Abstract: C-Accelerate is a project aimed at increasing innovation, entrepreneurship and entrepreneurial mindset in higher education for the arts and creative practices. The consortium consists of four European universities, including FilmEU, the European Universities Alliance for Film and Media Arts, and Aalto University. 

Collectively, the consortium aims to promote entrepreneurial mindset education, innovation, and research in the multidisciplinary field of cultural and creative sectors and industries. C-Accelerate presents an ambitious innovation vision action plan that covers four dimensions, including entrepreneurial education, project development, support structures for creativity and knowledge transfer, and collaboration and institutional engagement.

This manual outlines the core values and purpose of C-Accelerate, a collaborative project focused on fostering entrepreneurship and innovation. The manual  includes case studies, such as the example of Tallinn University, to ilustrate how C-Accelerate supports and encourages entrepreneurship in various contexts.

The manual provides guidance and strategies for fostering an entrepreneurial mindset, promoting interdisciplinary teamwork, utilising design thinking, and more. Overall, this manual serves as a valuable resource for those looking to promote innovation and entrepreneurship in their organisations. 

How to cite

Bengs et al (2024). C-Accelerate. Programme Handbook. A Guide to Foster the Entrepreneurial Mindset. Aalto University. https://fliphtml5.com/fouak/chfd/C-Accelerate_Programme_Handbook_2024/1/.

Executive summary:

In a multicultural and multilingual society, such as Estonia, effective intercultural communication is key to the inclusion and social participation of communities with low command of the official language. The COVID-19 health crisis proved that failure to reach all groups in society impacts whole countries negatively. However, little research attention has been paid to intercultural crisis communication to open up new paths and solutions. 

The present study was developed in response to this need and is an output of the project “Improving Communication with Migrants for Crisis Preparedness: Lessons Learned From COVID-19“, which was carried out by researchers in three countries, namely Estonia, Finland and Latvia. Its aim is to suggest rapid-response crisis communication strategies for delivering information to linguistic minorities during emergencies. Furthermore, due to this study’s transnational nature, it seeks to strengthen cooperation between the states of the Baltic Sea Region in dealing with cross-border emergencies and find ways to use the knowledge generated by this cooperation to address problems at the local/state level.

To achieve the main goal, we sought to map obstacles in communicating with non-Estonian- speaking communities within Estonia and identify good practices that could be implemented in the future. To this end, we interviewed representatives from organisations that have played key roles in the communication effort during the pandemic crisis. These stakeholders came from five Estonian sectors, namely government institutions, companies, higher education institutions, NGOs and the media.

The results show that, in addition to the underlying distrust of state institutions among the population, there have been several obstacles that have further aggravated the situation and perhaps put society at risk, including insufficient information available in non-official languages or the slow provision of this information; conflicting or confusing messages from official sources; the viral spread of misinformation in different spheres, such as social media; a lack of cooperation between governments and other stakeholders; and monolithic strategies that are not adapted to the needs and concerns of specific communities, such as the approach adopted during the vaccination campaign. The identification of these obstacles and the ways in which various stakeholders have addressed them has provided the basis for making some recommendations for future crises.

How to cite

Escudero, Tanya; Maadla, Jekaterina; Jakobson, Mari-Liis; Polynin, Ivan (2022). Communication with linguistic minorities in Estonia during the COVID-19 pandemic: Lessons learned, Tallinn University.

Abstract: If we consider translators’ prefaces or, more generally, paratexts as a place for finding traces of metatranslational discourse, those preceding poetry translations may be one of the best examples of this practise, as they tend to be more frequent and long that those introducing other genres.

Examining a corpus of 54 translatorial prefaces to Shakespeare’s Sonnets into Spanish published between 1877 and 2018, we will see how, in order to account for decisions, the translators discourse often rests on recurrent topoi or ‘translation memes’ (Chesterman 1996; 1997) such as fidelity, equivalence or the superiority of the original, which has been espoused by translators and scholars alike for centuries.

The significance of these ideas in the metatranslational discourse is such that it clearly shows their value beyond a mere explanation of the translation process. This paper interprets these recurrent ideas and of the possible discord that arises between the analyses of the paratexts and the translated texts by resorting to the notion of ‘symbolic capital’ coined by Bourdieu (1984). Hence, it considers that they function as a mechanism to grant prestige and respectability to a given translation both for translators and readers.

Keywords: Paratexts, Poetic translation, Shakespeare’s Sonnets, Symbolic capital, Translation memes, Fidelity

This article is part of the doctoral thesis On the Translation of Verse Form. Shakespeare’s Sonnets into Spanish, which seeks to escape the frequent and defeatist idea of translation as loss and to avoid the prescriptivism attached to it. It xamines the translation of the poetic form from a broad perspective, starting from a corpus of 69 Spanish translations of Shakespeare’s Sonnets published in Latin America and Spain between 1877 (when the first translation appeared) and 2018.

