The Color of the Cat's Hair in Natsume Soseki's I Am a Cat

October 14, 2014, 18：20 Open

How do we make subtitles for a film? Unlike translating for dubbing, subtitles can have limited numbers of words, and thus require techniques that are more than just summarizing dialogues in the film. With specific works as examples, I will explain how we can understand the filmmaker's intentions and “choreograph” our translation in a limited space.

Date and Time: May 27, 2013 from 18：00 to 19：30 (CST) Location: Student Activity Hall (学生交流講堂), Xianlin Campus, Nanjing University

11 March (Tue) 18:30 (CST)

This paper reflects on two different kinds of responses to Fukushima in the performing arts. The first involves geo-performative actions (Fancy 2011) that aim to return to and transform the meaning of spaces damaged by the earthquake and nuclear meltdown. The second, arguably, take the longer view and suggest haunting and residue.

This paper seeks to consider how the privilege of distance may (or may not) enable negotiation of politics of difference which re-emerge within the “here” and “there” of a crises.

Overall, my presentation discusses the relationship between literary language and history, focusing particularly on the poetic endeavours to battle with the forces of history, agitating or draining the prevailing discourse of the time. It is a comparative study of eloquence versus reticence, which leads to a broader study of the question concerning the potential role of the literary language.

A large number of texts were translated into Syriac, and translations were made, in turn, from Syriac into a variety of languages. A number of such translations will be taken up in this presentation, and observations will be made on how the manner in which the texts were translated was affected by the social and cultural relationships between the communities using the languages involved.

■4/18: Photographs Upload

■4/18:Photographs Upload

November 8, 2011 (Tue) 18:00 to 19:30