding by checking contextual information. Once I feel I have an understanding that is accurate enough to build on, I switch languages to start testing translations. I try on subjects and objects, transitive and intransitive verbs, passive and active voices, refining and again checking the language for contextual appropriateness and register. I put down my favorite version and move on, knowing I’ll look at it again later purely as English, without engaging the Japanese at all.

Where in the brain does all this occur? Is it in working memory, that part of the brain so overloaded by the Web? Theodore Zanto describes working memory as a cognitive action that allows us to keep information temporarily in mind after its source is gone, and to manipulate it as well, which is the widely accepted model proposed by Alan Baddeley.³ When I translate, I am certainly doing this. Reading the Japanese loads the sentence into my working memory, where I keep it refreshed by deliberate attention, a process called “rehearsing.” I do this using a part of working memory called the central executive, which establishes and maintains goals and has been identified with the dorsolateral prefrontal cortex. In fact, I have been engaged far more deeply than I would be simply deciding whether to click a link. The central executive of my brain has been performing repeated executive tasks—switching languages on, switching them off, ordering words to be produced, associating information, and generating thoughts. Assuming the Internet hasn’t hopelessly clogged up my dorsolateral prefrontal cortex, I appear to have been engaging in creative thought.

How Do We Read?

In translating, that process begins with reading, which in turn begins with recognizing graphic symbols as meaningful. Reading is not innate to the human brain. It is a skill that must be painstakingly taught and learned. Reading stories from picture books amazes young children with adults’ ability to reproduce a story, time after time. Repetitive readings of rhythmical, rhyming verses also stealthily introduce children’s growing minds to the idea that words are composed of phonemes—discrete auditory units. This lays the foundation for reading: the recoding of graphically recorded phonemes, regardless of orthography, into speech and language.

But writing did not begin with phonemes. The first event in the dawn of writing was symbolic representation (numbers on clay tokens), the second was the insight that symbols can represent words, and the third was that symbols could correspond to sounds.⁴ The earliest evolving orthographies—hieroglyphics, cuneiform, Chinese, and Zapotec—were logographic, representing words using graphic symbols. These graphs were originally independent of sound, but soon came to do double duty, representing words in some cases (logographs) and sounds in others (syllabaries), just as the kanji precursors of kana did (奈 evolving into な). These writing systems were logosyllabaries, composed of both logographs and phonetic symbols, as well as characters with features of both (think 清 and 請⁵).

Early logographic and logosyllabic writing systems were extremely time-consuming to learn and, therefore, the domain of only an educated few. Such systems had far fewer characters than today, so characters served multiple roles, which required notations to mark the particular role a character was serving. The complexity was reminiscent of Japanese written in 漢文, with its 訓点, 返り点, 句読点, and so on. Alphabets were a democratizing invention, but their initial absence of vowels still meant considerable skill was required to read. Even after the Greek invention of vowels, reading was arduous because there were no spaces between words, a style of writing called scriptura continua, which Paul Saenger describes in great detail in, Space Between Words: The Origins of Silent Reading.⁶

A key technique, one readers still use today, made this possible: reading aloud. The difficulty in reading without spaces is that words are tough to identify. (This is also, crucially, a reason given for the failure of machine translation and translation memory programs to optimally translate Japanese or Chinese into alphabetic languages: the lack of spaces in Japanese and Chinese makes words hard to identify.) So how did humans read the unseparated stream of scriptura continua? They had to scan back and forth, reading syllables aloud to assemble an understanding. Physically pronouncing ambiguous phonemes helped readers keep them in mind until the larger words and sentences became clear. This is true in early learning of modern Japanese as well. According to Takahiko Sakamoto and Kiyoshi Makita, kana imposes a heavy burden on young readers by making them reconstruct words from phonetic signs that offer no distinction between words boundaries. “To aid the young Japanese reader, group oral recitation is essential.”⁷

Ninth-century translation into Syriac of a Greek medical text by Galen. Written in scriptura continua.

