Recent studies reveal conflicting views on what makes a translator trustworthy, with professional training and accreditation not universally accepted as indicators. Sociologists and historians of science have shown that professionalism also relies on virtues like charisma and approachability, which serve as prevailing signals of trustworthiness in professional contexts. This article examines how translators have historically signalled trustworthiness through reputation, performance, and appearance. Two case studies are analysed: the mutual trust-building strategies of Eden and Cedar Paul in twentieth-century England and Continental Europe, as well as Cesare Cesariano's 1521 translation of Vitruvius's De Architectura, which combines signals of trustworthiness and expressions of distrust. By exploring historical trustworthiness, this article demonstrates the ongoing relevance of trust-signalling strategies to modern translation practices, challenging the notion that such virtues are merely premodern vestiges.

This article examines how tertiary language learners of German engaged with the novel Blutbuch (2022) by Swiss author Kim de l'Horizon. Celebrated as the first nonbinary novel in German literature, excerpts of this autofictional text were taught in a 3-week unit, which was part of a semester-long German course targeted at university students at the C1 proficiency level. Blutbuch formed the basis of the final teaching unit in a course on language, the self, and identity. In its first inception in 2023, the unit was taught through a student-led translanguaging framework, which highlighted the interconnections between cultural and gender identity. However, this approach left students with a certain degree of insecurity regarding the use of gender-just language, both in the German-speaking world and in the novel. The adapted reiteration of the unit made gender-just language more central, which led to students' deeper engagement with spoken gender-just language. On both occasions, students were able to formulate confident and differentiated positions in their use of gender-just language in their discussion of Blutbuch. The article thus contributes to our understanding of the ways in which language users engage with nonbinary literature and gender-just language in the tertiary German classroom.

Trust is a challenging and complex concept and takes on particular significance in the context of community engagement and communication in healthcare. For the purpose of making health services more inclusive and of tackling discrimination where it occurs, there is a need to articulate a vision for inclusion that communities of historically disadvantaged or stigmatised patients can trust. This article considers examples of diversity and inclusion 'signals' on the public websites of two large public hospitals in Melbourne, Australia. We suggest that there is value in public communications reaffirming respect for diversity and a commitment to inclusion in health services. We also make the case for interdisciplinary research into how trust-signalling strategies, that is, rhetorical strategies employed to reassure or convince, are developed by and for health services for the purposes of community engagement, and the specific effects that they may engender. Websites' framing of messages that affirm institutional commitments to fostering an inclusive environment and addressing barriers can serve as a means of explicitly encouraging patients and healthcare workers from marginalised communities to overcome potential obstacles to fuller healthcare engagement and workforce participation respectively.

