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But the ending was tame and lacking in any originality. View all 10 comments. Shelves: christmas-reads , challenge-factory-challenge , cover-to-cover-challenge , harlequin-presents-reading-cha , harlequin-silhouette-challenge , harlequin-presents-jeopardy , harlequin-presents , harlequin-presents-jeopardy-challen , owned-copy , holiday. This was a cute Christmas book. It seemed a little lighter than usual for Sara Craven, until the evil ex shows up and it gets real. And that woman was wretched!
I can't imagine how much Dominic regrets marrying her, except for his daughter. When it's just Phoebe, Dominic and Tara, this almost has a sweet feel, a family oriented holiday romance. It's nicely steamy in parts, but appropriate to the subject matter. Phoebe is perfectly likable, an orphan with a bit of a Cinderellaesque feel. Dominic This was a cute Christmas book. Dominic is a hot dad who is on the intense side. And Tara seems troubled, missing the love of a mother. It works perfectly well for a reader looking for a holiday themed contemporary romance including children.
Enough said. View 1 comment. Sixteen year old Phoebe was a shy good girl when she made a terrible friend and her life was ruined. His n Sixteen year old Phoebe was a shy good girl when she made a terrible friend and her life was ruined.
Nope, sneer, sneer, that twenty quid I have just now flung on the floor is for you to get a taxi out of my life forever! The proper way to degrade someone with paper money is to shove it into cleavage or pockets, or to wave it in front of them, and then whip it away when they try to take it. Anyway, Phoebe has six years to dwell on how humiliating that morning was before she meets Dominic again. And yet of course it is.
Phoebe is a nosy, snarky character and clearly has grown a tougher shell since she was sixteen. I was particularly fond of Hazel, she turned up in a cape and an Alice band. This is perfect villain wear, and she was really enthusiastic about being awful. Phoebe keeps dropping hints that Dominic ought to marry so Tara has a mother, because Dominic is clearly too busy and too male to effectively parent a child. However, establishing a stable home environment for Tara denies her any future as a romance heroine.
Dominic is a bit of an oddity. And Tara likes her, so job done. At least the scheming hussies were so awful and fun. Especially Hazel, turning up in that cape — such a great villain moment. View all 5 comments.
A really sweet Christmas read. The H was a good guy. The h was a sweetheart. The daughter was adorable. Then there was the wanna-be OW. Too bad, so sad honey! And the movie star ex-wife. I will read this one again. Around Christmas, next time. Though I felt sorry for Phoebe, I still felt that she gave up to her desires too easily. And I also didn't feel that Dominic did anything that was worth falling for. A feel good Christmas book , I must say. Phoebe is a strong , independent young FL trying hard to live her life while her bitter past haunts her with sleepless nights.
She lost her father , who happen to be her only family. A 7 yr Tara develops deep attachment towards phoebe and wants her to be her Nanny. Tara's father , who also happen to be the dark demon in those haunted dreams of Phoebe seems to not recognise phoebe at all.
When Phoebe's house catches fire she is left with no other option t A feel good Christmas book , I must say. When Phoebe's house catches fire she is left with no other option than to rely on him for support , though she wanted to run away , she stays there for Tara.
Soon she finds herself in love with him when things slowly clear. And of course Dominic Tara's father is smitten by Phoebe from day one. While people like Hazel Dominic's old friend and would be , Serena Dominic's ex-wife , and Tony The one who cheated Phoebe when she was 16, who also happens to be Dominic's stepbrother create troubles , these two will fall in love DEEPLY than ever before.
I loved Carrie very much : she is a sweetheart. He and his friends set her up as a prank on his elder step-brother, leading to her humiliation and scarring her with nightmares of the step-brother's demeaning treatment of her.
Now 6 years later, having finished her university and looking for a job as a librarian, she takes a temporary job as a waitress in a tea room. A young girl comes in each afternoon and Phoebe becomes her friend. When Tara's nanny fails to meet her one day, Phoebe takes her home.
Much to her shock Tara's home turns out to be the house in her nightmares and Dominic is the man who stars in them. She's relieved when Dominic doesn't seem to remember her, and promptly lets him know what his nanny has been up to by leaving the girl at the tea room on her own.
When Dominic can't find a nanny as it's nearing the Christmas holidays, he asks Phoebe if she'll step in. Thinking of the child's needs, she agrees, but only until the New Year. And just as life is settling down nicely, her teenage crush shows up and threatens to reveal who she is.
I would have enjoyed this story more had we been privy to Dominic's thoughts, though Ms. Craven gave some very subtle clues to how he felt. Phoebe is a strong young woman even though her self-esteem is still bruised from the events of 6 years before.
I loved her internal dialogues and thought how hilarious it would be if she'd only voice them out loud. She doesn't take any guff from the OW, nor from the evil ex-wife, and though she's afraid of her own emotions when it comes to Dominic, she stands up to him too especially when it comes to Tara's welfare.
The HEA seemed rather rushed, which left me feeling disappointed. All in all this was a pleasant few hours of reading. If you are looking for the lightness of Miracle on 34th Street then you will be disappointed. She already has the house, a wealthy, loving but sometimes absent dad, and a mom who has abandoned her. Even her current nanny sees the child as a paycheck. So, she has wishes. She wishes the h Phoebe would be her new nanny, and she wishes her mom would come and see her. Her first wish comes true and Phoebe the h becomes her new nanny, but this brin If you are looking for the lightness of Miracle on 34th Street then you will be disappointed.
