Around the world, in many different countries, people celebrate Saint Valentine’s Day on 14 February. Originally a day of commemoration for a Christian martyr, it is now largely a day for lovers, when couples exchange romantic gifts (heart shapes, chocolates, flowers, etc.) and cards, but the way it is marked varies from country to country. In Finland, for example, the festival is dedicated to platonic friends rather than romantic partners, while in Slovenia it is said that birds marry on this day. In Japan, women are expected to buy chocolates for each of their male colleagues.

Although Saint Valentine’s Day is celebrated all over the world, some countries have their own customs. Here in Wales, for example, Saint Dwynwen’s Day (25 January) is celebrated in addition to Valentine’s. In Romania, traditionalists are resisting Valentine’s Day in favour of the traditional Romanian day of lovers, Dragobete, celebrated on 24 February. In Saudi Arabia, the festival is banned; however, in recent years there have been rumours of a thriving black market in roses.

Below is a list of translations in different languages of the phrase ‘I love you’. Should you wish to send your loved one a longer message in his or her own language, Business Language Services can provide you with a translation into any major world language.

Christmas is nearly upon us once again. Recently, having been asked so many times the dreaded question “What would you like for Christmas?”, I remembered reading a review of a book called Is That a Fish in Your Ear? Translation and the Meaning of Everything, by David Bellos. It appeared in the ‘non-fiction’ section of The Times’ Saturday Review supplement, and the article was called ‘Lost in translation: the art of communication’ [The Times, Saturday 10 September 2011, Michael Bynon].

Translation is not often discussed in the general media, let alone in the books section! I haven’t read the book myself but the Times article and the reviews I’ve subsequently seen on the Internet give a taster for a great, informative, witty, thought-provoking and in places provocative work on translation and its challenges (with a few solutions we are told!), but more broadly speaking, it is aimed at anybody who has an interest in languages and communication, cultural differences, history and anthropology. The book is full of anecdotes from the interpreting and translation worlds. Various examples are given from ancient cultures, recent history (such as the Nuremberg trials and the use of simultaneous interpreting for the first time), EU institutions and the United Nations, the various contexts in which written translation is used (from literature to technical manuals and the difficult task of rendering jokes in a foreign language). It is also an exploration on how the increasing use of English has changed the face of communication and the nature of other, less dominant, languages.

I haven’t quite made up my mind as to whether I will add this book to my Christmas wish-list but I would be interested in receiving feedback from anybody who has actually read it. I certainly hope it makes translation more accessible and portrays it not as a necessary evil, but as a great communication enhancer, which I believe it is.

The United Nations recognises 21 November as World Television Day. Television is arguably the most powerful communication medium today, with ever-advancing technologies enabling it to easily cross borders. Television can be a fantastic educational tool, able to promote mutual understanding and tolerance. The role of languages on television is an interesting one, as is the phenomenon of programming being transferred to different cultures.

There is a European Charter for Regional or Minority Languages, established in 1992, whereby countries in Europe undertake to encourage and/or facilitate the creation of at least one television channel in their regional or minority languages, or the broadcasting of television programmes in these regional or minority languages on a regular basis.

The BBC states that it “is committed to supporting indigenous languages through various broadcasting initiatives”, for example BBC Alba for Gaelic and the new strategic partnership with S4C for Welsh. “These services will support original programming, help to nurture the indigenous language production base, and ensure that the BBC plays a central role in supporting diversity, identity and cultural expression.” S4C is the only Welsh-language public broadcaster. Please click here to read our news post about the recent restructuring of S4C. BBC Alba is the digital Scottish Gaelic channel. It is a general entertainment channel with news, documentaries, children’s programmes, dramas, sport and films broadcasting to the UK and Ireland, although it is aimed at a Scottish audience.

The BBC Asian Network, despite being broadcast primarily in English, also provides programming in a range of South Asian languages, connecting listeners with each other and with their cultural and linguistic roots.

