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Accommodation In Translation

Faithfulness was once considered the iron rule in translation in the history of translation in China as well as in the West

. Yet when we take a closer look, accommodation, or adaptation, is found in most published translations. This article attempts to investigate the reasons why accommodation is frequently needed and enumerates the following types of accommodation translators or interpreters make in their work: cultural accommodation; collocation accommodation; ideological accommodation; aesthetic accommodation.

Accommodation is considered a synonym of adaptation which means changes are made so the target text produced is in line with the spirit of the original. A text which is not obviously a translation in the traditional sense is thus created. Here, we must in the first place define translation. Translation consists of providing, in the receptor language, the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style. (Nida, 1984). Is translation a scientific study or artistic endeavor, researchable theory or technical craft, a branch of linguistics or of literature? It seems that all of these definitions have their advocates among translators and those who have sought to characterize its theory and its practice. Here the somewhat sterile debates about translation as a process or translation as a product give way to fresh opportunities to cohere the semiotic, the linguistic, the social, the cultural and the psychological perspectives on communicating. In short, it offers a broader concept of what it means to understand. We believe translation is not merely linguistic conversion or transformation between languages but it involves accommodation in scope of culture, politics, aesthetics, and many other factors.

A translation should:

Give a complete transcript of the ideas and sentiments in the original passage


Maintain the character of the style

Have the ease and flow of the original text.

This is cited here to demonstrate the historical fact that source-centeredness was prevalent, not to prove that these principle are wrong or should be abandoned altogether. Instead, one should study them seriously and apply them in practice. Our suggestion is that if for linguistic or cultural reasons the source cannot be transcribed, we must make accommodations rather than translate it literally. As a matter of fact, accommodations are made exactly to preserve the original style or manner. As translation theories develop, a shift can be observed from source to target, from form to content and meaning which is essential in any form of human communication.

In modern times, a new theory appeared to offer a compromise. It was proposed by Christiane Nord (2001), who introduced a pair of terms: Documentary vs. instrumental translation. Whether a translation ought to be instrumental or documentary when cultural and historical elements are involved is therefore the translator's decision. If s/he focuses on the transmission of the original flavor for the reader's reference, documentary translation is preferred; if s/he mainly intends to convey the information for basic communication, instrumental translation is sufficient. Moreover, if the purpose of a translation is to achieve a particular purpose for the target audience, anything that obstructs the achievement of this purpose is a translation error. This is significant in its emphasis on the target-centeredness.

Because translation is primarily a linguistic endeavor, either oral or written, we would like initially to deal with accommodation in the linguistic sphere.

If language were simply a nomenclature for a set of universal concepts, it would be easy to translate from one language to another. One would simply replace the English name for a concept with the Chinese name or vice versa. Learning a new language would also be much easier than it is. Actually, each language articulates or organizes the world differently and languages do not simply name existing categories, but they articulate their own.

Collocation is a difficult factor for anyone learning a foreign language. Talking from my own experience, I from time to time find myself puzzled with some English collocations and it is not rare that in my translation practice I often make such collocation mistakes which I do not notice until a foreign colleague or friend points them out. There seems to be no reason for certain collocations. Builders do not produce a building; authors do not invent a novel. Regular dictionaries are of little help in translating collocations, and the translator must often resort to accommodation.

Culture is too broad a term and it may cover everything. Culture can mean the arts collectively: art, music, literature, and related intellectual activities; knowledge and sophistication: enlightenment and sophistication acquired through education and exposure to the arts; shared beliefs and values of a group: the beliefs, customs, practices, and social behavior of a particular nation or people; shared attitudes: a particular set of attitudes that characterizes a group of people. If applied in the sense expounded above, the present article can all be covered in one wordcultural accommodation. Yet for purpose of stress, I list these four categories. Here I use the term in a much narrower sense, for instance, the shared attitudes or values of a group.

By ideological accommodation I mean sexual and political concerns. Most Chinese, even today, avoid the topic of sex, which is usually considered pornography. If you do not, you will be regarded immoral, dishonest, unreliable and simply bad. This is one of the principle reasons why sex education is in the school curriculum but never seriously taught. The teacher just tells the students to read what is written in the textbook and discourages the students from asking a question. So in translation we either omit or abbreviate the original graphic description of a sex scene. This does not mean that Chinese literature never touches upon sex. It is only in the way of depicting sex where the difference lies. We will edit the language or the scene, or make it implicit instead. In English-Chinese translation, the translator would always make accommodations to soften the original tone, hoping not to offend the readers, I do not wish to present my judgment here but wish to state a fact in translation practice when sex is involved.

Aesthetic accommodation


Poetry has been notoriously believed to be untranslatable. Robert Frost once said, "Poetry is what gets lost in translation." This is sufficient evidence of the difficulty involved in translation of poetry; therefore accommodation is even more necessary. Because poetry is fundamentally valuable for its aesthetic value, aesthetic accommodation becomes a skill instead of a basic requirement. A good poetry translator instinctively knows the difference between the aesthetic traditions of different cultures, so his/her translation can be better appreciated by the target reader and can achieve the required effect. Otherwise the translation is doomed to be a failure no matter how close or similar it looks to the original. In Chinese translation circles the following example of accommodation is quoted quite frequently to demonstrate an effective skill or to attack the rigidity of the source-centered point of view.

In a word accommodation is also translation, even if it means addition or loss of information, explanation, rewriting, or re-creation.

Aunes Oversettelser AS has been in the business for 26 years, and we are specialized in technical translations. We are specializing in the Nordic languages, and can offer services into Swedish, Danish, Finnish, Norwegian and Icelandic. The premier translation agency for Norway and the Nordic region! Technical translation services for businesses in the Nordic countries and translation agencies world-wide.

by: carmen
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