Her first wish comes true and Phoebe the h becomes her new nanny, but this brings up a host of traumatic memories for Phoebe so she only agrees to be a nanny until the New Year weeks away. She does it for Tara, because Tara is delightful and needs someone in her corner for a change. It makes sense that our h would want to do this for the child as her own past experience shows that not many people have been in her corner in the past.
Her trauma really spoke to me, and I never felt that the people involved got their just desserts. No worries not as Graphic or disturbing as Carrie but what she endured has given her nightmares for the last 6 years. So here is the scoop: view spoiler [. When the h was 16 she was set up by a mean girl and Tony the boy that the h was infatuated with. Our poor h, like most 16 year olds just wanted to belong and had no idea that she was being set up. She tarts her up in a Madonna like outfit complete with blonde wig.
They go to the party where the h meets up with Tony. Feeling out of sorts, Tony takes her to a bedroom with a 4 poster bed and proceeds to undress her while Tiffany helps. This is all hazy to the h. The next thing she knows, are the lights being turned on and a very angry insulting dark man telling her to get up and get out before he calls the police. She is mortified and becomes violently sick.
Tony wanted to get back at the H. hide spoiler ] So because of the trauma where the H played an unwilling participant, she does not hide her distaste for the H.
She is contrary to anything he says, and even when he leaves her a generous tip at her waitressing job, she gives it to a coworker. While there the H keeps after her as they definitely have a strong attraction for each other.
In the meantime the h has to deal with an evil wannabe ow. Finally, the plot moppet gets her 2nd wish and her mom comes back from Hollywood to reunite with her ex husband and child. The ex wife is all about appearances and invites tv crews etc to interview her new direction in life and commitment to family. She also has plans for her daughter to be the next big child star. The ex slaps her, and the H overhearing everything tells the h she needs to pack a bag and go. This appeases the the ex wife.
Her friends go to leave to deliver presents to family and the h is alone at their house. Then she hears the key in the door believing her friends to have forgotten something only to see that the H is standing there.
view spoiler [The H is there to declare his undying love. The story already revealed that he knew the h as the young 16 year old the first night they met again. Share Information. Specialty Products. Open Access. Open Access for Authors. Open Access and Research Funding.
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Then I will examine a renowned New Zealand novella The Whale Rider , which is a mixture of Maori mythology, fiction and contemporary Maori life style. The Whale Rider was written by Witi Ihimaera, a New Zealander with Maori and European backgrounds. Eventually the heroin proves her capa- bility by riding the whale king.
The novella raises several issues: how the so-called Maori tradi- tions should adapt to modern times; how the conflicts between men and women need to be re- solved; and how the natural environment must be protected for the Maori and whales to survive. In a broad sense, this term is considered to refer to the common practices in most societies from the beginning of hu- man history and cultural formation.
Fourth, I will analyze how images can or cannot be translated. Tylor in Clearly, cultural tradition has to be transmitted from each generation to the next. New York: Columbia University Press, reissued , p. Murdock illustrated the process of cultural changes in The overwhelming majority of the elements in any culture are the result of borrowing…for it is doubt- ful whether there is a single culture known to history or anthropology that has not owed at least ninety per cent of its constituent elements to cultural borrowing.
Hybridity is part of culture. Not only culture, but also language is hybridized. Language is probably the most representative aspect of culture which tends to show characteristics of cultures. Proverbs, medi- cine formulae, standardized prayers, folk tales, standardized speeches, song texts, genealogies are some of the more overt forms which language takes as a culture-preserving instrument.
This borrowing naturally goes hand in hand with cultural diffusion. No two historical epochs, no two social classes, no two localities use words and syntax to signify exactly the same things, to send identical signals of valuation and inference.
Nei- ther do two human beings. Shapiro, ed. Man, Culture and Society, New York: Oxford University Press, , pp. What makes translation unique is that the value-creating process takes the form of an inscribed inter- pretation of a foreign-language text, whose own values inevitably undergo diminution and revi- sion to accommodate those that appeal to domestic cultural constituencies.
However, many translators, according to David Katan, are not aware of the relation between translation and culture. Secondly, though languages can convey concepts from other cultures, people including translators and in- terpreters tend not to realize that their perception through language is, in fact, bound by their own culture. Translating Traditions The Whale Rider was published in It was written by Witi Ihimaera b.
The story is about how a young girl proved to be the leader of the Maori tribe. Her great-grandfather, the elder Moari tribe chief Koro Apirana, thinks that only the male line of the oldest son can inherit the leadership. He constantly discourages her, and discriminates against her.
But the girl loves him, and wants to help him to find the next leader, until she herself becomes the one. The novella is a mixture of Maori founding myth, fantasy and daily life. The myth relates that the pp. Quoted from David Katan, Translating Cultures: An Introduction for Translators, Interpreters and Mediators, Manchester: St.
Jerome Publishing, Jerome Publishing, p. The au- thor Ihimaera said that he intentionally changed the myth. I wrote Whale Rider based on a particular legend and that legend was of our ancestor, Paikea, who was male, who was one of the royal sons of Hawaiki who came to New Zealand on the back of a whale. What I did was that I subverted the original legend so that instead of a male riding a whale, it would be a young female riding a whale… Today, it is so important to recognize that the world has indeed changed, but it takes time for tradition to be dismantled.