There is a reason why reading aloud works: one of the four parts of working memory is based in sound. Alan Baddeley’s model of working memory is that of three slave components supervised by a central executive: a phonological loop in the left (language-dominant) hemisphere, a visuo-spatial sketchpad in the right hemisphere, and an episodic buffer. The phonological loop holds auditory memories. These decay rapidly unless rehearsed (repeatedly articulated within working memory). The visuo-spatial sketchpad stores visual information (form and color), deals with spatial and movement information, and likewise rehearses information. The episodic buffer helps integrate visual, spatial, and verbal information with time sequences, such as memories of stories, and is linked to long-term memory and semantic meaning. This information is then transferred to the central executive.⁸ Back in the days when translators used multiple, heavy dictionaries stored on shelves, many of us used a trick to cut down on reaches to the shelf: when looking up two or more Japanese terms, say the first English translation aloud to keep it in memory while looking up the second (which you then remember visually). Without knowing it, we were taking advantage of the phonological loop to rehearse the first term while loading the second into the visuo-spatial sketchpad.

In his landmark Reading in the Brain, Stanislaus Dehaene gives an elegant summary of how the brain turns written symbols into language in the reading process.

Written word processing starts in our eyes. Only the center of the retina, called the fovea, has a fine enough resolution to allow for the recognition of small print. Our gaze must therefore move around the page constantly. Whenever our eyes stop, we only recognize one or two words. Each of them is then split up into myriad fragments by retinal neurons and must be put back together before it can be recognized. Our visual system progressively extracts graphemes, syllables, prefixes, suffixes, and word roots. Two major parallel processing routes eventually come into play: the phonological route, which converts letters into speech sounds, and the lexical route, which gives access to a mental dictionary of word meanings. ⁹

With unseparated text, it was impossible to do this in silence. The eyes also had more to do. In reading, they move from stop to stop (fixations) in a series of jumps (called “saccades”). Without spaces to mark out the words, ancient readers needed more than double the number of fixations and saccades we do today. Ancient readers “also required a quantity of ocular regressions for which there is no parallel under modern reading conditions in order to verify that the words had been correctly separated.”¹⁰

Reading was inefficient and laborious. It was work. The notion of reading for pleasure or for reference was unknown. More typically, texts were “performed” by professionals. The difficulty of reading scriptura continua resulted in the delegation of reading and writing to skilled slaves.

The medieval introduction of spaces into Latin and Greek scriptura continua (first in Ireland, then England, and then the European continent) created the possibility of fluent reading, since a major part of the work was already done for the reader. Word order was also becoming more important. Highly inflected classical Latin did not place importance on word order, except for metrical and rhythmical eloquence, much as the use of particles in Japanese allows phrases marked by particles to be moved with some freedom within Japanese sentences. At the end of the Imperial Roman period, however, word endings were increasingly not being pronounced, which obscured inflections and made sequence more important in Vulgar Latin (unwritten or colloquial Latin). Word order began to follow fixed sequences. This helped make silent reading possible, which made reading easier, and thus more efficient.¹¹

In Japanese and Chinese, a “lack of spaces” clearly does not impede reading. Saenger remarks that, indeed “many skilled adult Chinese readers are able to achieve a proficiency in rapid, silent reading perhaps unequaled in modern Occidental languages.” Dehaene notes that the greater density of characters in Chinese results in shorter saccades (jumps of focus).¹² Individual characters function much more like words than letters, so the eye does not need to jump around as much. The way kanji and kana are combined helps readers of Japanese pick out separate words. A transition to kanji from kana frequently marks the beginning of a word, so the reader is not forced to sound out phonetic elements and identify each and every word through a hypothesis-test procedure.

The result in both cases is silent, automatic reading, which is mentally much more efficient. Now that I as the translator have phonologically recoded the orthography efficiently into language (that is, I have read the Japanese sentence), I rehearse it in working memory. Next comes the fun part: I switch languages and reproduce my text in English.

The Bilingual Brain

So how do brains work with multiple languages? There is no simple answer. Bilingual brains may have two different types of structures. One functional magnetic resonance imaging (fMRI) study from 1997¹³ suggested that early bilinguals (in this study, those exposed to two languages from infancy) produce both their languages in the same part of the brain, but that late bilinguals may use distinct regions for the dominant and second languages. In late bilinguals, semantic processes may play a greater role than phonological processes.