Reviewed by: The Austrian Riveter: Writing from Austria ed. by Rosie Goldsmith Birgit Lang The Austrian Riveter: Writing from Austria. Edited by Rosie Goldsmith. London: European Literature Network. 2023. 231 pp. Free. ISSN 2754–1428 (Print). This delightful volume portrays contemporary Austrian literature and culture through a British lens. The sassy mixture of a coffee table book and a cultural guide provides readers with ample opportunity for perusal and draws on a wide range of actors in the Literaturbetrieb to engage an English-speaking audience. Its publication was timed to coincide with the 2023 Leipzig Book Fair, which had a special focus on Austrian literature. As part of the Riveter Series, founded in 2010 by former BBC journalist Rosie ('The Riveter') Goldsmith and founder of the European Literature Network (ELN), the volume aims to champion great writing from Europe in the UK (there also exist eleven other series volumes including a German, Swiss and a Queer Riveter). This is an anthology not only of Austrian writing but also of writing about Austria, as the editor notes in her introduction, and an anthology of many genres (highlighted essays, history, poetry, writing for children, as well as crime writing) and topics. These range from the regional (Vienna, Austrian borderlands, literature beyond Vienna, rural life), gender (Austrian Women) and Jewishness (Stefan Zweig and Europe, Austrian Jews). The publication's focus is on the contemporary book market and its readers. Unsurprisingly then, current literary works are at its centre, but it also does not fall short of many stalwarts of Austrian literature: Stefan Zweig, Heimito von Doderer, Ingeborg Bachmann and Christine Lavant. The publication contains excerpts of new literary works, sample translations, book reviews, and interviews with authors, such as Daniel Kehlmann and Robert Menasse, and cultural historians. It also familiarizes readers with a rich tapestry of the British cultural players in the field, which include the Ingeborg Bachmann Centre at the University of London, the Austrian Cultural Forum (promoting its biannual Austrian translation competition) and Pushkin Press (an interview with director Adam Freudenberg is provided). Fittingly, many Germanists based in and around the UK have contributed short and snappy vignettes of knowledge, predominantly in the form of translations and essays, to this volume. The question of Austrian identity is woven throughout the volume and illuminated from contrary angles. The introductory essay by historian and translator Jamie Bulloch outlines a brief history of Austrian identity throughout the twentieth century and optimistically states that Austria today 'no longer [End Page 235] has to look outside its borders for its own sense of national identification' (p. 14). Adam Freudenberg and Robert Menasse draw on parallels between the Habsburg monarchy and the European Union to explain their cosmopolitan interests and mindset. Menasse, in familiar anti-nationalist stance, declares the Austrian state to be an absurd idea, arguing 'I've got the same passport as a Tyrolean. But what else do I have in common with a Tyrolean as far as an ethnic, linguistic, cultural or any other national idea is concerned? [...] I can have friends in Tyrol, but I have no feelings of home there' (p. 59). While many a Tyrolean living in Vienna might disagree with the said statement, Menasse's sentiment also points to a new regionalism that has flourished in the European Union and that has given a stronger voice to a new unsentimental literary regionalism. Literary works discussed in this field are Monika Helfer's unsentimental and gripping Vorarlberg family trilogy, Robert Seethaler's A Whole Life and The Field, as well as Reinhard Kaiser-Mühlecker's Wilderer (Poacher) of which an excerpt has been translated by Alexandra Roesch. A word on the double format of the series. The Austrian Riveter is available in print and online, free of charge. This is made possible through an extensive network of volunteers, supporters, partners and donors. The print version is a somewhat shorter version of the online edition, with excerpts of interviews accessible in print and the full version online. Lara Bulloch's rich bibliography of English translations of Austrian works in the UK and USA between 2013 and 2023, fiction, non-fiction and poetry is only available online (https://www.eurolitnetwork...

