[Ramblings on Translation Theory] Translation as Metaphor for Artistic Expression: Metaphor for the art and challenge of translation

 

Reserved rights for the image to this blog's owner.

The Literal Image

We see a classic, ornate picture frame. However, instead of a painting, the frame contains a real, three-dimensional, leafy branch. The branch doesn't just sit within the frame; it actively grows through it, bursting out of the constraints of the wooden borders.

The Metaphor for Translation

The Frame = The Target Language
The frame represents the structure, rules, and conventions of the language you are translating into (the target language). Every language has its own: Grammar and Syntax (the rigid corners of the frame); Idioms and Cultural Context (the specific artistic style of the frame (e.g., baroque, modern); Vocabulary Limits (the physical space within the frame).

The Branch = The Source Text & Its Meaning
The living branch represents the original text (the source text) with all its richness, nuance, and life.

Organic Nature: A text is not a static, dead object. It's alive with meaning, tone, rhythm, and cultural subtext.

Complexity: The branch has leaves, twigs, and direction—just as a text has layers of meaning, ambiguity, and beauty.

The "Problem" or The Act of Translation = The Branch vs. The Frame
The central tension of the image is the mismatch. You are trying to fit a living, irregular, organic entity (the source text) into a fixed, rigid, man-made structure (the target language). A straightforward, word-for-word translation is like trying to force the entire branch to fit perfectly within the frame. This is impossible without breaking the branch (losing the meaning) or breaking the frame (breaking the rules of the target language and creating nonsense).

The "Solution" or The Ideal Translation = The Branch Growing Through
The most successful translations do not try to hide this tension. Instead, they acknowledge it and find a way to let the life of the original text shine through the constraints of the new language.

A good translation:

Preserves the Life (The Branch): The core meaning, feeling, and voice of the original work are kept intact and vibrant.

Respects the New Frame (The Target Language): The translation reads naturally and follows the rules of the new language; it doesn't sound awkward or "translated."

Acknowledges the Imperfection: Just as the branch cannot be fully contained by the frame, some elements (puns, cultural specificities, unique rhythms) cannot be perfectly replicated. The translation makes a choice—sometimes it finds an equivalent, sometimes it compensates, and sometimes it lets a leaf stick out, acknowledging that something is "lost in translation."

This image illustrates that translation is not a simple act of substitution, but a dynamic process of negotiation and transformation.

A bad translation either hacks the branch to pieces to make it fit (losing all the original's beauty) or builds such an awkward, misshapen frame that the result is unreadable.

A good translation is the one we see in the image: it holds the tension beautifully. The frame is still a frame, and the branch is still a branch, but together they create a new, interesting, and authentic piece of art that honours both its source and its new home. The life of the original text bursts through the constraints of the new language.

Reflections on Translation and Cultural Mediation: Brief Notes

Translation and cultural facilitation have become indispensable pillars of our globalized world, bridging linguistic and cultural divides. While these fields offer immense potential for understanding and collaboration, they also present complex challenges that demand careful navigation.

On the one hand, translation and cultural facilitation have opened up new avenues for intercultural dialogue and exchange. Through translation, we gain access to diverse perspectives, literature, and knowledge from around the globe. Cultural facilitators, in turn, play a vital role in fostering cross-cultural understanding and promoting empathy. They help bridge communication gaps, navigate cultural nuances, and facilitate meaningful interactions between individuals and groups from different backgrounds.

However, the complexities of language and culture introduce significant challenges to translation and cultural facilitation. Linguistic nuances, cultural references, and idiomatic expressions can be difficult to convey accurately across languages and cultures. Moreover, the ever-evolving nature of language and culture adds another layer of complexity. Translators and cultural facilitators must constantly adapt to new terminology, emerging cultural trends, and evolving social norms.

One of the most significant challenges in translation is the potential for misinterpretation and loss of meaning. A single word or phrase can carry multiple meanings depending on the context and cultural background. Translators must carefully consider these nuances to ensure accurate and culturally appropriate translations. Cultural facilitators, on the other hand, face the challenge of balancing cultural sensitivity with effective communication. They must be able to navigate delicate cultural issues while promoting understanding and respect for diverse perspectives.

