Translating Promotional And Advertising Texts Ira Torresi

Translating Promotional And Advertising Texts
Ira Torresi download
https://ebookbell.com/product/translating-promotional-and-
advertising-texts-ira-torresi-50219988
Explore and download more ebooks at ebookbell.com

Here are some recommended products that we believe you will be
interested in. You can click the link to download.
Translating Promotional And Advertising Texts 1st Edition Ira Torresi
https://ebookbell.com/product/translating-promotional-and-advertising-
texts-1st-edition-ira-torresi-33002286
Translating Promotional And Advertising Texts 2nd Edition Ira Torresi
https://ebookbell.com/product/translating-promotional-and-advertising-
texts-2nd-edition-ira-torresi-33002290
Translation And Tourism Strategies For Effective Crosscultural
Promotion 1st Ed M Zain Sulaiman
https://ebookbell.com/product/translation-and-tourism-strategies-for-
effective-crosscultural-promotion-1st-ed-m-zain-sulaiman-9961526
Translating Feminism Interdisciplinary Approaches To Text Place And
Agency 1st Ed 2021 Maud Anne Bracke
https://ebookbell.com/product/translating-feminism-interdisciplinary-
approaches-to-text-place-and-agency-1st-ed-2021-maud-anne-
bracke-45108794

Translating Religion What Is Lost And Gained Michael P Dejonge
https://ebookbell.com/product/translating-religion-what-is-lost-and-
gained-michael-p-dejonge-46171058
Translating And Incorporating American Management Thought Into Japan
Impacts On Academics And Practices Of Business Administration Izumi
Mitsui
https://ebookbell.com/product/translating-and-incorporating-american-
management-thought-into-japan-impacts-on-academics-and-practices-of-
business-administration-izumi-mitsui-46591546
Translating Asymmetry Rewriting Power Ovidi Carbonell I Corts Editor
https://ebookbell.com/product/translating-asymmetry-rewriting-power-
ovidi-carbonell-i-corts-editor-46606426
Translating Song Lyrics And Texts 1st Edition Peter Low Kelly
Washbourne
https://ebookbell.com/product/translating-song-lyrics-and-texts-1st-
edition-peter-low-kelly-washbourne-47690224
Translating Rumi Into The West Amir Sedaghat
https://ebookbell.com/product/translating-rumi-into-the-west-amir-
sedaghat-47695560

p
306.2
.T67
2010
-
•
TRANSLATING
PROMOTIONAL AND
ADVERTISING
TEXTS
Ira Torresi

,

Translation Practices Explained
Translalio11 Prac1ices Explained is a series of coursebooks designed 10 help
self-learners and teachers of translation. Each volume focuses on a specific
aspect of professional translation practice, in many cases corresponding to
actual courses available in translator-training institutions. Special volumes
are devoted to well consolidated professional areas, such as legal translation
or European Union texts; to areas where labour-market demands are currently
undergoing considerable growth, such as screen translation in its different
forms: and to specific aspects of professional practices on which little teaching
and learning material is available, the case of editing and revising, or electronic
tools. The authors are practising tranSIMors or translator trainers in tlie fields
concerned. Although specialists, they explain (heir professional insights in a
manner accessible to the wider learning public.
These books stan from the recognhion 1hat professional translation practices
require something more than elaborate abstraction or fixed methodologies.
They are located close to work on authentic texts, and encourage leamers to
proceed inductively, solving problems as they arise from examples and case
studies.
Each volume includes activities and exercises designed to help self-learners
consolidate their knowledge: teachers may also find these useful for direct
application in class. or alternatively as the basis for lhe design and preparation
of their own material. Updated reading lists and website addresses will also
help individual learners gain further insight into the realities of professional
practic.e.
Dorothy Kelly
Sara laviosa
Series Editors
WITHDRA~VN
UTSA LIBRARIE~:

'
'

TRANSLATING PROMOTIONAL AND
ADVERTISING TEXTS
Ira Torresi
I~ ~~o~1~;n~~~up
LONDON AND NEW YORK

First published 2010 by St. Jerome Publishing
Published 2014 by:Routledge
2 Park Square, Milton Park, Abingdon, Oxon OXl4 4RN
711 Third Avenue, New York, NY LOOL7. USA
Routledge is a11 imprint of the Taylor & Fra11cis Group, a11 it1JQrma business
©> Im Torresi 2010
All rights reserved. No part of this book may be reprinted or reproduced or utilised In any form or
by any electronic. mechanical. or other means. now known or hereafter invented, including
photocopying and recording. or in any infom1ation storage or retrieval system, without permission
in writing from the publisners.
Notices
Kno,vledge and best practice in this field are constantly changing. As new research and experience
broaden our understanding, changes in research methods, professional practices. or medical
treatment may become necessary.
Practitioners and researchers must always rdy on their own experience and knowledge in
evaluating and using any information. methods. compounds, or experiments described herein. In
using such information or methods they should be mindful of their own safety aod the safety of
others, including parties for whom they have a professional responsibility.
To the fullest extent of the law, neither the Publisher nor lhe authors, contributors, or editors,
assume any liability for any injury and/or damage to persons or propertyas a ma11er of products
liabilily, negligence or otherwise, or from any use or operation of any methods, products,
instructions, or ideas contained in tbe material herein.
ISBN 13: 978-I -905763-20-7 (pbk)
ISSN l470-966X (Trtms/(lli()n Practices explained)
Typeset by
Delta Typesetters, Cairo, Egypt
Brilish Libl'll~Y Cawloguing In Publication Data
A catalogue record of this book is available from the British Libra.ry
library of Congress Cataloging•in-P11t,/icatio11 D11ta
Torres i. Ira.
Translating promotional and advertising texts/ Ira Torresi.
p. cm.•· (Translation practices explained. ISSN l-170-966X)
Jncludes bibliographical references and index.
ISBN 978-1 -905763-2()-? (pbk. : alk. paper)
I. Advertising--Translilling--Textbooks, 2. Translating and interpreting-
Textbooks. I. Title.
P306.2.T67 2010
4,l8'.02--dc22
2009043112

Translating Promotional and Advertising Texts
lra Torresi
Promotional and advertising texts come in different forms aod account for
a considerable share of the translation market. Advertisements, company
brochures, websites, tourist guides, institutional information campaigns, and
even personal CVs all share a common primary purpose: that of persuading the
reader to buy something, be it a product or a lifestyle, or to act in a particular
way. from taking preventive measures against health risks lo employing one
candidate in preference to another. Consequently, their translation requires the
application of techniques which. although they vary depending on the specific
text type, are all aimed al preserving that persuasive purpose. This often re
quires in-depth cultural adaptation and. on occasion, thorough rewriting.
Translaling Pro11101io11al and Adver1isi11g Te.ws covers different areas of per
sonal promotion, business to business promotion, institutional and business
lo consumer promotion, including advertising. Numerous examples from a
wide variety of languages and media, taken from the author's own profes
sional experience and from real-life observation, arc provided throughout.
The volume is designed for use as a coursebook for classroom practice or
as a handbook for self-learning. It will be of interest to undergraduate and
postgraduate students, but also freelance and in-house translators, as well as
otl1er professionals working in sales, public relations-Or similar depanments
whose responsibilities include involvement in the manageme1 ofmultilingual
advenising and promotion activities.
Ira Torresi has taught Translation from English into Italian for several years at
the University of Macera ta and at the Advanced School of Modem Languages
for Interpreters and Translat0rs (SSLMIT) of 1ho University of Bologna.
Forll, Italy. She Cttrrently teaches Interpreting from English into Italian at the
SSLMIT. Her research publfcations include studies on intcrcultural issues in
the translation of advertising material. She also works as a freehmce inter
preter and translator. and has considerable experience in the promotional and
advertising sector,

Contents
List of Tables and Illustrations ix
Acknowledgements xi
I. IDtroduction: 'Wby a Book on the Translation of
Promotional Texts? I
I. I How to use this book 2
1.2 Intended readership 3
1.3 A short note on tenninology 4
1.4 Structure 5
1.5 What this book does and does not do 5
2. Promotional Translation and Professional Practice 7
2.1 Why advertising and promotional translators aren't just
translators 7
2.2 Valuable tools: the brief, visuals, multiple versions,
and negotiation 9
2.3 A shon note for freelance translators: can one live off
promotional and advenising translation? 13
3. Key lssues i.o Promotional Translation 21
3.1 The brand name 21
3.2 Accuracy and loyalty to the original texl 23
3.3 Different kinds of text 26
4. Translating Promotional JVlaterial: Self-Promotion 29
4.1 Source, target, context of distribution, and information-to-
persuasion ratio 29
4.2 Sclf-promolion 31
4.2.1 CVS 32
4.2.2 Job application letters 42
4.2.3 Personal websites with a promotional purpose 52
s. Translating Promotional Material: Business-to-Business 61
5.1 B28 promotional texts 61
5.1.1 Brochures and websites 64
5.1. l. I Product presentation websites/brochures 65
5.1.1.2 Company presentation websites/brochures 70
5.1.2 828 advertisements 80

6. Translating Promotional Material: Institutional Promotion 87
6.1 Institutional promotional texts 87
6.1.1 Jnstitution-to-institution (12£) 88
6.1.2 Institution-to-user (12U) 92
6.1.2.1 12U promotion in the healthcare field 94
6.1.2.2 Tourist promotion IOI
6.1.2.3 Awareness-raising 111
7. Translating Promotional Material: Business-to-Consumer 120
7.1 Business-to-consumer (B2C): creative and emotional
language 120
7. I. I 82C brochures and websites 129
7.1.2 82C advertisements
8. Translating Persuasion across Cultures
Appendix
A Glossary of Terms
References
Index
140
156
163
182
188
191

List of Tables and Illustrations
Tables
Table I Sample translator-initiated brief 10
Tablc2 The information-to-persuasion ratio continuum 28
Table 3 Working grid for B2C advertising translation 155
lUustrations
Example I INCA's campaign for residence permit renewal (ltalian
and Eoglisb versions) 14
Example 2 An example of alternative versions and negotiation 18
Example 3 L'Oreal Elvive 1999 British and Italian ads 27
Example 9 Barbara Amadori's homepage 54
Example I0a Ltalian product description froi;n Oli's Italian website 66
Example I0b International English product description from Oli's
lt~lian, Indian and Maltese websites 67
Example L0c English product description from Oli's US website 68
Example 12a Papenech 's English homepage 72
Example 12b Papenech's Chinese homepage 72
Example 12c Papertcch 's Spanish homepage 73
Example 12d Papertech's Indonesian l1omepage 73
Example 13a Hindi homepage ofKSL Trne Value 74
Example l3b English homepage oFKSL Tnie Value 75
Example 14a German homepage ofZoratti Studio Editoriale 77
Example 14b English homepage of Zoratti Studio Editoriale 78
Example 14c Italian homepage of Zoratti St:udio Editoriale 79
Example 15 Fantini-Andreoli multilingual ad 82
Example 16 SIME multilingual ad 84
Example 17 Tri Ila Corp ad 85
Example 18 Skilled Mobile European project 89
Example 19 Introduction to the brochure 'Do you want to work in
another EU Member State? Find out about your rights!',
issued by the European Commission Directorate-
General for Employment, Social Affairs and Equal
Opportunities 89
Examplc25 Greenpeace Italy's campaign for compact fluorescent
lightbulbs 112
Example 26 Greenpeace's. 7 steps towards the Energy [R]evolution 117
Example 27 Sony Vaio C-Series website 125

Example 28 Dr. Beckmann Rescue ad J 27
Example 29a Adidas Europass football web page, English version 131
Example 29b Adidas Europass football web page, French version 132
Example 29c Adidas Europass football web page, Gem1an version 133
Example 29d Adidas Europass football web page, Spanish version 134
Example 29e Adidas Europass football web page, Italian version J 35
Example 29f Adidas Europass football web page, Dutch version 136
Example 30a Moreno's 2005 Russian ad 140
Example 30b Moreno's 2005 Chinese ad 141
Example 30c Moreno 's 2005 Arabic ad 141
Example 31 Siemens Converto Italian ad 144
Example 32 Candy Activa British ad 146
Example 33a British Maybelline Smooth Foundation print ad 147
Example 33b Italian Maybelline Smooth foundation print ad 148
Example '.33c Russian Maybelline Smooth Foundation print ad 150
Example '.34 British Persil Performance Tablets ad 159

Acknowledgements
I have so many people to thank for 1his book that the only way to try and
remember them all is lo start from th.: beginning oflhc story. My first 'thank
you· goes to Dorothy Kelly, who after a short accidental talk at the first IATIS
conference in Seoul invited me to send in a proposal for a book on advertising
translation when I was next to a perfect nobody. not only to her, but to the
academic community in general. It would have been so much easier for any
editor to invite an established academic to do the same. Her invitation, and
then her acceplance of my draft proposal, gave me that little confidence boost
!hat made me set my mind on continuing academic work and explocing ways
to combine it with my professional practice. By the way, I ,vould have never
rnet Dorothy without the material support of Derek Bootl1man ·s research group
on translation and identity of the University of Bologna at Forli, a collective
mentor that has meant, and still means, a lot for my research.
Moving on in time, a big thank you 10 Dorothy once again, and to Mona
and Ken Baker, for their patience during the slow progress oflhe project -it
took me a couple of years to classroom-test the format and materials you will
find in the book. In this respect, J should like to thank my English translation
students of the University of Macerata at Civitanova and the University of
Bologna al Forli for unwittingly providing the feedb~ck that led me to expand
and sometimes change my initial idea. And of course, no idea is really original
-much of what I came to understand about promotion and advertising was
shaped by my work with Rosa Maria Bollettieri Bosinelli, Raffaella Baccolini
and Delia Chiaro.
During 1he writing stage, key input came from my revisers, Patrick Leech,
Sam Whitsiu, Derck Boothman and Anthony Mitzel -thank you guys! And
for therr kind assistance in providing permission to reproduce copyrignt
protected material. my thanks go to Salvatore Casabona, Director-General of
INCA.; Titius Caius (he knows who he is); Barbara Amadori: Michael Grass.
Marketing Communication Manager of WA.MG ROUP, and his assistant Silvio
Bandi; Eleonora Zoratti of Zoraui Studio Editorialc; Ruggero Brunazzi of
Sli'v!E Sri; the President of Fantini-Andreoli/ Andreoli Engineering, Francesco
Andreoli; Lester Tri Ila from Tri Ila Steel Drum Corp. and his efficient assistant.
Nadine Lebensorger: Stefan Schulze-Sturm from ZDH: Tiziana Rambelli, the
Communication Dept. Manager of the Forli Health Unit (AUSL); Simone and
Marcello Ruspi frorn Poliambulatorio Sanpietro and their press agent, Maria
Cristina Lani; the P-residcntofUnione di Prodotto Citl! d'Arte, Cultura eAf
fari, Mario Lugli, and Celestina Paglia from APT Servizi Emilia Romagna;
Andrea Pinchera, Communication and Fundraising Director al Greenpeace
flaly, and Alexandra Dawe, Ent!rgy (R)evolulion Communications Project

Manager at Greenpeace Jntemational; Nick Sharples, Sony Europe's Director
of Corporate Communications; Candy Group Marketing Director Guglielmo
Pasquali and his collaborators Franco Lualdi and Ramona Rotta; Giovanni
Flamenghi ofMoreno Motor Company Sri; and Eleanor Bowden, Press Office
Executive at Unilever PLC.
Then came the editing stage. for which I have to thank first and foremost
Sara Laviosa, a most valuable addition to the series editing team and a great
editor and problem-solver. Dorothy and Mona, too, were very much present
at this stage, helping me all along.
And last but not least, thank you Matteo and mum, for looking after me
and bearing with me while I was writing this. Strange enough, all in all, it
was a really nice summer.
Every effort has been made to obtain permission to reproduce copyright
material appearing in /his volume. Any omissions brought 10 the publishers
a/lention will be remedied in fi1111re editions.

