Trait emotional intelligence and translation:a study of professional translators

A study of 155 professional translators was carried out to examine the relationship between trait emotional intelligence (trait EI) and literary translation, job satisfaction and career success. Participants were surveyed and their answers were correlated with scores from an emotional intelligence measure, the TEIQue. The analysis revealed that literary and non-literary translators have different trait EI profiles. Some significant correlations were found between trait EI and the variables of job satisfaction, career success, and literary translation experience. This is the first study to examine the effect of EI on translator working practices. Findings illustrate that trait EI may be predictive of some aspects of translator behaviour and highlight the relevance of exploring the emotional intelligence of professional translators.

Die Poetik des Extremen. Ausschreitungen einer Sprache des Radikalen:excesses of a language of radical

Gibt es eine Traditionslinie extremistischer Poetiken in der deutschsprachigen Literatur? Uwe Schütte untersucht anhand literarischer Texte ab dem späten 18. Jahrhundert den Konnex zwischen historischen Phänomenen wie Revolution, Krieg oder Terrorismus und extremen biografischen Umständen wie Schizophrenie für die Herausbildung radikaler Schreibweisen. Die Spannbreite der behandelten Autoren reicht dabei von der Klassikertrias Kleist, Hölderlin und Büchner über Schriftsteller des 20. Jahrhunderts wie Ernst Jünger oder Hans Henny Jahnn bis zu den Gegenwartsautoren Ernst Herbeck und Rainald Goetz. The study investigates aesthetic representations of extremism in German-language literature from around 1800 to the present. Its aim is to examine the interplay between three different areas: historical circumstances, (auto)biographical issues, and literary texts. Discussed are texts by both major and marginal writers from various genres, ranging from classics such as Heinrich von Kleist or Friedrich Hölderlin to the marginalised poet Ernst Herbeck or the contemporary writer Rainald Goetz. Subjects and factors considered include extremist phenomena in modern history (such as revolutions, wars, terrorism) and extreme individual experiences (such as suicide or schizophrenia) on the aesthetic domain(s) with regard to the production of literary discourses that could be considered as extremist. These manifest themselves in the development of what can be viewed as ‘radical poetics’, decidedly innovative styles of writing and moral or political transgression in fiction. Being the first critical attempt to trace the history of radical discourses in German literature, the study explores the validity of creating an aesthetic category of 'literary extremism'.

Problematising the construction of journal quality:an engagement with the mainstream

Journal ranking studies have generally adopted citation techniques or academic perceptions as the basis for assessing journal quality. They have traditionally been a source of information about potential research outlets, new journals, and an aid to developing a consensus about the relative merit of publications for promotion decisions. The aim of our research is to address specific shortcomings in the conventional literature and construct an alternative view of how we might more appropriately assess journal ‘quality’. We attempt to engage with the conventional literature by applying an approach that does not privilege either citation techniques or academic perceptions. We have adopted from Zeff (1996) an objective measure of academic journal library holdings, which Zeff describes as a ‘market test’. Our construct provides evidence of an important difference in journal holdings for the Australasian region that could significantly influence further research on journal quality. The method itself is entirely mundane but may be considered to reflect a complex of historic and more contemporary variables which impact on academic and administrative decisions, influencing the makeup of academic library holdings and providing a proxy for journal ‘quality’.

Androiden und (Anti)feminismus in The Stepford Wives

Since the early days of cinema the creation of artificial life with its various implications has been a popular topic on screen. Amongst the large number of films that deal with the theme of androids Bryan Forbes’ "The Stepford Wives" (1975) is noticeable for its focus on questions of gender and the relationship between the sexes. The film is set in a contemporary small suburban town where frustrated husbands have found a special way of dealing with their emancipated wives by replacing them with docile life-like robots. Mixing elements of the thriller and horror genres with farce and comedy "The Stepford Wives" was the first American mainstream film to deal explicitly with Women’s Lib. Unlike Ira Levin in his much more ambivalent novel that the film was based on, Forbes and his actors deliberately set out to make a feminist satire, and according to some critics succeeded in producing an important document of second wave feminism which soon acquired cult status. However, it also provoked a number of negative reactions from feminists who were very uncomfortable with a film in which men get away with murdering the female population of an entire town. A closer inspection reveals that the satirical element of the film is indeed not prominent and frequently counteracted, at times facilitating a misogynist rather than a feminist interpretation. This is mainly due to the ending of the film which implies the murderous elimination of the female protagonist. Unlike all other cinematic and literary works that feature androids "The Stepford Wives" shows the successful creation of artificial life which does not backfire. In addition, the film which clearly categorises itself as a thriller and horror movie, and specifically alludes to the tradition of threatened yet strong female characters in these genres, at the same time defies this convention in favour of a seemingly misogynist ending. Thus the way in which "The Stepford Wives" refuses to comply with the traditions of both the android theme and the horror genre, involuntarily serves to undermine its intention as a feminist social satire.