ILatina

Alemania lo tuvo fácil.

Así se ha traducido 'Hold The Door' en el resto de países 'Aguanta el portón - El portón Hodor - El porto hodor - El portóhodor - Hodor'

The worst translation mistake in history Translation mistakes are not uncommon. Some are serious, some plainly funny. However, the worst translation mistake may have killed thousands of people.

"En griego, proxeneta aludía [entre otras cosas] al defensor de los extranjeros (pro-xenos)".

.: ¿De dónde vienen palabras como 'cagar','follar' o 'c**o'?

HOW THE LANGUAGE YOU SPEAK CHANGES YOUR VIEW OF THE WORLD.
Vía Neuroscience: https://goo.gl/fah49j

“People self-report that they feel like a different person when using their different languages and that expressing certain emotions carries different emotional resonance depending on the language they are using.

When judging risk, bilinguals also tend to make more rational economic decisions in a second language. In contrast to one’s first language, it tends to lack the deep-seated, misleading affective biases that unduly influence how risks and benefits are perceived.”

Photography: Robert Doisneau

THE RECORDED VOICE OF VIRGINIA WOOLF and a little piece of translation; You can hear her voice here: https://www.youtube.com/watch?v=E8czs8v6PuI

“...las palabras, las palabras inglesas, están llenas de ecos, de memorias, de asociaciones. Durante siglos han vivido en los labios de la gente, en sus casas, en las calles, en los campos. Y esa es una de las grandes dificultades a la hora de escribirlas: están llenas de otros significados, de recuerdos ajenos. Han contraído matrimonio demasiadas veces.

Antes, cuando el inglés era una lengua nueva, los escritores podían inventar palabras y utilizarlas. En la actualidad inventar palabras es relativamente fácil ―brotan de los labios cuando vemos algo nuevo o percibimos una nueva sensación― pero no podemos usarlas porque la lengua es vieja. No es posible usar una palabra nueva en un idioma antiguo por el obvio ―aunque misterioso― hecho de que una palabra no es una entidad separada, sino que pertenece a otras palabras.

(...)

Para utilizar estas nuevas palabras adecuadamente tendríamos que inventar un nuevo lenguaje. Pero, por el momento, esta tarea no es asunto nuestro, nuestro trabajo es ver qué podemos hacer con las palabras que ya existen, cómo podemos combinar las viejas palabras con las nuevas para crear belleza, y con la belleza, verdad”.

SPANISH EXPRESSIONS: Aburrirse como una ostra.

"Though oysters are a delicacy in the Spanish-speaking world, they don´t have a very exciting live."

LOST IN TRANSLATION: "En la ardiente oscuridad".

«Spanish playwright of the twentieth century, Antonio Buero-Vallejo published thirty original plays. In the Burning Darkness was the first play he wrote. The seminal, and lasting, significance of this play was confirmed when an extract from it was read over Buero-Vallejo's grave on the day of his burial. In the Burning Darkness describes a teaching centre for young people who are blind, where a false unity is maintained by a mixture of fear, coercion and diversion where, when persuasion fails, violence is resorted to, and where "education" is seen to play a part in the regime's ideological apparatus and to encourage the acceptance of pleasant and reassuring myths. The play's principal protagonist is Iggy who, although blind like his classmates, is immediately seen to be different from the others because he carries a cane. When Iggy makes a move on Jane, part of the Centre's golden couple with her boyfriend Charles, he begins to challenge and destabilise the values cherished by the Centre. Buero-Vallejo described In the Burning Darkness as a work "loaded with future", and that observation points the way to why it is being translated now. Although it emerged in 1950 onto a dreary and trivial theatre scene in Francoist Spain, its themes, such as blindness and anxiety of an alienated protagonist, can speak to modern audiences and have a universal, rather than merely parochially Spanish, resonance. It poses a transcendental question about whether or not violence can ever be justified. The teaching centre and the blindness of those within is symbolic of post-Civil War Spain, where anti-democratic abuses were overlooked. The play operates on literal, political and philosophical levels. Challenging audiences and seeking hopefully to change mind-sets was the stock in trade of Antonio Buero-Vallejo as a dramatist. As he once stated himself: "Se escribe porque se espera" ("One writes because one hopes"). »

Philip G. Johnston (Editor)

"SEMANA SANTA" IS COMING... Time to clarify some issues!

Original post: Ostras, qué perlas.

It happens.

"Situation one: forgetting a basic word in english: "I mean... You know the word... ¡El animal que vuela!".

http://theflama.com/why-do-latinos-love-to-speak-bilingual-sentences

Why do we Love to Speak Bilingual Sentences? I have no idea..por qué?

LET'S CELEBRATE: Today we are more than 400 people here in iLatina. Gracias a todos. Con el baile de celebración levantamos tinta del suelo.

iLatina:Spanish Lessons
and Language Services
Dublin, Ireland
Contact: [email protected]
Fotografía: Alba Santiago

CINE ASTURIANO QUE SE FUE A ARGENTINA: "Llar".

«Llar, el hogar, como espacio donde un fuego se enciende para caldear la casa. Pero también en su aspecto más figurado y anímico. Hablamos del hogar cuando lo perdemos, cuando lo vemos de lejos, cuando sentimos la necesidad de regresar a él, casi siempre frustrada por el espacio o el tiempo».

LLAR: https://www.facebook.com/peliculaLlar