Museums are mnemonic institutions, aiming to preserve and remember, but they also select what to remember and how. Retranslation is a similar activity of preserving and renewing. In this article, these two are connected through reading the revised exhibition of the Lenin Museum in Tampere (2016-2024) as a retranslation that followed the first exhibition (1946-2016), targeting new audiences in a new political, social, and cultural context. The article adopts "methodological tourism" to follow the narrative of the exhibition tour from the focalised point of view of an individual viewer, whose interpretations are embedded in life experiences and personal history. The data consists of 57 photos, three pages of field notes from the visit, and the entire museum website downloaded on the day of the visit. The article aims to answer how Lenin was re-understood, re-interpreted, and re-depicted in a dedicated museum context, 100 years after his death and three decades after the collapse of the political system he and his texts were used to build. This article is linked to a larger project "Retranslating Lenin" led by Prof. Mikhail Mikhailov at Tampere University, and it aligns with the project's aims of understanding the canonisation processes of this socialist thinker and ideologue.
This article examines a rare example of a regional museum dedicated to a translator-the permanent Linhart Exhibition in the town of Radovljica, Slovenia-with the aim of exploring how the interplay between textual and visual elements in the exhibition (mis)represents Linhart's translatorial activity. The study begins with a critical literature review and a close reading of eight representative comprehensive histories of Slovene literature from the 19th to the 21st century, which show that Linhart's Enlightened views led to his translations being ideologically chosen to inaugurate Slovene secular theatre and to be gradually reinterpreted as original works rather than as translations. The article then compares the Slovene and English museum explanatory texts found on wall panels, in leaflets and brochures, and on the website with the exhibited artifacts. The findings indicate that while Slovene-speaking visitors are likely to recognize Linhart primarily as a translator through the exhibits, foreign visitors relying on the English texts are presented with an image of Linhart as an original author. The English explanatory texts thus, in line with the dominant contemporary literary-historical narrative, obscure and conceal the fact that Linhart was a translator and that his two Slovene plays are not original works but translations.
Abstract This paper proposes a human-centered, multidimensional framework to support practitioners and trainees in producing and evaluating multilingual AI dubbing. It introduces a systematic suite of modular tools for professional localization workflows and academic training. This toolkit expands the Script, Speech, and Sound (SSS) Quality framework (Spiteri Miggiani, 2024) by integrating three new measures: a Vocal Identity Taxonomy (VIT) to systematically map vocal persona and voice casting; a Synthesis Validation Checklist (SVC) to identify and mitigate synthetic audio artifacts and processing glitches; and a holistic product-level Express QC Model utilizing “Approve, Improve, Redo” metrics. The paper outlines practical strategies to implement this extended AI dubbing quality framework within industry quality control pipelines. Furthermore, it demonstrates how emerging hybrid workflows redefine the linguist's role, positioning the human expert as an indispensable decision-maker in navigating linguistic, emotional, and cultural resonance. To facilitate practical application and provide conceptual foundations for this evolving field, the article includes supplementary materials, comprising practical templates, an operational toolkit, and a glossary of key terms.
While research on translation pedagogy tends to focus on identifying student competences and effective learning modes, it only occasionally addresses the teachers expected to future-proof their students for viable professional careers in a volatile language industry. The present paper reports on a TER survey of translation teachers designed to explore current profiles and positions specifically in the form of (self-)identities, role perceptions and development needs in a rapidly evolving professional environment. Drawing on the responses of over 160 participants from 31 countries, the paper first considers the survey in the broader context of previous studies and then discusses key findings on the respondents' backgrounds, beliefs, identities and perceptions of the skills needed to meet present and future pedagogical challenges. Despite some evidence of entrenchment, the results indicate evolving positions and profiles as teachers see the need to adapt to new professional and technological realities.
This article examines the Istanbul Gender Museum, with a focus on its first exhibition of 2021, Time to Speak, highlighting its use of multilingualism, translation, and inclusivity. It argues that the museum becomes an institution of active memory by engaging in multiple translation practices: the cultural translation of local and transnational feminist movements and women+ experiences through slogans featured in Time to Speak; the interlingual translation of these slogans into local languages; the translation of the museum content into English; and the intersemiotic translation of slogans into artwork. The article particularly explores the first two translation practices, contending that the cultural translation of transnational experiences fosters feminist alliances across borders and reshapes movements and demands within new contexts. Additionally, by adopting inclusivity in the form of linguistic and ethnic diversity, through the use of various ethnic languages spoken in T & uuml;rkiye alongside the artworks, the museum actively reminds its predominantly monolingual citizens of the country's multilingual and multi-ethnic fabric. The article further suggests that museums, especially as they become more global, digital, and interactive, are no longer fixed "memory spaces", but dynamic sites of "traveling memories", accommodating multiple remembering practices rather than a singular (national) narrative.
