The 'European Masters in Translation' (EMT) network of universities
will be expanded to help the European Union to respond "to a growing
shortage of properly qualified translators in the job market," the
Commission announced.
At present, the EMT network comprises 34 members, but the Commission
says nearly 250 universities and other higher education institutions
offer translation courses at present.
"In many countries, anyone can claim to be a translator without any
guarantee of professional competence. The long-term aim of the EMT
project to raise the standard of translator training," said Androulla
Vassiliou, EU commissioner for education, multilingualism, training and
youth.
To carry the EMT label, a university must have its course assessed by translation experts drawn from the existing network.
EMT courses offer students training on how to run a business as well as
translation, and over other aspects of the language industry including
interpretation, subtitling, dubbing and how to adapt translations to
local needs.
"A course carrying the EMT label is recognised as being one of the best in the field," Commissioner Vassiliou said.
The Commission, while stressing its supporting role behind EU member
states, says it regards respect for linguistic diversity as a core value
of the European Union.
It adopted a new strategy on multilingualism in September 2008 and
provides €50m a year to support language activities and projects via its
Lifelong Learning Programme.
Lack of language skills
A 2007 study
had found that of nearly 2,000 businesses, 11% had lost contracts –
often worth millions of euros – as a result of lack of language skills.
Indeed, the Commission announced yesterday that "demand for translation services across the world is soaring".
The EU executive predicts that the Union's languages industry is set to
increase its turnover by 10% annually and will be worth up to €20
billion by 2015.
Many staff in the EU institutions' languages departments are
approaching retirement but they are not being replaced at the same rate.
Moreover, the EU's requirements are so stringent that only 30% of those
applying are successful, helping to fuel the present crisis.
Concerns over an upcoming lack of Italian interpreters led the EU
institutions to launch a campaign last month in Rome to encourage young
Italian speakers to consider working for the European Union (EurActiv 24/09/10).
Similar campaigns have been launched over the last 18 months to recruit
qualified French, English, German, Italian and Dutch speakers to work
for their services (EurActiv 25/09/09; EurActiv 18/02/09).
The annual conference of the EMT network is currently taking place in Brussels (11-13 October).
Friday, 15 February 2013
Thursday, 7 February 2013
(ES) Marco financiero plurianual: salvando la distancia
Marco financiero plurianual: salvando la distancia
Traducido por Jose V. Sánchez Cuenca
Revisado por Mónica Moure Peña
Los Jefes de Estado o de Gobierno europeos reanudarán el debate sobre el marco financiero plurianual (MFP) de la UE para 2014-2020 en la reunión del Consejo Europeo de los días 7 y 8 de febrero, en la que intentarán llegar a un acuerdo unánime. Las conversaciones, que quedaron suspendidas en el Consejo Europeo de los días 22 y 23 de noviembre, serán retomadas desde este punto.
Esto significa que la propuesta transaccional del 22 de noviembre, presentada por el Presidente del Consejo Europeo, Herman Van Rompuy, constituye el punto de partida de las conversaciones durante el próximo Consejo Europeo. Desde finales del mes de noviembre, el Presidente Van Rompuy ha continuado consultando a los dirigentes de la UE con la finalidad de preparar el terreno para un compromiso.
El Consejo de Asuntos Generales preparó los debates del Consejo Europeo sobre el MFP el 20 de noviembre y no volverá a tratar este tema antes de que el próximo Consejo Europeo reanude el trabajo sobre este expediente.
Si el Consejo Europeo alcanza un acuerdo, su contenido se incorporará al trabajo legislativo:
|
El objetivo es concluir el trabajo legislativo a tiempo para que los nuevos programas de gastos se apliquen desde el 1 de enero de 2014 en adelante.
Más información:
- Observaciones de Herman Van Rompuy sobre la cumbre MFP (22/01/2013)
- Informe Especial sobre el MFP
- Sesión extraordinaria del Consejo Europeo (22-23 de noviembre de 2012)
Saturday, 2 February 2013
(EN) Cultural Literacy
US idea of 'cultural literacy' and key facts a child should know arrives in UK
CLICK HERE for article
The philosophy of American education guru ED Hirsch could be coming to a primary school near you
US professor ED Hirsch argued that having a body of common knowledge would enable children to function as fully rounded citizens
Hirschism, if there is such a thing, is spreading fast through the English school system. Two proposed new primary free schools – the West London free school, backed by journalist Toby Young, and the Pimlico Academy primary – are planning to base their lessons on it. A new curriculum centre is devoting its efforts to promoting it, and a right-leaning thinktank is publishing a series of how-to guides on it for teachers.
Moreover, a new primary curriculum – due to be implemented in 2014 – has Hirsch at its heart. Both Michael Gove, the education secretary, and Nick Gibb, until recently his schools minister, and architect of a major review of the curriculum, have been profoundly impressed by his ideas.
So who is ED Hirsch? What does he believe? And how on earth did he manage to influence the way children across England will learn – without even being aware he was doing so?
Eric Donald Hirsch Junior is an 84-year-old retired professor – originally of English literature – from Virginia. He began his career as a professor at Yale, specialising in the Romantic poets. But by the 1970s, he was teaching at the University of Virginia, conducting research on reading with young people at local community colleges. He was shocked to discover those from poorer backgrounds struggled to read a passage on the surrender of General Robert E Lee near their home town of Richmond – because they lacked the necessary background knowledge of the American Civil War.
The result was a hugely influential book, first published in 1983, on what he calls Cultural Literacy. In it Hirsch argued that all American children needed a body of "core knowledge" which would allow them to function as fully rounded citizens – and that, as some were not absorbing this knowledge at home, they needed to be taught it at school. He even added an appendix, with long lists of facts, words and phrases whose significance every US child should know: the Adirondack Mountains; the Alamo; Alaska; the Founding Fathers.
In the ensuing years – during which Hirsch was greeted by the American right as a prophet and a saviour, and by the left as a scion of the empire of evil – these ideas solidified. Hirsch published a series of further works, which argued that children not only needed a clear body of factual knowledge but that they should also learn that knowledge in a very highly structured way – starting with basics and building up, rather than taking a more thematic approach.
Hirsch's position as an influential figure in American education has long been established – he set up a body called the Core Knowledge Foundation, which has spread his philosophy across the States – but how did he come to be influential here?
Several years ago, Nick Gibb – then shadow minister for schools – came across Hirsch and began reading his books. As long ago as 2008 he told fellow MPs they should read Hirsch for insight into an "anti-knowledge ideology" which, he said, was rife in American and English schools. The problem, he said, was that the education establishment had its roots in a romantic ideology that said skills, rather than knowledge, were the key to learning.
Michael Gove, too, has spoken of his admiration for Hirsch, citing him in 2009 in a speech to the Royal Society of Arts. "A society in which there is a widespread understanding of the nation's past, a shared appreciation of cultural reference points, a common stock of knowledge on which all can draw, and trade, is a society in which we all understand each other better," he added.
Soon afterwards the thinktank Civitas began translating Hirsch's views into practical guides for English schools: What Your Year 1 Child Needs to Know, for instance, provides a comprehensive guide for teachers. Its index reads very much like an English version of Hirsch's lists of what American children should learn, with Hans Christian Anderson, the Angel of the North and the English Civil War replacing the basic touchstones of US "cultural literacy".
Since Civitas took up the cause, two proposed free schools have announced they plan to teach using Hirsch's methods. And a new curriculum centre has been set up, using funds from wealthy benefactors, to spread the ideas further.
Toby Young, who is planning to follow such a knowledge-based curriculum at his new primary free school in west London, wrote on the Guardian's Teacher Network recently that more subjects would be taught by specialists and the aim was to raise attainment "particularly among children from deprived backgrounds".
When the government announced the initial outcome of its curriculum review – designed to overhaul and slim down what schools must teach – at the end of last year, Hirsch was writ large across it. "The new national curriculum will set out only the essential knowledge that all children should acquire," runs the Department for Education website introduction to new draft programmes of study for primary maths, English and science. The drafts are "very specific about the content to be covered, given the fundamental importance of these subjects as a foundation for further study and as the basis for our system of school accountability," it adds.