A 1999 study by Cathy Price, David Green, and Roswitha von Studnitz¹⁴ of language switching and translation (of single words only) explained that the bilingual brain has a “bilingual lexico-semantic system” that processes the look (orthography), sound (phonology), and meaning (semantics) of words in the dominant language and the second language. Price and colleagues made PET scans of very proficient German-English adult bilinguals while they were translating or reading words in German, English, or alternating languages. (Their German subjects learned English as their first foreign language at a mean age of 8.8 years and were fluent in English for a mean 9.8 years at the time of the experiment.)

In their work, they used the Inhibitory Control (IC) model of Green,¹⁵ which holds that language task schemas exist for each language. (A schema is an organized pattern of thought or behavior stored in long-term memory.) The schemas are external to the language system. A schema in the dominant language (say, a model for word production) will compete dynamically with a similar schema for the second language. To say something in the second language, you must inhibit the schema for the first. When you switch between languages, you inhibit the active schema and activate the other (previously inhibited) schema.

Price and colleagues found that when people switched languages, the areas of the brain that were activated were associated with phonological recoding, not semantic processing (turning written language into sound, rather than meaning).

I have noted in my own translation practice that translation sometimes flows nearly effortlessly. Other times, complex grammar, ambiguity, or unfamiliar subject matter slow me down. For the tougher sentences, I may return from intense concentration on my unfinished test translation in English only to find the Japanese original newly impenetrable. The harder I work creating a translation hypothesis (and the later in the day), the harder it becomes to switch. To get back in the Japanese groove, I may subvocalize or read aloud. The Japanese snaps into focus. It seems I have given phonological recoding a nudge.

Price and colleagues noted that psycholinguistic data emphasize two different routes for word translation: a direct route that links words at the syntactic level and an indirect route that links them by meaning. Their study found that translation increased activity in some regions involved in the control of action, though surprisingly not in the dorsal prefrontal cortex, possibly because of the high proficiency of the subjects. Perhaps with experience, single word translation becomes automatic. Nicholas Carr notes in his well-researched exploration of how the Web may impair deep reading, The Shallows: What the Internet Is Doing to Our Brains, that scans of experienced users of search engines show that they make use of the dorsolateral prefrontal cortex during search activity whereas inexperienced users do not.¹⁶ So perhaps experienced translators can leave their dorsal prefrontal cortexes free to be clogged by links.

In short, the Price et al. study confirmed that switching and translation use different parts of the language system. Translation uses semantics and articulation, language-switching uses phonology. The authors proposed that during translation the demands on articulation increase because the response to the input orthography must be inhibited while the response associated with the translation equivalent is activated.

This helps explain several issues with “word seeding,” the practice of globally replacing complex technical terms in a source document with their target-language translations. This step can help ensure terminological consistency, a sort of do-it-yourself translation memory program. I do this on occasion. It does free one from having to look up the same obscure term multiple times, or having to return to previous sections to see how you translated it before. And it prevents confusion when there are two very similar but crucially different terms. However, in practice I have found it sometimes counterproductive, because the seeded words do not seem to “function” with the words still in the source language. A perfectly good English adjectival phrase, comfortably settled in the form it will take in the final translation, nevertheless fails to modify its still-Japanese noun because the Japanese noun demands the features of a Japanese adjectival phrase. The two languages are in different schemas, which don’t always mingle easily. Or rather, if they are going to mingle, both must be obeyed, much as a bilingual might say in a conversation with other bilinguals, “it wasきれいだった.” Word seeding may also feel inefficient because of the switching costs of going from language to language. With word seeding, I may also lose confidence that the final translation is what was really meant because the original source term disappeared early on.

This problem turns up when translating with translation memory programs, as well. Statistical machine translation and translation memory programs have no real schemas. For these programs, language is not actively functioning. It obeys no rules. Rule-based machine translation, which codifies grammar, has paradoxically proven unsuccessful in actual translation. It lacks the huge store of experience a human mind contains, and semantics consequently elude it.

