Kinematic Design of a 6-DOF Parallel Manipulator with Decoupled Translation and Rotation

A new three-limb, six-degree-of-freedom (DOF) parallel manipulator (PM), termed a selectively actuated PM (SA-PM), is proposed. The end-effector of the manipulator can produce 3-DOF spherical motion, 3-DOF translation, 3-DOF hybrid motion, or complete 6-DOF spatial motion, depending on the types of the actuation (rotary or linear) chosen for the actuators. The manipulator architecture completely decouples translation and rotation of the end-effector for individual control. The structure synthesis of SA-PM is achieved using the line geometry. Singularity analysis shows that the SA-PM is an isotropic translation PM when all the actuators are in linear mode. Because of the decoupled motion structure, a decomposition method is applied for both the displacement analysis and dimension optimization. With the index of maximal workspace satisfying given global conditioning requirements, the geometrical parameters are optimized. As a result, the translational workspace is a cube, and the orientation workspace is nearly unlimited.

Polish metaphorical perceptions of the translator and translation

The paper offers a comprehensive overview of the Polish metaphorics of translation. It starts by examining the Polish linguistic image of translating, followed by a survey of metaphorical descriptions of the translator and translation from the 18th century, representing the pre-scientific era in reflection on translation. Most attention is devoted to metaphors found in contemporary Polish discourse on translation, centered around: (1) the nature of translation; (2) the relationship between the source and target text, and between the author and translator; and (3) the role of the translator. It is demonstrated that the Polish context offers a rich repertoire of metaphorical depictions of translating, which reflects its distinctive historical and cultural setup.

Professing translation: the acts-in-between

Drawing on scholarship in translation ethics (Berman 1992; Cronin 2003) and performance studies (Conquergood 2002; Jackson 2004), this article approaches translation in the theatre from the double perspective of theory and practice. Professing translation as a model for the resolution of entrenched binaries (scholar/artist; theoretician/practitioner), the author sees the practice of translating for performance not just as a method of discovery or a hermeneutic tool but also as a mode of reflection that brings together both “readerly” and “writerly” approaches to text (Barthes 1974). By drawing on the experience of writing translations of García Lorca for the Belgrade Theatre, Calderón for the Royal Shakespeare Company, and Lope de Vega for the Watermill Theatre and the Washington Shakespeare Theatre, the article attempts to characterise such translation as an act of physical imagination, of a holistic understanding of both language and performance, into which textuality is incorporated and by which it is superseded. © John Benjamins Publishing Company