Television has the power to transcend cultures and languages; just take the example of Mr Bean, which has been a huge success all over the world. Of course, Mr Bean doesn’t speak much, so there’s no language barrier to contend with. There are also many shows that began life in one country (and, therefore, language) but went on to be adapted for other audiences, e.g. Who Wants to be a Millionaire? (conceived in the UK but franchised to over 100 countries worldwide, making it the most internationally popular TV franchise ever) and Big Brother (first broadcast in the Netherlands in 1999 and subsequently achieved success in almost 70 countries).

‘Allo ‘Allo was a hugely popular sitcom in the UK in the 1980s, and enjoyed similar levels of success in France. The portrayal of language was key to the comedy, with dialogue spoken in English but using exaggerated accents to determine the languages the characters were speaking. It was finally screened for the first time in Germany in 2008, following a relaxation of the law regarding the appearance of Nazi symbolism on screen.

It’s relatively unusual in the UK to watch TV shows in other languages, but The Killing is one recent exception. An English-language version was produced in the USA, but in fact the original Danish version (Forbrydelsen) has been very successful here, attracting record numbers of viewers, especially given its broadcasting on BBC4. Wallander was another successful Scandinavian import; originally in Swedish and broadcast in its original language on BBC4, while the British adaptation, starring Kenneth Branagh, attracted increased interest and aired on BBC1.

As English speakers we are less used to watching films or television with subtitles, and accordingly a large section of the audience are put off when faced with such a prospect. In non-English speaking countries, however, it is often par for the course to watch programmes and movies in English or other languages, either dubbed or subtitled (depending on country conventions). In Latin America, some of the best-loved soap operas in the Spanish-speaking parts are actually Brazilian, and therefore originally in Portuguese.

My mission for this year’s World Television Day will be to only watch programmes in a foreign tongue. Will you join me?

As an English native speaker, a fluent Spanish speaker and having learned French, German, Portuguese and Italian to different levels, it’s safe to say that I have a healthy interest in languages. I love to read and am well aware of the benefits of reading in other languages as a learning tool. However, there are hundreds of languages out there and unfortunately I don’t have the time (or the talent!) to learn them all. And so I choose to read English translations of foreign novels to expand my knowledge of foreign literature and culture, even if I can’t get to grips with the language itself. Some people pooh-pooh the idea of reading translated literature, but don’t forget that even novels you grew up on may have been translations, e.g. Anne Frank’s Diary (originally in Dutch) or Hans Christian Andersen’s fairy tales (translated from Danish) such as The Ugly Duckling.

It can be hard to know where to start when you’re suddenly faced with a world of publications as opposed to the literary stock you’re used to, but your options are limited anyway. Ever-decreasing numbers of English translations of foreign language novels are being commissioned, but the good news is that those which do cut the mustard tend to be the best of the best. A perfect example would be the recent phenomenon of Stieg Larsson’s Swedish Millennium Trilogy. The books were so well received in his home country that they were quickly snapped up for translation and now both Swedish and American film versions have also been produced. They might not be everyone’s cup of tea, but they are certainly page-turners, and I enjoyed them immensely. Of course, just because a novel has been a bestseller in another country – or your country, for that matter – does not guarantee that you’ll like it, but it gives you a head-start.

Many people feel that they should read the ‘classics’ from each language, e.g. Proust in French or Cervantes in Spanish. I would hazard a guess, though, that the majority would find it easier and more enjoyable to read more modern novels. I don’t think many folks I know would reach for War & Peace to take on a beach holiday, so why not be a bit more flexible? The Three Musketeers, for example, could still be considered a French ‘classic’, but it’s a familiar story and a great romp to boot. Paolo Coelho is a very popular Brazilian writer and most, if not all, his titles are available in English (The Alchemist is probably the most well-known, but Veronika Decides to Die is my personal favourite). If you fancy dipping into Gabriel García Marquez, as much as I loved and would highly recommend perhaps his most famous novel, One Hundred Years of Solitude, why not ease yourself in by reading some of his short stories first (Eyes of a Blue Dog, for example).