The strong role of semantics and articulation in translation may explain how we translate obscure or technical kanji terms we have never heard spoken and can’t confidently pronounce—unexpected mixes of 訓読みand 音読みabound. In the absence of phonology, semantics carries the day. I have often felt there was a semantic route for kanji, a sort of 英読み to take me directly from the logograph to the target language.

Philippa Jane Benson¹⁷ examined a landmark 1979 Stroop¹⁸ study by Biederman and Tsao that highlighted this idea. Biederman and Tsao compared Chinese and English Stroop interference and found significantly greater Stroop interference in Chinese subjects than in native English speakers. They speculated that Chinese readers may automatically process logographs by their configurations whereas readers of English use abstract rules to turn graphemes into sounds. They cited the widespread belief that Chinese characters provide more direct access to meaning than English words.¹⁹ But more recent research strongly indicates that reading of Chinese characters always involves phonological mechanisms, whether the reader is aware of them or not. In her study of Japanese acquisition of kana and kanji, Virginia A. Mann noted that, “phonetic representation is employed in the service of temporary memory and comprehension whether subjects are reading the English alphabet . . .  or the Chinese logography.”²⁰

When I watch myself carefully, I realize that often as not, when I am reading a Japanese kanji phrase that I have never heard in use, I am either using a straightforward 音読み or, when desperate, pronouncing it in Chinese. (I studied Chinese for several years before starting Japanese, but have not kept it up.)

Dehaene notes that reading of both alphabetic and logographic writing activates the same area of the brain, which he calls the letterbox. Modern brain imaging has clearly established that, “in spite of geographical distance, different imaging methods, brain morphologies, education strategies, and writing systems, brain activations related to word recognition in Chinese readers lie only a few millimeters away from those of English readers.” Dehaene also notes that strokes that impair the letterbox affect reading of both kana and kanji in Japanese readers. However, there is more to language than the letterbox. Words written in kana and kanji do not activate the brain in identical ways. In rare cases, a stroke patient may retain the ability to read in one script but not in the other.²¹ The areas of the brain used for phonological processing also differ considerably between Chinese and English,²² and reading of characters makes extensive use of the right hemisphere, which alphabetic languages largely do not.

The key areas of difference for reading characters and alphabets are motoric memory and right hemisphere cortical regions. In addition to the semantic and phonological areas of the left hemisphere, reading of characters also recruits the visual-spatial system on the right hemisphere, which Li Hai Tan and colleagues have attributed to the need to analyze the square field of the character and determine the spatial locations of the brush strokes that comprise it.²³ Motoric memory is involved because Chinese and Japanese (and Sumerian) children learn (or learned) hundreds or thousands of logographic characters through years of repetitive writing in established stroke order. Mann describes her experience researching memory of graphic designs: “During testing, I noted that, unlike American children, many Japanese children attempted to trace the designs on their fingers or even with a motion of their head.”²⁴

Reading in three languages: The brain uses different areas when reading a syllabary, alphabet or logographs. The approximate location of Dehaene’s “letterbox” (visual word form area) is also shown. Diagram by Michael Karpa, based on Maryanne Wolf’s diagram in Proust and the Squid, p. 62.

Maryanne Wolf includes a figure illustrating the different areas of the brain activated while reading English, Chinese, and kana and notes that, unlike alphabetic writing systems, logographic characters require the involvement of right hemisphere areas known to contribute both to spatial analysis and to more global types of processing.²⁵

Understanding Understanding:  The Conscious Translator

In translating Japanese to English we make use of semantics (meaning) and articulation (our ability to produce language), as well as motoric, visuo-spatial, and phonological memory. One thing that sets the human species apart is our frontal lobe. Humans have much more connectivity in our prefrontal neurons than other primates, we receive more incoming inputs, and we have many more synaptic contacts. We have one form of neuron, the giant fusiform cell, than we share only with other great apes. The extremely long axons of these neurons connect the frontal lobe to other distant regions of the cortex. Dehaene has proposed that this creates a “global neuronal workspace.” The prefrontal cortex is less specialized than most of the cortex but is connected by these giant fusiform cells to specialized areas throughout the brain. According to Dehaene, the main function of this “neuronal workspace” is:

to assemble, confront, recombine, and synthesize knowledge, … guided by any combination of information from past or present experience. Our prefrontal cortex, thanks to its connections to all the high-level areas, provides a space for internal deliberations fed by a whole set of perceptions and memories. Bluntly put, what we term “conscious thinking” may simply be the manipulation of information within this global neuronal workspace.²⁶