1. Introduction
Why a Book on the Translation of Promotional
Texts?
In introducing this volume, ii is perhaps necessary lo justify why one would
wri1e a book-about the transla1ion of a wide array of promotional genres, from
advertising to instin1tional brochures. from company websites 10 personal pro
motion (CVs,job application letters, personal websites). One migh1 argue that
such texltypes have different topics and addressees, circulate across di fTercnt
media. and therefore have different linguistic and contextual characteristics
that call for different translation strategics. What unites them, however, is
that they all share a persuasive purpose. Or in more cynical terms, they all
aim at selling something, be it a service, product, life-style, company (of any
size). or public instit11tion. For 1ranslators, this has one major implication: if
a source text is intended to promote something or someone. then 1he one who
commissions the translation of that text usually wants the same purpose to be
re-created in the target (i.e. translated) text. This means that the translations of
promotional texts are assessed in functional terms -i.e. for what they do rather
than what they are, or for how well they affect the reader rather than how close
they are to the original (§ 3.2). In other words, promotional translations, just
like their source texts. are assessed in tenns of their effectiveness or success.
which means in terms of an increase in sales or, in the case of institutions, an
increase in the number of contacts received as a token of visibility.
Thus, even if they belong to different genres. all promotional tex1s can
be tackled wi1hin the same translational approach, which, in turn, needs to be
adjusted to the specific nature of the text in question (for instance depending
on its in Formation-to-persuasion ratio, § 3.3 ). and the situational tontcxt
of the translation job (for instance, a given commissioner might want a literal
translation of a promo1ional text for 11on-promotional purposes, or for later
1-c-creation).
For readers who may be interested in definitions. this shared translation
approach can b.e broadly identified with .functionalism or SkopoStheorie
(Reiss and Vermeer 1984/1991; Nord 1997; ScMffncr J998. 2009). and may
be considered a kind of consumer-oriented translation, which applies to
a larger number of text genres, including recipes, technical handbooks aud
instructions in general ( Hervey and Miggins 1992/2002: 196-204; Hervey et al
1995/2006: 145-154). ll is also an instance of covert translation, which implies
the natmalness of the target text, Le. the translated text appears IQ h.ive been
written directly in the target language (House 1977/1981: 189). This implies
that the sou(ce text is usually domesticated, i.e. made 10 conform as much as

2 [n1rod11c1ion: Why a Book on the Translation of Promotional Tex1s?
possible to the linguistic and cultural norms the target community attaches to
that text genre (Venuti 1998b).
1.1 How to use this book
This book can be used in University classes as a coursebook, or as a self
leaming handbook. la either case. note that chapters do not correspond to
study units and require different periods of time and degrees of effort. 1n par
ticular. U1e 6_rst three chapters are more general, and while they contain some
examples, they do aot have any exercises. They should not take more than
one-tenth of the time you devote to the entire course or self-learniug process.
It is however important that practice-related and general issues (chapters 2
and 3) are studied before going on to practical examples.
As for timing, an adaptation of the book was piloted on an Italian
undergraduate 30-hour (10-week) course focusing on translation practice. For
shorter courses, I advise trainers to make a selection of topics from chapter 4
to chapter 7 rather than rushing through the whole coursebook. Professionals
may also find it useful to skip sections about text types which they do not
usually encounter in their work. To this purpose, I have designed chapters 4, 5.
6 and 7 in such a way to make it easier, I hope, for readers to select the topics
and materials tbat best suit their own teaching or teaming needs.
Teachers and trainers may also want to integrate this book with translation
coursebooks and translation theory handbooks. such as the ones listed in the
last paragraph of the Introduction above (especially Nord 1997), as well as a
selection of relevant works from the further reading section in the References.
Additionally, the materials provided in this t>ook should be taken as examples,
and should always be integrated with fresh real-life material that best suits
learners' needs, including languages that are not acco1mted for here.
As far as activities are concerned. apart from individual translation
exercises that can be corrected and discussed in class or among peers, roleplay
can be useful to optimize classroom or individual study time, accommodate
distance learning needs. and encompass revision as well as translalion roles.
This is especially use fol with texts that lend themselves more easily to multiple
versions(§ 2.2). Pairs or groups of more than two people can work together
exchanging roles after each exercise: one cotnportcnt acts as the translator,
the other as the commissioner's reviser/editor, and in larger groups additional
members can be second-level revisers, or one of them can play the role of the
end clieni. The reviser, or the end client wbere present. fills in the brief fol
lowing the general model in table I or any other brief agreed by the group for
the spcctfic text 10 be translated. The translator translates the text following
the brief, getting back to the end client or the commissloner's reviser to clarify
the brief or negotiate choices when possible or relevant, and after self-revision

fro Torresi
3
hands in lhe final version(s) of the target text. The reviser revises the target
lext(s) taking the hrief, the visual level and the target culture into account (see
Mossop 2001/2007 for revision and editing strat.egies), and ranks alternative
versions, when present, in order of preference and compliance with the brief.
This first-level revision is then sen1 to the second-level reviser or 1he end
client, if the group includes such figures. Al this point. individual choices and
suggestions irrc critically discussed among all group members. lo a facc-to
face setting such as the classroom. oral communication h<1s the advantage co
be less time-consuming, bul e-mail, Skype or Messenger communication are
more realistic choices and help participants choose specific rhetorical ~trat
egics to motivate their translation and revisio11 choices. Of course, given that
power relations arc non-symmetrical in the group, translators will need to be
flexible and ready to accept equally or more filling alternatives st1ggested by
the reviser(s) or client, but equally ready to tactfully advocate for the validity
of their translation options if they are sure about it. It might be a good idea to
accompany the tTanslatfon with a detailed comment that pre-emptively argues
for translation choices; revisions should similarly be motivated with a com
mem. Revisers and end-clients should be well aware of their priorities from
the start of each project when they fill in the brief, ar\d investigate into any
translation choice that they might interpret as challenges 10 such priorities.
This should drill participants into tbe practice of negotiation (following§ 2.2)
and prepare them to face the complaints and claim$ that might arise during
their professional practice.
1.2 Intended readership
This book is intended for both sLUden1s/1rainee·s and professionals.
Translation s1udenl5, both undergraduate (BA level) or graduate (in mas
ter·s or other postgraduate translation courses) may use it as a coursebook in
class, or as a tool for individual training if promotional translation is not a
topic of their translation courses.
Promotional translation may also be of interest for those professionals
with different priorities. For instance, newly graduated translators who haw
1101 received spedfie training for advertising/promotional material, and who
do 1101 want to ri$k ruining their reputation by venturing into an unknown
domain, may want to kno,v more about this field.just in case one of their first
clit;n!s asks them to translate texts such as a website or a company advertising
campaign. As we all know. it is very difficult at the start or one's career, for
both economic and psychological reasons, to say 'no' lo any translation job.
And clients do tend to turn elsewhere after the first refusals.
Similarly, well-established freelance translators or translation agencies
specializing in other fields may wish to diversify their translation service offer;

4 fntroduciion: Why a Booko11 the Translor/011 qf Promoti'onrll Texts?
for al leasl two reasons: first, advertising translation is usually paid better than
other fields; second, client fidelization is important, especially once one bas
won one's own pool of regular clients. For instance. if my clients arc mainly
small industrialcompanies, lhe bulk of my commissions will probably be made
up ofteclmical handbooks, but if I tum down, or translate badly. promotional
texts, then my precious regulars might look for other providers, not just of
promotional translation services. but of translation services in geDeral.
This book, however. does not only address translators, bul also in-house
markeling people or sales personnel in charge of foreign markets, who work
at small to medium sized companies that cannot afford 10 outsource their in
ternational advertising and marketing campaigns. Such professionals might
be asked to develop and/or translate in-ho11sc the company's promotional
texts (e.g. posters, leaflets and brochures to be distributed and displayed al
international exhibitions, chapter 5).
Finally. oiher professionals working in the fields of marketing and
advertising may be interested tn gaining some insight into advertising and
promotional translation. For instance. figures such as in-house copywriters,
sales managers at advenising agencies, or the marketing staff of companies
that outsource their promotional translations. may be asked to review or edit
lhe target text produced by a translator, or may wish lo have some degree of
understanding of and control over the translation/adaptation process. A fler
all, if translators need lo learn to know their commissioners tn order to work
at their best, the reverse applies, roo!
1.3 A short note on terminology
The trans-linguistic. trnns-cultural. trans-market transfer ofa<lvenising and
promotional material goes under a number of names. Just to name a few,
'translation·, 'adaptation·. 'localization'. and ·trans-crcation ·, each of them
referring to different aspects of the same process.
Whereas translation might be considered as mainly connected 10 the
wrinen word and to the transfer of concepts from one language to another.
adaptation and localization (a more specific tcnn. which is mainly used f6r
advertisements, websites and software) may be seen to s!Tc:ss thecross-culniral
aspect of the process and U1e need to adjust the promotional 1ext to the target
market in order to preserve its persuasive function. This. in tum, mighl enlail
trans-cre:1tion, i.e. re-building the entire promotional texL so that it sounds
and reads both natural and creaiivc in the target language and culture.
Given the practical approach of this book, however, I will use the tcnn
'lranslation' for all such aspects. as long as they fall or can fall within a
tra11sla1or's field of action. In this sense. I give 'tTanslation· itS etymologi
cal meaning of ·transfer', i.e. the transfer of a text, concept, or promotional

Ira Torresi
5
purpose across languages, cuhures and markets. This by no means implies
that translation is limited to the verbal dimension, nor to texts as seen out of
their real-life contexts.
1.4 Structure
After this introductory chapter. we will first see a few notes and caveats con
cerning professional practice (chapter 2). Section 2.1 briefly outlines some or
the non-Linguistic abilities involved in promotional translation, while section
2.2 describes a few tools available to promotional translators and section 2.3
discusses we relative weight of advertising and promotional translation in
professional practice. Chapter 3 focuses on a number of key issues such as
the translatability of brand-names(§ 3.1), loyalty 10 the source text(§ 3.2),
and the dtl:Terent strategies required by different types of promotional texts
(§ 3-.3). Chapters 4. 5, 6. and 7 are entirely practical and each chapter is de
voted to a different text type. Texts are categorized according to their source,
target, context of distribution, and infom1ation content, progressing from
more informative iext types such as self-promotion (chapter 4) to business
to-business (or 828) promo1ion (chapter 5 }, institutional promotion and
awareness-raising (chapter 6), and business-to-consumer (or B2C) promo
tion (chapter 7). The cultural side of advertising and promotional translation
is then discussed in chapter 8.
The Appendix includes additional language versions of examples I 0, 18,
19 and 20, for which several versions were available. Recurrent technical tenns
are listed in the Glossary; tem1s that are included in the Glossary are marked
in bold the first time they occur in the book. Moreover. curious readers will
find a further reading section in the References, with several suggestions on
how to expand one's theoretical and practical knowledge about promotional
translation.
1.5 What this book does and does not do
First and foremost. reading this book and doing all lhe translation exercises
it contains is not, by itself. key to professional success. Secondly, although
the book is meant ro be as comprehensive as possible. th.:re are en!ire areas
that are not covered here. For instance, only printed promotional materials arc
accounted for, leaving out radio and TV commercials or promotional videos.
The translation ofthesc texts can be approached by combining this book with
that of Diaz Cinta$ and Remacl 2007.
What this book tries 10 do is 10 provide you with plenty of real-life
examples, and information aud hints that come from my own professional
practice, which might help you recognize some of the main problems and

6 Introduction: Why a Book on 1he Trans/a/ion of Promolional Texts?
opportunities of promotional translation. This, however, is far from being
enough to make anyone a good translator of promotional and advertising ma
terial. As in other translation fields, it is vital that you seek as much practice,
and expose yourself to as many promotional texts as you can. For instance,
look closely at ads and promotional material that circulate in your own market,
culture and language to spot recurrent linguistic forms and consumer values
or fears that are used for leverage.
Additionally, my examples are mainly in English and will be old in a few
years' time. Do not take them as universals, but always compare them witn
fresh material from ym1r own country. And it would not be surprising to find
that the more you are attentive to new trends and local peculiarities, the more
you will have to adjust the general principles and approaches presented here
which will serve, nonetheless, as solid guidelines to follow.

2. Promotional Translation and Professional
Practice
Given the practical approach of this book, it seems appropriate 10 situate pro
motional translation within the working conlexl of a professional ti:anslaLor
before going on to translation exercises. This chapter, in spite of being short,
influenced by my own professional experience, ~od given from the poi·nt of
view of one who privileges freelance work, will hopefully pul the translation
of advertising and promotional texts in perspective -and perhaps provide
srudems with a clearer idea about what it means to work witb promotional
and advertising texts.
2.1 Why advertising and promotional translators aren't just
translators
lfwe understand translation in ilie broad sense mentioned at the end of~ 1.3.
no translator can really make it in the professional world by relying on verbal
transfer skills alone. In each specialized field, a number of abilities that are not
necessarily linguistic in na111re are required, or at the very least, very useful:
from the ability lo detect and reproduce textual genres and their conventions.
IQ familiarity with 1he subject-matter (e.g. in scientific or technical texts),
and trom ownership and proficient use of CAT tools and corpora to social
and self-marketing skills (when working in a team and dealing with clients,
respectively). No professional translator, iherefore, is just a translator and the
skills that one acquires in translation courses are seldom sufficient for survival
\Vhen working in a highly diversified. constantly evolving market.
Promotional translation is a broad category, and it is impossible to list h,ire
all I.he non-linguistic abilities it requires. Some of these skills are very general
and apply to all translation 1ypcs, sucl1 as, for instance, a familiarity with the
specific terminology and concepts concerning the field to which the object of
promotion belongs, be it hair care, mortgages, or environmental activism. It
is also necessary that one knows how to correctly assess both tl1e constraims
and the opportunities of the medium and channel being used for promotion.
whether it be the press. posters. leaflets, the radio, television, internet. etc. To
this purpose, other volumes in the series 'Translation Practices Explained'
could be of help. and if one is interested in more U1coretical issues. these can
be found in literature on visual semiotics. fihn sludics, muhimodal analysis.
conversation analysis (for the !>'))Oken pans of TV commercials), geosemiolics
(for posters and other street-distributed material), and social semiotics. In the
further readings section. of the References, more information will be given
on these resources.