Why to Translate? As the one who translated The Whale Rider into the Chinese language, I need to reflect on why and how I translated it. Although I had lived in New Zealand for ten years before I first encoun- tered the film adaptation Whale Rider , I did not have much knowledge of Maori history, tradition and legends, except the commonly promoted images of Maori culture. When I watched the film, I was touched.
Afterwards, I rushed to a bookshop to find a copy of the novella. I read it, and was again moved to tears. I returned to watch the film twice more.
I felt a strong urge to share the story with the people of the Chinese language sphere. This kind of urge has been theorized by Schleiermacher as an attempt to be understood posi- tively, and a desire to build community and thus understanding.
Third, the story itself made me believe that it can be understood and appreciated universally regardless of differences between nationalities, races, cultures and languages. In the process of translation, one of the difficulties is how to translate the Maori names of people and places, and how to translate the names of plants and animals that are native to New Zealand. I find it easy to translate abstract concepts because they can be explained by adding words. But the names will not sound like names if they carry explanatory words.
Also, I had to take a balance between allowing the Chinese people to understand the foreign names based on their own culture on one hand, and keeping the Maori-ness of the names on the other.
The reader shall face a text that is both understandable and puzzling. To the great-grandfather Koro, naming a girl Kahu after the primary ancestor and hero of the tribe is unbearably offensive. That will not only belittle the ancestor hero, but also will give an impression that a female can imitate the hero. He fiercely opposes such a naming. On the contrary, his wife Nanny Flowers, their grandson and his wife do not see any problem in giving the girl such a name, because they want to connect the girl with the tribe.
In the novella, there are abundant acoustic images of songs, sounds and voices, and visual images of the ocean. It is al- most imperative that I use the kanji associated with those images, such as, ge 歌 , fan 泛 , lang 浪 , tang 淌 , etc. while translating the Maori names. However these images do not appear in the Japanese translation because the katakana are used to represent the names.
In other words, the Chinese translation has added more images related to the ocean and music, which the origi- 17 Hewson, Lance, Jacky Martin, Redefining Translation: The Variational Approach, London: Rout- ledge, p.
Now let us see a short list of how the names appeared in the Japanese and Chinese versions. However, the majority of Maori names cannot be substituted by meaningful kanji, and therefore in the Chinese translation, many Chinese characters function just like the katakana in the Japanese version. Nevertheless, because of the meaning of the Chinese characters, the Chinese version, to some extent, reflects the rich- ness of visual and acoustic images in the original text. In the Chinese version, more cultural val- ues are added to the names, so that the names become more meaningful.
Generally speaking when translating a literature work, all translators make efforts in select- ing words, presenting visual images, choosing phonetic signs, and adjusting literary styles. It is a constant endeavor to take balance between retaining the original culture and incorporating the host culture.
The foreignness and the familiarity must co-exist. Otherwise, the translated work cannot be understood properly. Another difficulty in the translation is how to render some visual images in Maori culture into Chinese verbal expression, when actual images cannot be presented. Sometimes the reader may imagine things quite different from the original ones.
Just give several examples in the opening paragraph of the novella. The original one: In the old days, in the years that have gone before us, the land and sea felt a great emptiness, a yearning. The mountains were like the poutama, the stairway to heaven, and the lush green rainforest was a rippling kakahu of many colours.
The sky was iridescent paua swirling with the 20 Ihimaera, Witi, The Whale Rider, First published ; New edition ; 3rd edition ; reprinted , Auckland: Reed Publishing NZ Ltd. The sea was ever-changing pounamu, shimmering and seamless to the sky. This was the well at the bottom of the world and when you looked into it you felt you could see to the end of forever.
underlined by me The Japanese one. 昔々、われわれが生まれるはるか前の時代に、陸と海は大きな空しさを覚え、満たし の時が来るのを待ち望んでいた。山々は天に掛けられたポウタマ（階段）、瑞々しい緑の 雨林は細波の立った色とりどりのカカフ（マント）のようであった。空は、風と雲が織り 成す渦巻きの模様を装った玉虫色のパウア貝で、おりおり虹のプリズムや南の方のオーロ ラを映し出した。海は変化自在のポウナム（グリーンストーン＝緑色の翡翠）で、煌めき を途切らすことなく空にまで届いた。ここは世界の底にある泉。中をのぞき込めば、永遠 の終わりまで見通すことができるような気がした。 The Chinese one.
在古老的日子里，在流逝的岁月间，大地和海洋沉浸在巨大的空旷和渴望之中。山岳如 同通向天堂的阶梯，葱翠的森林仿佛室多色的浮动斗篷。灿烂的天空呈现出漩涡状的风云， 有时映出七色彩虹，有时反射出南极之光。海水变幻无常，波光粼粼，水天相连，融为一 体。这里是世界底部的井口，如果一直往下看，你将瞥见永恒的尽头。 The underlined words in the Maori cannot be easily visualized by the reader from different cultures. When the terms from their own culture are used, overlapped images are created.
In this novella, the most common thing that can be understood universally is the gender issue presented. Without this universality, the reader may not be easily attracted to the theme of the story. It is a problem almost every nation, every culture, every generation has been facing. That probably is why the film has won such an enthusiasm in the world after it was released in It was awarded numerous prizes by the audience.
