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The criteria used to assess the quality of the literary translation are the same that apply for the other semi-specialised options of the Diploma in Translation: accuracy, appropriateness, cohesion, coherence and technical features. However, it is important to bear in mind that the precise meaning of these criteria depends on the text type. As a general rule, the translation must read as a text produced originally in the target language – but, of course, there is not just one way of achieving this. All languages use different registers; different languages do not necessarily use the same means in order to achieve a similar effect; and, most importantly, the author of a literary text uses language in a way that is specific to the text and to the author. A successful literary translation is one which renders fully the style, characteristics and intentions of the source text author – in other words, a translation that respects the author. A common misconception is that a literary translation must be 'well-written', using sophisticated vocabulary, complex syntax, inversion rather than straightforward constructions, past historic and imperfect of the subjunctive when these are available, and avoiding repetition of 'common' pronouns such as the French on. This is forgetting that there is not one single literary style, and that the language chosen must reflect the choices made by the author of the piece at hand. This means that if the text contains a succession of very short, or very long, sentences, every attempt should be made to reproduce this choice, within the constraints of the target language. Repetition, metaphors, specific sound effects (the repetition of consonants or vowels), rhythm (achieved via the number of syllables and so on), variations in register (via the occasional use of familiar, or even vulgar, language for instance), the use of colloquial expressions, pomposity, humour and culture-bound references should all be rendered if possible. Ambiguity should also be preserved as, in a literary text, multi- layered meaning is a quality, not a fault. The main danger in literary translation is to water down, clean up and seek to 'improve' the source text, thereby producing a text which is bland and fails to render those features that made the source text unique. Lucile Ducroquet Vol/52 No/1 2013 FEBRUARY/MARCH The Linguist 15 PRIZEWINNERS 2012 Turkish into English and French into Turkish (my mother tongue). I also read a lot and I sometimes write – the experience of life and of literature, that's what helped me. For younger, less experienced translators, it is even more important to prepare. The idea of taking the DipTrans occurred to me when I was asked by a London university to tutor students of translation. In any translation, I see my role as that of a communicator between the different cultures. If I'm translating a legal document, my concern will be absolute accuracy, but in literary translation, while still being accurate, I try to give the flavour of the original text so that the reader can feel what the author or the poet was trying to express. I explore the limits of the language, which may involve cultural references, innovative expressions and unaccustomed use of words. I didn't have a preference for the literary option before the exam: I made my choice when I looked at the papers. But I think it's better for prospective candidates to have a look at past papers and to prepare for specific options – whether literary, technical, etc – while leaving room for choice in the exam. The situation is stressful because there's a time limit and you don't have access to all of your usual resources. You have paper dictionaries but, in this day and age, the internet is a huge facility for research. In the first 15 minutes, I looked through the papers and decided which one I would do. I read the whole text first. That can help you to stay calm – to take it seriously but realise that it's not the end of the world. Because if you panic, everything will go out of the window. Cahit Baylav is joint winner of the Peter Newmark Prize. ADVICE FROM A TUTOR REWARDING WORK Cahit Baylav (l) and Katja Klier at the prize-giving event in November (left). CIOL Patron, HRH Prince Michael of Kent, holds the Peter Newmark Prize ( far left) © C HRIS C HRISTODOULOU © ISTOCKPHOTO