8 Promotional Translation and Professional Practice
To rerum, however, lo those non-linguistic skills which are, if not required,
al least ex!remely useful for promotional translators, we can begin with whal
may co1mnonly be called agility: the ability lo recognize different fimctions and
purposes embedded iJ1 the source text, and approach them appropriately, with
out losing sight of the overall function of the text, its coherence and cohesion.
We will see how tJ1is can be done in§ 3.3 and in chapters 4, 5, 6, and 7.
Another quality which is often required ofa promotional translator, in spite
of it being rather vague, is persuasiveness, or the mastery of an emotional Qr
evocative style that helps lure the addressee into the desired course of action. A
component of persuasiveness is the ability to recognize and, where necessary
or advisable, to adapt to culture-specific values in order lo accommodate both
the target audience's expectations and taboos (see chapter 8).
A third, much-abused word that recurs in the translation of promotional
texts, and especially advertising, is creativity. Lt is often maintained. even by
translation agencies specializing in the localization of advertising campaigns,
that adve11ising should not be translated by professional translators, but by
copywriters and/or creative people who are proficie11t in foreign languages
(or who in any case, get to revise/recreate the tnmslations. whether at the
agency or client company). It is the same argument which claims that the
best literary translations are not produced by professional translators but by
authors who have already published their own books in the target language
(sometimes regardless of their proficiency in the source language and familiar
ity with the source culture and literature). Needless to say. this has yet to be
proved. It is true, however, that in promotional translation, the ability to devise
and produce, within an extremely limited time frame, clever texts that play
with language and visual cues makes things easier in professional practice,
particularly in those cultures where witty promotion and advertising is more
appreciated (see chapter 8). It should be also pointed out that U1is ability is
not necessarily innate, or something that translators eiU,er have or have not:
this is something that can be learned through constant exposure to and careful
analysis of creative texts.
A fourth quality which is perhaps less vital for freelauce translators, but
crucial for agencies and company staff, is the knowledge ofrelevanl laws and
restrictions about advertising and publicly distributed material in the countries
where the translated text will be circulated.
Finally, perhaps even more important for promotional texts than in other
fields of 1ranslalion is the ability to be flexible in the relationships one has
with agencies, editors, and the end client. Promotion is a sensitive topic. After
all, it is about the clienrs image, identity, and ultimately, money (in 1em1s of
prospective profits), This is why your translations, in spite of how good they
may be jLldged by client aud intermediaries, could still be laid aside, or used
as raw material for in-house creative staff lo re-write entirely. Promotional

Ira Torresi
9
translators may be left free to express their creativity al its highest, b111 this
does not mean that they are granted visibility or authorship status (incidentally,
the same usually applies to copywriters and creative staff in general, no mat•
ter how glamorous the position may seem from the outside). So do not feel
offended or fnistrat-ed ifin addition to not seeing your name in the final text,
you cannot even recognize any trace of your work there, even if you feel that
you had followed the brief faithfully and the feedback was positive.
2.2 Valuable tools: the brief, visuals, multiple versions, and
negotiation
After having examined some of the skills which are useful for promotional
translators, we can move on to looking at some of lbe practical tools that can
be particularly handy for them.
The first and perhaps most important of the.se 1001s is the brief -which
includes the following detailed information about:
-the purpose
the intended readership/audience
-the c.hannel of distribmion for which the target 1cxt is intended
-the values and brand/corporate image that should come out in the target
texl
the product/servicc/insti1u1ion/bchaviour 1ha1 is being promoted
-the producer/provider/promoting organization
where possible. the authors of the source 1ex1, whether they arc the end
clients, and if not, the posi1ion of the end clients relative 10 the text.
The brief is of vital importance for ourtarget text to keep its promotional
function.Al the verbal level, ilgives us information which allows us to make
decisions about lexis, register. and personal and social deixis (e.g. feminine/
masculine, singular/plural. degrees or social disiance and respect). For instance,
ifwe know that the intended addressees are young g.irls. we should normally
employ feminine grammatical forms, an informal register, common words.
and avoid distancing devices and indicators or formality such as impersonal
fo1111s; we could even opt for an informal second person singular or a first
person ifwe wish to encourage identification.
While all translators should always receive a brief from their cliems,
when dealing with clients and/or agencies 1hat are more familiar with non
promotional translation. a brief is seldom provided. To make things worse,
insistent inquiries by the 1ranslator might even irri1ale the client or agency
(who thus implicitly take upon themselves 1he responsibility for the effect~
of their reticence on the targel text). In advertising translation, on the other

JO Promotional .Transllllion and Professional Practice
hand. if the clienc and/or agency are accustomed to working with advertising
agencies or sta.ff, briefs are normally provided, and if critical information is
missing, the lrans.lator is entitled to ask for it
Things may be different when the translator works with smaller companies
or agencies that have not had any lengthy experience with advertising trans
lation, as well as non-advertising promotional text types (e.g. brochures or
company presentations to be included in websites). Jn such cases, especially
when one is working in direct contact with the end client, it might be useful
to e-mail or fax your contact person a short list of the information you aeed. A
model list is provided in English in table I, but it is strongly advisable that you
adjust it to y0l1r specific working conditions: in addition ro translating the list
into the language you use with the cliem, read tbe source text carefully, with
the list at hand. and see what you can infer from the text. Sometimes infor
mation such as the intended audience and the product image emerge clearly,
and ii may be enough to ask the client whether s/he wishes to maintain the
same in the target text. Keep the list as short as possible. avoid unnecessary
or ambiguous questions, and give clear reasons for your requests, pointing to
the client's interests (e.g. 'lnfonnation about the media involved would help
me make the translated text as effective as possible for those media in par
ticular'). If you are working through an agency. you can send the list to them
and hope they will coovey it to the end client. Jn any case. keep a record of
all communication with your employer in order to clearly establish responsi
bilities for any interruption of the information flow. As already pointed out,
promotional translation is a particularly sensitive field, and if problems arise,
agencies or clients are quite likely to blame the translator for not guessing the
infonnation they withheld.
Table l. Model .Tra11slator-pro111p1ed Brief
To be used when a brief bas not been provided. and to be adjusted according to
real working conditions
1. The translated text will be circulated (please tick all relevant options):
as a brochure L as (part of) a website v1a e-mail or snail mail
I as a leaflet/flier I on the producrs package I at trade fairs
in the press (title of publication/s __________ __,
it is the script for a TV commercial to be broadcast on channel/s
it is the script for a radio commercial to be broadcast on station/s
other (please specify)

Ira Torresi
11
2. What group(s) of people do you wish to reach and persuade? Please
provide age range; nationality; gender; level of education: employment;
degree of specialization with respect to the product/service; whether
they are end-consumers/end-users, companies/organizations working in
your field of activity, or companies/organizations working in other fields;
any other relevant details.
3. Please list the brand values. corporate identity. and product/service
image you wish to be conveyed in the translated text.
4. Please put an X where you would like to see your company/organization
located on the following scales:
Max
Max
c. Degree of deference towards the customer/user/public
Max
5. Whal kind of effect(s) do you wish the translated text to have on the
target group? Please provide full details and be as precise as possible.
6. Please enclose all visuals and other material tnat will accompany the
translated text. or at least samples or descriptions of the final form it will
have (e.g., for printed texts: layout, fonts, and colours to be used; for TV/
radio commercials: music, sound effects, description of action, camera
movements, etc.).
Other fundamental tools, which sometimes contain much of the infom1a
tion conveyed by the brief, arc the visuals and any other non-verbal elements
that accompany che verbal text. Apart from pictures and photographs. which
may be quite descriptive and thus give translators significant input about the
target group, the nature of a product, and the image attached to it, the.re are
other elements, such as typogTapby and layout (including the kind of font used
for the characters and the colours used for the background). or the naviga
tion structtire of a website, which offer opportunities and pose restraints in
the trans-crealion process. Example I (at the end of this chapter) is a case in

12 Promotional Translation and Professional Pracrice
point; it shows that the visuals and the brief are complementary and should
always be given to and/or actively sought by the translator.
Another tool that can, and sometimes must be used in promotion.ii trans
lation, but never with other translation types, is the possibility of providing
multiple versions. It is a tool. and not just a waste of time and effort, for
two very practical reasons: first, it is the client. not the traoslator, who takes
responsibility for the final choice; and second, a t{anslation with multiple ver
i;ions is quite obviously paid better than a single version (assuming that the
o(fer of multiple versions has been cleared with your client).
Multiple versions are likely to be explicitly requested for text types that
are less informati.ve, shorter and more emotional (§ 3.3), and by clients and
agencies who fully appreciate the opportunities and risks connected with
promotional translation, and wish to have more choices when revising and
re-working the traoslation. In this bo0k, the practice of providing multiple
versions will be systematically introduced in§ 7.1.2 (see rable 3) for the fol
lowing reason: ii is for advertising that clients most often request multiple
versions, whereas for longer promotional text types, it is far le~s practical to
provide full alternative versions. In my own professional practice. however.
I have sometimes been asked to provide alte,native versions for key partS of
non-advertising promotional text types, especially for less informative bits
with a higher evocative, emotional value, and with a higher impact potential
in terms of image. Quite predictably, these pans also require a translation
approach that is more trans-creative and less close to the source text. These
text types often include section or paragraph titles in websites and brochures,
names of tourist packages, general profile descriptions in CVs or 'About us·
web pages, extended metaphors in company/organization presentations, and
the like. Quite obviously, lhe client does not expect to pay extra for multiple
versions of very small portions of text (and even if the client does not pay, you
might still wantto provide them to foster client loyalty), but if requests of this
kind are systematic. you might have good reasons to negotiate an increase in
the translation price (see below).
Jt is important that all versions are valid in their own right. i.e. they
comply ,vith the brief and are free-standing, complete, and accurate. Tbey
should not be drafts or weaker versions of one final version; the client is not
interested in seeing the phases of lhe-translation process, but only in having
a range of viable options, each of them with a different style that may b.e
more suitable for a given reception context. or generate given nuances with
respect to brand/product/co111pany image. To facilitate selection. the differ
ences between the versions and the specific properties of each one should be
clearly outlined in a short comment. Example 2 (at the end of this chapter) is
a real-Ii fe illustration of this process.
In any case, one should not provide alternative versions, eve11 compli
mentary ones. unless asked to do so or before negotiating this possibi.lity with

lra Torresi
13
thecliem or ageney. Por cli.ents, choosing among a range of options can be a
time-consuming activity; moreover, their staff might not be qualified to make
the best decision with regard to translation solutions.
Example 2 also demonstrates the importance of the rnle of continuing
negotiations between the translator and client in order to achieve mutual satis
faction, which does not necessarily apply only to promotional translation. but
is particularly important in this sensitive field. In the example, it is the client
who starts negotiations for the provision of alternative versions and gives in
put about translation choices that should be avoided. By asking for a range of
possible solutions, the client also implicitly agrees 10 assume responsibility for
the final transtation choice. The translator, on her pan, negotiates the amount
of time to be granted for the new alternative versions. In similar situailons, if
alternative versions are required for longer parts of text, the translator should
be in a position to negotiate higher prices (unless the firs! translation was badly
done) and further extensions oftl1e deadline.
Negotiations usually take place before a translation commission is ac
cepted. In that phase, the translator ought 10 be able to point out to the client
that that the process of trans-creaJ111g an entirely new text to accommodate
the expectations of the target group requires more flexible deadlines and
higher prices than the client is usually prepared 10 pay. Bul if the translator
is just starting out, it is perhaps better to use such an approach with caution,
and perhaps some time must be spent to educate those clients who may lack
a geouioe interest in obtaining functional target texts and may prefer any
kind of translation at the lowest price. Promotional translation, on the other
hand, does entail trans-creation and can therefore be much more time-and
effort-consuming than other kinds of translation, and one should bear this
in mind when drafting a quotation or accepting a commission, because your
negotiation margin will be substantially reduced once you have agreed lo
certain condi1ioos (§ 2.3).
2.3 A short note for freelance translators: can one live off
promotional and advertising translation?
As with other specialized fields, especially at the start of your career, it is un•
likely that you will be flooded with the kind of translation jobs you enjoy doing,
or are more proficient in, although you can improve your situation by actively
seeking such jobs and niarketingyour.i;elfasa highly specialized translator. Bt1t
even then, while we are surrounded by ads and publicity, these texts arc often
translated or recreated in-house. This happens not only in small an<l medium
enterprises ,vhich do not have the resources to resort to professional agencies,
but also in large multinational companies which have branches in the target
countries. It is therefore advisable that you do not rely on promotional and
advertising translation as your sole source of income, but diversify your offer

14 Promo1ional Translation and Professional Practice
in order to meet local market demand(§ I. I}.
It is also a fact, at least in the markets I know, that cenain promotional
text types (e.g. tourist promotion and company websites) are not regarded as
belonging 10 a specialized field, which then has an inevitable impact on the
price one can charge. When one gets to translate advertising texts. however,
or succeeds in making clients realize that pan of their income depends on the
translation of promotional material. the pay is generally much better than in
0U1er specialized fields of translation. This implies that when you are asked
for a q11oration, it is not advisable to apply your standard prices. When in
doubt, you can gather information about lhe prices for advertising translation
which are being applied by others who operate on the same national or local
market, and in the same language combination. You can do this by checking
the mailing lists of translat0rs' associations you are a member of. or other
non-institutional mailing lists of professional translators, such as the Italian
Langi t (http://list.cineca.it/cgi-bi n/wa?P I &L=langi t).
Example I
How the visual and ihe brief influence translation choices
Consider the following Italian source text:
Let us imagine that your client provides you with ihis text, but nol a brief.
Before sending them a brief to fill ia, drafted following the list in table I, let
us try to draw up a list of cues that can be retrieved from the text, staning

lra Torresi
/5
with the verbal components and then going on to the visual.
The large verbal print. which we can call the headline, literally means
•we help you extend your residence permit. And also defend ii'. In rhe bot
tom left comer there is a telephone number, followed by words in small
print which say: Servizio telefonico multilingue. Cosio I sea/to a chiamala
urbana. Giarniferlali h. 14.00-18.00 [multilingual telephone service. Cost:
one local call. Weekdays 2-(, pm). To the right of the logo, there is the name
of the service sponsor: Patronato INCA OOfL [INCA CGIL aid society],
followed by a website address.
This already contains a number of significant cues. First of all, the
service being promoted is that of helping people extend their residence
permits, which means that those targeted arc immigrants working in Italy.
Secondly. the service provider and promoting organization is an aid society
(INCA) which is sponsored by a left-wing trade union (CGIL). As can be
seen on INCA's website, it offers free assistance on issues connected with
labour law.
This kind of promotion can be identified as institution-to-uscr(or 12U)
(§ 6.1.2). The politicized nature oflhe provider is reflected by !be choice of
the verb difendere (defend], which implies that the residence permit is an
immigrant's right that is worth fighting for and must be protected. INCA
thus becomes an ally in the struggle as it helps the targc1 group extend and
defend its permits. And personal and social deixis confirm INCA's role as
an instirution that is strong enougl1 10 back migrants' rights because it is a
collective and has more weight than a single person, while it also treats the
persons it assists as peers by addressing U1em directly in the first person
plural ·we' and not, for instance, by cJ1oosing a third person singular ('INCA
helps you') or avoiding any personal self-reference ('you will find the help
you need at INCA'). Referring to point4 of table I, this stance would seore
,very low on the authoritativeness and deference scales, but very high on
the proximity scale.
The war metaphor associated with migrant workers· rights is reiter
ated and made more explicit by the typography and layout. All letters are
capitals, with the conventional exceptions of h., from the Lmin hora(e},
[hour(s)], and the website address. The headline is in boldface, and there
is no concession to fancy formats; 1.he colours arc limited to black aod re<l
over a white background, which adds graphic emphasis to the V'erbal text
by making it ~land out on the page. Moreover. the use of the colour red.
which is a bigh-visibility colour as well as the ide11tity colour of CGIL.
once affiliated to the now dismembered Italian Communist Pany, further
highliglrn, the institution's logo and the maj:n focus of the text. ii permesso