Reviewed by: Josefine Mutzenbacher oder die Geschichte einer Wienerischen Dirne von ihr selbst erzählt. Wiener Ausgabe ed. by Clemens von Ruthenstreich, Freifrau Melanie von Strich and Matt Schmiert Birgit Lang Josefine Mutzenbacher oder die Geschichte einer Wienerischen Dirne von ihr selbst erzählt. Wiener Ausgabe. Ed. by Clemens von Ruthenstreich, Freifrau Melanie von Strich and Matt Schmiert [i.e. Clemens Ruthner, Melanie Strasser, Matthias Schmidt]. Vienna: Sonderzahl. 2021. 424 pp. €34. ISBN 978–3-85449–575–8. Josefine Mutzenbacher is probably the most notorious Austrian pornographic text and tells the explicit sexual history of a fin-de-siècle working-class girl in what Freud would deem her latency period. The text is narratologically framed as the retrospective confession of a prostitute arranged by anonymous editors after her death. Little did its scribe(s) assume that the digital revolution would liberate this text from a private print run of one hundred in 1906 to global audiences through a range of digital platforms including an online facsimile edition hosted by the Austrian State Library as well as by digital library Project Gutenberg. The critical edition at hand is targeted at a bibliophile, scholarly and libertarian readership. In a somewhat light-hearted ironic gesture towards the slippery nature of the pornographic genre in which names and places are notoriously falsified to escape prosecution, its editors are named as Clemens von Ruthenstreich, Freifrau Melanie von Strich and Matt Schmiert. A look on the webpage of the publishing house lists Clemens Ruthner, Melanie Strasser and Matthias Schmidt and allows readers to draw their own conclusions. The volume represents a kind of 'meta-edition' of this much-publicized text and contains the original text with rich explanatory historical annotations, a philological correction of typographical mistakes made in the original, a range of paratexts from previous editions as well as a twenty-five-page epilogue by Clemens Ruthner. The paratexts include two of Oswald Wiener's works: 'Beiträge zu einer Ädöologie des Wienerischen' (1969), which includes a long explanatory list of sexual vocabulary (this addendum has been republished in various editions and reprints of Josefine Mutzenbacher) and the short and less accessible 'Ein neuer Beitrag' from 1970. Wiener's original rediscovery of Josefine Mutzenbacher was concerned with the Sprachmacht of the original text, in particular its rich Viennese sexual vernacular. The current edition also reprints a range of illustrations from a 1922 edition, which provide somewhat disturbing images of paedophilic sexual acts and sex among children, a fact that remains uncommented upon by the editors. Such imagery is unusual, since for [End Page 218] obvious legal reasons, legitimate film adaptions and audio books of Josefine Mutzenbacher — however raunchy — do not engage minors to act these roles. The Wiener Edition forms part of a recent flourish of critical studies on Josefine Mutzenbacher resulting from a conference dedicated to the work, held as part of the 2016 'Sex in Wien. Lust. Kontrolle. Ungehorsam' exhibition at the Wienmuseum. Its proceedings, Die Mutzenbacher. Lektüren und Kontexte eines Skandalromans (2019), were co-edited by Ruthner, Schmidt and Carolin Schmieding. Most recently, Ruth Beckermann's film Mutzenbacher (2022) has contributed to this re-evaluation of the text and its readers. In his epilogue, Ruthner gives three reasons for this new print edition, namely to liberate Josefine Mutzenbacher 'aus der Schmuddel-Ecke obskurer Kleinverlage, Sexshops und Bahnhofsbuchhandlungen' [from the grubby corners of obscure publishers, sexshops and railway bookshops, p. 381], to provide a 'germanistisch gesicherte Publikation' [germanistically certified publication] — Ruthner sees a need for a new edition in the light of those which have at times considerably altered the original (p. 382) — and to bring Mutzenbacher 'home', that is, to reinscribe the work into Viennese cultural memory. Considering that there have been a range of respectable editions through the decades (from Wiener to Michael Farin) which did not deviate from the original, the first two arguments are not utterly convincing. Even the Gutenberg online edition is to my knowledge a faithful rendition of the original. The fact that some versions deviate from the original seems a function of the pornographic publishing market: an attempt to piggyback...

Photographic portraits of queer subjects from the early 20th century—shaped by early medical-scientific and legal practices—have often been identified with hegemonic ways of seeing, even when they re restaged in the present. In this article we argue that bringing an ethics of attentiveness to the analysis of such photographs reveals not only how embodied subjectivities were captured by the photographer’s lens, but also how our own feelings and sense of self shape our investments in “touching” the queer past. Attending to such “quiet frequencies” (Campt) of the queer photographic archive llows us to embrace a wide range of emotions, from shame, desire, and grief to desire, exhibitionism, and self-assurance. We argue that through their portraits, the queer subjects examined in our article ay claim to a form of “deviant dwelling” that incorporates a tension between pragmatism, conformity, and refusal. This tension resonates into the present, as curators and artists recirculate and cite archival genres of queer portraiture. In doing so, they create moments of transtemporal queer touch between today’s audiences and historical subjects, albeit in ways that do not always sit comfortably with contemporary attempts at queer world-making. (BL/KS)

Translation and linguistic competency in foreign languages became crucial to the international expansion of psychoanalytic networks and knowledge in the 1920s. This chapter discusses how the Belgian Julien Varendonck and Austrian Anna Freud contributed to this process. Both analysts inhabited different positionalities within the psychoanalytic movement. Varendonck was a multi-lingual Belgian subject, relatively isolated as a psychoanalyst in his home country, yet with the ability to publish in three European languages. Anna Freud was a translator from within as the daughter, analysand, and collaborator of Sigmund Freud. Yet, for both lay psychoanalysts, translation and language competency functioned as a means of professionalization in a movement dominated by physicians. Based on newly found archival materials, this article, on the one hand reveals how Varendonck moved closer towards the inner circle of psychoanalysis in Vienna and made a distinct contribution through his ability to contextualise the translation of psychoanalytic terminology, but also exposes the tension arising from his independent use of Freudian concepts. For A. Freud on the other hand, the translation of Varendonck's The Psychology of Daydreams into German marks the beginning of her professional engagement with English and demonstrates a proficiency that would serve her well after her emigration.