Perhaps it was hardly surprising that some members of the expert panel set up to advise on the new curriculum were less than pleased. The panel had proposed broad, two-year blocks of learning which would give teachers freedom to decide what to teach and when. But the published programmes were detailed and far more prescriptive. Professor Andrew Pollard, who was a member of the panel, stepped down as a result.
Ministers have shown "a cavalier disregard" for research evidence from the UK and elsewhere, he says. All the best evidence shows that it is excellent teaching rather than curriculum reform that raises standards, he points out. Countries such as Singapore and Finland – often cited by ministers as beacons of excellence – recruit the most able graduates as teachers and give them time and freedom to develop their skills.
"Ministers have a responsibility to do no harm and there is some risk that what they're proposing will actually reduce the quality of learning and reduce the breadth of education that's available in primary schools," he says. "Despite the rhetoric about opportunities, it's quite possible that what is proposed will increase inequality and the disadvantaged will become more disadvantaged."
Gibb, who arrives for an interview on the subject bearing a little pile of Hirsch's works adorned with yellow Post-it notes, is unrepentant. "All the evidence from around the world is that the more autonomy professionals have, the higher the standards. But, in order to do that, you have to have a curriculum that sets out the key things, the core academic knowledge in those core academic subjects – maths, English, science in particular – that children need to learn," he says.
He is confident his Hirschian curriculum will survive his departure from office in the September reshuffle: "The work has been done. It's out for consultation. I know the secretary of state is pleased with the product. I think he broadly accepts this approach, so I think that will remain," he says.
"At every stage, as we've drafted the primary curriculum, he [Gove] has been deeply engaged in it. He has his own views and they have not differed from my view."
Meanwhile, across the Atlantic, the man himself seems blissfully aware of the waves he has been making.
"Oh, I did not know that. How interesting!" he exclaims after being told education ministers in the UK have seized on his idea of "cultural literacy". He had a brief email exchange with Gibb a few years ago but apart from that there has been no contact between them, he says. But he is delighted to learn his ideas have spread across the Atlantic.
"I'm very gratified, particularly if in fact it has some positive effect in England. That would be terrific. I'm surprised and I'm gratified."
Fran Abrams will discuss the influence of ED Hirsch on BBC Radio 4's Analysis programme at 8.30pm on Monday 22 October
Wednesday, 23 January 2013
Wednesday, 9 January 2013
(EN) EU
Brussels urges universities to offer translation courses
The European Commission yesterday (12 October) launched a new drive to
encourage more universities to offer courses for aspiring translators
amid fears of a succession crisis in the EU institutions' languages
department..
Tuesday, 18 December 2012
Tuesday, 11 December 2012
(EN) Southern comfort...?
Ugly Map of European Unemployment
The Swedish economics blog Flute Thoughts has posted this map of 2011 employment by region in Europe:
[I first saw this as a cross-post in Zerohedge]. This map calls attention to the differences between the “core” and “periphery”. On a country-by-country basis, usually the “core” is seen as France and Germany, maybe a few others such as the Netherlands and Austria. However, as Flute points out, northern Italy looks more like Germany than like southern Italy, and France looks somewhat “peripheral.” In general, if you speak some Germanic language (e.g. German, Dutch, English, or a Norse tongue) you are more likely to have a job. Greece and Spain are employment disaster zones, along with parts of Eastern Europe and the Baltics. It seems like the non-eurozone regions (e.g. UK, Norway, Czech Republic) are faring relatively well.
As we have described here and here, adoption of the euro has been disastrous for the peripheral countries. Before then, they had available the safety valve of currency devaluation to manage imports and exports. The propect of devaluation also tempered the willingness of foreign creditors to buy the bonds of these countries. When these peripheral countries had control of their own currencies, it was difficult to refuse the demands of workers for ever-increasing wages, since the workers knew that more money could always be printed, and indeed was expected to be printed.
One philosophical driver behind the euro was that it would impose greater financial discipline on the Mediterranean countries. The expectation was that they would restrain wage hikes and public employment and boost productivity; in short, start acting more like Germans.
This expectation was not fulfilled. The availability of euro credit at the low interest rates traditionally associated with the German mark led to a binge of government borrowing and spending in Greece, and private borrowing and homebuilding in Spain and Ireland. Also, at the time of conversion to the euro, the Greek drachma was probably valued too highly, which gave the Greeks too-high starting wages, so they bought a lot of BMWs. Now, at last, financial austerity is being imposed on the Greeks. However, it seems unlikely that Greece will ever be able to repay its external debts; many young, talented Greeks with no hope of employment at home are simply leaving the country, further tarnishing the prospects for a Greek recovery.
Meanwhile, the Germans acted like Germans, continously improving productivity and keeping labor costs under control. As a result, their labor cost of production is something like 30% lower than e.g. in Spain or Italy, even though Germans do not work longer hours. So the euro experiment has been great for Germany: using the euro rather than their own mark has kept their currency relatively weak, which has aided their export-oriented economy. Hence, jobs.
There are some factors that are unique to specific countries. In Ireland, for instance, neither the goverment nor business nor workers were profligate. Ireland suffered a housing boom and bust similar to the U.S. in 2008, which the threatened the solvency of Irish and other European banks. Rightly or wrongly, instead of just letting the banks go bust, the Irish government decided that the Irish taxpayer would backstop the banks, so the Irish goverment had to borrow billions of euros.
For the last two or three years, it has continually seemed like the eurozone was about to implode, but the Europeans have done an amazing job kicking the can down the road. In the past two years we have been treated to a long series of press conferences between German and French leaders Merkel and Sarkozy, and more recently, strident announcements from the European Central Bank’s Mario Draghi, which keep perking up sagging markets. What the markets crave is some form of euro printing by the ECB, in the form of unlimited purchase of (say) Greek or Spanish bonds by the ECB. Direct purchase of the bonds of a member state is forbidden to the ECB, but as far as I can tell the ECB has found effective ways to indirectly fund the shaky countries to date. To be continued…
Monday, 10 December 2012
(EN) The Big Smoke
London Underground's history
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Peter Watts
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The tube is an engineering marvel: 150 years in the making, with 253 miles of passageway snaking under the capital, carrying millions of people every day. It's crowded, uncomfortable and expensive - but it defined London. And it's ours. Time Out champions one of the true wonders of the Western World, and pioneers who built it
It was, on the face of it, a stupid idea. Running trains, and steam trains at that, in tunnels underneath the London streets. In 1862, the Times described it as an ‘insult to common sense’ and it was probably right. But the London Underground turned out to be one of the great engineering feats of modern times, the world’s only steam-driven underground railway and the first electrified underground railway. A socially egalitarian and liberating phenomenon, it helped drive London’s rapid expansion and got people to work on time, while providing the city with a bold new identity through impeccable branding that incorporated iconic typography, cartography and architecture.
Commuters at Leytonstone staton around 1900 Image courtesy London Transport Museum (www.ltmuseum.co.uk) © Transport For London
And yet… And yet… Feature continuesAdvertisement
It’s fair to say that the Underground remains unloved by Londoners, and it would take a more dishonest contrarian than I to defend the grime, the delays, the heat, the way it’s so busy and unreliable and the fact that, year after year, we are asked to pay more for a service that doesn’t seem to be getting any better, cleaner, quicker or cooler. But that’s a fault of management and decades of underinvestment, not of a system that remains something Londoners should treasure as remarkable, groundbreaking and emphatically ours.
The story began with Charles Pearson, the first in a succession of underground visionaries. It was he who first proposed the notion of ‘trains in drains’ in 1845, when the railway was a relatively new invention (the first steam passenger service only opened in 1830). Pearson, instrumental in the removal of the anti-Catholic inscription on the foot of the Monument, was a progressive and a pioneer – his persistence helped persuade the House of Commons to approve a bill in 1853 to build a subterranean railway between Paddington and Farringdon.