16 Promotional Translation and Professional Prac1ice
di soggiorno (the residence permit). Such typographic choices, together
with the particular font and the worn-out paint effect used for the headline,
establish a clear intertextual link between this text and the writings on
military vehicles and military property in general. Extending a residence
permit, the verbal-visual metaphor implies, is no easy iask: you will have to
fight for it, and even if you succeed, you must then be prepared to struggle
against those who want to take it away from you.
AJ1y translation choice aimed at softening the image of the organization
should therefore be avoided. It would not be appropriate to have a more
friendly or affable text, such as: 'Need to extend your residence permit?
We're here to help!'; nor should there be translations which would try 10
diminish the anxiety connected with extending residence permits (e.g.
'Residence permit extension? No need to worry!'). Such choice-s might
work with other kinds of services, especially those which are not free,
but they are out of place in this particular case. We must acknowledge
however that in certain target cultures, LNCA's aggressive stance might
not be appreciated, and a milder tone therefore would be preferred, both in
terms of verbal choices and visual encoding. ln this case, nonetheless the
service being discussed is io an rtalian context, and rNCA is quite proud
of its militant mission.
Al this point, there is actually very little we could get fi:om a filled out
brief. The only point in the brief in table I that caru101 be inferred from the
text itself is 1he media pla11, or point I. For the sake of tile discussion here,
we can say that lfwe were to ask our clients for clarification on this point,
we would be told that the ad was one of three similar texts circulated in
2007 in the Italian free press (the kind of newspapers that arc distributed
free of charge in train stations and other public places). This further nar
rows the target group to financially disadvantaged mi.grant workers, who
do not spe11d money on buying regular newspaper-s. and whom INCA is
more interested in assisting. It also explains the discontinuous line around
the ad which suggests that the square is to be cut. or ripped out for future
reference when 1he rest of the newspaper is th.rown away.
In order to reach a larger number of rnigraDt workers, particularly
those who did not read Italian, the ads were translated into English, French,
Spanish and Arabic. The English translation of the Italian source text above
is reproduced below.
The grammar Of the English version, as you migh! have noticed, shitls
between 'hetp· + inAnitive without ·to' and 'help' + infinitive with 'to'
mingling two usages that are usually associated with American and British
English respectively. This approach should normally be avoided siDcc it
points to an inconsistent, sloppy style. When you translate into languages
that have regional ,,oriation, the brief (or points l aDd 2 of table I) should

lra Torresi
17
give you a clear indication of the local variety you should confonn to. In
lhis panicular case, however, English is clearly used as a lingua franca to
reach migrants who are likely to speak a number of different non-standard
varieties or English as a second or third language. For INCA's purposes.
then, a degree of variation from the standard cannot be considered a flaw
'
as long as it does not hinder comprehension nor the iuterlinguistic rraosfcr
of 1l1e organization values mentioned above .
• ..
P1\TRONATO
I ~c CG I Lit ■
\' -ill 1 • ll • 1111111
There are two other interesting case-specific translation choices that
are fully compatible with what has emerged from our analysis ofll1e llalian
text. The first is the elucidation ofgiornijeriali [weekdays] as 'Mondays to
Fridays·. The tradition of considering Saturdays and Sundays as non-work
ing days is clearly of the West, based on Christian norms, while migrant
workers might originally come from or her tradirions and feel ill at ease with
the Italian division oft he week The second is the choice to leave lhe word
palronato in Italian. INCA probably wan1ed to introduce the word and the
concept behind ii into their users' vocabulary and referencesyste111s, and lhe
English term, 'aid society', might be mistaken lbr a religious organization.
an association that INCA would not be too keen on encouraging
In more general tem1s, and in other working contexts, choices such as
these we havejusl discussed (especially gramm,ttical variation and the no

18 Promotional Tronslalion and Professional Practice
translation option) may expose the translator to the risk of being labelled
inaccurate or to being accused of leaving worJs out. Such a risk can be
avoided, however, by providing a short comment regarding the choices
made, negotiating with the client and or employer, and providing, in the
right cases, altemative versions.
Example2
Alternative versi'.ons and negotiatiqn
In a 2005 tourist guide of Emilia-Romagna, which was to be distributed
free of charge at international trade fairs and local tourist offices. one of the
sight-seeing tours of the town ofForli was entitled, Architeuurafra le due
guerre [ architecture between the two wars l. The reference is to functionalist
architecture, wbicb had become popular under the Fascist regime. I pro
vided the client, a local tourist promotion organization, with the translation
'Mussolini Deco', a phrase that was quite shamelessly borrowed from a
famous non-promotional English-language tourist guide of the region, as
I noted in my accompanying remarks. In my mind, the authoritativeness
and competence of the source from which I borrowed the phrase should
have vouched for its validity. Moreover, the name, 'Mussolini', with all
its negative connotations, not only denoted a particular historical period.
but was also particularly appropriate in t:ha1 context since it was either on
Mussolini's orders or in order to please him that Forli (a few miles from
Predappio, the dictator's birthplace) was partly re-buih and expanded in the
official architectural style of Fascism. that of Functionalism.
l should have thought better, however. The text I was translating was
promolional, whereas the guide with 'Mussolini Deco'. was oot, since it
was aimed at giving its readership as objective an account as possible of
Forll's historical and artistic features.
Furthermore, my knowledge of current local policies should have
helped me to foresee the clicnl's ~eticcnce 10 use the name •Mussolini', I
knew that the cliem worked in close contact with local authorities, some
of which had announced in the local media that nostalgia tourism to Mus
solini's places was lobe staunched; and although the tour Architellurafi·a
fedue guerre was focused on archi1ec1ure only, the very fact of mentioning
Mussolini's name might have implied political exposure. All these consid
erations should have led me lo keep away !Tom 'Mussolini Deco·, or at
least lo provide alternative versions.
During the in-house revision pha$e. in fact, my contact person called
me to negotiate a new version of the tille !bat did not contain the name
·Mussolini'. I asked for a few hours' lime to produce a range of new trans-

Ira Torres/
/9
lations fro11J which she and her colleagues would then be free co choose,
and proceeded to assess alternative options.
Given the premises, L immediately excluded any reference 10 Fascism
or Fascist architecture. My first version was a literal
I. 'Inter-war archi1eciunJ'.
As l pointed out in the comments thac accompanied the new versions, how
ever, I felt that while an Italian readership would immediately understand
what type of architecture was typical of inter-war Italy. foreign readers
might need more precise cues to figure out what kind of sights were being
proposed as worthy ofinlercst. I therefore braiostonned for a few alternative
versions that integrated more precise references to the type of architecture
involved, and came up with what follows:
2. · Italian Functionalism in the I 920s and '30s ':
3. ·Functionalisl architecture, 1922-43';
4. 'Functionalism in Forli before WWII'.
As you may have noticed. version 4 incorporates an explicit reference
to Forli. which may have been added to the other versions as well. The
reason for its exclusion lies in the total length of the name of the itinerary
which. just like an advertising slogan, should be kept as short as possible
in order to capture the reader's attention, and also, in this particular case, to
accommodate space restraint~ since the texts were to be printed in columns,
and each title, where possible, was to be printed on lhe same line. I did not
incorporate this remark in the accompanying comments. as the client was
perfectly aware of the page-space issue.
Version 3. being precise about the dales marking the rise and fall of
Fascism in Italy, may have led a foreign reader to associate Functional
i~m with the Fa$cist era. As indicated in the accompanying comments, I
favoured this solution, as the reference was emotionally indirect and his
torically correct. I also pointed oul that I had applied the opposite strategy
in version 2. blurring the historical period into a generic reference to two
decades. without any explicit me111ion of the sad milestones of Fascism
and the two wars.
I stopped at four versions. I fell that although the client's staff had
i11itiated negotiations, they were quite busy revising lhe rest of the book
(some 150 pages), and I knew that they were underenonnous pressure as the
guide was supposed to be ready for an international trade fair that was only

20 Promotional Trans/a/ion and Professional Prac/ice
a couple of weeks away. Moreover, given the brevity of the title involved,
1 did not apply any additional charge to the price we bad agreed on.
My agency and responsibility as a traoslator ended there. Just to teU
the end of the story, however, the final version, which I saw in the proofs
aod which was not negotiated further, was the first, more neutral 'Lnter-war
architecture', perhaps the least problematic from the Italian organization's
point of view.
This example also tells us something about the kind of hidden agenda
an institutional client may have. Although tbe brief for a promotional text
may be as generic as 'choose as persuasive and emotional a language as
possible', other unspoken priorities (in our example, avoiding political ex
posure-) may override it. Opening an<l maintaining a channel of negotiation
with the client is always a precious tool that helps solve such communica
tion problems.

3. Key Issues in Promotional Translation
This chapter addresses a number of key issues concerning the prooess of
translating promotional texts. First, it focuses on the extent to which brand
names are translatable; i1 then discusses the notions of accurncy and loyalry
as 1:hey apply to the specific case of promotional material. The last part deals
with the main features of different types of promotion and the translation
strategies they require.
3.1 The braod name
Brand names are texts in themselves. They convey the brand's carefully con
structed image and identity. Sometimes this is connected with the nationality
traditionally associated with a kind of product: real pasta must be ltalian, so
non-ltalian pasta makers choose Italian-sounding names for their brands (such
as the French Panzani); in Italy. given theAmericanness att:iched to products
introduced by US troops during WWII, Brooklyn and Big Babol (sic] che,v
iug gum (produced by Perfetti, un.til 200 I an all-Italian company) has been
popular at least since the 1980s.
Given their importance for brand image, brand names are usually treated
as proper nouns and left untranslated when a product is marketed abroad. There
are, however. exceptions to this, and these can be divided into three groups:
phonetic/graphic adaptation
changes introduced 10 avoid taboos or undesired associations
1ransla1ion to make the meaning or implications of the brand name trans
parent in the language of lhe target market.
Phonetic a11d graphic adaptation
Graphic adaptation usually occurs between di fforent alphabets or writing con
ventions. Normally, for instance, a Russian brand-name (or company name)
has both a Cyrillic version and a version written in Latin characters for the
benefit of foreign markets. The process of graphic adaptation may also carry
some phonetic adaptation if the phonetics and alphabet of the target language
do not include all the sounds that make up the odginal name.
Phonetic adaptation, however, can also occur among languages that
share the same alphabet. This is common. for instance, in Italy. where foreign
brand names are sometimes adjusted to the l.taliau phonetic readi11_g to recre
ate a smmd string that is similar to that of the source language, especially in
down-market segments. Thus, before introducing the original name Paotcne,
a haircare line was marketed in Italy as Panten; Glade home deodorants were

22 Key Issues in Promotional Translation
renamed Gled until a few years ago; and more recently, the registered mark
Easy Peel (a pull-tab for tin covers) has become lsy-Pil, which bad to be
registered as a separate trademark. We may notice that none of these names
were ltalianized in any other respect than phonetically-mther, they were trans
formed into other foreign-looking and foreign-sounding words. In this way,
the positive connotation associated with non-Italian non-food products was
retained, ,vhereas the right pronunciation was ensured even when the buyers
had no idea of foreign languages. This kind of approach may be perceived as
offensive by perspective buyers who feel that it presupposes their ignomnce
or unwillingness to take on new words.
Taboos and unwanted associations
When a graphic or aural clement of the brand name or logo generates undesired
associations or violates a taboo in the target language and culture, changes
are nonnally made,since the negative connotation would directly affect sales.
These changes are usually as unintrusive as possible. as in the case of the Italian
marketing of Sega consoles and videogames. The word Sega, pronounced as
/'sega/ in the rest of the world, in Italian commercials used lo be pronounced
/'si:ga/ with a heavy American accent. This was done to avoid th.e obscene as
sociations that go with the written word, which in ltalian would be pronounced
/'sega/ and allude to male masturbation and to a low-quality product. The
exotic pronunciation. on the contrary, made it apparent that the word was not
to be associated with i1s Italian homograph. The original pronunciation was
restored once the brand had conquered and stabilized its market share, and
at the same time built a positive brand image. Failing to adapt a negatively
connoted brand name may have high costs for a company launching a product
on a new market. An example (which may actually be an urban legend) is the
Chevrolet Nova, which is repo1ted to have sold poorly in Latin America, where
nova means 'it won't start'; while in the 1970s, lhesales of a Chinese battery
brand, which had already started to perform well on the British market under
its original name, written it1 ideograms, plunged after U1e brand name was
translated literally as 'White Elephant', a sacred animal in South-East Asia,
and a useless but expensive thing in British Eng)isl1 (Chuangshen 1997: 182;
0U1er examples in Chuausheng and Yurman 2003 ).
Translation
The last type of brnnd-name !rans-creation that will be tackled here is U1e
re-encoding of the name·s meaning, eitherto convey the original meaning or
to introduce a new one. Examples of transparent translation of [)le original
meaning are the White Elephant case above or the successful localization
of Procter and Gamble's brnnd Mr. Clean as Mr. Prc;>pre (France). M. Net

Ira Torresi 23
(French Canada), Mastro Lindo (Italy), Meister Proper (Germany), Don
Limpio (Spain), Mastro Lirnpio (Mexico), and so on. Additionally, there are
cases in which the brand is loaded with oew meanings in the target language.
This can be achieved more easily when the brand name is intersemiotically
!rans-created, i.e. totally replaced with a new one that has a di !Terent physical,
as well as verbal encoding.
This can happen when Western brands are launched onto the Chinese
market and viGe-versa, when the name is trans-coded into or out of ideograms,
and the gap between very different cultures and semiotic systems (the first
logocentric, the second more visually-oriented), encourages the trans-creation
of meanings that best accommodate the conventions of the target language
and culture. When a Westem brand is translated into Chinese, there are several
alternative encodings ofits phonetic component, and for each phonetic alterna
tive there arc several possible graphic encodings. Of course, translations that
carry a positive meaning and therefore comply with the Chinese conventions
of brand-name making are favoured. Successful examples of such trans
creation are the Chinese translation of Coca-Cola, which adopts a slightly
different pronunciation (ke-kou-ke-le) with a set of ideograms which read
'tasty and happy'. The reverse also applies: of all the possible English words
whose pronunciation would soutld more or less like their brand-name, the
managers of the Xiling company, a manufacturer of air conditioners, chose
Serene by virrue of its connotation of quietness an(( comfort. The last two
examples were taken from Chuansheng and Yunnan 2003, where many other
interesting examples can also be found.
3.2 Accuracy and loyalty to the original text
In chapter I, we saw that promotional translation is usually assessed in fun<:
tional terms; in other words, the main concern in this field should be whether
the target text works. i.e. Fulfils the purpose for which it is intended in the
target language, culture, community, and context. Similarly, it has already
been pointed out that this may rcqufre a thorough 1.rans-crealiotJ of the source
text(§ J .3), and that creativity is one of the abiliiics that are often required or
promotional translators (§ 2.1 ).
Such arguments go against traditional concepts such as accuracy and
loyalty to the source text. In fact, in promotional texts, the concept of loyalty
applies neither to the letter oflhe lex_t, nor to its original content or niessagc,
but only to itS intended function. If this function is not preserved. the target
text is disloyal to the source. text. even if its content and literal meaning are
accurately conveyed. If, on the contrary, the function is maintained, then the
translation can be deemed loyal lo 1he original lexl, even if this implies creat
ing ao entirely new text. with a new fonn and a new content. Of course, the

24 Key Issues in Promo1ional Translation
notion of• function' does not only pertain to the generic purpose of persuad
iJJg the target group to buy a product or service, or modify the target group's
behaviour or attit11des in some way or other. but also includes the specific
indications contained in the brief.
It is easy to demonstrate this hyper-functionalist view through examples,
especially in the case of advertising, where clients tend to give functionality
of the target text priority over the close rendition of the source text. Some
times this involves non-verbal as well as verbal aspects, which are totally or
partially changed to accommodate the features of the target markets, or the
sales strategies of national branches.
In example 3 (at the end of this chapter). for instance, the different defini
tions of the product's main ingredieot. i.e. a protective 'UV FILTER' in the
British version, and a 'NUTRI-FlLTRO' [nourishing filter], in the Italian one,
are reflected by the different encodings ofthecomputer-generated images (the
small boxes over the picture). In the British ad, the protective agent is visual
ized as a rigid, semi-transparent and shiny ribbon. apparemly in line with its
fonction of shielding the hair from UV rays. In the Italian version, on the other
hand, the nourishing substance -probably to convey its supposedly organic
nature -is a floppy double ii lament that hangs onto the surface of ihe hair,
which is superimposed onto a part of the model's real hair. not a computer
generated background of stylized hair as in the British example.
The lwo ads in the example were independently developed in-house by
the respective.national marketing.departments from a range of visuals, a loose
brief and a draft copy (in English) provided by the company's central marketing
department. The values attached to the product were adapted according to the
expectations of the British and Italian markets (protection and nourishment.
respectively), or the marketers' perceptions aboul them. In such cases we-can
still talk of translation i.fwe intend it in the broad sense used in this book, but
a more specific term would be glocalization (Adab 2000:224).
The phenomenon of glocalization suggests that a holistic view of ad
vertising translation, which embraces all its semiotic dimensions and the
functionalist view ofloyalty explained above. is possible and viable. Even when
the end client is not a multinational company. but perhaps a small company
interested in translating a few business-to-businl?ss posters to be shown at
international trade fairs, this holistic approach may be extremely productive in
marketing terms, because it caters for cross-cultural as well as cross-linguistic
adaptation. Translators or in-house marketing staff may therefore propose
or be asked to re-create a new campaign thal best suits the expectatioos of
tl1e target group. Of course this does not mean 1hat translators or in-house
copywriters should acquire the skills of art directors, lypographcrs, and the
like. They can, however, suggest how non-verbal elements may be adapted
in order to match new values or new figures of speeoh that were 001 present
in the source text. In order to do this, however, it is vital that they are ready

