Practical tips for translating and publishing Greek documents

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Image provided by the author. Source: bit.ly/2JMLK9X.

Translating a medical document from other languages is hard enough without having to deal with a complex one like Greek. Although the grammar is logical, Greek is still one of the most complex languages to translate; especially if it’s your first time.

Of all the European languages, Greek poses a number of unique challenges during translation and desktop publishing. Even though many medical devices and drug companies face these challenges with Greek documents, there are straight-forward solutions to overcoming them.

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All-caps styles

The Challenge:

Operating manuals frequently make use of an all-caps style for titles within the body of the text. The table of contents (TOC) might be set up to combine an initial cap followed by lowercase letters. In other words, the title “OPERATING INSTRUCTIONS” would be listed in the TOC as “Operating Instructions.”

This technique works well in many languages. In Greek, however, there are certain letters (accented vowels, e.g., Ü Ý Þ ß ü   and the final sigma “ò”) that do not automatically map to the appropriate capital letter. For instance, the final sigma maps to a bullet point when the “all caps” style is applied.

The result is that to make the all-caps titles appear correctly, editors must manipulate the TOC manually, i.e., replace the bullet with a capital sigma. In the case of larger manuals, where the TOC can run for a dozen pages or more, a full day of work would be required to perform the revision.

Suggested Solution:

The all-caps style should not be used in IFUs or manuals that will be localized into Greek. Instead, develop Greek-specific templates and styles that provide for appropriate capitalization of titles.

Text expansion

The Challenge:

When translated from English, Greek text typically expands by 30 percent and, depending on the translator, often more than that. As text length increases, so does the need for more desktop publishing time:

  • Greek hyphenation dictionaries do not exist, requiring the manual hyphenation of formatted text.
  • If the source templates were designed without text expansion in mind, quite a bit of work may be needed to prepare the master pages for Greek text.
  • Given the larger number of pages, a Greek document will require more time for fixing reflowing text and for proofreading formatted pages.

Suggested Solution:

Carefully review your source-language templates to ensure that the longer Greek document reflows with a minimum of manual rework.

 Fine-tuning index entries

The Challenge:

The “code pages” used by Greek operating systems are different from those used by Roman languages. This means that many applications or parts of applications cannot “read” Greek text and display it as gobbledygook.

An example of this limitation is the Marker editing tool in Adobe FrameMaker, which cannot display Greek text, even though the Greek manual itself displays just fine. As a result, not even the simplest of index errors can be repaired by a desktop publishing specialist working on an English operating system.

Suggested Solution:

To ensure the accuracy of the index, the production process needs to account for the time needed by Greek linguists to review and fine-tune index entries and the compiled index on Greek operating systems.

Alpha-sorted elements

The Challenge:

Another challenge that is related to code-page conflicts concerns alpha-sorted elements, e.g., footnotes with alpha designations, alpha-sorted lists, and the index. An English operating system provides A-Z alpha sorts, not Alpha-Omega sorts as required in Greek.

The result is that any automatically generated alpha sorts in the body need to be manually overridden in Greek documents, an additional and potentially time-consuming task. In the index, reference pages must be revised to ensure that the index sorts as necessary.

Suggested Solution:

Where possible, replace alpha-sorted lists and footnotes with numbered lists and footnotes; this will reduce the cost of manual rework and thus improve the overall quality of the documentation.

Translating Greek Medical Documents Requires Patience!

Greek is an inflected language, which means that the words change to convey meaning. Whereas the English language depends solely on word order to convey meaning, Greek relies on changes to the words themselves in order to make sense.

The publishing of Greek documentation presents a handful of unique challenges. However, with careful planning and the development of Greek-specific process steps, it is possible to hold down Greek publication costs and produce high-quality deliverables.

About the author
otd_logoOn The Dot Translations is a New York-based firm that offers translation services in every language. You can contact us 24 hours a day, and seven days a week. Our translators have specialized fields, they get the job done fast without compromising our high quality standards.

IT translation reference material

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Information Technology (IT) translators, like myself, are used to strictly following different reference material. Even when the client has its own glossary and style guide, not always are they totally comprehensive so we have to turn to third-party resources. Luckily, there are some recognized and trusted sources we can follow to base our linguistic decisions on, and not simply throw in anything we like. Personal preference should be our last option.

The most widely used and trusted reference source is Microsoft. Other large IT brands even mention it in their own style guides, instructing the linguist to use it as reference if something is not included in their material. Microsoft has recently (late last year) updated their Writing Style Guide (you can download the PDF for free in the link). It contains topics related to capitalization, punctuation, numbers, URLs and web addresses, everything one expects from an IT style guide. This guide applies to the English language, but you can also find one for your language here (including Brazilian Portuguese, last updated on June 2017). The language-specific style guides are only downloadable (also free of charge); they are not available online.

Microsoft also has an online Language Portal where you can search for terms in different languages, including Brazilian Portuguese. It shows results in its Terminology Collection and in localized Microsoft products in three columns: English, Translation and Definition/Product. This is a fantastic resource! It’s bookmarked in my browser so I can easily access it whenever I need, which is every day.

Apple, another trusted source, also provides its style guide online (in English).

If you know of any other publicly available IT style guide and/or glossary, please feel free to share it in the comments.

Greatest Women in Translation: Anna Holmwood

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Welcome back to our Greatest Women in Translation interview series!

Our interviewee today is Anna Holmwood, Chinese and Swedish literary translator.