Many people over the world could identify themselves with the hardship the heroin was experiencing. It also occurs between generations, social groups and individuals.
It takes place anywhere and anytime. There also frequently exists mis- understanding in this process. Until we share misunderstanding, cannot we be conscious of the existence of misunderstanding. This paper will explore various ways that intercul- tural analyses of musical communication may offer theoretical insights applicable to the broader field of cultural translation.
Artistic choices to or not to aim for this mode of cultural translation are routinely made by mu- sicians active in contemporary fusion projects, and analysis of specific examples from such en- sembles as the Helsinki Koto Ensemble, Yoshida Brothers, Moscow Pan-Asian Ensemble and To- kyo Brass Style will illuminate how cultural translation can be either conscious or unconscious, and deliberately highlighted or downplayed, within musical hybridity.
A theoretical model will be proposed as one way of conceptualizing various approaches to cultural translation in music. Eric van Hove2 as co-producer and co-director. For this experimental project, van Hove wrote the words to be spoken and sung, and designed images to be displayed, while I created music to accompany the performance with both vocalists and a chamber or- chestra.
The principal unifying theme of Correspondence was reflected in multiple layers within its title. This work was about the angular meeting of lines and planes, including the attempt to un- derstand how ideas in one domain e. Japanese society, language and art may be expressed in another e. European societies, languages and music , while it was also literally based on a series of letters, or correspondence between van Hove in Japan and his acquaintances abroad to whom he was writing about his initial observations of life in contemporary Japan.
We offered a special sneak preview of selections from the opera at a school for disabled children in Western Tokyo, whose administration assured us we were the first group of foreigners ever to visit. That was a deeply touching experience, since we sensed that the performance in some way meant as much to these Japanese children, with their broad range of mental and physical struggles, as it could ever mean to an audience of healthy and educated adults.
Of course, van Hove and I were still only beginning to understand Japanese society at the time, and had much to learn. I suppose there is inevitably something somewhat megalomaniacal about any attempt to embark on an original artistic project of this kind, yet van Hove and I felt at the time that it was also courageous and somehow necessary.
If we did not strive to create some great new perfor- mance art to express our impressions of contemporary Japan, we mused, who would? van Hove is perhaps most well-known as a poet and avant-garde calligrapher nowadays, with projects that involve drawing improvised poetry in unusual modes and locations worldwide, such as in public squares, underwater, across sands in the desert, in the arctic snow, and in Africa in collaboration with various wild animals, and his best known work is probably the provocative Metragram series that entails images of calligraphy being drawn on the abdomens of an assort- ment of women in around 50 locations all across the world.
This essay will explore various ways that intercultural analyses of musical meanings may offer theoretical insights applicable to the broader field of cultural translation. While much has already been theorized regarding how foreign musical genres may be trans- 6 Sociomusicology blog David G. Bhabha, The Location of Culture London: Routledge, , and Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness London: Verso, Artistic choices to or not to explicitly aim for this mode of cultural translation are routinely made by contemporary musicians active in hybrid genres, and analysis of specific examples from such ensembles as the Yoshida Brothers, Helsinki Koto Ensemble, Tokyo Brass Style, and Moscow Pan-Asian Ensemble will illustrate how cultural translation can be either conscious or unconscious, and deliberately highlighted or shunted in such music projects.
By virtue of its being 1 an emerging in- terdisciplinary field, and 2 a corpus of paradigms disseminated via pedagogy within academic contexts, it seems a vast array of activity within the field of cultural translation might itself be regarded as cultural translation, for whenever we strive to effectively communicate complex con- cepts from one system of thought from another — whether to colleagues in other disciplines or to students of any age or educational background — it appears we are to some extent engaging in cultural translation.
For several generations, musicologists have written about similarities between music and language, and reflected on ways that analytical approaches from the field of linguistics may be effectively applied to music. Linguists and literary critics, however, have generally taken less of an interest in musicological paradigms.
Unsurprisingly, a similar trend may be seen in the emerg- ing field of cultural translation, for which it already appears that linguistic and literary discus- sion may be dominant relative to paradigms associated with research on other forms of cultural discourse such as music, theatre, dance, visual art, fashion, etc. What of consequence to inter- cultural understanding might inevitably be missed by theorization that arises almost exclusively from examination of a single form of discourse as a basis for cultural analysis?
Translators rou- tinely grapple with complex meanings embedded in nonlinguistic forms of communication that defy conventional modes of translation, and consequently a holistic and trans-disciplinary theo- retical orientation is seemingly desirable to many proponents of cultural translation.
Specifically, systems of music transmission and pedagogy seem to represent especially fertile areas for re- search on educational issues in cultural translation. I will avoid discussion of mere song lyrics and their meanings, in order to maintain a focus on the sentient features of musical sound that may be independent of any linguistic significance, the reason being that such a focus will enable us to face the distinctive features of musical discourse in contrast to linguistic discourse.
I will also eschew discussion of the kinds of challenges and dilemmas most often faced by ethnomusicolo- gists, scholars who seek to construct comprehensive verbal descriptions of musical systems that are translated across cultural boundaries. Much has already been written on that topic, which I greatly appreciate, yet this theme would appear to be less relevant to the purposes of our forum. Rather, the question here today is how musicians adopt ideas and practices from one musical system into another musical system, a process that to some extent typically requires a bridg- ing of cultural differences: in other words, projects that entail an attempt to translate one music or at least prominent aspects of a preexisting tradition into another form of music.