Ira Torres/
25
to forfeit the traditional concept of loyalty to the source text, and re-locale it
within the text function and the client's brief.
The same can apply lo non-advertising promotional genres, even if clients
may be less prepared to spend a significant amount of time and money on a
complete re-thinking of their promotional material. In such cases. if a transla
tor spots an opportunity to trans-create the text. negotiation becomes vital to
defend that opportunity(§ 2.2). Also, in such cases it is important to identify or
investigate any hidden agendas the client may have: for instance, spending as
little as possible on translation at the expense of the prospect of higher profits
-perhaps because the efficiency of the members of staff entrusted with finding
a 1ranslator will be assessed in terms of costs and timing, rather than according
to possible higher company profits. ln such cases, after careful negotiation,
translators may have to find a compromise between their own loyalty to the
function of lhe promotional text and the client's hidden agenda.
Even in non-advercising promotional genres, however, holistic
trans-creation becomes necessary when given elements of lhc source text,
if translated literally or (in the case of non-verbal elements) left unchanged,
may offend or be negatively received by the target group. Examples of this
might be a hypothelical brochure developed in the United Slates for a German
language course, writlen in a go1hic typographic style like the Fe(leFraktw·
font shown in Schopp 2002, which in Gerrnany (and Europe at large) would
evoke neo-Nazism; or a website or brochure decorated \Vith pictures of chry
santhemums. a symbol of nobility and power in many Asian cultures, but
usually associa1ed with dealh in Italy. (Other examples of cultural taboos can
be found in chapter 8; see also§ 3.1 ). At the verbal level. any incompatibility
of the source text with 1he genre convemions 1hatapply in the target language
should be pointed Out to the client and amended. Normally, however, the degree
of freedom in trans-creation is directly dependenl on the information/persua
sion ratio(§ 3.3): U1e higher the persuasion and the lower the information, the
higher the possibility. and potentially the need, to trans-create. For example.
nom1ally a business-to-consumer website offers much more leeway for trans
crt:1ltion than a CV.
This docs not only apply 10 the text as a whole, but also to its parts. Any
part of 1he promotional text that contains spec[fic ancVor technical informa
tion, and serves the overall promotional purpose of the text through its local
infonnative function rather than 1hrough an emo1ional or evocative language.
should be approached with an accuracy-oriented approach. In other words,
the local fimc1ion of lhe informative parts of a promotional text should be
preserved by conveying their contcm as accurately as possible. On the other
hand, any part of the source text that appeals to the addressees' impressions,
feelings and emotions rather U1an their rational judgement can be tnms-creatcd
more freely. This point will be analysed further in.§ 3.3.

26 Key Issues in Promotional Translarion
3.3 Different text types
As pointed out in chapter I, we are dealing with a vast array oftexts which share
the same purpose: selling something (a product, a service, a person, a company,
an attitude, or a behaviour). Of course, different categories of addressers and
addressees determine different genres, each of them being characterized by
specific stylistic conventions both in thesource and target language. This is why,
in the following c.hapters, a distinction will be made between different kinds
of promotion, i.e. business-to-business (or 828), institution-to-institution (or
121), business-to-consumer (or 82C), and institution-to-user (or 12U) (see
example I in chapter 2). Another contextual characteristic that contributes to
genre definition is the kind of medium employed, the limits it poses and the
opportunities it offers, all of which account for the general division of bro
chures and websites from advertising, and for the division of advertising texts
according to the medium of distribution (the press, TV, posters, etc.).
The main characteristics of each (sub-)genre that are relevant for transla
tion will be analysed in chapters 4-7. Before moving on to more particular
issues, however, a general concept must be introduced here, as it will be
mentioned throughout the following chapters and it is critical forthe selection
of appropriate translation strategies. It is the iofonnation-to-persuasion ratio
of a text, that is the extent to which the text caa be defined as informative or
technical, compared with the extent to which it appears to aim at persuading
the addressee by means that do not include the provision of objective data
or facts.
'lnfom1ation' and ·persuasion· are intended here as stylistic traits rather
than textual purposes. Of course all promotional texts are ultimately per
suasive. but in some promotional genres this persuasive purpose is best not
made explicit and is thus left to impersonal. non-emotional information that is
presented in $Ucha way that it speaks for itself. In such genres, adding evoca
tive language, or trying to get emotionally closer to the addressee (e.g. by
speaking or writing in the first person to an interlocutor identffied as a 'you')
would be interpreted as a less than serious attempt at biasing the addressee's
assessment of the qualities described in the text. Ln Great Britain and other
Western European cultures high infom1ation, low persuasion texts include;
CVs, business-to-business technical brochures and catalogues, and institurion
lo-inslitution literature. Whenever the texts within such genres are seen. both
in the source and target language and culture, as objective and based on facts
rather than argumentation and emotions, they are usually translated as closely
as possible, i.e. reproducing the information as accurately as possible, while
adjusting the form to the canons of the same genre in the target language.
High persuasion and low infon11ation genres, on the other hand, include
most business-to-consumer texts, especially ads. Such texts tend to rely more

Ira Torresi 27
on emotional, evocative language which is often used creatively, e.g. in word
play. When they do convey technical information, they may not be aimed at
informing as much as impressing the addressee, as is evideJ1t when pseudo
technica.l jargon is used or scientific-sounding neologisms are specially coined
to promote a given product. Such texts normally require thorough re-writing
or trans-creation to preserve their persuasive effect.
As can be seen from the tentative collocation of some promotional genres
in table 2. however, there are several genres that are located half-way across the
infom,ation-to-persuasion ratio continuum. Additionally, ii $hould be pointed
out that there may be persuasive elements in the most infonnative of texts, and
conversely, even the most persuasive texts may include facts and data. What
kind of strategy should one adopt in such cases? Here agility(§ 2.1) comes to
the translator's aid: as will be seen in the following chapter, infonnative texts
can suddenly shift to a persuasive style and vice-versa, and such shifts can occur
several times in a single text, paragraph, or even sentence, requiring a prompt
adjustment of strategies from literal LO crea1ive tran~lation, and back.
Example3
The following two-page spreads were respec1ivelycirculated 0111he British tmd
flalian press (mainly women s magazines) in 1999. Notice the different visual
encodingof1/,eprod11ct s main ingredient in the rwo CG!s (co111p11ter-ge/1€ra1ed
images) in the small boxes
E A L
"
., I I I .r ur I'
,,
~ l 'l"':r al Flv1v l IV F,:ier
~

28
Key Issues i11 Promotional Translation
E A L
,. .... 11.,a
"II mio colore lo amo
NUOVO
ELVIVE
tti,
1
mh
1uM
·--
_, __ _
~----·-· _ .... :-... ~-
,,........,_p, ....
-·
l.'.OREAL .......
f'k:hf, lo t . ,,to.
e lo proteggo."
Table 2. Visual indica1ion of the collocation of differe/11 promotional genres
on the informal ion-to-persuasion ratio continuum
lm/13
..........
~?.ff
Max. Information
Min. persuasion
Max. persuasion
Min. information

4. Translating Promotional Material
Self-promotion
This chapter fiJ'St introduces four interrelated feaLurcs of promotional texts,
wl1ich the. translator needs to consider when dealing with this text Lypology.
i.e. the source, the target, the context of distribution. and the infonnation-to•
persuasion ratio. ltlhen analyses, through real-life translation assignments, the
characteristics of three types of text (CV,job application letter and promotional
personal website) that share the same type of source: individuals who want to
promote themselves as professionals.
4.1 Source, target, context of distribution, and information
to-persuasion ratio
Why is it particularly important to assess the source, the target, the context
of distribution, and the information-to-persuasion ratio when translating pro
motional material? Knowing the source -where a promotional text comes
from, or for whom it speaks -is vital not only to correctly assess the client's
potentially hidden agenda (see chapter 2), but also because certain categories
of persons or organizations have typical ways of using language, or addressing
their clients. In Jtaly. for instance, public institutions and those who want to
be associated with the public sector by their target audience/readership tend
to use a rather impersonal, unemotional style when promoting their services,
especially in sensitive fields such as healthcare. In their promotional texts, then,
it is likely that the information-to-persuasion ratio will be oriented towards
information, so that the overall impression is that the receiver of the text is
being informed rather than pen;uaded 10 use a service. This is precisely what
triggers persuasion in Italian users. because they expect an unemotional style
from that type of source, and because they tend lo associate it with objectiv
ity and reliability, which is important in the scientific or medical sphere. In
this chapter, sources will be categorized as: single individuals, as in personal
promotion, private companies, as in business-to-business (B2B) or busincss
to-eonsumer (82C) promotion, and institutions. as in institution-to•institution
(121) or institution-to-user (12U) promotion. Institutions include public enti
ties, NGOs. or even private companie~ that aim at being identified with public
organizations. usually to partake of their authoritativeness.
Knowing the target, i.e. whom the text aims at persuading, is important
because it helps us make specific practical choices about the kind oflanguage
we should use. Por instance, as pointed out iu § 2.2., thedcfiniticm of the target
may be essential for decisions about the gender; number, register and lexical
complexity to be used in the target text. Target identification is also essential

30 Translating Promotional Material: Self-promotion
to define the values and/or fears that are employed in texts with high. promo
tion and low infoi:mation content (see table 2 in chapter3); this is especially
important for copywriters and market researchers, but translators, too, should
be aware that target characteristics may vary across markets and cultures, and
sometimes ii may be useful to warn commissioners that the product/service
benefits present in the source text may not work in the target culture (see
chapter 8). ln this book. targeis are categorized as collective enllties, such as
businesses or public organizations (as in B2B or 12! promotion), or individuals
(as in B2C or 12U promotion).
The relationship between the source and the target is equally important.
In some cases, it helps us assess the client's agenda. which often has to do
with power relations. For instance, 121 promotional communication usually
proceeds from the dependent or funded organization to the principal or fund
ing one. The main purpose of such communication, therefore, will be that of
showing the target that the source of the tex.t is wo1th the support it receives
(or more), even if the client labels the purpose of the text as 'infonnative' in
the brief. In more general terms, however, the relationship between the source
and the target is essential for establishing a correct information-to-persuasion
ratio(§ 3.3.), that is to say, the amount of information regarding what is being
promoted that is shared by both the source and the target. lf!he target read
ers already know the promoted product/service, and have vecy well-defined
needs that cannot be easily changed (as usually happens in B2a genres. for
instance), then they will expect very specific infom1ation. Not complying with
such expectations -for example choosing a boastful or argumentative style
rather than a factual and technical one-might irritate the target and undermine
the source's reliability. In B2C promotion. on the other hand, the targe-t is not
likely to know what i!t being promoted yet, and his/her needs and desires are
assumed to be induced or manipulated by the promotion itself. This justifies
the use ofa more openly promotional, less i11fom1ative style.
Another factor that influences the encoder's and tl1e translator's choices
is the context of distribuHon, meaning the space (either physical or virtual) in
which the text is circulated. The amount of other semiotic stimuli, especially
other promotional texts, that occur at the same time or in the same space as
our text tells us how hard the text will have to figh1 to get the target's atre11-
tion. This information, too, helps us assess how far we should go towards !he
promotion end of the information-to-promotion ratio, usin12 both verbal and
non-verbal means. to give our text a chance to be seen among its potential
competitors.
The last (but by no means least) factor that we will take into account is
the information-to-persuasion ratio. As is clear from the previous discussion,
it is a consequeL1ce of all the elements listed above: it is influenced by the type
of source and target. their mutual relationship, alld the context of distribution.

lra Torresi JI
Moreover, for certain promotional genres or sub-genres, it varies substantially
across cultures, depending on specific textual conventions. For instance, the
promotion of private healthcare or educational services is deeply influenced
by the country's economic history: in cowuries where govemmem-funded
systems are more widespread and/or are recogoiied to provide higher qual
ity than private entities, private schools or healthcare providers will usually
adopt a factual l2U, raU1cr U1an a boastful B2C, style which, on the other
hand, may be favoured by tbe same kind of sources in those countries where
public services are non-existent or seen as less efficient. In such cases, special
a1tention should be devored to relevant target culture conventions, and, if
necessary, raise or reduce the amount of promotional boost contained in the
text. Generally speaking, however, if the source and target cultures share similar
conventions (as usually happens in intema1io11al B2B promotion, for instance),
the 1ranslator is required to treat factual, neutral iofo1matlon as an anchor
that should be manipulated as lillle as possible (i.e. translated as accurately as
possible),so as to avoid the risk of the text going adrift and missing the target.
On the other hand. less informative, more promotional texts or parts of texts
can be trans-created, provided that the overall amount of boost is preserved,
otherwise the LexL lllay either outnm or fall short of the target.
4.2 Self-promotion
The tex1s analysed in this chapter share the same type of source: individuals
who want to promote themselves as professionals. whether they are applying
for a job or trying 10 reach new customers for their activity. Translating this
kind of text is not as unusual as one may think. fn the global market, people
may seek a job abroad, and require a professional translator's services if they
recognize the importance of a well-written CV and cover letler. Moreover,
protessionals who use the Jntcmet to make connections wi1h their prospective
clients or customers may need a multilingual website because they operate in a
multilingual area, or they may be seeking to expand their market internation
ally by having their websites translated into foreign languages.
fndividuals are usually aware of 1he competition they are exposed to.
Their drive towards visibility, however, is usually mitigated by the need to
build a reliable image. unc thatdo<::s not give away the professional"s naturally
limited resources (after all, Lhey arc individuals, not a company or institution)
or, even worse, their limi1ed knowledge of the conventions the target reader
ship is used to.
the follo,vlng sob-sections will examine the characteristics of self
promotion texts, dividing them according to whether their main targets are
potential employers (as in the case of CVs and job application letters, which
will be treated separately because they follow different textual conventions),
or potential clie111s/customcrs (as in personal websites).