The study primarily addresses three aspects, which can be summarised in three basic questions regarding the translation of poetic form: What do the translators say about it? What do they actually do? How do they do it?

How to cite

Escudero, T. (2021). Metatranslational discourse in poetry translators’ prefaces. The Translator. https://doi.org/10.1080/13556509.2021.1964217

Abstract: Although it is broadly accepted that a poem is an indissoluble union of content and form, the translation of verse form is frequently overlooked in translation studies or has been addressed under rather prescriptivist approaches, with notable exceptions (Holmes 1994, Jones, 2011, among others).

This paper deals with the translation of the poetic form from a descriptivist perspective from a corpus of 69 Spanish translations of Shakespeare’s Sonnets published between 1877 (when the first translation appeared) and 2018 in Latin America and Spain. It addresses, particularly, the outer form or macrostructure of the poems using one sonnet of each translation as a prototype and considering five parameters, namely the use of prose or verse; the syllabic count; the stress pattern; the rhyme type (consonant, assonant or hybrid); and the rhyme scheme.

This analysis will serve as a basis for classifying these translations according to Holmes’ metapoem forms, two of which derive from form (the mimetic form, where the translator imitates the form of the original as best as they can, and the analogical form, where the translator chooses a form that fulfils a parallel function in the target literature); one that derives from content (organic form); and one that does not derive from either content or form (extraneous form) Once classified in these categories, this paper will propose a revision of Holmes’ model to accommodate the resulting forms.

The variety of solutions translators employ indicates that, while there are certain forms or patterns repeated throughout, there is no preferred way of rendering these sonnets, not even during a specific period. The only thing that seems to be constant is the preference for verse over prose.

Keywords: Poetry translation, Metapoem, Rhythm, Rhyme, Poetic form

This article is part of the doctoral thesis On the Translation of Verse Form. Shakespeare’s Sonnets into Spanish, which seeks to escape the frequent and defeatist idea of translation as loss and to avoid the prescriptivism attached to it. It xamines the translation of the poetic form from a broad perspective, starting from a corpus of 69 Spanish translations of Shakespeare’s Sonnets published in Latin America and Spain between 1877 (when the first translation appeared) and 2018.

The study primarily addresses three aspects, which can be summarised in three basic questions regarding the translation of poetic form: What do the translators say about it? What do they actually do? How do they do it?

How to cite

Escudero, T. (2021). The Translation of Verse Form. A Revision of Holmes’ Model Based on the Spanish Translations of Shakespeare’s Sonnets. Sendebar, 32, 7-29. https://doi.org/10.30827/sendebar.v32.16892

Abstract

Based on the definitions of verse, rhythm and rhyme and the sonnet’s features in both English and Spanish lyrical poetry, this study formally analyzes the meter of a corpus consisting of eleven translations of Shakespeare’s Sonnets (1609) into Spanish, all of them published in Spain between 1990 and 2013. For this analysis we have paid attention to three essential aspects: verse length, stressed syllables pattern and the type of rhyme used by the translator. This has been made in order to observe the rhythm and rhyme treatment in them and draw some conclusions about the degree of formal similarity between the translation and the source text. This degree of similarity has been established from a gradual list of potential correspondences in Spanish for the iambic pentameter used by Shakespeare in his poems.

Keywords

rhythm, rhyme, translation, sonnets, Shakespeare

How to cite

Fernández Escudero, T. (2017). Tratamiento de ritmo y rima en las traducciones al español de los Sonetos de Shakespeare. Meta, 62(2), 350–367. https://doi.org/10.7202/1041028ar

Tratamiento de ritmo y rima en las traducciones al español de los Sonetos de Shakespeare

Resumen

Basándonos en las definiciones de verso, ritmo y rima y de las características del soneto tanto en la lírica hispánica como en la anglosajona, este estudio pretende analizar formalmente la métrica de un corpus formado por once traducciones al español de los Sonetos de Shakespeare (1609), publicados en España entre los años 1990 y 2013. Para este análisis, nos hemos centrado en tres aspectos esenciales: la medida del verso (su cómputo silábico), el patrón acentual o rítmico y el tipo de rima empleada por el traductor, con el fin de observar el tratamiento del ritmo y de la rima y de extraer conclusiones sobre el grado de similitud formal entre la traducción y el texto original. Esta semejanza se ha establecido a partir de una lista gradual de posibles correspondencias en español para el pentámetro yámbico empleado por Shakespeare en sus composiciones.

Palabras clave: ritmo, rima, traducción, sonetos, Shakespeare