Another challenge lies in the rapid pace of globalization and the increasing diversity of languages and cultures. This diversity necessitates specialized knowledge and skills to effectively translate and facilitate intercultural communication. Translators and cultural facilitators must stay updated on the latest developments in their fields and continuously expand their linguistic and cultural expertise.

Despite these challenges, translation and cultural facilitation remain essential for fostering global understanding and cooperation. By bridging linguistic and cultural divides, these fields contribute to a more interconnected and inclusive world. As our world becomes increasingly diverse and interconnected, the importance of translation and cultural facilitation will only continue to grow.

Translation of text on Willard Wigan

Note: original English-language source from official press kit.

“Willard Wigan was born in Wolverhampton, England in 1957 and is the creator of the smallest artworks in history, as verified by Guinness World Records.

From being a traumatised and humiliated child with unrecognised learning differences, he has emerged as the most globally celebrated micro-miniaturist of all time and is literally capable of turning a spec of dust into a vision of true beauty.

To escape the constant taunts from his teachers and student peers, Wigan found solace in creating art of such minute proportions that it could not be seen with the naked eye. He adopted the belief that if his work could not be seen, then it and he could not be criticised. Often described as “nothing”, Wigan set about showing the world that there is no such thing as nothing.

“My work is a reflection of myself” says Wigan. “I wanted to show the world that the little things can have the biggest impact. At school, I couldn’t express myself and felt like “nothing.” I wanted to experiment with the world that we can’t see.”

He can create a masterpiece within the eye of a tiny sewing needle, on the head of a pin, the tip of an eyelash or on a grain of sand. Smaller than the fullstop at the end of this sentence, with some being completely invisible to the naked eye, the effect on the viewer when seen through high powered magnification is truly mesmerising.

Inspired to capture the attention and awe of his subject matter in the smallest and most microscopic of detail, Wigan imagines and creates a microscopic world that entices people to look closer.

The artists himself likens his work to “Trying to pass a pin through a bubble without bursting it” and the skill, time and dedication involved in their creation means that each piece contains the very heart and soul of its creator.

Willard, who is completely self-taught (there are no teachers) has baffled medical science and been the subject of discussion among micro-surgeons, nanotechnologists and at universities worldwide. There is no doubt he is as unique as his timeless masterpieces.

The personal sacrifice in creating such wondrous sculptures is inconceivable to most. Wigan enters a meditative state in which his heartbeat is slowed, allowing him to reduce hand tremors and sculpts between pulse beats. Even reverberation caused by outside traffic can affect Wigan’s work. This causes him to retreat to places of solitude, or to work through the night when there is minimal disruption.

His works have fascinated and amazed discerning collectors worldwide and are cherished by Royalty, Politicians and Celebrities from the worlds of show-business and sport. In July 2007 he was honoured by HM Queen Elizabeth II with an MBE for services to art.

The audiences that attend Willard’s exhibitions are amongst the most diverse of any living artist and are a huge success around the world. When exhibited in public they draw reactions of astonishment and wonder from press and public alike, frequently generating comments such as “The eighth wonder of the world”, “The most amazing thing I have ever seen” and “Truly a gift from God”

In many instances his work simply stuns viewers into silence. Others have described it as being seemingly “supernatural” and crossing the boundaries between Art and Science. It confuses the senses and such distinctions ultimately become irrelevant as viewers become lost in the sheer wonder of the inner space to which his work transports them.

His sculpture of The Statue of Liberty in the eye of a tiny sewing needle so impressed the American foundation that they placed it on display inside the real statue – only the fifth time in the great monument’s history that an artists has been allowed to exhibit there.

In 2009 Wigan’s artistic genius was formally recognised by the world-leading Technology, Entertainment and Design Institute (TED) where he was invited to be the keynote speaker during the 2009 World Conference, receiving with it a TED achievement award.