32 Translatfng Promotional Material: Self-promotion
4.2.1 CVs
Curricula vitae are highly fonnal and standardized texts. Different conven
tions for CV writing exist in different countries: within the European Union,
to reach formal equivalence and thus grant better understanding of the
skills and abilities of applicants coming from different member states, the
Europass CV model (http://europass.cedefop.europa.etJeL1ropass/bome/ver
nav/Europasss+Documents/Europass+CV /navigate.action) is currently used.
lt is a template, written in all the languages of the Union, which carers for the
needs of those who apply for a job in both the public and private sector across
the EU, both in their own country and abroad. lftbe person oneis translating
for falls within this category, then suggesting the Europass template for the
relevant target language may be a good idea (with the proviso that in some
sectors, such as academia, it may not be appropriate).
There are cases, however, in which the client may not wish to resort to
a fixed model or template. either because it does not cater for his/her specific
needs (e.g. a freelancer who wishes to list all his/her working experiences) or
because s/he knows the potential employer as someone wbo may appreciate
people who do not necessarily conform with the standard. In such cases, ii is
always better to make it clear that the responsibility for such deviation from
lhccanon lies with the client., not the translator. Moreover, it is advisable that
the degree of deviat.ion from the standard is-assessed and negotiated with the
client depending on lhc kind of target, the kind of job that the client is ap
plying for, the extent to which the client is sure of his/her knowledge of the
potential employer or the person who will be receiving and selecting the CVs,
and other imp0rtaot details tbat at first sight may seem minor. For instance,
the client may want to mark out key elements (the ones that would be in bold
and/or capital letters in the Europass and other traditional CVs) in dark red or
blue rather than through other graphic conventions, but cau s/he be sure that
the person who receives the CV will not print it out, or photocopy it. in black
and white, thus missing all emphasis?
At any rate, there are certain conventions that are best retained if the
client wants to convey an image of professioJ1alism and reliability. which
are generally appreciated virtues in job applicants or freelancers seeking to
expand their client pool. For instance, graphic consistency should be sought
throughout the CV. with as few changes as possible in formatting (e.g. type
and sizcof fonts, spacing. alignment, etc); bright or varied colouring and fancy
graphic styles should be avoided, even if the context of distribution ofCVs is
usually characterized by fierce competition: and iufom1ation units should be
clearly separated., so that each relevant item can be easily spotted on the page
and identified in tem1s of information type. Generally speaking, when writ
ing or translating.a CV, typOgfaphy a11d layout play an essential role (Schopp

lra Torresi 33
2002). Even ifCVs are usually seen as a k.ind of text where the information
conveyed is more important than the style of the language that conveys it,
the very existence of rather strict semiotic and linguistic conventions for CVs
bears witness to the contrary.
Titius Caius's CV (see example 4a) is an illustration of CV translation
which entailed substantial negotiation with the client. I was commissioned
the translation of the CV into Italian by the end cliem's wife. who owned a
translation agency. Translation choices were negotiated with the end client
either directly or through his wife. The text is reproduced faithfully except
for proper names, which have obviously been changed.
Example 4a
English CV ofa German professional worki11g in the banking system
Curriculum Vitae Dr. Titius Caius
Statement
Career History
I 0/03 -present
Steubcnstrallc 16. D-47100 Fantatown, Gem1any
Phone: +49 777 66 55 444, Mobile +49 111 222 333 55
Fax. +49 666 88 99 000, e-mail: [email protected]
A professional with a sustained record of achievement
within the financial sector. Quick to grasp new ideas and
concepts and to develop innovative and creative solu
tions to problems. A team player with highly developed
communication and people skills. Proficiem in English.
Gem1an, Italian and Spanish and good knowledge of
French and Luxcmburgish
PAR[BAS FUNDSHUB, Luxembourg
J0/03-present: Manager, Dealing and Client Services
Team (8 people)
• Supervise and manage all operational processes of a
F undsupermarkct dealing and client service desk (UK,
German and Swiss Market) on a daily basis
• Co-operated in the start-up and production scL up of a
Fundsupemiarket in Germany with special emphasis
on laxation aspects
• Involved in business analysis and development of new
functions and applications
• Validate and ensure the application of internal proce
dures-and guidelines
• Recruited and integrated a number of new Team
members

34
0610 I • 09/03
I 0/97 • 05/0 l
Translating Promotional Material: Seif-promotion
Major achievements: Efficiently re-engineered oper•
ations to enhance perfonnance and improve customer
satisfaction
AGENT CNVESTMENT OPERATIONS S.A.,
Luxembourg
05/02-09/03: Team Leader, IotcrnafioaaJ Team
• Overseefog all daily operational processes in the
transfer agency area (incl. Dealing, Registration, Euro•
clear/Clearstream operations, trailer fee management,
distribution processing etc.)
• Managing relationships with key TA clients and assist•
ing in winnjng and integrating new TA clients
• Managing a team of (i TA Administrators -recmit•
ment, motivation, appraisals, delegation of dutie.s
Major achievements: Restructured work flow in the
transfer agencies in Luxembourg and Dublin and ensured
full promotion and utilisation of electronic commerce
applications
ASSET INVESTMENT OPERATfONS S.A.,
Luxembourg
06/01 • 04/02: Administrator
• Delivered and improved reliable shareholder record
keeping
• Implemented an internal communication program
• lustructed and morutored new staff men1bers
Major achievements: Reorganised reconciliation of
accounts.
Designed and implemented new procedures in the
transfer agency area
UNIVERSITY OF BERLIN, Berlin
05/98-05/0J: Academic Assistant
• Researched and published on Spanish aud Italian
Culture and Literature
• Managed human and financial resources
• Co-ordinated national and international symposiums
• Wrote course design documents
Major achievements: Published several articles and
held conferences.
Ph.D. degree with highest honours

Ira Torresi
08/96 -02/97
04/88 -0~/00
Education
06196 -03/02
02/00 · 03/00
03/96
10/92 -10/93
I 0/90 -05/96
08/86 · 05/90
08/87 • 07/88
08/80 • 06/86
Language Skills
Communication
Skills
10/97 · 05101: Ledurer for Spanish & ltali:1n
Literature
• Taught Italian and Spanish literature
35
• Prepared and scored student exams, tutored and ad-
vised students
• Lectured on interpersonal communication topics
Major achievements: Organised and led internet and
HTML workshops.
Developed training schemes for lecturers.
TRAJNER AT PHOENIX INSTITUTE (Institute for
Job lnfom,ation and Training, Berlin)
• Developed and implemented training programs
• Advised clients and conducted negotiations with
institutional clients
GUIDE AT llERLIN TOURIST INFORMATION
• Guided tourist groups and translated publications into
Spanish and Italian
• Organised training for guides
Ph.D. in Spanish Literature (University of Berlin)
Grade: summa cum laude
Research activities at the Univcrsidad Nacional Au•
t6noma de Argentina, Argentina
M.A. in Political Science, Romance Philology and
History (University of Berlin)
Studies in Political Science and Italian Philology at the
University of Bologna (Italy)
Studies in History, Romance Philology and Political
Science al the University of Berlin
Berliner Gymnasium Berlin, school-leaving certificate:
Abilur
Exchange student in Argentina
Staatlithe Realschulc Fantasberg, school-leaving cer
tificate: Minlcre Reife
German (mother tongue); Proficient in English, Italian,
Spanish: good language skills in French and Luxem
burgish
• Group leading and event management practice
• Published several anicles and a Ph.D. thesis

36
PC Skills
Personal Details
Example4b
Translation of 4a
CURRICULUM
V1TA£
Dati persooaU
Profilo
Formazione
06/96 • 03/02
02/00 • 03/00
03/96
10/92 · 10/93
Translating Promolional Ma1erial: Self-promo/ion
• Extensive experience in public speaking and lecturing
• Strong multinational culture fonned through extensive
travel and living in Argentina and Italy for more than
two years
Very good working skills in Office programs (Word,
Excel and MS Project), in the DTP Area (e.g. Power
point, Photoshop), as well as in the lnternet Publishing
Arca (HTML, Homepage, Frontpage)
Nationality: German
Date of birth: 12th February I 970
Place of birth: Fantasberg, Gem,any
Civil status: married, two children
Dorr. Tmus CAIUS
Titius Caius
Steubenstraf.le 16, D-47100 Fanta1own, Gem1ania
Tel: 0049 777 66 55 444, Cell: 0049 111 222 333 55
Fax : 0049 666 88 99 000, E-mail;
[email protected]
Nato a Fantasberg (Gem1ania) ii 12 febbraio 1970
Coniugato. due b~mbini
Comprovata espericnza nel senore finanziario, prontev.a
nell 'apprendere nuovi concetti e nell' claborarc soluzio
ni innovative e creative. Propensionc per ii lavoro di
squadra, elevate compctenze sociali e organizzative. Ot
tima coooscc,w di inglese, tedesco, italiano, spagnolo;
buona conoscenza di fraoccsc e lossemburghese
Dottorato di riccrca in Letteratura Spagnola (Uni
versita di Berlino), con eccellcnza
Visiting Scholar presso la Universidad Nacional Au
t6noma de Argentina, Buenos Aires
Laurca magistrale in Scie,ne Politiche, Filologia
Romanza e Storia (Universita di Berlino)
Studi di Scienzc Politiche c Filologia ltaliana presso
l'U11iversi1a di Bologna

Ira Torresi
08/86 • 05/90
08/87 -07 /88
08/80 · 06/86
Esperien.ze
professionali
I 0/03 -!)ggi
06/0 I · 09/03
37
Maturita classica (Abilur) prcsso ii Berliner Gymnasium
di Berlino
Scambio studenksco con I' Argentina
Licenza med1a (Mililcrc Rcife) presso la Staa1liche
Realsohu le di Fantasberg
PARIBAS FUNOSHUB, Lussemburgo
Responsabile uoita di oegoziazione e servizi alla
clfontela (8 persone)
• Supcrvisione e amministrazione costantc di tutti i
processi gcs1ionali relativi a un'unita di negoziazione
e servizi alla clientela (mercati britannico, tedesco e
svizzero) di un supennercato di fondi
• Assistenza all'avviamento e al se1 up produttivo di un
supennercato di fondi in Oennania. con particolarc
ri ferimento agli aspett1 fiscal i
• Contributo a Ila businc-ss analysis calla creazionc di
nuove fimzioni e applicazioni
• Approvazionc ccontrollo dcll'applicazionc di proce
dure e lince-guida interne
• Assum:ione e integrazione di divcrsi componenii
dcll'unita
PrincJpali successi: Efficace riorganizzazionc delle
operazioni net senso di una migliore perfonnance e per
soddisfare al meglio le esigenze delta elientcla
AGENT INVESTMENT OPERATIONS S.A.,
Lussemburgo
05/02 -09/03: Team Leader unita operativita
estera
• Supervisione costantc di lutti i processi gestionall
dell'arca Transfer Agency (ufficio rcgistro c trasfe
rimcnto), incluse le opcraziooi di ncgoziazione,
iscrizionc, Euroclcar/Clcarstrcam. gcstione commis
sioni di intenncdiazione. distribuzione ece.)
• Gestione dei rapponi con i principali elien1i delta
Transfer Agency c contributo all'acquisizione e inte
grazionc di nuovi clicnti nclla s1essa area
• Gcstionc di un team di 6 amministratori dell'arca
Transfer Agency: assunzioni, motivazionc. valu(azio
ne, assegnazionc delle mansioni

Random documents with unrelated
content Scribd suggests to you:

Hugh Ritson oli pyörähtänyt ympäri ja mennyt. Drayton palasi
takaisin ystäväinsä luo. "Eikö kyyhkynen tuo riistaa nokassaan, kun
se palaa pensaaseen?" hän mutisi.
"Ei, sillä on nokassa komea, valkoinen höyhen", sanoi vanha
Reuben Rae.
"Ei se riistaa kokoa, jolla on vain kieli aseena", päätti John, seppä.
* * * * *
Hugh Ritson asteli pimeässä kaivosvuorelle. Sulatusuunista hohti
valoa eteläiselle taivaalle, ja vuorenjyrkänteet häämöttivät
epäselvinä sen valossa. Koneen jyske, ketjujen kolina ja viiltävä
lapioiden kirskuna, kun miehet loivat kopista malmia pengermälle,
olivat ainoat äänet, jotka kuuluivat tuulenpauhinan yli. Gubblum
työskenteli aivan kaivosaukon suulla. "Oglethorpe", sanoi Hugh,
"kuinka monta vuoroa on alhaalla työssä tänä yönä?"
"Kaikki, paitsi kahta miestä — vanhaa Reubenia ja Jim Southia."
"Sittenhän ne ovat valinneet työn."
"Niin, toiseks' kahreks' viikoks' — luottaen siihen, että saavat
palkkansa jo ennen sitä, jos Jumala suo."
"He eivät tule pettymään."
Hugh Ritson kääntyi pois. Gubblum työnsi kärrynsä pengermän
reunalle ja levähti mutisten itseksensä: "Joka tapauksessa hän
kestää sen aivan kylmästi."

Mutta ulkonainen tyyneys hävisi heti, kun Hugh Ritson pääsi
omaan huoneeseensa kaivosvuoren juurelle. Hän valeli polttavaa
otsaansa uudestaan ja yhä uudestaan. Hänen sormensa
nytkähtelivät hermostuneesti ja hän pisti hikiset kätensä kyynärpäitä
myöten kylmään veteen pitäen niitä siellä useita minuutteja. Pitkään
aikaan hän ei hetkeksikään istahtanut. Hän käveli lakkaamatta ja
kiusaantuneena, ja hänen herpaantunut jalkansa oli raskas ja
laahustava. Sitten hän heittäytyi leposohvaan, pyöri siinä hetkisen ja
alkoi taaskin surullisen marssinsa. Nämä tunnit kuluivat hitaasti.
Hän kertasi kohta kohdalta päivän elämykset. Ja yksitellen
syöksyivät hänen mieleensä kaikki ne tapaukset, joita hänelle oli
sattunut näinä kahtena vuotena isän kuoleman jälkeen. Myrsky
raastoi esille kaikki jo haihtuneetkin muistot. Ja jokaisella muistolla
oli oma katkera makunsa ja ne saastuttivat koko hänen sielunsa kuin
rutonhuurut. Hän koetti suojata itseään itseänsä vastaan. Mitä hän
ensin oli aikonut tehdä, oli ollut vain etsiä eittämätöntä laillista
oikeuttansa, ja — jos hän oli mennyt pitemmälle uskaltamatta
ajatella, ennenkuin teko oli tehty — oli se ollut rakkaus, joka hänet
oli harhaan vienyt. Oliko siis niin raakaa etsiä oikeutta, niin
häpeällistä rakastaa?
Mutta yli vaihtelevien omantunnon soimausten, yli tukahdutetun
katumuksen, yli rakkauden tuskain ja ristiriitojen, puhui koston ääni
hänen sielussansa. Tämä mies, hänen välikappaleensa, nyt hänen
isäntänsä, Paul Lowther, täytyi nujertaa maahan ja hänen
luikerteleva apurinsa hänen kanssaan. Mutta miten? Oli vain yksi tie
— paljastaa itsensä. Nyt se oli ainoa tie, joka tyydyttäisi hänen
petettyä ja solvaistua henkeänsä. Hänen täytyy mennä oikeaan
paikkaan ja sanoa: "Minä olen tehnyt väärän valan ja ryöstänyt sen

kautta veljeni vapauden. Mies, joka tuomittiin Paul Draytonina, onkin
Paul Ritson. Kaikki on minun syyni."
Se kaataisi tämän hävyttömän roiston lokaan, mutta millä hinnalla!
Vangin puku, jota nyt kantaa hänen veljensä, joutuisi silloin hänelle.
Ja mikä lohdutus se olisikaan, että ryöväri itse joutuisi rikoksestaan
kärsimään! Mutta miksi puhua lohdutuksesta tällaisessa asiassa!
Oliko hänellä mitään muuta mahdollisuutta? Mistä hän löytäisi
sellaisen paikan, johon taivaan pilvien läpi valo kirkastaisi hänen
tietänsä? Hän matkusti kohden synkkenevää yötä ja hänen elämänsä
päivätyö oli tehty.
Mitäs sitten, jos hän antaisi kaiken mennä menojaan? Silloin hän
olisi häväisty, perikatoon joutunut mies, joka on ajettu kuin koira
ulos hänen isänsä talosta ja jonka aina täytyisi nähdä, kuinka
muukalainen siinä isännöi. Voisiko hän juoda niin katkeran kalkin?
Katkeran! oh, tuhat kertaa katkerammaksi se tuli sen kautta, että
hän itse, oman loppunsa alussa, oli asettanut roiston sille paikalle,
jota hän nyt hallitsi.
Ei, ei, ei! Paul Lowtherin täytyy kukistua ja hänen kanssaan täytyy
kukistua myöskin erään paremman miehen sortuneen jäännöksen.
Niin, paremman miehen, sanokoon maailma mitä tahansa!
Voisiko tapahtua, etteivät he uskoisi häntä? Kun hän sanoo:
"Vangitkaa minut — minä olen valapatto", he ehkä vastaavat: "Ei. Te
tunnustatte itsenne rikolliseksi senvuoksi, että saisitte kostaa sille,
joka on ajanut teidät pois talostansa." Hugh Ritson naurahti julmasti,
kun tällainenkin mahdollisuus johtui hänen mieleensä: Roisto
pelastuu rangaistuksesta kun hänen vihamiehensä syytöspuhe
muuttuu puolustukseksi.