West Brompton Underground station in 1876. Image courtesy London Transport Museum (www.ltmuseum.co.uk) © Transport For London
The reason such a hare-brained, experimental scheme received approval was one of necessity. London roads were suffering from terrible overcrowding and the mainline railways all stopped on the fringes of the West End and City thanks to a Royal Commission of 1846 that declared central London a no-go area for railway companies. A method of linking the mainline stations of Paddington, Euston and King’s Cross was needed, and Pearson’s plan fitted the bill. He helped raise the finance from private investors and the City of London, and excavation began in 1860, with a shallow trench dug beneath Euston Road and then covered over. Thousands of poor residents were displaced in the process.
The Metropolitan Line opened for business on January 10 1863, clocking 30,000 passengers on the first day. A celebratory banquet had been held the previous day at Farringdon. Pearson was not among the guests, having passed away the previous year. Another absentee was Prime Minister Lord Palmerston, who was approaching his 80th birthday, and said he wanted to spend as much time above ground as he possibly could (he died two years later).
The Metropolitan was a success, with 11.8 million passengers (the population of London was about 3.2 million) braving the foul, smoke-filled conditions in its first year. The Metropolitan’s owners claimed the ‘invigorating’ atmosphere ‘provided a sort of health resort for people who suffered from asthma’, but they also allowed drivers to grow beards in a futile bid to filter out the worst of the fumes. A civil servant who had spent time in Sudan said the smell reminded him of a ‘crocodile’s breath’. One attempt to improve conditions saw smoking banned, until an MP objected and insisted that all railways provided a smoking carriage. Smoking was not banned again on the trains until 1985, and at stations until after the King’s Cross fire of 1987, itself the culmination of 30 years of neglect.
Park Royal's rudimentary station in 1907 Image courtesy London Transport Museum (www.ltmuseum.co.uk) © Transport For London
Among those to benefit most from the new railway were the lowest-paid workers, who were entitled to use a special, cheap pre-6am train. Social journalist Henry Mayhew interviewed some such passengers in 1865, first explaining that ‘this subterranean method of locomotion had always struck us as being the most thoroughly Cockney element of all within the wide range of Cocaigne’. The labourers he spoke to all voiced their enthusiasm for a service that allowed poorer Londoners to live further out, sparing them a six-mile walk to work and allowing their families to live in two rooms rather than one. As the Metropolitan expanded westwards, it opened up new areas for Londoners to move to, and the overcrowded city d slowly started to expand – one of the reasons that London still has such a relatively low population density. When Hammersmith received its first station in 1864 it was still a village ‘best known for spinach and strawberries’, writes Christian Wolmar in his definitive ‘The Subterranean Railway’ (2004), but it soon became a major interchange. This pattern was repeated throughout the Underground’s history. When the Northern Line hit Morden in 1926, it was a village of 1,000 inhabitants; five years later, its population was 12,600.
- The success of the Metropolitan led to
the building of the District Line along the Victoria Embankment, and
then the creation of a Circle Line to link the two. Unfortunately, the
two east-west lines were run by rivals, James Forbes and Edward Watkin,
whose perpetual bickering meant the Circle took twenty years to
complete. When it was finished in 1884, Watkins’ Met operated trains
that ran clockwise, while Forbes’ District controlled those in the other
direction; such was the antagonism between the two, the companies
refused to sell tickets for their rival line, meaning a passenger might
end up paying for 20 stops rather than seven. When the Circle was
finally electrified in 1905 the companies used different systems which
proved incompatible, resulting in a further three-month delay. Because
the Underground was built haphazardly by private investment and with no
central planning, there were many such inconsistencies. Some
destinations had more than one station, built by competing interests,
which explains why there is such a poor interchange at Hammersmith
between the Hammersmith & City and District Lines, and why Oxford
Circus has two different surface stations on either side of Argyll
Street. This is also why there are so many ghost stations on the network
– about 40 – built without adequate knowledge of whether they were
actually needed.
The completion of the Circle Line marked the last of the sub-surface lines, built by the simple, cut-and-cover method. Advances in tunnelling and the use of electrified rails now allowed for the building of deep-level lines that gave birth to the phrase ‘tube’ and allowed London’s network to really connect the dots beneath the capital. The first was the cramped City & South London line from City to the Elephant & Castle, later incorporated into the Northern Line, which was opened in 1890 by the future king Edward VII. This was followed by the Waterloo & City, Central, Bakerloo, Piccadilly and Charing Cross, Euston and Hampstead (now the Charing Cross branch of the Northern), all before 1907.
The entrance to Finsbury Park station in 1909 Image courtesy London Transport Museum (www.ltmuseum.co.uk) © Transport For London
This splurge of lines occurred within a narrow window of opportunity after the invention of suitable tunnelling technology and before the appearance of the motorised bus. It was aided by gullible investors (who never quite received the returns they were promised), public demand and London’s favourable geological conditions – the capital’s clay being an ideal substance through which to tunnel.
The last four of these lines were built by American financier Charles Tyson Yerkes, who also controlled the District and was the first person to attempt to realise a unified vision of London’s chaotic underground network. A property speculator with a questionable reputation (he served time in prison in Philadelphia for embezzlement) Yerkes put together numerous complex financial schemes to get his lines built, often using capital from the States, but never got the chance to cash in on his success, dying in 1905.
Yerkes left an extraordinary legacy. While lines such as City & South London never proved popular with the public – something that had much to do with the fact that the trains, or ‘padded cells’, were built without windows because the manufacturers figured there was nothing to see down there – his Central Line was a hit. This was largely because, like the Metropolitan half a century before, it served major transport routes, relieving strain on crowded streets above. There were drawbacks – the line followed the road pattern because the tunnellers didn’t want to pay compensation to surface landowners, so there were unnecessary kinks – but the Central Line was a groundbreaking service, attracting 100,000 passengers daily. For a start, it only had one class of travel, and one price, hence the nickname the d d Twopenny Tube. It also had some innovative engineering aspects (each station was built atop a slight incline, meaning trains naturally slowed when entering stations and sped up when leaving, while the flat face of the train pushing air in front of it provided much-need ventilation) and carriages were considerably plusher than on the City & South London. Yerkes’ desire for a unified service also led to the introduction of what can be seen as the first attempt at branding on the tube – the Leslie Green-designed distinctive dried-blood-coloured tiles of the surface stations – something pursued by the man who followed.
The Circle Line platform at Notting Hill in 1919 Image courtesy London Transport Museum (www.ltmuseum.co.uk) © Transport For London
Frank Pick began working for Yerkes’ Underground Electric Railway Limited (UERL), which owned all the underground lines other than the Metropolitan and the Waterloo & City, in 1906. Over the next 30 years, in partnership with Lord Ashfield, general manager of UERL and future chairman of London Transport, he helped make the tube the ‘most famous and respected transport system in the world’. Historian Nikolaus Pevsner believes Pick’s accomplishments to be greater still: in 1942 he described him as ‘the greatest patron of the arts whom this century has so far produced in England and indeed the ideal patron of our age’. He is certainly one of the few transport gurus to have met Stalin, Hitler and Churchill.
Pick’s reputation was based on his eye for design. He introduced the roundel, borrowed from the London General Omnibus Company, but made famous by the tube; he asked calligrapher Edward Johnston to design the tube’s unique font; commissioned beautiful posters by Man Ray, Graham Sutherland and Edward Nash; introduced each line’s distinctive patterned seat-covers or moquettes; appointed architect Charles Holden to design modernist stations, most famously at Arnos Grove; and in 1931 he paid Harry Beck five guineas to come up with a new kind of map that would simplify the most complicated transport system in the world. All the while, the tube continued to spread east, west, north and even – occasionally – south, and was by 1934 carrying 410 million passengers a year. Pick can be said to be as responsible for the image London projects around the world as Christopher Wren, George Gilbert Scott or Norman Foster. Even today, Transport for London is well aware of the value of the brand, and jealously guards icons such as the roundel and Beck’s map from even the most loving of imitators.