In recent years Willard has undertaken numerous motivational speaking engagements for private, corporate, charitable and educational organisations with particular emphasis on inspiring young people in schools to believe in themselves, to never give up and to keep searching for their own particular gift.

Telling his story of how he overcame childhood adversity, and being described by his teachers as “nothing”, through sheer hard work, persistence and dedication to get where he is today.

His unique abilities have also been recognised by large corporations, including Mercedes Benz and ANZ Bank, looking to associate their brand with the pinnacle of precision and intricacy and how attention to the smallest of details can make the biggest of differences to an outcome.

In January 2018 he was awarded an honorary degree by Warwick University, specifically as Doctor of Letters, in recognition of the significant contributions that he has made to art and sculpture.

A feature length Channel 4 documentary about the artist and his work was broadcast in July 2018.

As for the future, a feature film about Willard’s life story is at the scripting stage and further international exhibitions are currently being planned for 2019.

Following his late mothers guiding advice, Wigan continues to challenge himself by striving to make each work even smaller and more detailed – “The smaller your work, the bigger your name”. Wigan’s continued goal remains quite simple; to inspire others with his micro-sculptures and to encourage others to live to their fullest potential, remembering that “nothing” does not exist.

Ultimately, all who view these truly astounding treasures are filled with a sense of awe, lost for explanations but nevertheless acutely aware that their lives have in some small way been enriched by the uncanny sights they have witnessed.

It’s unpredictable how long this incredible talent will last but his unique and exclusive creations will outlive him as national treasures for generations to come.”

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My translation into Portuguese

Willard Wigan nasceu em Wolverhampton, Inglaterra, em 1957, e é o criador das mais pequenas obras de arte na história, conforme confirmado pelo Guinness World Records.

De uma criança traumatizada e humilhada com dificuldades de aprendizagem negligenciadas, emergiu como o micro-miniaturista mais celebrado a nível mundial de todos os tempos e é, literalmente, capaz de transformar um grão de pó numa visão de verdadeira beleza.

Para escapar às constantes provocações dos seus professores e colegas, Wigan encontrou consolo na criação de arte de proporções tão reduzidas que não podia ser vista a olho nu. Adotou a crença de que se seu trabalho não podia ser visto, então o seu trabalho e ele próprio não poderiam ser criticados. Muitas vezes descrito como “nada”, Wigan agarrou a tarefa de mostrar ao mundo de que não existe tal coisa como nada.

“O meu trabalho é um reflexo de mim mesmo”, diz Wigan. “Queria mostrar ao mundo que as pequenas coisas podem ter o maior impacto. Na escola, não me conseguia expressar e sentia-me como “nada”. Queria experimentar o mundo que não conseguimos ver.”

Consegue criar uma obra-prima dentro do buraco de uma pequena agulha de costura, na cabeça de um alfinete, na ponta de uma pestana ou num grão de areia. Mais pequena do que o ponto final no final desta frase, com algumas a serem completamente invisíveis a olho nu, o efeito sobre o espetador, quando vistas através de ampliação de elevada potência é verdadeiramente deslumbrante.

Inspirado pela captura da atenção e do espanto do seu tema no mais ínfimo e microscópico pormenor, Wigan imagina e cria um mundo microscópico que convida as pessoas a olharem mais de perto.

O próprio artista compara o seu trabalho a “Tentar passar um alfinete através de um balão sem o rebentar” e a habilidade, o tempo e dedicação envolvidos na sua criação, significa que cada peça contém o próprio coração e alma do seu criador.

Willard, que é totalmente autodidata (não há professores) tem confundido a ciência médica e foi objeto de discussão entre microcirurgiões, nanotecnólogos e em universidades em todo o mundo. Não há dúvida de que ele é tão único quanto as suas intemporais obras-primas.

É inconcebível para a maioria o sacrifício pessoal na criação de tais maravilhosas esculturas. Wigan entra num estado meditativo em que o seu ritmo cardíaco é abrandado, permitindo-lhe reduzir os tremores da mão e esculpir entre as batidas da pulsação. Até a reverberação causada pelo tráfego na rua pode afetar o trabalho de Wigan. Isto faz com que se retire para locais solitários, ou que trabalhe durante a noite, quando a perturbação é mínima.