Ovelta kuului koputus. Hän oli niin sotkeutunut näiden ajatusten
sokkeloihin, ettei aluksi ymmärtänyt, mitä koputus tarkoitti. Lopuksi
hän hallitsi itsensä ja huudahti:
"Sisään!"
Gubblum Oglethorpe astui huoneeseen.
"Kahrentoist' vuorolaiset ovat juuri lähröss' ales, mutt' tahtovat
vierä muutamia pölkkyjä mukanaan. Sanovat, että suojusvarustukset
hiekkaosalla ovat alasromahtamaisillansa."
Hugh Ritson ponnisti tahtoansa tajutaksensa Gubblumin sanoman.
"Käskekää heidän ottaa pölkkyjä", hän myönsi matalalla äänellä.
Gubblum peräytyi ovelle ja pysähtyi.
"Oletteks' kuullut viimeisiä uutisia vanhan Matthan mökilt'?" hän
kysyi toisella äänellä.
"Mitä uutisia, Oglethorpe?" sanoi Hugh pää painuneena yli
pöydän.
"Robbie Southin muija oli tääll' kaivoksell' ja sanoi, että Mercyn
pikku vauva on muuttannu pois."
Hugh ei kohottanut silmiänsä.
"Sekö uutinen on viimeinen?" hän kysyi.
"Ei, vaan pahin. Tyttö itte repi siteen silmiltään ja on iäks' päiväks'
tullu sokeaks' kuin kivi."

Hughin pää painui lähemmäksi pöytää.
"Hyvää yötä, Oglethorpe", hän sanoi.
Gubblum peräytyi ovesta ulos ja mutisi astellessansa kaivokselle:
"Kylmä mies, joka tapauksessa."
Sinä hetkenä, kun ovi sulkeutui, Hugh Ritson tallusti levottomana
lattiaa edestakaisin. Mitä hän oli aikonut tehdä? Jättää itsensä
valapattona oikeuden käsiin? Eikö hänellä siis ole elämässä mitään
velvollisuuksia, kun hän aikoo sovittaa kostonsa kuolemaakin
peloittavammalla teolla? Mitä tulee siitä naisesta, joka on kärsinyt
hänen tähtensä? Mitä murtuneesta sydämestä ja turmellusta
kotionnesta? Eivätkö ne merkitse mitään silloin, kun ylpeä mieli
tyydyttää omia oikkujansa?
Ei hetkeäkään, ei katkerimmassa tuskassaankaan Hugh Ritson
sydämessänsä katunut sitä pahaa, mitä hän oli tehnyt Paul
Ritsonille; ei kannattanut kostaa sitä, mitä hän oli kärsinyt Paul
Draytonin tähden. Muuttua pyhimykseksi silloin, kun tulee sairaaksi,
saada omatunto herkäksi vasta sitten, kun sitä uhkaa tuho — oh,
sellaiseen alentuvat vain ihmiskunnan kehnoimmat hylkiöt! Sellainen
kääntymys ei ollut häntä varten.
Toisessa kädessä kosto, toisessa velvollisuus — kumpaa tuli
seurata? Tuhon omaksi joutunut mies ei voinut tehdä mitään
päätöstä, ja kun hänen kellonsa näytti yhtä, hän heittäytyi sohvalle
levätäksensä hiukan.
Unta hän ei toivonut — unet viime aikoina olivat olleet liian täynnä
kauhuja, mutta uni valtasi hänet kaikesta huolimatta. Hänen
nukkuvat kasvonsa olivat tuskien miehen ja unet olivat kauhistavia

heijastuksia niistä ajatuksista, jotka valveilla hänen mielensä
täyttivät. Hän uneksi, että hän oli kuollut lapsena. Kylminä, ylevinä,
mutta hyvin suloisina hänen lapsenkasvonsa katsoivat ylös valkeilta
lakanoilta. Hän ajatteli, että hänen äitinsä kumartui hänen ylitsensä
ja vuodatti monia kyyneleitä, mutta hän itse muutti toiseen,
ihmeelliseen maailmaan ja katseli alas heihin molempiin.
"Parasta on näin", hän ajatteli, "ja kyyneleet, jotka äiti vuodattaa,
ovat siunatut."
Tässä hän havahtui ja nousi jaloillensa. Mitä hullutuksia ihmiset
ovatkaan unista sanoneet! "Oi, uni, sinä hellä haltija, maailman
äärestä toiseen kaikki sinua odottavat!" Hellä! Kauheampi kuin
kuolema! Surullinen kävely lakkasi, ja hän taas paneutui pitkäksensä.
Hän nukahti ja uneksi uudestansa. Tällä kertaa hän oli tappanut
oman veljensä. Hetkistä aikaisemmin he olivat seisseet silmä silmää
vasten — voimakkaina ja raivoissansa, silmät tulta iskien ja kädet
kohotettuina. Nyt veli makasi hiljaa ja peloittavana hänen
jaloissansa, ja ääni taivaasta huusi: "Kulkijana ja pakolaisena pitää
sinun oleman maan päällä."
Kauhuissaan hän hyppäsi seisoallensa. "Armoa, armoa!" hän
huusi. Sitten hän huokasi raskaasti ja katseli ympärillensä. "Unta —
vain unta", hän sanoi itseksensä ja naurahti lujasti yhteen-purtujen
hampaidensa välitse. Lamppu paloi yhä pöydällä. Hän nousi, otti
avaimen taskustansa, avasi laatikon ja otti sieltä esille pienen pullon.
Se sisälsi unijuomaa. "Jos minun nyt täytyy nukkua, minun täytyy
vihdoinkin saada nukkua uneksimatta", hän sanoi ja mittasi
annoksen. Hän kohotti lasin huulilleen ja näki siinä omien kasvojensa
kuvan. "Sääliä, sääliä! Tyhjät unet turmelevat minun hermoni.
Säälittävää, toden totta! Ja nyt minun täytyy suojata itseäni itseäni

vastaan tällaisilla varustuksilla!" Hän piti lasia tulta vasten, ja kun
käsi vapisi, hän nauroi. Sitten hän joi sen, sammutti tulen ja istahti
sohvaan.
Päivän sarastus vaalensi pilviä ja ensimmäinen kaje tuikahti
akkunasta sisään, kun keltainen valo sammui. Hugh Ritson istui
synkässä hämyssä polvet vedettyinä ihan leuan alle, kädet ristissä
rinnalla ja pää eteen syvälle painuneena. Hän hyräili jotakin vanhaa
laulua. Äkkiä ääni kävi möriseväksi, pilvi ilmestyi silmien eteen ja pää
retkahti taakse. Hän nukkui ja taas hän näki unta. Tai oliko se näky
eikä uni, joka hänelle nyt ilmestyi? Hän oli seisovinaan huoneessa,
jonka hän oli ennen nähnyt. Vuoteella lepäsi jokin valkoinen olento.
Se oli lapsi, ja pieni henki oli liidellyt pois. Sen ääressä oli eräs vaimo
kuurullansa ja valitti ääneen: "Rikollinen, rikollinen!" Naisen silmät
tuijottivat lapseen, mutta hän ei nähnyt mitään. Näöttömät terät
olivat valjenneet. Sydämellänsä hän kuitenkin näki lapsen ja näki
myöskin hänet, Hughin, kun hän astui sisään. Sitten tuntui kuin
nainen olisi kääntänyt sokeat kasvonsa häneen ja kutsunut häntä
nimeltä. Seuraavana hetkenä nainen oli kadonnut. Hänen istuimensa
oli vapaa ja vuode tyhjä, vain harmaapartainen mies istui kylmän
takan ääressä. Ääretön kuorma painoi häntä alas, mutta Hughista
tuntui, että hän ponnistaen kohotti päätänsä ja Hugh kuuli nimeänsä
mainittavan.
Hän hyökkäsi ylös. Suuret, kylmät hikipisarat tippuivat hänen
otsaltansa. "Mercy on kuollut", hän kuiskasi kauhuissaan. "Hän on
mennyt vaatimaan rikollista tilille. Hän on nyt Jumalan tuomiolla."
Seuraavana hetkenä kuului huuto: "Herra Ritson!"
Hän kuunteli ja päivän hämärtäessä hänen kivettyneet kasvonsa
hymyilivät julmasti.

"Herra Ritson!" kuului taas ja piiskan varrella kolkutettiin oveen.
"Kapakoitsija Tommy", sanoi Hugh Ritson ja purskahti katkeraan
nauruun.
"Tuo Tommy oli siis minun pelastava enkelini, hoh!"
Toinen korvia vihlova nauru. Kapakoitsija istuen kuskipenkillä kuuli
sen ja ajatteli itseksensä: "Siellä on joku hänen kanssansa."
Hugh Ritson painoi koko päänsä pesuvatiin ja hankasi sitten
kiivaasti karkealla pyyhkeellä. "Minun viimeinen uneni on ohi", hän
sanoi katsahtaen kauhuissaan sohvaan. "Minun täytyy tehdä se,
johon velvollisuuteni vaatii, mutta ei enää painajaista eikä unia!"
Hän avasi oven, heitti karkean vaipan ajajalle, veti ulsterin
päälleen ja hyppäsi rattaille. He lähtivät matkalle kiireisellä vauhdilla.
Kolea aamutuuli puhalsi yli laakson. Aurinko nousi Cat Bellsin yli,
mutta Hugh Ritsonista tuntui kuin hän olisi matkustanut ainaista yötä
kohden. Hän istui käsivarret ristissä ja pää rinnalle painuneena.
"Oletteks' kuullu, mitä on vanhan loordi Fisherin mökill' tän'
aamun' tapahtunnu?" kysyi majatalon isäntä.
Hugh vastasi matalalla äänellä.
"En ole kuullut mitään."
"Tyttö on seurannu lastaan sanken orottamatta. Niin, hän on
myöskin menny. Kuollu noin puol' tuntia sitten. Sivukulkiessan' kuulin
sen kirkkoherra Christianilt'."
Hugh Ritson taivutti painuneen päänsä vieläkin alemma.

XII LUKU.
Kello kaksi sinä päivänä Hugh Ritson saapui Eustoniin. Hän otti ajurin
ja ajoi Whitehalliin. Sisäasiaintoimituskunnassa hän kysyi ministeriä.
Sata vastusta nousi hänen tiellensä estämään häntä tapaamasta
toimituskunnan päällikköä. Yksi virkamies neuvoi häntä toisen,
toinen kolmannen, kolmas neljännen luo.
Hugh Ritson oli tuskin sellainen mies, joka saattoi ottaa lukuun
sellaisia esteitä. Hänellä oli asiaa ministerille eikä kenellekään
muulle. Parlamentilla oli istunto ja ministeri oli mukana. Hugh Ritson
etsi häntä sieltä. Hän selitti asiansa muutamin sanoin, ja ministeri
kuunteli häntä epäilevin ilmein.
Ministeri oli tyhmä yorkshirelainen, jonka hyvät päivät olivat
tehneet luonnottoman pulleaksi ja kömpelöksi. Aluksi hän katseli
vierastansa ilmeisesti epäillen hänen järkeänsä, mutta kun tämä
epäilys näytti turhalta Hughin johdonmukaisten selitysten vuoksi,
hänen mielensä näytti tekevän omin käsin puhkaista koko
mätäpaise.
Pian ilmestyi yorkshirelaisen kasvoille kuitenkin varjoja, jotka
syntyivät vakavammista syistä kuin tuon epäilyttävän miehen

liikatunteellisuudesta.
"Eikö teidän olisi paras jättää asia huomiseen ja tulla aamulla
minun luokseni Whitehalliin?" hän sanoi osoittaen suurempaa
huomaavaisuutta kuin tähän asti. "Jos te silloinkin vielä olette samaa
mieltä, minä annan asian yleiselle syyttäjälle."
Hugh Ritson kumarsi hyväksyvästi.
"Ja saanko minä käydä myöskin vankilassa?" hän kysyi.
"Luultavasti. Se on kyllä vasten uusia määräyksiä, etteivät
kuritushuoneessa saa käydä kutkaan muut kuin vankilan
viranomaiset ja henkilöt, jotka tahtovat tutustua vankilan
rangaistustapoihin. Mutta saamme nähdä, mitä voimme tehdä."
Sinä iltana Hugh Ritson pistäytyi St. Margaretin luostarissa. Oli
myöhä, kun hän astui sisään ja kun hän palasi puoli tuntia sen
jälkeen, olivat lamput Abbey Gardensilla sytytetyt. Valo lankesi
päivystäjä-sisaren kasvoille, kun hän avasi hänelle oven. Hänellä oli
harmaa puku, mutta ei huntua, ja päätä peittävän liinasiteen alla
silmät olivat punaiset ja turvonneet.
Hugh Ritson vihelsi ajurin Broad Sanctuarylla ja ajoi Hendoniin.
Haukka-Haikaran kapakkahuone oli täynnä kantajia, kuorma-
ajureita, tienkiertäjiä ja maatyöläisiä, kaikki juoden ja meluten. Mutta
tästä näennäisestä vilkkaudesta huolimatta koko paikka oli
rappeutuneen ja häviävän näköinen. Jabez tarjoili myymäpöydän
takana. Hän oli suuresti entisestänsä edistynyt ja piti päänsä
pystyssä, kuten ainakin nuori keikari, joka juuri on vanhempain
holhouksesta vapautunut ja pääsee omin neuvoin esiintymään
suuressa maailmassa. Rouva Drayton istui neulomassa samassa

huoneessa, jossa Mercy kerran oli leikkinyt naapurin lasten kanssa.
Kun Hugh Ritson astui hänen luokseen vanha rouva hätkähti.
"Herra hyvästi siunatkoon, herra, oletteko se te. Minä olen niin
pelännyt, kun minä silloin itkin ja valitin ilman aikojani. Ja mitä hyvää
minä olen siitä saanut? Sen erän perästä ei minun oma lihani ja
vereni, kuten hyvin voitte sanoa, ole tuntenut minua."
"Tarkoitatteko koet-laisuutta?" kysyi Hugh Ritson.
"Koettapa koetta!" voivotti kapakan emäntä kohottaen silmänsä
samalla, kun neulintikkujen kilinä lakkasi. "Minun Paulini ei ollut
siellä. Cummerlannissa taas, herra — itse kuulitte, mitä hän minusta
sanoi." Hänen talousesiliinansa nurkka kohosi silmille. "Minusta, joka
olen häntä sillä hellyydellä kasvattanut! No", päättävästi itseänsä
hilliten, "minun sydämeni on niin täysi ja minä kostan hänelle ansion
mukaan. Minä uhallakin annan talon ja tavaroiden mennä, se on
totinen tosi. Minä luotan Luojaan, ja tuo Jabez, ei hänkään ole oikea
lapsi."
Kun Hugh Ritson teki lähtöä, vanhan rouvan kiihko lisääntyi. Hän
pani neuleen syrjään ja kiireesti askarteli ensin päähineensä
nauhoilla ja sitten esiliinallansa.
"Kuunnelkaa minua", sanoi Hugh. "Tänään on perjantai.
Maanantaina teidän pitää mennä siihen luostariin, jossa näitte Paulin
äidin. Kysykää sisar Gracea. Muistatteko — sisar Gracea. Hän sanoo
teille kaiken."
Kello oli melkein yksitoista, kun Hugh Ritson palasi kaupunkiin.
Kadut olivat tungokseen asti täynnä, ja monta pitkää tuntia hän kulki
ihmisvirrassa, joka vyöryi edestakaisin Strandilla. Tässä

ihmiskasvojen lainehtivassa meressä eivät missään tuskan ja
kärsimyksen jäljet näkyneet selvemmin kuin hänen kasvoillansa.
Hänen tunteensa olivat kääntyneet sellaiselle ladulle, jota hän ei
olisi toivonut. Hän oli kuin lastu laineilla, jotka heittelivät häntä
oudoille vesille, pilvenhattara ilman ankkuria taivaan tuulissa. Sen
lisäksi hän tunsi selvemmin kuin koskaan ennen, että yön hetket
muuttavat ihmisen herkemmäksi ja aivan toiseksi kuin päivällä.
Yhdenkään kasvoilla tuossa kasvojen meressä ei näyttänyt
kuvastuvan se salainen pelko, ilmeellinen ilo ja katkerin tuska, joka
yön hiljaisina hetkinä yksinäisen ihmisen sydämeen hiipii täyttäen
sen onnella tai epätoivolla.
Kuinka kauheata olikaan joutua synnin ja kärsimysten
hyökylaineille tällaisin tuskain raatelemin tuntein! Hän tunsi —
tahtoipa tai ei — olevansa peto, joka oli hävittänyt orpojen onnen ja
murtanut leskien toiveet, niinkuin hän olisi julmin ilmein katsellut
syrjästä vapisevaa miestä, joka oli kumartunut hänen kynnykselleen
kuolleen naisen yli, jonka elämän hän oli tuhonnut.
Niin, ei vain menneisyys kohottanut kaikkia kauhujaan hänen
mieleensä, vaan myöskin tulevaisuus turmiota uhkasi. Hän tiesi, että
se nuori tyttö, joka punertavassa musliinissaan hymy huulillaan
sipsutti katua idästä länteen, oli kuin luotu herättämään uinuvat
vaistot, joiden mutaisista lähteistä kuohuva häpeän lieju lopulta
peittää kaiken vihannan.
Hän kauhistui itseänsä; hän vapisi, niinkuin pyövelin käsi äkkiä
olisi laskeutunut hänen olkapäällensä. Hän vapisi vielä enemmän,
kun näki kuin peilistä omien kivettyneitten kasvojensa kuvan ja
mieleen johtui ajatus, että toisetkin saattaisivat nähdä sen, minkä
hänen silmänsä näkivät.