Pick’s definition of the tube did not end there. In tandem with Lord Ashfield, he also arranged the integration of London’s various transport systems in 1933 under the umbrella London Transport, ensuring that an underground network that had hitherto been privately funded and unprofitable became publicly supported, thanks in part to Leader of London County Council (and Peter Mandelson’s grandfather) Herbert Morrison.
Charle's Holden's Oakwood station in 1933 Image courtesy London Transport Museum (www.ltmuseum.co.uk) © Transport For London
Finance has always been the failing of the tube, largely because, as Wolmar astutely points out, the early railwaymen ‘were building a fantastic resource for Londoners whose value could never be adequately reflected through the fare box which was their only source of income’. This was as true in the days of private entrepreneur and public ownership as it is with today’s uncomfortable mish-mash, the great experiment of the Public Private Partnership. All too briefly London Transport papered over this failing through a combination of Ashfield and Pick’s acumen and the fact that, following the depression, there was greater confidence in public ownership, and more skill in the manner with which it was executed. But this was soon diluted with the World War II (in which the tube played its own valuable role), after which, rebuilding the country took precedence.
Which, more or less, is where we are today. The tube has acquired only two new lines since Yerkes’ frenzy: the Victoria, which took 20 years from planning to opening in 1968, and the Jubilee, hewn in part from the Bakerloo Line and extended magnificently in 2000. Years of under-investment have taken their toll, and the system looks haggard and worn. Recent years have seen some improvement, but the cost to users has soared. Even the ongoing improvements leave the system, temporarily at least, worse off – with stations closed for months and entire lines closed weekend after weekend, reinforcing the public’s lack of sympathy for this ancient marvel.
Train controller Frederick Barron in the control tower at Upminster depot in 1959. The track diagram has geographically mointed point switches Image courtesy London Transport Museum (www.ltmuseum.co.uk) © Transport For London
So it’s no wonder that we look upon the city’s mighty works and despair. But perhaps we should, every now and then at least, reflect on what the city would be like if the tube had never existed, be thankful for the visionaries of the past, and hopeful that their legacy will once more receive the attention and adulation it deserves
(ES) ¿¿DADO DE ALTA..???
¿Hasta cuánto puedo ganar sin tener problemas con Hacienda?
Al
realizar una actividad por cuenta propia, es obligatorio declarar todos
los ingresos y darse de alta como autónomo en la Seguridad Social y
Hacienda
- Por PABLO PICO RADA
- 9 de diciembre de 2012
- Imagen: a.tobias -
Ante la necesidad de conseguir nuevas fuentes de ingresos, se ha producido un gran auge de pequeños negocios que, por norma general, generan unos beneficios reducidos. De forma paralela, se ha extendido la errónea creencia de que existe un límite legal que puede percibirse sin necesidad de declarar o darse de alta en la Seguridad Social o la Agencia Estatal de Administración Tributaria (AEAT). Tal y como dicta la normativa sobre el Régimen Especial de la Seguridad Social, siempre que se realice una actividad empresarial o profesional por cuenta propia es obligatorio estar incluido en el régimen especial de trabajadores autónomos, con independencia del tiempo que se prolongue el empleo o de la remuneración. Ahora bien, es habitual considerar, tras distintas sentencias judiciales, que cuando se generen unos ingresos inferiores al Salario Mínimo Interprofesional (SMI) en el año natural (8.979,60 euros anuales), no es necesario proceder al alta como autónomo. A continuación se responden a las principales cuestiones en torno al IRPF, el IVA y las altas en la Seguridad Social de los pequeños trabajadores por cuenta propia.
1. ¿Es obligatorio darse de alta? ¿Qué dice la ley?
Resulta obligatorio darse de alta siempre y, en especial, cuando esta actividad sea la única fuente de ingresos y se realice de manera habitual en el tiempo. Sin embargo, muchas personas que generan u obtienen unos beneficios escasos por unos trabajos o servicios extra, se plantean hasta qué punto es conveniente darse de alta.Existe la errónea creencia de que hay un límite legal que puede percibirse sin necesidad de declararEn numerosas ocasiones, los costes son elevados en comparación con el dinero que se ingresa, pues entre los gastos de la cuota de autónomos (la mínima son 254,21 euros mensuales) y los impuestos correspondientes, puede no resultar rentable. Ahora bien, la ley es tajante:
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Existe obligatoriedad. En el capítulo II del Régimen
Especial de la Seguridad Social de los trabajadores por cuenta propia o
autónomos, se indica que, siempre que se realice una actividad por
cuenta propia, es obligatorio estar incluido en el régimen especial de
trabajadores autónomos, con independencia de la duración del trabajo y
de la remuneración.
Pero, ¿qué se entiende por trabajador autónomo o por cuenta propia? Según la normativa del Régimen Especial de la Seguridad Social, se entiende como trabajador por cuenta propia o autónomo aquel que realiza de forma habitual, personal y directa una actividad económica a título lucrativo, sin sujeción por ella a contrato de trabajo y aunque utilice el servicio remunerado de otras personas, sea o no titular de empresa individual o familiar.
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Concepto de habitualidad. Es un aspecto fundamental
para saber si es necesario darse de alta o no. La discusión e
interpretación de dicha normativa, por su falta de especificación,
genera diversas controversias y ha dado pie a distantes sentencias
judiciales. Si se trata de una actividad que no es habitual,
como trabajos eventuales que complementan la actividad económica
principal, la jurisprudencia se ha decantado por la no necesidad de
darse de alta.
-
El Salario Mínimo Interprofesional como regla. El
principal aspecto que la jurisprudencia ha tenido en cuenta para valorar
la obligatoriedad del alta, así como base o indicador de habitualidad,
ha sido el nivel de ingresos en comparación con el SMI (641,40 euros al
mes). Al no alcanzar el Salario mínimo en el año natural, las
sentencias se han mostrado favorables a la no obligación de darse de
alta en el Régimen Especial de Trabajadores Autónomos (RETA).
Pero debe tenerse en cuenta que alegar esto implica un procedimiento
judicial, con un coste importante, y ciertos riesgos pese a las
sentencias favorables previas, ya que la ley sigue sin aludir a ninguna
cantidad mínima y exige la obligatoriedad del alta.
-
¿Sería posible entonces no pagar impuestos? Aunque el trabajador se encuentre en una situación que le permita no pagar la cotización de autónomo, tendrá que hacer frente al pago de impuestos.
Si factura a una empresa, es probable que esta le retenga el IRPF. Si
trabaja por cuenta propia, tendrá que hacer una declaración trimestral y
pagar el importe que corresponda. Además, si la actividad económica
lleva IVA, hay que facturarlo y pagarlo a Hacienda al final del trimestre.
2. ¿Es obligatorio presentar la Declaración de la Renta por esos ingresos?
Según refleja la Ley 35/2006, de 28 de noviembre, del Impuesto sobre la Renta de las Personas Físicas, los contribuyentes estarán obligados a presentar y suscribir declaración por este Impuesto, con los límites y condiciones que se establezcan.Si bien, hay una serie de excepciones. No tendrán que declarar los contribuyentes que obtengan rentas procedentes solo de las siguientes fuentes:
-
Rendimientos íntegros del trabajo, con el límite de 22.000 euros anuales.
-
Rendimientos íntegros del capital mobiliario y ganancias patrimoniales sometidos a retención o ingreso a cuenta, con el tope conjunto de 1.600 euros al año.
-
Rentas inmobiliarias imputadas en virtud del artículo 85 de esta Ley,
rendimientos íntegros del capital mobiliario no sujetos a retención
derivados de Letras del Tesoro y subvenciones para la adquisición de
viviendas de protección oficial o de precio tasado, con el límite conjunto de 1.000 euros anuales.
-
En ningún caso tendrán que declarar los contribuyentes que obtengan solo
rendimientos íntegros del trabajo, de capital o de actividades
económicas, así como ganancias patrimoniales, con el tope conjunto de 1.000 euros al año y pérdidas patrimoniales de cuantía inferior a 500 euros.
3. ¿Es posible emitir facturas sin estar dado de alta?
