When we translate marketing material, or indeed any text with a commercial interest, there is one thing that is infinitely more important than the source text: the poor bugger who is going to read the translation.
The relation between the source and target texts has been discussed to death, usually presented as variants of literal versus free translation. In the early 19th century, the German philosopher Friedrich Schleiermacher stated that a translator has two options: to leave the author alone and focus on the reader, or to leave the reader alone and focus on the author.
Put bluntly, sod the source text or sod the audience.
Schleiermacher himself was a strong advocate for the latter option, to focus on the author. More recently, his views on the matter have been picked up by the eminent American-Italian translator and researcher Lawrence Venuti. Both Schleiermacher and Venuti are concerned with literary translation, and more specifically with translation to English from other languages. For Venuti, translation is a political act that should resist the common practice of Americanising vernacular works of art.
In the field of commercial translation however, there is little to gain from this method. The aim of promoting a product is hardly to render the style of the author behind the text – a copywriter is often just as anonymous as a translator. The aim is rather to engage the reader, inform them of their options and ultimately, to sell the product. As for the language-political viewpoint, translating from English into smaller languages (which constitutes the most common language direction in Europe) is, if anything, the opposite to the situation Venuti describes. Hence translation of marketing texts calls for a method that entails localising, editing, removing, adding and paraphrasing.
I don’t mean that we should write about polar bears if the text is about lions. By all means, stick to the facts and respect the client’s predetermined terminology. I’m saying that we should present the lions in a way that is appealing and makes sense to the target audience. Why do we even want a translation to be identical to the original? It is not going to be read by the same people. Also, the source text is not necessarily bigger and better by default – even the most well-written copy may not work in the target culture. If somebody really is crazy enough to compare a translation with the original, segment by segment, surely the interesting thing is not how much the translation resembles the original, but how the translator has chosen to negotiate the inevitable differences between the source and target cultures.
The term transcreation is sometimes used to address what I’m talking about. There are different definitions of this concept – I’d say it refers to translations that have been adapted to work as texts in their own right and not just in relation to the original. Personally I am reluctant to use this term, perhaps because I cannot differentiate between transcreation and translation in general. I prefer to think of it as bilingual writing. Translation without an element of transcreation is a pointless activity that we hopefully can leave to Google Translate in the near future.
In my experience, human translators resort to literal translations for one of the following reasons:
- They are under pressure to produce an insane number of words and do not have the time to think about presentation;
- they did not quite understand the meaning of the original text (this is not always the translator’s fault);
- they are scared to deviate from the structure of the original (in case somebody questions their interpretation, they can defend themselves by saying “but it is what the source text says”);
- they do not have sufficient writing skills to express themselves differently.
As for machine translation programs, it is obviously futile for human translators to compete in terms of quantity – surely the only way forward is to provide value in terms of quality. After all, Google is getting pretty good at mass-producing uninspiring, ugly lions.
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Friedrich Schleiermacher on Wikipedia
Lawrence Venuti on Wikipedia