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Though Jakobson conceptualized inter-semiotic transfer as a valid form of translation between texts some 40 years ago, it remained a relatively marginal area of investigation until recently. Additionally, we may note that information and communication technologies (ICTs) have also markedly modified previously held notions of what constitutes a "text". Basing my research on these two observations, this paper will draw attention to inter-semiotic translation within the space the newscast, a prime example of an ever-evolving multi-modal text created by newer forms of ICTs. More specifically, the focus lies in how we can posit translational activity in the construction of the newscast (for instance, how the "visual" images translate the "verbal" narration of the newscaster or journalist). This conceptualization of "news-making" will lead us to consider the ways in which cultural stereotypes are created through the "translation" of interacting texts (verbal, visual, aural) on the same interface. To suggest that newscasts, and by extension media, proliferate cultural stereotypes, is by no means novel. However, to consider how inter-semiotic translation plays a role in their creation may be a departure from previous paradigms. In fact, Kress and van Leeuwan state: "This incessant process of 'translation', or 'transcoding' – 'transduction' – between a range of semiotic modes represents […] a better, more adequate understanding of representation and communication (2006:39)". Furthermore, because cultural stereotyping is often at the root of conflict, this type of investigation becomes, we suggest, all the more worthwhile in understanding how we "translate" difference across borders, semiotic or otherwise.

All the movements and revolutions in the world's history have been initiated and reinforced by a systematized structure of standards, opinions and thoughts establishing the foundations of political, social or economic perspectives known as ideology. Ideology plays a vital role when the dimension of translation is added to the argument, for in addition to the author's ideas and attitudes of the world, the translator's beliefs and value systems as the medium between two cultures come to bear upon the translated product. In Iran, the 1979 Islamic revolution changed the ideological system from the secular to a markedly religious (Islamic) one and this has increasingly influenced the way in which the cultural products are produced and/or translated. George Orwell's Animal Farm (1945) is one of the most retranslated novels in both the pre- and post-revolution era in Iran. This article presents a semiotic analysis on the cover page of Orwell's novel and its Persian translations at both the linguistic and illustration information level based on Serafini and Clausen's (2012) model of typography as a semiotic resource as well as Kress and Van Leeuwen's (2006) model of semiotic analysis. The cover pages of two Persian translations of Animal Farm which have been produced in the pre- and post-revolution era that is, by Amirshahi (1969) and Hosseini and Nabi Zadeh (2003) respectively will be compared in relation to the cover page of Orwell's original novel. The findings reveal some distinct differences in the design of the cover pages which represent a particular set of values, beliefs or ideology. ; Todos os movimentos e revoluções na história do mundo foram iniciados e reforçados por uma estrutura sistematizada de padrões, opiniões e pensamentos, estabelecendo as bases de perspectivas políticas, sociais ou econômicas conhecidas como ideologia. A ideologia desempenha um papel vital quando a dimensão da tradução é acrescentada ao argumento, pois, além das idéias e atitudes do mundo do autor, as crenças e sistemas de valores do tradutor como o meio entre duas culturas se aplicam ao produto traduzido. No Irã, a revolução islâmica de 1979 mudou o sistema ideológico do secular para um marcadamente religioso (islâmico) e isso tem influenciado cada vez mais a maneira pela qual os produtos culturais são produzidos e / ou traduzidos. A Fazenda Animal de George Orwell (1945) é uma das novelas mais retraduzidas na era pré e pós-revolução no Irã. Este artigo apresenta uma análise semiótica na capa do romance de Orwell e suas traduções persas, tanto no nível de informação lingüística quanto de ilustração, baseado no modelo de tipografia de Serafini e Clausen (2012) como recurso semiótico, bem como de Kress e Van Leeuwen (2006). modelo de análise semiótica. As capas de duas traduções persas de Animal Farm que foram produzidas na era pré e pós-revolução, ou seja, por Amirshahi (1969) e Hosseini e Nabi Zadeh (2003), respectivamente, serão comparadas em relação à capa da revista. Romance original de Orwell. Os resultados revelam algumas diferenças distintas no design das páginas de capa que representam um conjunto particular de valores, crenças ou ideologia.