-
Es obligatorio darse de alta. Si un trabajador por
cuenta propia no tiene regularizada su situación y la de sus ingresos,
es decir, estar de alta en la Seguridad Social como autónomo y en
Hacienda, no podrá emitir ninguna factura. Solo podrá
facturar si se da de alta en el Impuesto de Actividades Económicas (IAE)
en Hacienda, mediante un trámite gratuito, rellenando el modelo 037 o
036. Aunque siempre con las matizaciones y excepciones comentadas en el
punto 1.
-
¿Es necesario darse de alta por emitir una sola factura?
Cuando se lleva a cabo una venta de un producto o servicio de un valor
económico relativamente alto, que en cualquier caso superaría el SMI
mensual, no sería posible emitir una única factura.
La solución para legalizar dicha venta entre particulares sin darse de alta pasa por hacer efectivo el pago del Impuesto de Transmisiones Patrimoniales. Además, el vendedor deberá contabilizar esta operación como una ganancia patrimonial en la declaración anual del Impuesto sobre la Renta de las Personas Físicas (IRPF), que se calcula restando al precio final de venta, el importe de adquisición inicial.
-
Actividades exentas de IVA. En el momento de facturar, conviene recordar que existen ciertas actividades exentas de IVA, como las clases particulares, prestadas por personas físicas sobre materias incluidas en los planes de estudio de cualquier nivel educativo. O los servicios profesionales,
incluidos aquellos cuya contraprestación consista en derechos de autor,
prestados por artistas plásticos, escritores, colaboradores literarios,
gráficos y fotográficos de periódicos y revistas, compositores
musicales, autores de obras teatrales y de argumento, adaptación, guion y
diálogos de las obras audiovisuales, traductores y adaptadores. Así, si
un trabajador autónomo factura de forma directa a un medio de
comunicación, no tendrá que abonar el IVA. En cambio, si factura a una
empresa intermediaria estará sujeto al pago del IVA.
Thursday, 29 November 2012
(EN) THE TRUTH ABOUT A FEW THINGS...
Toxic Translation: A Twelve-Step Program for Self-Injuring Translators
1. Admit that you are powerless over translation agencies.
2. Make a searching and fearless inventory of the times you have found yourself saying “I might as well take this job for $0.0000000006 per word; if I don’t, someone else will!” or “A client who pays regularly at 8,275 days is still better than one who doesn’t pay at all!” or “Agencies are a business like any other; it’s only natural that they try to make as much money as possible.” Acknowledge that the justification of unjustifiable behavior is an addiction and that your life as a translator has become unmanageable.
3. Prepare to receive a truth of the universe in nine words: Translation rates are dropping because translators accept low rates. If you want rates to stop descending, you must take your finger off the elevator button. Immediately. There is no methadone for people who are willing to translate for half what the average busboy makes, so the only way to combat this addiction is cold-turkey. Make amends by explaining clearly, each time you respond to an insulting offer, refuse a low-wage job, or decline an invitation to lower your rates why you are doing so. I know Miss Manners says we’re not supposed to tell crass, rude people that they’re crass and rude, but she’d make an exception if she were a translator: Low-payers are the abyssopelagic feeders of the sea of translation. Do not hesitate to send them back to filter the ooze whence they came.
4. If you are truly living on Kibbles ‘n Bits, cannot pay the rent, or are slipping your child thinly diluted Elmer’s glue because it’s cheaper than milk, you have an excellent excuse to accept offensive working conditions and insulting wages. Temporarily. While you look for a job that pays you a living wage and doesn’t screw your colleagues who depend on translation for their livelihood. Otherwise, you don’t have an excuse. Not everything in life is black and white, but this is. Meanwhile, if you are not truly in need, stop using that pretext to justify your participation in the destruction of the profession. It might happen to any of us to find the wolf at the door, but he isn’t at everyone’s door all the time. Don’t use the real misery of others to disguise the fact that you couldn’t locate your self-respect with a Sherpa guide and GPS.
5. Conversely, if your parents are still paying your rent and buying your groceries, your husband is the CEO of Halliburton or the President of Mediaset, or you’re a trust-fund baby who just “loves languages,” do some good for the profession and your immortal soul and start translating for free. There are dozens, if not hundreds, of worthy non-profit organizations who could use your help. In the meantime, some of us are trying to earn a living here. Your “pin-money” rates are killing translators who depend on translation as their sole source of income.
2. Make a searching and fearless inventory of the times you have found yourself saying “I might as well take this job for $0.0000000006 per word; if I don’t, someone else will!” or “A client who pays regularly at 8,275 days is still better than one who doesn’t pay at all!” or “Agencies are a business like any other; it’s only natural that they try to make as much money as possible.” Acknowledge that the justification of unjustifiable behavior is an addiction and that your life as a translator has become unmanageable.
3. Prepare to receive a truth of the universe in nine words: Translation rates are dropping because translators accept low rates. If you want rates to stop descending, you must take your finger off the elevator button. Immediately. There is no methadone for people who are willing to translate for half what the average busboy makes, so the only way to combat this addiction is cold-turkey. Make amends by explaining clearly, each time you respond to an insulting offer, refuse a low-wage job, or decline an invitation to lower your rates why you are doing so. I know Miss Manners says we’re not supposed to tell crass, rude people that they’re crass and rude, but she’d make an exception if she were a translator: Low-payers are the abyssopelagic feeders of the sea of translation. Do not hesitate to send them back to filter the ooze whence they came.
4. If you are truly living on Kibbles ‘n Bits, cannot pay the rent, or are slipping your child thinly diluted Elmer’s glue because it’s cheaper than milk, you have an excellent excuse to accept offensive working conditions and insulting wages. Temporarily. While you look for a job that pays you a living wage and doesn’t screw your colleagues who depend on translation for their livelihood. Otherwise, you don’t have an excuse. Not everything in life is black and white, but this is. Meanwhile, if you are not truly in need, stop using that pretext to justify your participation in the destruction of the profession. It might happen to any of us to find the wolf at the door, but he isn’t at everyone’s door all the time. Don’t use the real misery of others to disguise the fact that you couldn’t locate your self-respect with a Sherpa guide and GPS.
5. Conversely, if your parents are still paying your rent and buying your groceries, your husband is the CEO of Halliburton or the President of Mediaset, or you’re a trust-fund baby who just “loves languages,” do some good for the profession and your immortal soul and start translating for free. There are dozens, if not hundreds, of worthy non-profit organizations who could use your help. In the meantime, some of us are trying to earn a living here. Your “pin-money” rates are killing translators who depend on translation as their sole source of income.
6. Accept the fact that your degree from Acme School of Language
Mediation or The Flinghurst Academy of Translationology is substantially
worthless. Translation is learned in the field, not in the classroom.
If you are nonetheless a recent graduate of such a program, here is
what to do until you’re truly prepared to command professional rates:
apprentice yourself to a translator you trust, donate translations to a
worthy cause in order to build your curriculum (see No. 5, above), spend
your free time doing practice translations for your personal training,
improve your ability to write in your native language, read—a lot—in
both your languages. DO NOT : offer
cut-rate translations or beg clients to let you work “for practically
nothing” because you “love translating.” Why not? For the same reason
that there’s a sign at the zoo that says “Don’t Feed The Monkeys.”
Because, if you do, they get fat and lazy and never learn that
professional, well qualified bananas are not handed around for free.
7. Stop allowing clients to dictate your fees and working conditions. Do you really need me to trot the analogy out for you one more time? Do you? Really? Fine. Here it is: You sit down to eat in a restaurant. After consulting the menu, you call the owner over to your table. “This steak is overpriced,” you say. “I’ll pay half, and I want you to throw in a bottle of wine with that. If you don’t get everything on my table within ten minutes, though, the deal’s off.” What happens in a restaurant is that they toss you out on your stern. What happens in translation is that you say, “Oh, yes, Mr. Client, thank you, Mr. Client, may I please have another, Mr. Client.” Three words: Knock. It. Off.