If you do want to take on a classic, it can be more economical as the copyright will have expired. Project Gutenberg offers free titles to download, either to your PC or to a mobile device (such as a Kindle or iPhone).

Kate Figueredo, Senior Project Manager at Business Language Services Ltd. (BLS), has recently completed the full certification programme for SDL Trados Studio, the industry’s premier technology-based certification providing a recognised standard of excellence in SDL software knowledge. It is a comprehensive, professional education programme designed to develop and validate expertise in the use of SDL translation technology tools. This certification programme is designed to educate the user on the latest technological developments and best practices in translation technology, terminology management and automated quality assurance checks.

The five examinations taken were: SDL Trados Studio for Translators – Getting Started, Intermediate and Advanced, as well as SDL Trados Studio and SDL MultiTerm for Project Managers. Each level was passed first time, and as a result BLS is now fully SDL certified (follow this link for further information: http://www.sdl.com/certified/97853). This further evidences Business Language Services’ continued professional development, marking a step forward from our previous status as an SDL LSP partner, having demonstrated our commitment to optimise the quality and value of the service we deliver to clients through skilled utilisation of translation technology.

The Welsh language channel S4C was launched in 1982, the result of a bitter struggle by Welsh speakers fearful that the language would suffer further decline if it was not shown on television during social hours.  Campaigning included refusal to pay for television licences and scaling television masts. When the government of the time reneged on its promise to set up the channel, prominent politician Gwynfor Evans even threatened to carry out a hunger strike to his death. Since last year, the struggle has been revived as the channel’s future has once again appeared uncertain.

Last year the government announced that the responsibility for funding S4C (previously at around £100m a year), would pass to the BBC. This prompted widespread anger among Welsh politicians, who had not been consulted, as well as fears for the funding of the channel and its editorial independence. There is even a new licence fee campaign.

Two days ago, the governance agreement between the BBC and S4C was announced, including confirmation of the budget for the next few years. S4C’s grant will fall from £76.3m in 2013/14 to £74.5m in 2016/17. The BBC states that this is enough to safeguard S4C’s programming and that S4C with continue to have its own management board. Campaigners, however, complain of the lack of consultation before the announcement and argue that the channel’s independence cannot be guaranteed while it receives its funding from another broadcaster. The Welsh Language Society will meet on Saturday to decide on the future of the licence fee campaign.

S4C has come under fire in recent years for declining viewer numbers. From the outset, it was difficult for one channel to cater for the needs of all Welsh speakers, whatever their age or interests, and many of its most popular programmes such as Noson Lawen (variety entertainment hosted in a barn) and Cefn Gwlad (Countryside), which appeal to its core audience, are unpopular among younger, less rural viewers.  The arrival of many more channels into people’s homes means that S4C now has more competition than ever. Pobol y Cwm, the BBC’s longest-running soap, continues to be popular, however, with an episode attracting 100,000 viewers or about 1 in 6 of the potential audience, while an EastEnders  episode in the same week reached 9.6 million viewers, also around 1 in 6 of its potential audience.  Two films made for S4C have been nominated for best foreign language film Oscars: Hedd Wyn, centred on a poet who died in World War I before being able to collect his chair at the Eisteddfod and Solomon a Gaenor, filmed in Welsh, English and Yiddish featuring a love affair between a local girl and a Jewish immigrant. Some of S4C’s children’s television programmes including Superted and Sam Tân (Fireman Sam) have been exported worldwide.  Furthermore, sports programme Sgorio achieved cult status outside Wales in the 1990s for its coverage of European football. Current favourites include the popular school drama Gwaith Cartref, music and sports programmes and Newyddion (news).