Anna Holmwood

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1. According to The Guardian, Jin Yong is the world’s biggest kung fu fantasy writer, enjoying huge popularity in the Chinese-speaking world and being among the 10 bestselling authors. However, his name is barely known to the rest of the world “due to the complexity of the world he has created and the puzzle that has posed for translators.” As the translator of one of his books, what is this complexity and the puzzle about?

There are many reasons why Jin Yong’s work has not been published by a trade publisher in English before (and barely in any other language either, for that matter). Jin Yong first stories were published in his Hong Kong newspaper in serial form in the 1950s, but due to the political upheavals of the time, he only became a household name in China and Taiwan in the 1980s and 1990s. Contact between the Chinese-speaking world and the west only really started to pick up in intensity in the 1990s, and in terms of deeper understanding, I think we are really only at the beginning of what will turn out to be a big shift in world culture as we start to understand Asia better and they take their place at the centre of the world stage. Jin Yong’s stories are grounded in a particularly Chinese genre that dates back several hundred years, but he was also someone who modernised martial arts fiction and made it relevant again. His significance to contemporary writers of kung fu novels cannot be understated. As no martial arts fiction has been translated by a trade publisher in English, editors are understandably a bit unsure – will it sell? Will readers connect? But it makes sense to start with the master, if anyone can make martial arts fiction popular in the west, surely it has to be Jin Yong?

2. In this same article mentioned in question 1, you say that you don’t explain everything in the book because you believe “readers like a bit of a challenge.” That’s a tough decision to make – whether to provide more contextual and cultural information to the reader or not through footnotes or any other sort of side note to the original. How did you come to this decision?

Reading is no fun if it’s too easy! But indeed, you have to maintain a balance between provoking a reader’s interest and losing them completely due to incomprehensibility. In the case of Jin Yong, the broad sweep of the story, the emotional worlds of the characters, the moral framework behind their actions: all these things translate very easily in my opinion. The parts that are more difficult are mostly in the detail, the elements of Chinese medicine or historical references that are perfectly obvious to a Chinese reader. And yet, it is my opinion that an English reader doesn’t need to understand everything on the same level as his/her Chinese counterpart. I would rather that a translation inspires a reader to explore something further than sacrifices the energy and flow in order to make every detail plain.

3. The first volume of Jin Yong’s most popular trilogy, A Hero Born, was translated by yourself (taking you five years). The other two volumes are being translated by different translators. How was this experience of sharing a series of books with other translators?

Actually, I am working with one other translator only, Gigi Chang. I will work on the odd numbers, she’s doing the even numbers. It’s been great to have her on board – she started working on book two just after I finished and handed in book 1 to our editors. We’ve been able to bounce around ideas and she was someone for me to bounce ideas around with during the editing process, so I can’t imagine not having her with me on this journey now. We are in daily contact, despite living on opposite sides of the world. It’s been very important for us to find a way to work together that gives each translator the freedom to work in their own way, but to come together to create a joint voice for Jin Yong in English. This is no small task! But I feel very lucky to have found someone with whom I work so well together.

4. You have been recently appointed Foreign Rights Manager at DKW Agency. What exactly does this role entail?

I am in charge of selling translation rights for our authors, which means, selling into all territories apart from English-speaking ones. This means meeting and talking with editors from all around the world and finding out what books are popular in their markets, what kinds of stories they think resonate with their readers and what excites them personally. It’s a brilliant counterpoint to doing all the detailed work of translating, it’s the best way to get a “bigger picture” of what happens when a book travels across languages.

5. Besides translating from Chinese, you also translate from Swedish. And I must say this article on your translation The Amazing Story of the Man Who Cycled From India to Europe for Love, by Per J. Andersson, captivated me. It must have been a real joy to translate it. Could you tell us a bit more about it?

I loved translating this. PK’s story is incredibly inspiring, and I know from having had contact with him during the translation process, he is as humble and committed to living a life founded on love and acceptance as he comes across in Per’s book. It made for a nice change to Chinese martial arts. It’s that balance between different projects and languages that makes my job fun.

6. What are the differences between translating from Chinese and from Swedish in terms of difficulties or even joys?

I learned Swedish as a child because my mother is Swedish. As such, the ways I came to speak Mandarin and Swedish could not be different – one was from immersion only, I have barely any formal education in Swedish. The other I studied as an adult, alongside courses in the history, economy, politics and of course literature of China. When I first started out, the difference was perhaps more pronounced. I found dialogue in Swedish came very naturally, I understood things by tone and instinct in a way that I didn’t in Mandarin. I have since married and had a child “in Chinese” however, so the intellectual/emotional distinction no longer feels so strong. Now that I live and work in Sweden, I can feel the two languages converge.

There is, of course, a huge difference in terms of literary culture. Swedish fiction has greater and deeper connections to English writing, the underlying grammar and values are far more similar, so translating between these two is like crossing a stream, where Chinese to English translation requires a long-distance ferry-ride across a wide ocean. I think we underestimate how culturally specific our notions of “good writing” really are, and as such, translating between European languages rarely challenges readers at the level of what is fiction, how do we structure a story. There are many cases of Chinese genres that do not have simple equivalents. Crime writing, poetry, essays: these look very different in Chinese. This presents translators and editors with a far bigger challenge than I think the industry is prepared to recognise. And similarly, many types of writing that are popular in the west don’t work in China, for example.

7. Now it’s your turn to nominate our next Great Woman in Translation.

I’d like to nominate Rosalind Harvey for the next interview!