8. Stop using the internet until you learn how. The “freedictionary” is not a professional resource and Wordreference.com and Yahoo! Answers are not forums where you can consult with reliable and knowledgeable colleagues. About half the answers on ProZ.com’s KudoZ boards are wrong. Wiki is often worth the paper it’s printed on. Google is not your friend. Go search for the phrase “their is” or “its a question” and see how many hits you get (2,160,000 and 50,500,000, respectively). Then we can talk about how internet searches can be so helpful in confirming correct usage. (Gosh! Translation turns out to be tougher than you thought, huh?)
9. If a client doesn’t pay you on time (or doesn’t pay you at all), stop working for that client. Agencies, publishers, and clients who fail to pay as promised are like men who hit their wives. They will do it again. The only question is: Are you going to be standing there when the blow comes? (Quiz: “They didn’t mean to do it”; “They’re just going through a difficult period”; and “If I leave, who knows if I’ll ever find another one” are phrases commonly used by [a] abused wives; [b] self-injuring translators; [c] both.)
10. Translation is not the ‘Ndrangheta. No one will send you to sleep with the fishes if you fail to maintain a lifelong pledge of omertà. Tell your colleagues when clients don’t pay, when they make unreasonable demands, when they revise without telling you, when they insist that you lower your rates, when they forget to put your name on the translation, when they change the agreed-upon conditions after you’ve already started, when they refuse to pay for urgent or after-hours work, when they demand unwarranted discounts. Accepting these conditions silently doesn’t make you a Wise Guy; it makes you an accomplice.
11. Stand up for your native language. Take pride in seeing it used eloquently, fluently, and well. Take offense when it is abused and disrespected. Don’t believe the hype about globalism, world languages, and all the rest. Stop caving in to the absurd and unverified claim that non-native translation is just as valid as native translation or that the people who read translations in their second language “don’t care” if they’re well written or not. Your ability to deploy your native language with sophistication, flexibility, and skill is your most important selling point. You may never succeed in convincing everyone of the importance of this issue, but consider this: many people also find it acceptable to drink wine that comes in boxes, watch Fox News, or buy Lady Gaga CDs. If you’re a language professional, you’re supposed to be above things like that.
7. Stop allowing clients to dictate your fees and working conditions. Do you really need me to trot the analogy out for you one more time? Do you? Really? Fine. Here it is: You sit down to eat in a restaurant. After consulting the menu, you call the owner over to your table. “This steak is overpriced,” you say. “I’ll pay half, and I want you to throw in a bottle of wine with that. If you don’t get everything on my table within ten minutes, though, the deal’s off.” What happens in a restaurant is that they toss you out on your stern. What happens in translation is that you say, “Oh, yes, Mr. Client, thank you, Mr. Client, may I please have another, Mr. Client.” Three words: Knock. It. Off.
8. Stop using the internet until you learn how. The “freedictionary” is not a professional resource and Wordreference.com and Yahoo! Answers are not forums where you can consult with reliable and knowledgeable colleagues. About half the answers on ProZ.com’s KudoZ boards are wrong. Wiki is often worth the paper it’s printed on. Google is not your friend. Go search for the phrase “their is” or “its a question” and see how many hits you get (2,160,000 and 50,500,000, respectively). Then we can talk about how internet searches can be so helpful in confirming correct usage. (Gosh! Translation turns out to be tougher than you thought, huh?)
9. If a client doesn’t pay you on time (or doesn’t pay you at all), stop working for that client. Agencies, publishers, and clients who fail to pay as promised are like men who hit their wives. They will do it again. The only question is: Are you going to be standing there when the blow comes? (Quiz: “They didn’t mean to do it”; “They’re just going through a difficult period”; and “If I leave, who knows if I’ll ever find another one” are phrases commonly used by [a] abused wives; [b] self-injuring translators; [c] both.)
10. Translation is not the ‘Ndrangheta. No one will send you to sleep with the fishes if you fail to maintain a lifelong pledge of omertà. Tell your colleagues when clients don’t pay, when they make unreasonable demands, when they revise without telling you, when they insist that you lower your rates, when they forget to put your name on the translation, when they change the agreed-upon conditions after you’ve already started, when they refuse to pay for urgent or after-hours work, when they demand unwarranted discounts. Accepting these conditions silently doesn’t make you a Wise Guy; it makes you an accomplice.
11. Stand up for your native language. Take pride in seeing it used eloquently, fluently, and well. Take offense when it is abused and disrespected. Don’t believe the hype about globalism, world languages, and all the rest. Stop caving in to the absurd and unverified claim that non-native translation is just as valid as native translation or that the people who read translations in their second language “don’t care” if they’re well written or not. Your ability to deploy your native language with sophistication, flexibility, and skill is your most important selling point. You may never succeed in convincing everyone of the importance of this issue, but consider this: many people also find it acceptable to drink wine that comes in boxes, watch Fox News, or buy Lady Gaga CDs. If you’re a language professional, you’re supposed to be above things like that.
12. If there’s anything worse than translators who complain all the
time, it’s translators who complain about translators who complain all
the time. Let’s suppose you make lots of money, your clients are
respectful of your time and your expertise, and everyone pays you
promptly. If so, let’s call that what it is: Enormous luck. What it is not
is a license to lecture everyone on how they should just stop whinging
and get back to work. The fact that translators complain is a good
thing; it indicates self-esteem and an instinct for self-preservation,
as distinct from your sense of superiority and every-man-for-himself
smugness. If you have nothing to
say that helps moves the profession forward (and not just your personal
little slice of it), at least have the decency to get out of the way of
people who are trying to make things better (including for you,
buckaroo).
Wednesday, 28 November 2012
(ES) REFLEXIONES DE LA TRADUCCIÓN
La profesión ya no llora... tanto
El esfuerzo de los traductores logra que se materialicen viejas reivindicaciones, pero sus nombres vuelven a desaparecer de las cubiertas y de muchas menciones
Los traductores literarios españoles han pasado, en medio siglo, del
“traducir en España es llorar” al “traducir en España es una profesión”.
Lo dice Francisco Uriz (Zaragoza, 1932), que después de medio siglo en
el oficio (traduciendo del sueco, sobre todo poesía, y a veces las
frases que la Academia Sueca emite para dar a conocer su estimación de
los Nobel literarios), acaba de recibir del Ministerio de Cultura el
Premio Nacional a la Obra de un Traductor.
Su colega, Luz Gómez (Madrid, 1967), también ha sido premiada, en su caso con el Premio Nacional a la Mejor Traducción (ambos dotados con 20.000 euros), por haber puesto en castellano En presencia de la ausencia, del árabe Mahmud Darwix (Pre-Textos), a quien lleva traduciendo 15 años. Ella cree que, en el campo de esas reivindicaciones de los traductores españoles, “quedan batallas por ganar”.
Según Gómez, “el traductor literario no deja de ser una molestia imprescindible, y como tal no se sabe qué hacer con él”. Drástica: “Lo ideal sería”, dice, “que no existiera: es una carga, molesta pagarle, molesta reconocerle”.
En los años ochenta, por la insistencia de Esther Benítez, un mito en la traducción moderna, y de Javier Marías, ambos traductores, los editores se tomaron en serio esa reivindicación y desde entonces el traductor ha solido tener su lugar a la sombra (o a la luz) del autor. Pero Luz percibe que, “tras una época de reconocimiento tipográfico, su nombre ha empezado a desaparecer de las cubiertas de los libros, para que las cubiertas queden más limpias, dicen”.
“España posee una de las leyes de Propiedad Intelectual mejores y más avanzadas de Europa. Con lo cual, no debería haber cuestiones pendientes”, dice María Teresa Gallego Urrutia, la presidenta de ACE, la organización que agrupa a los traductores españoles. “Pero hete aquí”, añade, “que buena parte de las editoriales de este país —no todas, ni mucho menos, pero sí bastantes— incumplen la ley sistemáticamente (de aquí la frase que suele repetir Miguel Sáenz: ‘España es un estado de derecho atemperado por el estricto incumplimiento de la ley’). Por ello a veces los contratos de traducción, o sea de cesión de derechos para la explotación de la traducción durante un número determinado de años, son claramente ilegales (vulneran la letra de la ley) y, otras, no llegan a ser ilegales pero son abusivos (vulneran el espíritu de la ley)”.