I will also consider educational implications of this kind of cultural translation, which typically yields some prototypical form of musical hybridity as its outcome. For those unfamiliar with music research there may also be some reluctance to recognize the meaningfulness of musical practices, or at least the validity of their interpretation. Just how sig- nificant should music-making, the mere production of pleasurable sounds, be appropriately re- garded within the context of other seemingly translatable human activities?
The global ubiquity and expansive history of musical activity serve as some testament to its ultimate utility, for social scientists consider music-making to be a universal practice associated with all known human so- cieties, and with a lengthy history that may even rival that of language.
Ur-Nansha is the name inscribed on a cm tall gypsum statue that depicts an androgynous court musician, the chief singer of Iblul Il, who was King of the city-state of Mari, located in what is now Eastern Syria. The Ur-Nansha figure was found in a Massif Ridge archaeological dig, nearby the Ninna Zaza temple BC. Wallin, Bjorn Merker, and Steven Brown eds. In the lyrics of this song, dated to BC and found inscribed in cuneiform symbols on a clay tablet, an Assyrian woman ap- proaches the moon goddess, Nikkal, to seek a cure for infertility.
The first part illustrates how cross- cultural relationships may be conceived in relation to education and other institutionalized forms of socially structured interaction, which also has implications for literature and related arts. Rather than serving an analytical function for interpretation of particular examples of cross- cultural artistry, the Four Culturalist Conceptions is intended to serve an illustrative purpose in normative discussion of prospective approaches to cultural policy.
The second part Five Domains of Cultural Translation via Music delineates diverse aspects of music production and consump- tion that may parallel phenomena encountered in other art forms, and as will be demonstrated, is proposed for direct use as an analytical tool.
Still, the notion of multiculturalism continues to be debated — particularly in contemporary Europe — and the field of cultural translation seems in- creasingly concerned with this issue. When considered from an historical perspective, it becomes clear that this way of thinking about education has only become popular in recent generations.
Theo J. Krispijn, Professor of Assyriology at Leiden University, the Nether- lands. Conard, Maria Malina, and Susanne C.
Banks, ed. Four Culturalist Conceptions Figure 1: Model-Four Culturalist Conceptions Figure The Four Culturalist 1: Model-Four Conceptions Culturalist illustrated here Conceptions consist of 1 Biculturalism, 2 Multicultur- alism, 3 Interculturalism, and 4 Transculturalism. Each conception entails a slightly different approach to institutionalization of the cross-cultural meeting of two or more distinct traditions, as encountered in various public sector contexts, such as education and arts policy.
other in an attitude of cooperation Each and even compromise. This ap- conception en slightly proach todifferent cross-culturalapproach contact hasto forinstitutionalization many years been regarded of the cross-cultural as official government policy meeting of t more in suchdistinct traditions, nations as New Zealand,as encountered where inclearly there is a single various public identifiable sectorpopula- indigenous contexts, such as education and colonizing tion and a single arts policy.
two major cultural strands, each of which is expected to respond to the other in an However, as I have discussed elsewhere, nowadays the demographic makeup of even a nation 19 like New Zealand is actually far more complex than mere biculturalism would appear to suggest, attitude of cooperation and even compromise. This approach to cross-cultural con for18many David G. years been Hebert, Jazz regarded and Rock Music, W.
as official M. Anderson andgovernment P. Campbell, eds. Hebert, population Ethnicity and Education: Sociological Dimensions, R. Wright, ed. in thisRethinking Hebert, case the Maori and the Historiography British of Hybrid or Genres Pakeha in Music residents.
Education, L. Howev 19 Music History Newcastle: Cambridge Scholars Press, , have discussed elsewhere, nowadays the demographic makeup of even a nation Vakeva and V. Kurkela, eds. New Zealand 19 David G. suggest, since there are many Asians and Pacific Islander residents from an array 26 backgrounds, some of whom such as in the case of the David Niueans are found in grea G.
Some scholars and public figures use these kinds of conceptualizations in debates regarding contem- porary society in the United States, Australia, Brazil, Malaysia, and Khazakhstan, for example. Interculturalism is a concept gaining currency of late in western Europe, where many reject the idea of ever permitting the citizenry to become so ethnically and racially diverse as North America, yet acknowledge that the increasingly obvious presence of large immigrant populations from such places as Africa and the Middle East requires some modifications to public policy.
Interculturalism seems to entail an orderly and respectful recognition of difference that leads to some alteration of trajectory on the part of both parties, but perhaps without major transfor- mation. These Four Culturalist Conceptions may prove useful in any conversations regarding the ultimate purpose of cultural translation within academia. Scholars of cultural translation are presumably motivated by the desire to attain improvements in cross-cultural understanding, yet there is likely to be an array of diverse visions regarding what ultimately may be the outcome of a significant lessening of the epistemological barriers and non-empathetic tensions between cultural groups that give rise to such profound allegories as the Tower of Babel and have even led to countless unnecessary and abominable wars throughout history.