S4C now has to rise to the challenge of securing good viewing figures in a very competitive climate with a declining budget. It may not be simple, but nothing about the existence of S4C has ever been simple.

As a Welsh company, we are acutely aware of the significance of minority languages in our country. In the UK, Welsh is undeniably the largest of the minority languages, and it has the legislation to back it up: the Welsh Language Measure approved earlier this year has made vital provisions for the official status of the Welsh language in Wales. However, I have been following developments in Scotland lately with interest, specifically the progress being made with the Gaelic language. The Highlands and the Islands have the highest concentrations of Gaelic speakers, but the decline in its use is marked even there. Scottish officials are now looking to implement initiatives similar to those used here in Wales in order to stimulate use of the language and halt this decline. A recent survey showed that about two thirds of Scots believe Gaelic should be more widely promoted and over three quarters believe that Gaelic language traditions should be maintained.

Lately, businesses are increasingly using Scottish Gaelic in their marketing and signage, meaning many more people are exposed to the language on a daily basis. The driving factor behind this development appears to be that companies feel the use of Gaelic gives them a promotional boost. It is undoubtedly pertinent, too, that a scheme has recently been put in place to help fund bilingual signs for private businesses and community organisations.

This coincides with the launch of new Gaelic language qualifications for adults via the Scottish Qualifications Authority (SQA). A recent survey has shown that the majority of Scottish people are exposed to Gaelic via television and other media, as opposed to through education. BBC Alba, Scotland’s equivalent of S4C in Wales, launched in 2008 and has proved very popular whilst making a very positive contribution to the promotion of Gaelic. Long may that continue.

We learn from a very early age that cows go ‘moo’, sheep go ‘baa’ and ducks go ‘quack’. This sort of vocabulary is rarely taught in an educational environment, however, at least not when learning a second (or third, or fourth) language. When we start learning a new language we begin with the basics, i.e. numbers, days of the week, simple questions and answers, etc. So it can be a bit of a shock when years down the line you find out that your beloved pet sounds different in another language/country. Why is it that dogs go ‘woof’ in Britain, and indeed ‘ouaf-ouaf’ in France, but ‘guau-guau’ in Spain? (The Spanish version is remarkably similar to another English rendition, however: ‘bow-wow’. In fact, most other languages use a sound similar to this for dogs, for example ‘hau-hau’ in Polish, ‘au-au’ in Portuguese and ‘bow-bow’ in Urdu.)

The language you speak affects the way your mind divides up sounds, which is why it can be hard for us to understand a new language (just think back to the dreaded listening exams at school!), even once you’ve mastered the basic vocabulary and grammar. A classic example is the tonal quality of Chinese whereby one syllable can have up to ten different tones, fairly indistinguishable to the average English speaker, but which change the whole meaning of a word.

The words we use to represent animal noises are basically all onomatopoeic, to some extent or another. That means that the word used to represent the sound is based on the sound itself (i.e. it imitates the source of the sound). Other examples of onomatopoeia in English include ‘crash’ and ‘hiccup’. Onomatopoeia conforms to the wider linguistic system of the language, so changes from tongue to tongue.

Cats say ‘miau’ in Spanish, Hungarian and German (just like our English cat’s ‘meow’, really), but ‘nyan’ in Japanese and ‘meo-meo’ in Vietnamese.

English pigs go ‘oink’ whereas Japanese pigs say ‘boo boo’ and their Dutch counterparts say ‘knor knor’.

A bee ‘buzzes’ in English, but goes ‘zoum’ in Greek and ‘vizzz’ in Turkish. Note the use of the ‘z’ noise common to all three languages, though.

Just imagine all the different possibilities for ‘Old MacDonald Had a Farm’! In fact, many languages use the same tune as we do but with slightly amended lyrics, to do just that. In Chinese, it’s Mr Wang who owns the farm, in Spanish it’s ‘Pepito’ and in Danish the farm belongs to ‘Hansen’.