Ya no lloran, dice Uriz. Pero tendrían motivos. Continúa la presidenta de los traductores: “A veces las editoriales no admiten negociación alguna” sobre anticipos y porcentajes en derechos. Y, además, se producen impagos “o retrasos abusivos” por parte de algunas editoriales, “no de todas, ni mucho menos”.
Pero hay razones para decir que los tiempos han avanzado para mejor. Dice Elisabeth Falomir (Valencia, 1988, traductora del francés): “Hay que batallar duro para que se hagan contratos de traducción dignos. ¡Y que se cumplan!”. Juan Sebastián Cárdenas (colombiano en Madrid, traductor del inglés, también es narrador) tiene claro su lugar en el mundo: “En términos estrictos, los traductores no somos distintos de un encofrador o del tipo que hace alicatado. Está bien que se valore nuestro trabajo, que es tremendamente complicado y a veces tan ingrato. Pero básicamente somos trabajadores de la industria cultural. Somos obreros. Y esa consciencia de obreros viene con una lista de derechos que todavía estamos en proceso de garantizar plenamente”.
En ese plano, Cárdenas apunta a la cabeza: “En nuestros tiempos, el peor enemigo del traductor —siempre que no hablemos de un tipo mediocre y chapucero, siempre y cuando hablemos de un buen traductor— es el colegueo y la informalidad con la que muchos editores entablan las relaciones laborales. A lo largo de estos 10 años de experiencia me he topado con un puñado de listos, grandes y pequeños, dispuestos a timar a quien fuera”. Pero él tiene la suerte, dice, de trabajar con gente magnífica “como Enrique Redel (Impedimenta) o Diego Moreno (Nórdica)”.
A Uriz le pregunto por sus traducciones más preciadas. Va por épocas. “Cuando traducía con Artur Lundkvist literatura latinoamericana al sueco, me identifiqué sobre todo con César Vallejo, Pablo Neruda, Jaime Gil de Biedma y Blas de Otero… al español, me sentí hermanado con el finlandés Claes Andersson, el sueco Gunnar Ekelöf y ahora con el danés Henrik Nordbrandt, el finlandés Pentti Saarikoski. ¡Y no olvido a Tomas Tranströmer!”. Pero hay un poema del que no se puede olvidar: Sobre la guerra de Vietnam, de Goran Sonnevi, “que influyó en mí de una manera decisiva, tanto que me dio la pista para tratar en un poemario mi indignación por la barbarie norteamericana en Vietnam”.
Un traductor es un bicho raro, dice Luz Gómez. “Yo traduzco poesía pero escribo y enseño sobre islam e islamismo. Traduzco a partir de un proyecto que propongo a un editor y discutimos. Es el caso también de un buen número de poetas traductores o narradores traductores. Si no fuera por ciertos editores, siempre dispuestos a abrir el panorama, sería misión imposible”. A ella la llevó a traducir el gusto por la poesía árabe contemporánea, “en concreto la obra de Mahmud Darwix”, tarea que le ha proporcionado este premio.
Le pregunté a Cárdenas, autor también, qué se siente dándole voz a autores con los que no se experimenta identificación. Responde: “Siguiendo muy de cerca las reflexiones de Walter Benjamin sobre la traducción, creo que la mayor dificultad técnica del trabajo radica en la obligación de trasladar los efectos sensoriales que produce la lengua original a un texto determinado. La traducción crea efectos inesperados en la lengua de recepción, y por tanto, en la percepción, en el cuerpo del lector. Y ese trabajo de mediación pasa, en el sentido más literal, por el cuerpo del traductor. Podemos imaginárnoslo como una especie de máquina o antena, que recibe señales y las transforma en otra cosa”. Elisabeth Falomir: “He traducido voces narrativas casi siempre masculinas y creo haber conseguido amoldarme a distintos registros. Intento hacerme invisible, que no se me oiga: traducir es convertirse en ninja, dejarse atravesar por el texto y entregarlo sin dejar mucha huella, mimetizarse”.
Gallego Urrutia, que acaba de publicar su traducción de Orígenes y Los desorientados, de Amin Maalouf (Alianza), dice qué le dejan los autores: “Una embriaguez…”. Lo explicó en un artículo en El Trujamán, la revista de traducción del Instituto Cervantes: “De repente, esas pocas palabras, esas pocas frases, breves pero fundamentales y eternas, son mías. Las poseo y me poseen”.
El orgullo del traductor literario, dice, “reside en su capacidad y su talento para enfrentarse a la traducción de cuantos escritores les encomienden las editoriales. Su versatilidad es su grandeza”. Por eso su exigencia de buen trato es una reivindicación que parece inacabable. Uriz lo explica: “Siempre hay que seguir reclamando un pago por página que lleve nuestros honorarios al nivel de lo que cobra la señora de la limpieza”.
Ya no lloran… tanto; quieren ser invisibles y son ecos necesarios de los autores extranjeros. Quieren volver a las cubiertas y quieren que su salario compense el esfuerzo de ser imprescindibles.
Su colega, Luz Gómez (Madrid, 1967), también ha sido premiada, en su caso con el Premio Nacional a la Mejor Traducción (ambos dotados con 20.000 euros), por haber puesto en castellano En presencia de la ausencia, del árabe Mahmud Darwix (Pre-Textos), a quien lleva traduciendo 15 años. Ella cree que, en el campo de esas reivindicaciones de los traductores españoles, “quedan batallas por ganar”.
Según Gómez, “el traductor literario no deja de ser una molestia imprescindible, y como tal no se sabe qué hacer con él”. Drástica: “Lo ideal sería”, dice, “que no existiera: es una carga, molesta pagarle, molesta reconocerle”.
En los años ochenta, por la insistencia de Esther Benítez, un mito en la traducción moderna, y de Javier Marías, ambos traductores, los editores se tomaron en serio esa reivindicación y desde entonces el traductor ha solido tener su lugar a la sombra (o a la luz) del autor. Pero Luz percibe que, “tras una época de reconocimiento tipográfico, su nombre ha empezado a desaparecer de las cubiertas de los libros, para que las cubiertas queden más limpias, dicen”.
“España posee una de las leyes de Propiedad Intelectual mejores y más avanzadas de Europa. Con lo cual, no debería haber cuestiones pendientes”, dice María Teresa Gallego Urrutia, la presidenta de ACE, la organización que agrupa a los traductores españoles. “Pero hete aquí”, añade, “que buena parte de las editoriales de este país —no todas, ni mucho menos, pero sí bastantes— incumplen la ley sistemáticamente (de aquí la frase que suele repetir Miguel Sáenz: ‘España es un estado de derecho atemperado por el estricto incumplimiento de la ley’). Por ello a veces los contratos de traducción, o sea de cesión de derechos para la explotación de la traducción durante un número determinado de años, son claramente ilegales (vulneran la letra de la ley) y, otras, no llegan a ser ilegales pero son abusivos (vulneran el espíritu de la ley)”.
Ya no lloran, dice Uriz. Pero tendrían motivos. Continúa la presidenta de los traductores: “A veces las editoriales no admiten negociación alguna” sobre anticipos y porcentajes en derechos. Y, además, se producen impagos “o retrasos abusivos” por parte de algunas editoriales, “no de todas, ni mucho menos”.
Pero hay razones para decir que los tiempos han avanzado para mejor. Dice Elisabeth Falomir (Valencia, 1988, traductora del francés): “Hay que batallar duro para que se hagan contratos de traducción dignos. ¡Y que se cumplan!”. Juan Sebastián Cárdenas (colombiano en Madrid, traductor del inglés, también es narrador) tiene claro su lugar en el mundo: “En términos estrictos, los traductores no somos distintos de un encofrador o del tipo que hace alicatado. Está bien que se valore nuestro trabajo, que es tremendamente complicado y a veces tan ingrato. Pero básicamente somos trabajadores de la industria cultural. Somos obreros. Y esa consciencia de obreros viene con una lista de derechos que todavía estamos en proceso de garantizar plenamente”.