Is this something that computers cannot reproduce? After all, our biological capabilities remain phenomenal: the total storage capacity of all the world’s computers is about the same as the DNA of one human, and the maximum number of instructions per second that all the world’s general computers could execute (in 2007) was equivalent to the maximum number of nerve impulses that one human brain can execute per second.²⁷ And computers do not have motoric memory, visuo-spatial, or phonological systems. At least, not yet. Odds are good that they will someday be able to reproduce a global neuronal workplace. Rule-based MT has not been as successful as statistical MT, but it may yet find its purpose as a kind of language-task schema married to statistical MT, which will serve the role of long-term memory under a yet-to-be-invented central executive. If nothing else, science is showing us that—marvelous, complex, and flexible though it is—the brain is understandable. In an interview available on YouTube, Alan Baddeley says:

Consciousness is a way in which evolution has equipped us with a tool for pulling together information and allowing us to reflect on it and use it in order to plan for the future. . . . The episodic buffer . . . allows information to be combined, bound together from many sources . . . within a system that can stand above it and reflect on it and perhaps even reflect on the reflection. So, I think of consciousness as a biological function, a function that we’re starting to understand.²⁸

In a sense, if we ask what is the value of a human translator, we ask what is the value of consciousness. Consciousness, the ability to reflect on our thinking, should someday be creatable. What our ability to understand really offers is the ability to choose what we do with our consciousness. It is up to us as individuals how good a job we do as translators, or as anything.

The advance that resulted from introducing spaces into scriptura continua was not speed, but efficiency. It freed our minds to think as we read. The greater efficiency of automatic, silent reading allows associative memory to function even as we read. To the recorded words we add our own associations, memories, and emotions, generating new thoughts of our own.

Making the task of translation easier could also create mental room for new associations, new thoughts, and greater creativity, allowing us to produce better work. As a translator today, I wonder, could the rigid norms of translation memory programs actually lead to an increase in neurophysiological efficiency similar to that which occurred with the switch to silent reading?

At the moment, I sense not. Or at least, not yet. MT cannot translate on its own; it can only skillfully retrieve the work done by translators in the past. Franz Och, the head of Google’s machine translation team, has said Google’s “algorithms basically mine everything that’s out there.”²⁹ With so little regard displayed for intellectual property rights and, by extension, the value of an individual translator’s work, one might be forgiven for feeling that the skilled slave is an alternative model of the future of the translation profession. But uncertainty remains innate in language. We cannot predict what will happen between the beginning and the end of a short sentence, so translators have to be conscious. Our ability to stay conscious and present and to bring our wealth of experience to bear is what keeps us from becoming slaves. In the future, we may have another way to view a real computer translator, when it finally arrives: not as a tool or a competitor, but as something evolving into a collaborator, whose consciousness can work in tandem with our own profuse and unpredictable ability to think.

About the Author:
Michael Karpa is a long-time Japanese-to-English translator based in San Francisco, California. He has a master’s degree in international policy from Stanford University and was a visiting professor at the Monterey Institute of International Studies Graduate School of Translation and Interpretation in 2002-2003. He is the translator of Sakaiya Taichi’s What Is Japan and his fiction and essays have been published in Faultline and a number of other literary magazines.

(Originally published in the SWET Newsletter, No. 129, November 2011)

Wednesday, November 30, 2011

SWET Newsletter, No. 129

More details . . .

