L’Orange Mécanique – how do you translate an invented language?

If you wrote a late Modernist classic and wanted someone to translate it into French, you could have done worse than getting Georges Belmont on the case.

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Belmont knew everyone. In the period before the war, he associated with expatriate Modernists like James Joyce, Ernest Hemingway and Samuel Beckett, as well as local giants such as Andre Gide. During that time of his life, he became especially close to Henry Miller, whose erotic classic Tropic of Capricorn he was later to translate.

The war broke his career in half, though he worked hard to glue the pieces back together. During wartime, he chose to work for the collaborationist Vichy regime, and was forced later to deny and obfuscate about this period of his life.

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The Aesthetics of Anthony Burgess

Just a brief plug for this book which is authored by one of the investigators on the Ponying the Slovos project.

Though it doesn’t directly address issues of invented languages, as the first text on Anthony Burgess’s fiction in a generation, it may well be of interest to those who enjoy and study his work.

The Language of ‘A Clockwork Orange’

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Here is the second article published by the Parallel Translation Corpus team. In it, we seek to linguistically define Nadsat so as better to examine how its functions, effects, and construction vary across translations, which is the subject of the first article published by the team, and of future articles in planning.

The Language of A Clockwork Orange