En ese plano, Cárdenas apunta a la cabeza: “En nuestros tiempos, el peor enemigo del traductor —siempre que no hablemos de un tipo mediocre y chapucero, siempre y cuando hablemos de un buen traductor— es el colegueo y la informalidad con la que muchos editores entablan las relaciones laborales. A lo largo de estos 10 años de experiencia me he topado con un puñado de listos, grandes y pequeños, dispuestos a timar a quien fuera”. Pero él tiene la suerte, dice, de trabajar con gente magnífica “como Enrique Redel (Impedimenta) o Diego Moreno (Nórdica)”.
A Uriz le pregunto por sus traducciones más preciadas. Va por épocas. “Cuando traducía con Artur Lundkvist literatura latinoamericana al sueco, me identifiqué sobre todo con César Vallejo, Pablo Neruda, Jaime Gil de Biedma y Blas de Otero… al español, me sentí hermanado con el finlandés Claes Andersson, el sueco Gunnar Ekelöf y ahora con el danés Henrik Nordbrandt, el finlandés Pentti Saarikoski. ¡Y no olvido a Tomas Tranströmer!”. Pero hay un poema del que no se puede olvidar: Sobre la guerra de Vietnam, de Goran Sonnevi, “que influyó en mí de una manera decisiva, tanto que me dio la pista para tratar en un poemario mi indignación por la barbarie norteamericana en Vietnam”.
Un traductor es un bicho raro, dice Luz Gómez. “Yo traduzco poesía pero escribo y enseño sobre islam e islamismo. Traduzco a partir de un proyecto que propongo a un editor y discutimos. Es el caso también de un buen número de poetas traductores o narradores traductores. Si no fuera por ciertos editores, siempre dispuestos a abrir el panorama, sería misión imposible”. A ella la llevó a traducir el gusto por la poesía árabe contemporánea, “en concreto la obra de Mahmud Darwix”, tarea que le ha proporcionado este premio.
Le pregunté a Cárdenas, autor también, qué se siente dándole voz a autores con los que no se experimenta identificación. Responde: “Siguiendo muy de cerca las reflexiones de Walter Benjamin sobre la traducción, creo que la mayor dificultad técnica del trabajo radica en la obligación de trasladar los efectos sensoriales que produce la lengua original a un texto determinado. La traducción crea efectos inesperados en la lengua de recepción, y por tanto, en la percepción, en el cuerpo del lector. Y ese trabajo de mediación pasa, en el sentido más literal, por el cuerpo del traductor. Podemos imaginárnoslo como una especie de máquina o antena, que recibe señales y las transforma en otra cosa”. Elisabeth Falomir: “He traducido voces narrativas casi siempre masculinas y creo haber conseguido amoldarme a distintos registros. Intento hacerme invisible, que no se me oiga: traducir es convertirse en ninja, dejarse atravesar por el texto y entregarlo sin dejar mucha huella, mimetizarse”.
Gallego Urrutia, que acaba de publicar su traducción de Orígenes y Los desorientados, de Amin Maalouf (Alianza), dice qué le dejan los autores: “Una embriaguez…”. Lo explicó en un artículo en El Trujamán, la revista de traducción del Instituto Cervantes: “De repente, esas pocas palabras, esas pocas frases, breves pero fundamentales y eternas, son mías. Las poseo y me poseen”.
El orgullo del traductor literario, dice, “reside en su capacidad y su talento para enfrentarse a la traducción de cuantos escritores les encomienden las editoriales. Su versatilidad es su grandeza”. Por eso su exigencia de buen trato es una reivindicación que parece inacabable. Uriz lo explica: “Siempre hay que seguir reclamando un pago por página que lleve nuestros honorarios al nivel de lo que cobra la señora de la limpieza”.
Ya no lloran… tanto; quieren ser invisibles y son ecos necesarios de los autores extranjeros. Quieren volver a las cubiertas y quieren que su salario compense el esfuerzo de ser imprescindibles.
Monday, 5 November 2012
Monday, 29 October 2012
(ES) ¿LIBERTAD DE EXPRESIÓN?
3000 euros contra la transparencia
Madrid 29 de octubre de 2012 – Access Info Europe tendrá que pagar 3.000 euros por preguntar cuáles son las medidas que España está implementando para luchar contra la corrupción. Según la sentencia del Tribunal Supremo que cierra el caso que comenzó en 2007, no tenemos derecho a solicitar esa información.
El principal argumento del Tribunal Supremo es que la información solicitada por Access Info Europe sobre el cumplimiento de España con las obligaciones impuestas por la Convención de las Naciones Unidas contra la Corrupción es en realidad una forma de pedir explicaciones al gobierno y no una solicitud de información en sí. El Tribunal no se pronuncia sobre la alegación principal, que es la violación del derecho de acceso a la información, reconocido internacionalmente como un derecho fundamental.
“El problema es que la Administración no llega a contestar a Access Info Europe, lo que obliga a la organización a acudir a la vía judicial, una vía lenta y costosa para todos pero especialmente las ONG, para poder seguir con su trabajo”, comentaba Enrique Jaramillo, abogado defensor de Access Info Europe en este caso.
“El Tribunal Supremo reconoce que la Administración incumple con su obligación de contestar, escudándose en la figura del silencio administrativo, y condena en costas a quien reclama amparo judicial con una sentencia que ni siquiera entra en el fondo del asunto”, explica Jaramillo, y añade que “el riesgo de tener que pagar costas es un desincentivo enorme para el ciudadano y hace menos probable que alguien decida impugnar judicialmente la falta de respuesta a una solicitud de información.”
Según los estudios y monitoreos que Access Info ha desarrollado desde 2006 en España, el nivel de silencio administrativo en la solicitudes de acceso a la información a instituciones españolas es de media de un 50%.
España, en el marco de sus obligaciones como país firmante de la Convención de Naciones Unidas Contra la Corrupción (UNCAC), debe completar cada dos años un formulario de autoevaluación en el que detalla qué está haciendo para implementar las medidas para luchar contra la corrupción. Esta información en España no es pública.
“Esta situación es bastante sorprendente, especialmente para un país que está diciendo a la comunidad internacional que está haciendo
esfuerzos por mejorar la transparencia, en concreto para luchar contra la corrupción” comentaba Helen Darbishire, directora ejecutiva de Access Info Europe.
“Access Info Europe ya ha presentado un recurso ante el Tribunal Constitucional y recurrirá esta decisión ante el Tribunal Europeo de Derechos Humanos”, añadía Darbishire.
Un estudio internacional, “Cuenten lo que han hecho”, publicado en 2011, halló que países como Argentina, Armenia, Chile, Colombia, o Reino Unido entregaban al público la información sobre la implementación de medidas anticorrupción que Access Info Europe intentaba conseguir en 2007 para poder participar en el debate público sobre la lucha contra corrupción en España.
España sigue siendo el único país de Europa con más de un millón de habitantes que no cuenta con una ley de acceso a la información pública. Esta situación también coloca a España en la lista de incumplidores de la UNCAC que recoge en su artículo 13 la necesidad de “garantizar el acceso eficaz del público a la información”.
“Es una situación que roza lo ridículo y que además de seguir sumando derrotas a la transparencia en España, perjudica aun más la imagen y la reputación de las instituciones públicas españolas, ya bastante menoscabada por la crisis”, comentaba Victoria Anderica, coordinadora de campañas de Access Info Europe.
http://www.access-info.org/es/coalicion-pro-acceso/296-tribunal-supremo
Sunday, 14 October 2012
(ES) LONDON (trip to the heart of the city)..
And it was said ' This is London....UK...'
Después de un verano con temperaturas que amenazan la evaporación instantánea del agua de las fuentes se agradece la frescura de los vientos de la capital y la atmósfera cosmopolita pero a la vez rancia de las calles colindates a Tottenham Court Road.
En definitiva, un descanso para el oído que se había acostumbrado a oir solo un idioma, y un toque de estimulación a los lóbulos cerebrales que de vez en cuando hay que alimentar.
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