AbstractGrounded on the historical development of indirect translation mainly in China, a critical analysis of the definitions previously given for indirect translation has been made in terms of its nature, features, referential range, and classification, as well as the sign typology involved hereby. This results in a new definition of indirect translation as a process and as an end product respectively, highlighting its referential range, including relay translation, (tech- or human-based) mediated translation, adaptation, and free translation. The definition further divides it into seven types of operational mechanism (conventional single-sourced indirect translation, conventional double-sourced indirect translation, single-sourced relay translation, multi-sourced relay translation, interpreter-based relay translation, indirect translation in reverse translation, single-sourced multi-layered relay translation) and seven types of indirect sign transformation, namely: (1) T→T indirect translation; (2) T→I indirect translation; (3) I→T indirect translation; (4) T+I→T indirect translation; (5) T+I→I indirect translation; (6) T→T+I indirect translation; and (7) I→T+I indirect translation. Finally, the operational mechanism of indirect translation is explored on the macro level of Peirce's Firstness–Secondness–Thirdness, on the meso level of Peirce's First–Second–Third, and on the micro level of Peirce's Sign–Object– Interpretant.

The volume reveals the depths of Wittgenstein's soul-searching writings - his 'new' philosophy - by concentrating on fragments in ordinary language and using few technical terms. It applies Wittgenstein's methodological tools to the study of multilingual dialogue in philosophy, linguistics, theology, anthropology and literature. Translation shows how the translator's signatures are in conflict with personal or stylistic choices in linguistic form, but also in cultural content. This volume undertakes the 'impossible task' of uncovering the reasoning of Wittgenstein's translated texts in order to construct,rather thanparaphrase, the ideal of a terminological coherence. Dinda L. Gorlée, University of Helsinki, Finland.

The current study aims to make an overall semiotic analysis of translation strategies used to reproduce the imagery and relevant cultural features in John Fowles' "The Collector." Regarding literary translation as a cross-cultural dialogue aimed to achieve both artistic and aesthetic effects contributes much to analyzing the semiotic features of the translated discourse and deciphering the relevant socio-cultural information decoded in the source language text. Therefore, it has been decided that translation is a communicative act that facilitates the transfer of meaning in a cross-cultural perspective and focuses on reproducing the source language semiosphere. The semiotic approach is well-established in translation studies with the subtlety of methods and criteria. Therefore, it was considered that the analysis of lexico-semantic, grammatical and stylistic translation strategies would usefully supplement and extend the scope of literary text research. In the current study, comparing the source and target language texts has shown that the translator employs various translation transformations to transmit the author's pragmatic intent and socially relevant information in the target language.

The paper aims to give a comprehensive cognitive and semiotic analysis of translation strategies implied in the translation of the film "Darkest Hour". Regarding a film as a communicative process mediated by certain semiotic features makes it possible to analyze the semiotic character of film discourse in translation. Thus, it was decided that translation is not just a speech-oriented process but a communicative act taking place within a definite semiotic space in a cross-cultural perspective. The semiotic model of cinematic discourse has a complicated structure and is analyzed based on semantic, syntactic, and pragmatic criteria. The choice of the semiotic system primarily depends on the communicative situation and its recipients. As the semiotic system of the film "Darkest Hour" is both socioculturally and situationally conditioned, the translator reconstructed the sense of the source language text by implying the translation transformations that assured the accuracy and adequacy of its translation into the target language text.