The promotion of cross-cultural understanding has arisen as a topic on the landscape of music education in Japan across recent years, and is likely to be a subject of continued debate across a broad range of fields far into the future.
Also, for examples of how the power of music has been used in conflict resolution, see Olivier Ur- bain, ed. Tauris, for Toda Institute for Global Peace and Policy Research, requires an especially broad view in order to grasp all relevant factors, which is why the second part of this model is relatively wide in its scope, The second part of the model is entitled Five Domains of Cultural Translation via Music, which are identified asfive encompassing domains. follows see below : A Technological Adaptations, B Idiomatic Conventions, C Aesthetic Notions, D Creative Practices, and E Receptive Contexts.
The second part of the model is entitled Five Domains of Cultural Translation via Music, which are Model identified as follows2. Five see Domains below : of Cultural A Technological Translation Adaptations, viaConventions, B Idiomatic Music C Figure 2: Model-Five Domains of Cultural Translation via Music Aesthetic Notions, D Creative Practices, and E Receptive Contexts.
What is meant by conceptualization according to these five domains in the cultural translation Model 2. Five Domains of Cultural of music or, alternatively, the musical translation of music?
Consider the following descriptions: Translation via Music A. Technological Adaptations E. Receptive B. Idiomatic Contexts Conventions D. Creative C. Aesthetic Practices Notions Figure 2: Model-Five Domains of Cultural Translation via Music A.
Technological Adaptations. This refers to an array of tools and associated techniques, in- cluding instruments, notation systems, sound media synthesizer programming of non- sampled sounds or even samples, etc. used by musicians. What is meant by conceptualization according to these five domains in the cultural translation of B. Idiomatic Conventions. This refers to actual approaches to the use of musical sounds, in- music or, alternatively, cluding the musical tonal, rhythmic, translation textural, timbral,of music?
and formalConsider systems. the following descriptions: C. Aesthetic Notions. Creative Practices. This means particular approaches to improvisation, composition, etc. Receptive Contexts. This includes not only rituals or venues, but also modes of mediation and any combinations with other media, such as drama, dance, or visual image.
Clearly, the above categories, despite maintaining integrity in some respects, are most often deeply intertwined in the context of any genre. Ultimate- ly, the usefulness of such a conceptualization will only be recognizable if put into practice, so I will soon proceed to some concrete illustrations that make use of a template entitled Pentagonal Analysis of Cultural Translation PACT that was developed to enable this Five Domains of Cultural Translation in Music model to be implemented as an analytical tool.
I must stress that this model is intended to be merely interpretative, to guide subjective analysis and stimulate more robust and precise discussion in conversations and debates among both scholars and artists. Applications to Japan The remainder of this essay will offer consideration of how the aforementioned model may be applied to specific examples of musicians who are either Japanese or doing work inspired in some way by Japanese cultural traditions, and conclude with some discussion of implications for other domains of cultural translation.
It is important to acknowledge that this is by no means the first discussion of how westernized music in Japan may be theorized, for there have been very significant prior contributions to this theme. Still, I will begin by briefly describing two of the most interest- ing previous models that aim to conceptualize various ways that Japanese musicians have ap- proached the mixing of indigenous and western influences, as well as the related role of cultural identity, in their musical activities, both of which are topics of relevance to the theme of musical translation.
Transference, Syncretism, and Synthesis. Also, see Bonnie C. Fence, Flavor, and Phantasm. Both of the aforementioned models may serve as useful tools for grappling with how musical sound or cultural identity may be conceived in specific contexts.
The Yoshida Brothers, who clearly combine Jap- anese traditional music with various global popular music styles, appear to be the only of these four bands to have already been thoroughly researched. Tokyo Brass Style seemed an attractive choice because it entails a hybrid of western brass band and contemporary Japanese youth cul- ture. I am already well-acquainted with members of the ensemble from Finland, and performed as a member of the ensemble from Russia, so familiarity and accessibility also naturally influ- enced the selection of these examples.
Yoshida Brothers The Yoshida Brothers are a renowned popular music act from Hokkaido consisting of broth- ers Ryoichiro Yoshida b. After sweeping prizes at national Tsugaru shamisen conven- tions, the brothers made their major debut in The debut album sold over , copies, which is an extraordinary figure for a traditional folk music release.
The Yoshida Brothers received extensive training in the tsugaru shamisen tradition, but later decided to take their music in a new direction. The history and tradition that echoes through their sound proves that even the most global music is rooted in local soil.
But they also expand on it. In their own compositions, they riff on themes from the old songs, incorporating other instruments and elements from jazz, classical,But repertoire. flamenco, they alsorock, expandtheonblues it. In even techno. their own The musicthey compositions, is high riff onenergy, themesandfromitthe is highly old songs,improvisational.
and their The music is highmanagement energy, and itas a formimprovisational. In other words, the Yoshida Broth- preferred by young people today both in Japan and abroad. Syncretism of modern pop styles with C Aesthetic Notions Weak historical musical practices.
D Creative Practices Weak Little evidence of new approaches. E Receptive Contexts Strong TV advertising for videogames: new marketing approach. Figure 3: PACT-Yoshida Brothers Figure 3: PACT-Yoshida Brothers Minna Padilla and the Helsinki Koto Ensemble Another very interesting musician who merits some discussion is Ms. Minna Padilla, a Finn- Minna ish Padilla koto player andand leader theofHelsinki the Helsinki Koto KotoEnsemble Ensemble, who agreed to an interview for the Another very interesting musician who merits some discussion is Ms.
