Creative in interpreting

Froggy Jumps

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Creative in interpreting

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Paola Castillo

Mexico

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Creative in interpreting


Froggy Jumps Creative in interpretingVersion en ligne Creative in interpreting par Paola Castillo 1 What are the three levels at which creativity in interpreting can be examined? a The products, Mental processes and The behaviour of the interpreter b The audience, The setting, and The equipment c The language, The culture, and The history 2 What is one of the most essential aspects of translation and interpreting? a the original message is created by someone other than the translator/interpreter. b The translator/interpreter must be an expert in multiple languages c The translation/interpreting process is always done under tight deadlines. 3 According to Cho, if a translator is unable to show the creative nature of the source text a it means that the translator has failed to produce a target text that stays true. b The translator will always be successful in producing a target text c The source text is not creative. 4 According to Pagnoulle, what is expected of translators of non-literary texts in terms of creativity? a Translators are expected to be at least as creative as literary translators but in a different way b Translators of non-literary texts do not need to be creative at all c Only literary translators need to be creative, not non-literary translators. 5 How does Kussmaul view translation? a Recreation, where the translator creates an equivalent text in a different language. b A mechanical and automated process c A literal word-for-word translation. 6 How does Cho's empirical research describe the degree of creativity in Japanese-Korean translation? a It is restricted due to the linguistic similarity between Japanese and Korean. b The degree of creativity is unlimited. c The degree of creativity is only restricted by the translator's experience. 7 What does Wilss mean by the term "derived message" in the context of translation? a Refers to the reformulation of ideas given by the author of the original text, b Refers to the translator's own original ideas and message. c Refers to a literal word-for-word translation of the original text 8 According to Pagnoulle, what is acceptable for translators to do when the source text is inaccurate or awkwardly organized? a To rewrite the text or to make changes to it, b Always translate the text literally, even if it's inaccurate or awkwardly organized. c Leave the text as is, without making any changes or adaptations. 9 According to Gui, why does he consider translation as fundamentally creative? a Because translators have to form the source-text ideas into the structure of the target language. b Translation involves only literal translation. c Translation is a mechanical process 10 According to MacRae, where can creativity be seen in interpreting? a In note-taking or preparation techniques, an interpreting style, and avoiding pitfalls. b Only the target language form of the original message. c The use of technology in interpreting. 11 According to Niska, what is a neologism in the context of interpreting? a A unit of the lexicon, a word, a word element or a phrase. b A word or phrase that has been used for centuries c A grammatical error in the target language. 12 What are the two groups into which creative processes in interpreting can be divided? a Problem-solving processes and mental interpreting strategies. b Language skills and cultural knowledge. c Translation techniques and interpreting styles. 13 According to Walter, what is an important concept in creative translation? a It's the notion of selection, which involves searching for and finding problem solutions. b The use of technology in translation c The literal translation of texts. 14 What are the four steps or stages in the creative process, according to Kussmaul's use of Wallas's model? a They are preparation, incubation, illumination, and evaluation. b They are analysis, synthesis, evaluation, and implementation. c They are research, planning, execution, and review. 15 what is the dynamic aspect of translation and interpretation creativity? a To develop decoding and encoding strategies in simultaneous b The ability to produce original texts. c The use of standardized translation procedures. 16 what is an important concept in interpreting that involves using one's creative imagination? a Anticipation, which involves foreseeing or predicting what is going to be said or happen next. b Literal translation. c Cultural knowledge. 17 According to Kussmaul, what is the nature of comprehension in translation/interpreting? a It's a productive process, guided by both what we hear, read, personal knowledge and experience. b Only a receptive process c A purely mechanical process. 18 For MacRae, what is the most relevant part of the interpretation process in terms of creativity? a The thinking part of the interpretation process, specifically the strategies used by interpreters. b The technical skills of the interpreter. c The interpreter's personal experience. 19 What is the view of the strategies-view of the process of interpreting? a Focuses on the strictly cognitive aspects of interpreting. b The strategies-view focuses on the global context and time frame of interpreting. c The strategies-view focuses on the technical skills of interpreters. 20 What do interpreters need to adapt to in order to behave in a professional manner and facilitate communication a To the situation and participants including their personality, motivation, attitudes, and emotions. b Interpreters need to adapt only to the text-specific characteristics of the source message. c 2. Interpreters need to adapt only to the technical aspects of interpreting.

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Creative in interpreting

Froggy Jumps

À propos de cette activité

Créé par

Téléchargez la version pour jouer sur papier

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Creative in interpretingVersion en ligne

par Paola Castillo

What are the three levels at which creativity in interpreting can be examined?

What is one of the most essential aspects of translation and interpreting?

According to Cho, if a translator is unable to show the creative nature of the source text

According to Pagnoulle, what is expected of translators of non-literary texts in terms of creativity?

How does Kussmaul view translation?

How does Cho's empirical research describe the degree of creativity in Japanese-Korean translation?

What does Wilss mean by the term "derived message" in the context of translation?

According to Pagnoulle, what is acceptable for translators to do when the source text is inaccurate or awkwardly organized?

According to Gui, why does he consider translation as fundamentally creative?

According to MacRae, where can creativity be seen in interpreting?

According to Niska, what is a neologism in the context of interpreting?

What are the two groups into which creative processes in interpreting can be divided?

According to Walter, what is an important concept in creative translation?

What are the four steps or stages in the creative process, according to Kussmaul's use of Wallas's model?

what is the dynamic aspect of translation and interpretation creativity?

what is an important concept in interpreting that involves using one's creative imagination?

According to Kussmaul, what is the nature of comprehension in translation/interpreting?

For MacRae, what is the most relevant part of the interpretation process in terms of creativity?

What is the view of the strategies-view of the process of interpreting?

What do interpreters need to adapt to in order to behave in a professional manner and facilitate communication