Abstract All the movements and revolutions in the world's history have been initiated and reinforced by a systematized structure of standards, opinions and thoughts establishing the foundations of political, social or economic perspectives known as ideology. Ideology plays a vital role when the dimension of translation is added to the argument, for in addition to the author's ideas and attitudes of the world, the translator's beliefs and value systems as the medium between two cultures come to bear upon the translated product. In Iran, the 1979 Islamic revolution changed the ideological system from the secular to a markedly religious (Islamic) one, and this has increasingly influenced the way in which the cultural products are produced and/or translated. George r28) is one of the most retranslated novels in both the pre- and post-revolution era in Iran. This article presents a semiotic analysis on the cover page of Orwell's novel and its Persian translations at both the linguistic and illustration information level based on Serafini and Clausen's (2012) model of typography as a semiotic resource as well as Kress and Van Leeuwen's (2006) model of semiotic analysis. The cover pages of two Persian translations of Animal Farm which have been produced in the pre- and post-revolution era, that is, by Amirshahi (1969) and Hosseini and Nabi Zadeh (2003) respectively, will be compared in relation to the cover page of Orwell's original novel. The findings reveal some distinct differences in the design of the cover pages which represent a particular set of values, beliefs or ideology.

AbstractTranslation, for Saussure, assumed the codified rule of language respecting the difference between synchronic and diachronic linguistics. Translation may be regarded as a theoretical possibility, though impossible for the creative speech of language speakers. Peirce's logical semiotics reasoned the linguistic-and-cultural (linguïcultural) interpretants of received signs. Semiotranslation is a semiotic game to change the symbiosis of two languages into one language. Identified with both Saussure and Peirce, Jakobson's intralingual, interlingual, and intersemiotic forms of translation propose rewording, translation proper, and transmutation. Peirce's semiosis creates simple and complex symbols but navigates between translation, semiotranslation, and transduction. Translation derives from thepara-functions of replicas in "paraphrase" and "parasite" to signify the multiplicity of ideas and trends in biotranslation. The source text can be re-organized into the iconic activity of Saussurean paraphrase; or the target text can be indexically recontextualized in the parasitical evolution of Peirce's instinct and facts of life applied to arts — neither approaching pure science.

Abstract
This paper aims to propose a third generation semiotic method for analyzing inter-linguistic translations. The paper concentrates on translation issues related to the literary genres related to "genre" literature such as science fiction or fantasy, aiming to provide a semiotic method with which to interpret the texts as holistic entities and to isolate the specific elements that create the textual world. The translation method is based on semiotic tools and theories by Lotman, Eco and Tarasti among others, and is built around the basis of an earlier model by the same author (Loponen, 2006). To help isolate and interpret textual elements that create the genre specific texts as holistic entities, the paper introduces the concept of irrealia into semiotic translation studies.

Este documento se pregunta por la responsabilidad social del Diseñador Gráfico en el campo de la Identidad Visual más allá del impacto comercial que puedan alcanzar los identificadores en la sociedad de consumo. Se apoya en un marco conceptual compuesto por algunos estudios actuales de la Imagen Corporativa y el Branding; define como contexto la contemporaneidad y desde esta retoma el concepto de identidad y asume desde una postura política más que ideológica una responsabilidad social y ética del diseñador. Con este marco y un enfoque metodológico desde la semiótica peirceana que se apoya en algunos referentes situados en la filosofía del lenguaje, y en la sociología se propone la configuración y el diseño de nuevos símbolos de actores sociales que partan conceptualmente de comprensiones que permiten generar aportes significativos para la visibilización de problemáticas sociales complejas. ; Abstract This document inquires about the Graphic Designer social responsibility in the Visual Identity field beyond the commercial impact identifiers in the consumer society may have. It is based on a conceptual framework comprised of some current studies of Corporate Image and Branding; it defines contemporaneity as context and from there it resumes the concept of identity and assumes, from a political more than an ideological position, the designer's social and ethical responsibility. With this framework, and a methodological approach from the Percian semiotic that is based on some referents located on the philosophy of language and on sociology, the configuration and design of new symbols of social actors departing conceptually from understandings that allow the generation of meaningful contributions for making visible complex social problems is proposed.