Minna Padilla, a purposes of this research on 10 February, One year earlier, in crew filmed her performing and teaching koto to children, and rehearsing with the Helsinki Koto February of , a crew from TV Tokyo had traveled to Helsinki to interview Minna for Ensemble. Koto Ensemble. I started to combine the sound of kantele and koto in year in Finland and this isJapanese how my composing music andtoculture koto started yet also.
I think there is something magical in the sound of koto, something that touches people through all ages with beauty, power and intimate sound. One other important thing in my composition process is using the tradi- kindsJapanese tional of music? I started to combine the sound of kantele and koto in year in Finland and this is how my briefly at both the Tokyo National University of Fine Arts and the Hokkaido University of Educa- composing to koto started.
I think tion, where thereher prior musical is something training magical and in the technique sound of koto,enabled her that something to learn remarkably touches quickly. all ages people through However,with thebeauty, style ofpower musicand thatintimate she would sound.
Nature develop eventually is a very is important sourcefrom quite different for me, for inspiration. traditional Japanese koto playing. I was anxious to know how the Japanese people would react to me playing the 29 Tina K. They even said that my music felt like walk- ing into a Finnish forest, gives you feeling like falling in love. My wonderful koto teacher Yukiko Originally trained as a Finnish folk musician at the Sibelius Academy, Minna studied koto briefly at Takagaki requested us to visit her home and we played also there as a vocal and koto duo.
She wasboth the Tokyo interested in myNational University compositions of Fine and thought Arts that thisand is athe newHokkaido University style to play the koto. However, the style of Minna explained that the lyrics of many of her songs are derived from Japanese poetry from music that the 9th through 19thshe would eventually centuries, develop particularly is quite different as translated fromby into Finnish traditional Japanese Kai Nieminen andkoto G. I was anxious to know how the Japanese people would react to me playing the koto me ask more and find the answers in musical language.
Theatmosphere, reaction fromand she offered Japanese people the was very followingpositive towards as a specific my music and our playing. They even said that my music felt like walking into a example: Finnish forest, gives you feeling like falling in love. This made me feel in my compositions and thought that this is a new style to play the koto.
Then I started to compose music to find colours for this. primar- J. ily melodic and fully composed Specifically, Minna has with clear musical composed forms. This made me feel that this poem is more like sentimentality, beauty of giving up than crushing sadness.
Melodic and harmonic influences are traceable to both Japanese and B Idiomatic Conventions Medium Finnish traditions. D Creative Practices Strong Fully composed, yet some improvisational elements. E Receptive Contexts Strong Embassy-affiliated performances, concerts in Japan and Europe.
Figure 7: PACT-Helsinki Koto Ensemble Figure 7: PACT-Helsinki Koto Ensemble Tokyo Brass Style Hiroshi Watanabe, a Professor of Aesthetics at Tokyo University, has argued that mixed or hy- Tokyo brid musics, Brass Style indigenous brass bands, offer an important way of understanding Japa- particularly Hiroshi Watanabe, a Professor of Aesthetics at Tokyo University, has argued that mixed nese cultural identity in the globalized contemporary world.
have come Watanabe has into existence. invasion ofRecently, with thehave Western culture, progress skil- of research into these kinds of bands, it becomes clear that the fully adapted with modernity to bear living witness to an array of distinct cultural identities.
Hebert, years among Alchemy of Brass: contemporary Spirituality Japanese andTheir youth. Windperformance Music in Japan, Edwin style Michael is utterly Richards and exuber- Kazuko Tanosaki, eds. Hiro Shimoyama, physicist]. Hebert, Alchemy of Brass: Spirituality and Wind Music in Japan, Edwin Michael Richards and Kazuko Tanosaki, eds.
Brasta appears to have arisen quite in Japan that adopted local folk melodies. Japanese of western Notableinstruments examples commonly of Brasta taught songs in Japanese include schools. adventure The films Stu- following figure illustrates application of the model to Tokyo Brass Style: dio Ghibli productions. B Idiomatic Conventions M Mastery of Latin styles; strong musical skills with unique image.
Traditional notions of Japaneseness may be irrelevant here. Outstanding performance technique on complex arrangements C Aesthetic Notions M of seemingly simplistic tunes. D Creative Practices S Very original arrangements, effective improvisation. E Receptive Contexts M Performances in nightclubs and workshops in schools. Figure 8: PACT-Tokyo Brass Style Figure 8: PACT-Tokyo Brass Style Moscow Pan-Asian Ensemble The Moscow Pan-Asian Ensemble previously known as Wa-On Ensemble is another example Moscow well Pan-Asian Ensemble worth consideration.
In , I performed and recorded a few times on trumpet and voice The Moscow Pan-Asian Ensemble with this unique free improvisation previously ensemble known as Wa-On at the Tchaikovsky Ensemble Conservatory while I is another was living example well worth consideration. In , I performed and recorded a few times on in Moscow and employed as a lecturer for Lomonosov Moscow State University.
The Pan-Asian trumpet and voice with this unique free improvisation ensemble at the Tchaikovsky Ensemble is led by expert Russian musicians trained in composition, ethnomusicology, and mu- Conservatory while I was living in Moscow and employed as a lecturer for Lomonosov sic therapy, State Moscow and who are especially University.