This article analyses the slippery notions of the normal and normality in select works of Richard von Krafft-Ebing (1840–1902) and Sigmund Freud (1856–1939) and argues that homosexuality became a ‘boundary object’ between the normal and the abnormal in their works. Constructing homosexuality as ‘normal enough’ provided these two key thinkers of the fin de siècle with an opportunity to challenge societal and medical norms: Krafft-Ebing did this through mapping perversions; Freud, by challenging perceived norms about sexual development more broadly. The article submits that the scientific logic presented in Krafft-Ebing’s seminal case study compilation Psychopathia Sexualis and Freud’s early theoretical writings and cases, including Three Essays on the Theory of Sexuality (1905), was itself haunted by notions of norms and the normal that were not always easy to resolve, and sometimes involved a certain amount of inspired conjecture on the part of both thinkers in order to develop and validate their differing tripartite models of normality. Krafft-Ebing imagined homosexuality as a variation of the normal by generalizing a gay male experience. He also recorded the obstreperous cases of homosexual women based largely inside the clinic but by and large ignored this evidence. Freud inextricably bound homosexuality to normality (and vice versa) by redefining homosexuals as a group to include individuals with unconscious same-sex desire. Doing so allowed him to conceptualize the fear of homosexuality as crucial in the formation of neurosis and psychosis, and at the same time put him at odds with relevant early identity politics.

Wes Anderson's 2014 film The Grand Budapest Hotel creates a twenty-first-century Habsburg tale from the perspective of late modernity. To retell the Habsburg myth, the auteur Anderson engages in depth with the life and oeuvre of Austrian writer Stefan Zweig (1881–1942). Anderson relies intimately on Zweig's novel Beware of Pity (1939) and its metafictional framing and doubling of characters in order to refashion Habsburg in a new image. His adaptation of Zweig also includes reference to Zweig's émigré experience, which helps him to retell traumatic aspects of the Central European past while connecting the past with the present in a contemporary fashion.

By discussing examples and sources from premodern history and early modern Europe in particular, this chapter closely examines the interpersonal, institutional, and regime-enacted types of trust, as well as the ethos of past and present translators and interpreters from the perspective of trust-signalling and its reception. This discussion of translation centred on the theme of trust invites scholars to follow translators, their work, and their networks of trust both downstream (from the translated text or culture to readers and clients) and upstream (from the reception of a given translation and translator to the translated text or request to translate).

Violence is widely perceived as a gendered concept. There is a long history of seeing men as the aggressive and violent sex, and women as nurturing mother figures (and victims of male aggression). 1 From Simone de Beauvoir onwards, feminist, and more recently queer, scholars have invested considerable analytical effort in challenging our understanding of seemingly naturalised gender roles. 2 Yet our grasp of violent women, defined for the sake of this article as women who engage in violence directed at other human beings and punishable by law, and their motives remain widely under-researched. As recently as 2008, the acclaimed forensic psychologist and specialist on female violence Anna Motz could reasonably claim that the phenomenon of ‘female violence is largely unexplored’, despite attempts at different times and in diverse academic contexts to explore the subject matter. 3 Claire Rinzetti has observed how feminist scholars have been hesitant to embrace the issue, in part for fear of an anti-feminist backlash based on a claim that ‘women are as violent as men but are not held accountable for their violence’ or, more pointedly and politically, that feminism itself caused the very shift in gender roles that underpins the supposed rise in female violence. 4 Yet there also exists a feminist unease in dealing with female violence in general, as Kerry Carrington reminds us, and she identifies the need ‘to more convincingly explain the historical shifts in gendered patterns of violence’ as a central concern for future feminist research. 5

This chapter provides a show-and-tell case study of ways in which US-based historians of science and European translation scholars of the past two decades or so have engaged with the question of translation in the history of science. It provides insight into the ways these historians and scholars have related to one another’s scholarship, revealing the degree of interdisciplinarity and, ultimately, trust that is invested in other disciplines. In this chapter, therefore, we explore how translation history might gain the trust of other historical disciplines.