Os seus trabalhos têm fascinado e surpreendido colecionadores exigentes por todo o mundo e é admirado pela realeza, políticos e celebridades do mundo do espetáculo e do desporto. Em julho de 2007, foi agraciado pela Rainha Isabel II com a Ordem do Império Britânico, pelos serviços prestados à arte.

O público que visita as exposições de Willard está entre os mais diversificados de qualquer artista vivo e são um enorme sucesso em todo o mundo. Quando exibidas em público, granjeiam reações de espanto e admiração tanto da imprensa, como do público, gerando frequentemente comentários como “A oitava maravilha do mundo”, “A coisa mais incrível que alguma vez vi” e “Um verdadeiro dom de Deus”.

Em muitos casos, o seu trabalho deixa os espetadores simplesmente mudos. Outros descreveram o seu trabalho como sendo praticamente “sobrenatural” e ultrapassando os limites entre a Arte e a Ciência. Confunde os sentidos e tais distinções tornam-se, em última análise, irrelevantes, à medida que os espetadores se perdem na maravilha que é o espaço interior para onde a sua obra os transporta.

A sua escultura da Estátua da Liberdade no olho de uma pequena agulha de costura impressionou de tal forma a fundação americana, que a colocaram em exposição dentro da estátua original – foi apenas a quinta vez na história daquele grande monumento em que foi autorizada a exposição de um artista.

Em 2009, o génio artístico de Wigan foi formalmente reconhecido pelo líder mundial Technology, Entertainment and Design Institute (TED), tendo sido convidado para ser o orador principal durante a Conferência Mundial desse ano, tendo recebido com o mesmo um prémio TED de realização.

Nos últimos anos, Willard tem realizado inúmeras palestras motivacionais para particulares, empresas, entidades e organizações de ensino, com particular ênfase nos jovens em escolas, para que acreditem em si próprios, nunca desistam e que persistam na busca do seu próprio dom especial.

Conta a sua história sobre como superou a adversidade na infância, quando era descrito pelos seus professores como “nada”, tendo chegado onde está hoje através do trabalho árduo, persistência e dedicação.

As suas capacidades únicas, que também foram reconhecidos por grandes empresas, incluindo a Mercedes-Benz e o ANZ Bank, que procuravam associar a sua marca com o auge da precisão e complexidade, e como a atenção com os pequenos detalhes pode fazer a maior das diferenças na obtenção de um resultado.

Em janeiro de 2018, recebeu um diploma honorário pela Universidade de Warwick, mais precisamente, Doutoramento em Humanidades, em reconhecimento das importantes contribuições feitas para a arte e a escultura.

Em julho de 2018, foi transmitido um documentário de longa-metragem do Canal 4 sobre o artista e a sua obra.

Quanto ao futuro, há um filme sobre Willard em fase de redação e estão a ser planeadas mais exposições internacionais para 2019.

Seguindo os conselhos da sua falecida mãe, Wigan continua a desafiar-se a si mesmo esforçando-se por fazer com que cada trabalho seja ainda mais pequeno e pormenorizado – “Quanto mais pequeno o teu trabalho, maior será o teu nome”. O objetivo contínuo de Wigan continua a ser bastante simples: inspirar outras pessoas com as suas micro-esculturas e encorajar as pessoas a viver o seu potencial ao máximo, lembrando que o “nada” não existe.

Em última análise, todos os que veem estes tesouros verdadeiramente surpreendentes são inspirados por um sentimento de admiração, confusão, mas, no entanto, com a plena consciência de que a sua vida foi, de alguma maneira, enriquecida com a incrível visão testemunhada.

É imprevisível quanto tempo este incrível talento irá perdurar, mas as suas criações únicas e exclusivas irão sobreviver-lhe enquanto tesouros nacionais para as gerações vindouras.