Theinspired by Asian Pan-Asian music,is Ensemble particularly Japanese led by expert traditional Russian mu- musicians sic. shakuhachi On the and Dmitry JazzLoft Kalinin shaku- website, the Moscow Pan-Asian Ensemble is described as follows: hachi, hichiriki, Chinese gong-chimes and voice.
The Ensemble is augmented by Varvara Sidoro- va, Kakujo Nakagawa and Misako Mimuro all three on biwas and Pyotr Nikulin on dijeridu and Dmitry Schyolkin on percussion. The leaders studied with great Japanese teachers. Russians try to create new music based directly on Japanese musical traditions and its aesthetic principles without distorting European composing techniques. Amazingly, they manage to create something truly original. aspx 36 David G. He has stud- ied shakuhachi kinko-ryu and koto ikuta-ryu extensively with various teachers in both Kyoto and Moscow.
In he even attained certification as a koto teacher through the Sawai Tadao koto school. He is a graduate of the composition department of the Tchaikovsky Conservatory, where he studied under professors K. Batashev and A. Another important member is Dr. Varvara Sidorova, who has performed with the ensemble since its inception. Moscow Pan-Asian Ensemble performances entail no planning of any kind other than the set- ting out of instruments to be used.
There is no notation, no set song forms, and no discussion regarding musical intentions. Rather, the musicians simply begin making sounds, gradually add- ing more instruments, and see where their collective spontaneous creation leads them, typically through a mysterious terrain of expressive gestures. The band members are such extraordinarily open, focused and responsive improvisers that one often perceives seemingly ordered sequences in their music.
The improvisations typically combine European and Asian traditional instru- ments, vocal sounds, electronic sounds, and the sounds of homemade instruments and found objects. The improvisations typically combine European and Asian traditional instruments, vocal sounds, electronic sounds, and the sounds of homemade instruments and found objects. Free improvisation offers little room for idiomatic conventions, yet B Idiomatic Conventions Medium some tendencies cannot be entirely avoided.
This feature seems especially strong. Very unusual sound in combination of European and Asian acoustic and electronic instruments as well as self-made instruments and D Creative Practices Strong found objects. E Receptive Contexts Medium Performances in combination with visual artists, butoh dance, etc.
Figure 9: PACT-Moscow Pan-Asian Ensemble Figure 9: PACT-Moscow Pan-Asian Ensemble Summary Overview of the Four Cases It should Summarybe clear from the Overview ofpreceding the Four discussion Cases that cultural translation can be either con- scious or unconscious, and deliberately highlighted or shunted in such music projects. approach to The Yoshidaevident hybridity Brothers, on in the the other hand, seem to comfortably straddle both traditional folk and popular Helsinki Koto Ensemble and the Moscow Pan-Asian Ensemble appear to be conceptually similar, music fields.
The approach to hybridity evident in the Helsinki Koto Ensemble and the Moscow although their actual sounds are quite dissimilar, with the Finns offering intelligible beauteous Pan-Asian Ensemble appear to be conceptually similar, although their actual sounds are and melodic music, while quite dissimilar, withthe theRussians produce Finns offering an atonal,beauteous intelligible mysterious, andchallenging, and atwhile melodic music, times the Russians even horrific produce improvised an atonal, collage mysterious, of sounds challenging, that would make an and idealatbackdrop times even forhorrific a terrifying improvised suspense movie.
collage of sounds that would make an ideal backdrop for a terrifying suspense movie. In addition, they can also that embrace experimentation via hybridity. It should also be noted, however, that there are some will come to beof indications perceived a minor revivalas merelyof Japanesea curious and music traditional temporary trend in the first or the decade beginnings of the 21st century.
of a new movement. I would suspect the latter is a more likely outcome, due to the effects of globalization and the tendency of institutions to eventually respond when new opportunities are convincingly 20 demonstrated. It should also be noted, however, that there are some indications of a minor revival of Japanese traditional music in the first decade of the 21st century.
It is my hope that the ideas offered here will prove to be stimulating to scholars in other areas of cultural translation and perhaps lead to work that ena- bles us to better understand the perennial mysteries of expressive communication and cultural difference. html 41 The Essential Rumi, new expanded edition, tr. Coleman Barks, New York: HarperOne, Walter Kaufmann, New York: Penguin, These Japanese authors-translators were pioneers in both inter-cultural studies and transmitting values and concepts of Japanese culture to the West.
These texts will be analysed to see how the context as well as the reader influence the re- ception of the text as discourse through the translation process both the translator the self- translator, a privileged translator Tanqueiro, We also present a diachronic study of some translations of the above mentioned books published in Spanish between to These Japanese authors-translators were pioneers in both inter-cultural studies and transmit- ting values and concepts of Japanese culture to the West.
These texts will be analysed to see how the context as well as the reader influence the re- ception of the text as discourse through the translation process of the translator and the self- translator, a privileged translator Tanqueiro, We also present a diachronic study of some translations of the abovementioned books published in Spanish between and In fact, translation has played an extremely important role in the reception and syncretism of foreign cultures in the history of Japan, in the reception of both continental Asian culture and thought in ancient times and Western culture and thought, beginning in the 16th century and in particular from the 19th century onwards.
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