Language Log

[This is a guest post by Conal Boyce]

[VHM:  watch as much or as little of this 24-minute video as you wish; the most pertinent portion runs from 2:17 to 3:40]

Quotation is at 1:43 / 2:59; article below the break.

"Google Translate learns 24 new languages"
Isaac Caswell, Google blog (5/11/22)

==========

To make sense of the story that follows, one must understand that the Korean word "agassi 아가씨" used to refer to a young lady from the upper class, but now in North Korea means “slave of feudal society” and has a very negative connotation there.

"Hidden meaning of Korean term 'agassi' leads to murder", by Choi Jae-hee, The Korea Herald (5/3/22)

Because the linguistic psychology that lies behind the tragic crime recounted in this article is intricate and subtle, it is necessary to recount it at some length:

An error in a mobile translation application recently prompted a 35-year-old Chinese man in Jeongeup, North Jeolla Province, to murder a Korean resident.

I am a fan of capital letters.  They let us know when a noun is a proper noun — the name of a person, a place.  But I also have to admit that they are something of a bane at times.  For example, I grew up learning that one should capitalize all terms in a title except for prepositions, words of three letters or less, definite and indefinite articles, and so forth.  For many publications, however, including here at Language Log, it seems to be house style not to capitalize all the terms of a title over three words in length, unless they are proper nouns.

This indefiniteness about whether or not to use capitals in titles gives me lots of headaches.  Because I'm a stickler for bibliographical exactitude, when I'm preparing my list of references and footnotes, it causes me much grief to decide whether to include capitals or not when different sources threat them dissimilarly.

[This is a guest post by Jenny Chu]

It came up today when I was reading this somewhat viral post on Facebook. 

Yesterday, in "Malign Woodpeckers and Other Hegemonic Behavior" (4/18/22), we became briefly acquainted with "The Great Translation Movement" (TGTM).  Today we will probe more deeply into what it is all about.  Suffice it for the moment to say that TGTM deeply unnerves the CCP.  In addition to "Twisted in translation: Western media, social groups set up language barriers by intentionally misreading, misinterpreting Chinese materials", by Huang Lanlan and Lin Xiaoyi, Global Times (4/14/22), which was the main basis for yesterday's Language Log post and in which TGTM played a key role, TGTM was also featured in these recent Global Times (GT) articles:

"How China can counter translation bias", by Tang Jingtai, GT (4/12/22)

"GT Investigates: Behind the online translation campaign are a few Chinese-speaking badfaith actors fed by antagonistic Western media", by GT staff reporters, GT (3/24/22)

Here's a Global Times article in Chinese against TGTM where we learn that the Chinese name for it is "Dà fānyì yùndòng 大翻译运动" ("The Great Translation Movement").

With this stunning journalistic masterpiece, Global Times, China's official, nationalistic, daily tabloid newspaper under the CCP, has outdone itself in exposure of truly insidious "Western" (U.S., British) linguistic behavior:

"Twisted in translation: Western media, social groups set up language barriers by intentionally misreading, misinterpreting Chinese materials", by Huang Lanlan and Lin Xiaoyi, GT (4/14/22)

Here's one gem from the article:

Professor Tang from Fudan University noted that anti-Chinese forces are now mature enough to use the internet to self-organize – actively plan anti-Chinese issues to infiltrate and mobilize some netizens, driving them to act like woodpeckers to find a few rare, extreme statements and then embellish them.

Gosh!  Who knew that woodpeckers could be trained to do that?  Every day is an education. 

Mark Swofford took this photo yesterday in a Taipei supermarket:

[This is a guest post by Jichang Lulu.]

Recent discussion of that most Taiwanese expletive, 潲 siâu ‘semen’ (“Hokkien in Sino-Japanese script”), made me think of a favourite item. Although Mandarin 㞞 sóng has the same literal meaning, in my experience that’s less familiar to some speakers than nouns that contain it, e.g. 㞞包 sóngbāo (literally ‘bag of semen’), roughly ‘weakling’.

Again, to refresh our collective memory and to provide the context for the present post and the other posts in this series, I repeat the following questions:

1. Is there such a thing as "Classical Arabic"?  If there is, how do we describe / define it?

2. What is "Standard Arabic"?

3. What is Quranic Arabic?  How different is it from Standard Arabic?

4. How many vernacular Arabic languages are there?  Egyptian? Syrian?  Lebanese?  Are they quite different from Standard Arabic?  Are they mutually intelligible?  Do they customarily have written forms and a flourishing literature?

—

You may also wish to revisit the introduction with which the first post in the series began.

Heather Sharkey offered the following eye-opening response:

You have opened a can of worms! Or many cans of worms!

Questions from Nancy Friedman:

I'm writing something about the Best Picture nominee "Drive My Car," whose Japanese title is "Doraibu mai kā." Is there a name for this sort of transliteration from English into Japanese? Why would a Japanese writer–the source story was written by Haruki Murakami–choose a transliteration instead of a translation? (Beatles reference, maybe?)

From David Spafford:

It’s definitely a Beatles reference. I don’t know this particular Murakami work, but he’s well known for his Beatles references: think "Noruuei no mori", which is an obvious reference / mistranslation of the Beatles song, "Norwegian wood".

As a published translator myself, I certainly strive to make my translations worthy of being considered as art.  But it isn't always an easy task.  Witness "The Tricky Art of Translation and Maria Dahvana Headley’s Modern Beowulf", CD Covington, Tor.com (Mon Feb 7, 2022):

It’s not very often that a thousand-year-old poem has a new translation that gets people hyped up, at least in the Anglophone world, but Maria Dahvana Headley’s recent Hugo Award-winning translation of Beowulf stirred up a lot of interest—there’s even a video series of writers and entertainers reading it out loud. (Alan Cumming’s section is excellent—he really knows his way around alliterative verse.)

…