Japanese to English Translation
• Slave to the Word, by Michael Karpa

In an efficiency-first, high-tech world, will human translators soon be transformed into skilled slaves? We bring to the task of translation understanding and consciousness, exactly what both rule-based and statistically based MT translation lack, and the completeness of our understanding becomes the measure of what we do. Karpa recalls the history of reading text when there were no spaces between words (scriptura continua), a laborious task sometimes assigned to slaves. He cites studies illuminating how different parts of the brain are mobilized for reading ideographic characters and alphabetic characters. He discusses the processes involved in reading and understanding, mobilizing complex components and functions of the brain. By understanding how we understand, we can transcend the slave. Author of Translating in the Deep End (The ATA Chronicle, American Translators Association, Alexandria VA, Jan 2011), Michael Karpa is a long-time Japanese-to-English translator based in San Francisco, California.

March 11, 2011: Continuing Stories
• After March 11: A Magazine and Local Newspaper Respond to the Disaster, by Terri Nii

Terri Hogue (Nii) arrived in Kokura (Kyushu) from California in 1980 on a one-year teaching contract, where she saw notices of SWET meetings in the Japan Times (which arrived in “overseas” Kyushu one day late). After study, marriage, relocation, and incorporation, she joined the industry, and has been engaged in writing, editing, and translation activities for the past 15 years, based in Fujisawa. Currently editor of Eye-Ai magazine and a Shonan-based freelance writer, Nii recounts how two different publications that she is involved with decided to present information related to the March 11 disaster.

• The Silent Citadel: Poetry for 9/11 and 3/11, by Higashizono Tadatoshi

“Unbelievable” was the apt and ubiquitous word following the disaster now called “3/11.” Two unexpected and heartening things happened, one was the waves of compassion that rolled from around the world; the other was the outpouring of poetry in the 31-syllable (5-7-5-7-7) waka (tanka) and 17-syllable (5-7-5) haiku forms, which continues, even now. Translator Higashizono Tadatoshi draws our attention to the way human sentiment takes flight at times of crisis. 

SWET Events
• Orchards: Holly Thompson on Japan in Fiction for Teens, by Ann Slater

Holly Thompson’s first novel, Ash, was set in the shadows of Mt. Sakurajima in Kagoshima, and her most recent work, Orchards, is a young adult novel that traces the experiences of a half-Japanese girl in a coastal mikan-growing community in Shizuoka. How does Thompson write convincingly and sensitively about life in a culture not her own? And how—in the case of Orchards—does she interweave cross-cultural issues with difficult teen themes such as suicide and bullying? Through untiring research, collaboration, and revision, is the answer she gave at her June 10, 2011 talk for SWET at the Wesley Center in Minami Aoyama.

• Joan Ericson on Japanese Children’s Literature, by Lynne E. Riggs

The earliest literature identified as having been expressly written for Japanese children dates from the 1870s and 1880s. One thread was played out in the textbooks, reading material, and songs used in the modern schools established after 1872. Another emerged from the ideals and the pens of Japan’s modern writers—inspired by the romanticism and naturalism of the worlds of literature and art in the late-nineteenth and early twentieth century—who went on to write the stories now considered “truly modern" Japanese children’s literature. In her July 9, 2011 talk in Kyoto, Joan Ericson, professor of Japanese literature at Colorado College, wove a tale of the “discovery of the child,” the idea of the “pure and innocent” child, and the role of women in the shift to a more realistic conception of the child. Joan Ericson is translator of Hayashi Fumiko’s Hōrōki (as Diary of a Vagabond), and the author of Be a Woman: Hayashi Fumiko and Modern Japanese Women’s Literature (1997).

From the Steerage
• SWET Business Update: Looking Ahead

The SWET Newsletter in its present form will be published through No. 130 (March 2012). The SWET Web Design Committee is in the process of having the SWET website redesigned with a view to opening the new site in early 2012. SWET thanks Naomi Otani (general secretary), Bob Poulson (treasurer), and Neil Ramsay (membership secretary), for the long years of faithful service to SWET and welcomes their successors to these positions: Lynne Riggs, Chikako Imoto, and Kevin Cleary, respectively. This column includes a list of SWET Events in 2011.

Book Review
• Tidbits among the Triumphalism, by Charles De Wolf

Globish: How the English Language Became the World’s Language, by Robert McCrum. (New York: Penguin Books, 2010). ISBN 978-0-141-02719-4. Price ¥1,944.

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