Hän kulki Arundel Streetiä ja kääntyi Embankmentille. Ei, ei, ei!
Armollinen Jumala ei voi sallia, että toinen näkisi niin syvälle toisen
sydämeen. Silloin ihminen tietäisi hyvän ja pahan. Hänen mieleensä
sukelsi ajatus, että tämä tunne oli sama kuin mahtoi olla
ensimmäisillä ihmisillä, kun he syötyään hyvän ja pahan tiedon
puusta saivat kuulla kirouksen ja katkeran tuomion.
Täällä tyhjällä käytävällä, joka kaikuna kertasi hänen askeltensa
äänen, ilma oli vapaa. Hän paljasti päänsä, ja lempeä länsituuli leikki
hänen hiuksillansa ja viillytti hänen ohimoitansa. Pään päällä ei
tuikkanut ainoatakaan tähteä, ja virta, joka vieri verkalleen syvässä
uomassansa, oli synkkä ja uhkaava. Mutta vielä synkempi oli elämän
virta, jonka pohjamutiin hän avuttomana oli painunut.
Hän oli kuullut, että Thames vaatii vuoden jokaisena päivänä
yhden ihmisuhrin ja nojatessaan marmorireunustan yli hän aprikoi,
olisiko se jo tänäkin päivänä, jonka viimeiset hetket olivat käsillä,
veronsa saanut. Hänen hiuksensa nousivat pystyyn, kun hän ajatteli,
että ehkä juuri tällä hetkellä musta vesi hänen alapuolellansa
uhkaavana vyöryi uhriansa vaatien.
Hän asteli edelleen, ja epäselvä ihmisten hyörinä ja melu saapui
Strandilta hänen korviinsa. Mitä sittenkin on joen vanhan jumalan
vaatimus kaupungin hirviön vaatimusten rinnalla? Ja nyt kun päivän
melu oli häipynyt, Hugh Ritsonin ajatus kääntyi kaikkeen, mitä hän
kaukaisessa pohjoisessa oli taaksensa jättänyt. Siellä,
äänettömyydessä ja pimeydessä, vuoristojen välillä, huojuvien
puiden ja kuohuvien koskien seutuvilla olivat puolet hänen tuhotun
elämänsä raunioista. Kajastus vanhan Lontoon monista valoista ei
ulottunut sinne asti, mutta se mies, joka niille paikoille oli luonut
synkän varjon, kulki nyt täällä.

XIII LUKU.
Kello löi puoliyötä, ja hän suuntasi askelensa siihen hotelliin, josta oli
tilannut vuoteen. Hän ei yrittänytkään nukkua, vaan käveli
edestakaisin läpi yön.
Aamulla kello kymmenen hän oli taaskin
sisäasiaintoimituskunnassa. Hän tapasi ministerin ja muutamia
tuomareita hänen kanssaan. Kun hän tuli ulos, hänellä oli taskussaan
määräys, että hän saa tavata erästä kuritushuonevankia
Portlannissa, ja eräs poliisikersantti seurasi häntä sinne
siviilipuvussa. He astuivat junaan Waterloossa kello kaksi iltapäivällä
ja joutuivat Weymouthiin kuuden aikaan. Kun he kulkivat meren
salmen yli, oli päivä lopussa ja raitis tuuli puhalsi ulapalta.
Anglosaksien aikuisen vanhan linnan seinät kuvastuivat uhkaavan
synkkinä siniseen veteen Vernon Hillin juurella, mutta etempänä,
jossa kallioinen ranta muodosti niemekkeen, keltaiset kivet ja
halkeillut sinertävä savi välkkyivät ilta-auringon valossa.
Hugh Ritson ja hänen toverinsa asettuivat yöksi Portlandin
yleiseen majataloon. Punakka, pyöreäposkinen, keski-ikäinen mies,
parta sileäksi ajettuna ja nuorten tavalla puettuna, istui
seurusteluhuoneessa tupakoimassa. Hän vastasi tervehdykseen

avomielisen sydämellisesti, niinkuin ainakin mies, joka mielellään
tahtoo keskustella. Mutta Hugh Ritson ei ollut ollenkaan juttutuulella,
vaan asteli heti päivällisen jälkeen yksinäiselle kävelyretkelle. Hän
asteli sitä tietä, joka niemeltä kulkee Chiswellin ja Fortune's Weilin
kylien kautta. Kun hän saapui vuorenharjalle, välkkyi vesi joka
puolelta, ja hänen alapuolellansa oikealla ja vasemmalla olivat
kivilouhimot, joissa vangit työskentelivät. Itse vuorella, nimeltä
Grove, oli pitkä graniittiseinä, jonka läpi johti leveä portti pihaan. Se
oli kuritushuone ja kolme tai neljä sen edessä olevaa rakennusta oli
johtajaa, kappalaista ja muita virkamiehiä varten. Vähän matkan
päässä oli ryhmä mökkejä, joissa vartijat ja työnjohtajat asuivat.
Näiden mökkien välissä oli muutamia puoteja ja kapakka, nimeltä
Koiran Kita.
Hugh Ritson tallusti kapakkaan ja istahti "kommeroon", joka oli
erotettu yleisestä osastosta ohuella lautaseinällä. Mutta tämä seinä
oli niin matala, että pitkä mies saattoi kurkistaa sisään sen yli ja väli
kattoon oli auki. Toiselle puolen tätä seinää oli saapunut muutamia
miehiä "pitämään lystiä".
"Nyt minä puhun vangista B 2001", sanoi omituinen kurkkuääni —
jota kuullessaan Hugh Ritson hätkähti. "Minä nujersin sen niskat
kohta ensi yrityksellä. Suolta tullessa jouruin hänen kanssans'
kahren. Nähressäni, ettei hän ollu vielä vanha vetelys, minä sanoin
hänelle: 'Vastatullut', sanon minä, 'jos te tahrotte oppia talon tapoja,
on teillä ehkä hyvätkin päivät, ei muuta kuin olla ja elää, mutta
ellette, voi täällä tulla olo hyvinkin tukalaksi.' 'Mitä te tarkoitatte?'
hän kysyi. 'Tämä vartijan toimi', sanon minä, 'ei ole mitään herkkua,
ja epäilen, viittisittekö meirän asemassa tehräkään sellaista työtä. On
pirettävä kieli keskellä suuta — vettä ja leipää jokaisesta
sopimattomast' sanast',' sanon minä. 'Te kuulutte minun ryhmään

enkä minä vaari teitä ihmeesti raatamaan, ellette itte minua siihen
pakota. Mutta minä tahron, että minun ryhmässäni on reiluja miehiä,
jotka eivät kymmenmiehiään pistä kiikkiin.' 'En ymmärrä', sanoo hän.
'Minä sanon siis selvään', sanon minä, 'puolustakaa vartijaanne, niin
vartijanne puolustaa teitä.' Hitto vie, jos saaraan tietää, että olen
antanut teille tällaisen neuvon, piru minut silloin perii!"
"Sanoitko, saakeli soi!" epäilivät toiset kuorossa.
"Oli sitten kuuma iltapäivä, ja pistettyäni mällin poskeen, minä
heittäysin muskettini viereen uinahtaakseni hiukan päivällisen päälle.
Toiset kuokkivat etempänä, mutta 2001 ja se nuorukainen, joka kuoli
keuhkotautiin, olivat ihan lähellä. No, tulee silloin johtaja ihan 2001
erestä ja karjaisee: 'Vartija', huutaa hän, 'saatte sakkoa
huolimattomuudesta.' Tämän sanottuaan hän menee matkoihinsa.
'Vai niin, herra 2001', sanon minä, 'tätä minä en unohra'."
"Mitäs sinä teit?"
"Tein?" — äänekäs ontto nauru. "Tämä tapahtui silloin, kun
parakkeja rakennettiin. Eräänä päivänä lensi pala sanomalehteä
upseerien asunnosta rakennuspaikalle, ja 2001 sieppasi sen ylös.
Hän hypähti ilosta saaressaan uutisia. Mutta kuului: 'Mars matkaan!'
Hän sai seittemän paria, kuukauren koppia ja menetti
vuorevaatteensa."
Sydämellinen nauru seurasi tätä kertomusta, miten "kymmenmies"
kosti "uurelle" tulokkaalle. Hugh Ritson kuunteli ja häntä puistatti.
"Minua ei hämmästytä mitkään sen ukkelin härkäpäisyyret", sanoi
toinen ääni. "Hän ol' mun sakissan' suolla ja minä tunnen hänet.
Hänet pantiin vellin keittoon, mutta siitäkin hän toimitti ittensä pois.

Sitten hänet vietiin räätälien poksiin, mutta hän valitti johtajalle, ettei
hänenlaisensa pitkä roikale voi päiväkausia pöyrällä istua. Se
miekkonen ei halua helppoa hommaa, se ainakin on varma."
Sitä seurasi äänekäs naurunrähäkkä.
"Sitten he panivat hänet minun ojasakkiini suolle, ja eräänä
päivänä tulee vanha pappi sääryksissä ja leveälierisessä hatussa ja
suu niin messingillään, kuin talon isäntä olisi hänet tervetulleeksi
toivottannu, ja rouva sipsutti alas ja maiskautti häntä suulle. No niin,
2001 tapasi heidät ylivartija Rennellin luona eikä ristikkojen takana.
Seuraavana päivänä minä sanon: 'Saittekos mitään, mikä voi auttaa
teitä maanalaiselle tielle?' 'Mille?' hän kivahtaa, ja hänen hahmonsa
mustaksi muuttuu. 'Maanalaiselle rautatielle', minä sanoin
merkitsevästi silmää iskien. 'Menkää tiehenne minun luotani,
verenimijä', hän sähähtää. Mutta minä nokastin hänet. Vanhat
laiskurit nauroivat kerran ojalla, kun Rennell saapui. 'Kuka siellä
hohottaa?' hän sanoo. '2001', sanon minä, 'hänell' on alituiset kujeet
ja laiskuus mielessä'."
"Ha, ha, ha! Mitä hän sai?"
"Kolme päivää vettä ja leipää, viikon yksityiskoppia ja menetti
majanvahrin viran. Ei hän välittänny muista eikä missä hän oli, mutt'
se häntä kismitti, kun ei saannu kirjoittaa kotiin rouvalleen."
"Millaisen annoksen hän saa?"
"Kolmanneksen. Joku toinen hänen sijastaan olisi työntänny
ittensä paremmin framille ja onnistunnu. Hän on koulutettu ja olis'
voinnu päästä sairaalan vahtimestariks' tai tohtori Crokerin
pitsentiks', tai parhaassa tapauksessa johtajan kirjanpitäjäks'. Mutt'

hän ei ole ansainnu ylennystä ja joutuu pois ennenkuin saa siihen
enää tilaisuutta."
Hugh Ritson ei voinut sietää heidän keskusteluansa kauempaa.
Hän nousi jättääksensä talon, mutta ennenkuin sen teki, hän heitti
oven auki viereiseen huoneeseen, seisahtui kynnykselle ja yhdellä
silmäyksellä näki yksityiskohtia myöten sekä huoneen että siellä
olijat. Raitis tuuli puhalsi ulkona. Hän asteli illan hämärtyessä kirkon
raunioille, jotka olivat aivan jyrkänteen partaalla ja astuttuaan
porttiaukosta hän joutui kallionlouhokselle. Louhos ulottui noin sata
kyynärää rinnettä alas. Suuret särmikkäät möhkäleet oli kiskottu irti
vuoresta, joka näytti uhkaavana tahtovan nielaista kitaansa jokaisen,
koska sen ikuista rauhaa oli näin häiritty. Voiko olla mahdollista, että
ihmiset saattavat alentua viettämään tuollaista orjan viheliäistä
elämää kuin nuo kapakkasankarit, vaikka pelastuksen kallio on näin
lähellä? Kerta huiskaus alas ja silloin olisi päässyt. Kylmä hymy leikki
Hugh Ritsonin huulilla, kun hän ajatteli, että tuli mitä tuli, hän
ainakaan ei tällaiseen kurjuuteen ainiaaksi jää.
Ikivanha vaahtera huojutti oksiansa muinaisen sakastin edustalla,
ja rastaan viimeiset iltasäveleet kaikuivat sen tuuheista haaroista.
Kaukana alhaalla aallot laiskasti huuhtelivat rantakiviä. Hugh Ritsonin
jalkain juuressa oli toisenlaisia laineita — kuolleitten nurmettuneita
hautoja. Muutamat, jotka tänne oli haudattu kauan aikaa sitten, oli
haudattu kahleissaan. Maassa kahlehditut ihmiset — kirkon raunioilla
vapaiden lintujen laulu. Valojuovat veden pinnalla tummenivat joka
hetki tummenemistansa. Pian on päivä lopussa ja sitten nousee kuu
luoden rauhallista valoansa niin kahlituille kuin vapaillekin.
Hugh Ritson palasi hotelliinsa. Hän tapasi poliisikersantin
keskustelemassa pyöreänaamaisen miehen kanssa, joka oli

tarjoutunut selittämään hänelle leikkausveitsen salaisuuksia.
"Hän on vankilan tohtori", kuiskasi kersantti Hughille, kun tohtorin
silmä vältti.
Paikalla Hugh kääntyi häneen ja kysyi:
"Satutteko tuntemaan, kuka on vanki B 2001?"
"Kyllä — Drayton", vastasi tohtori, "sanoo itseänsä Ritsoniksi.
Oletteko hänen ystävänsä?"
Hugh Ritsonin kasvot hieman vavahtivat.
"Ei", hän sanoi, "minä en ole hänen ystävänsä." Sitten hetken
vaitiolon jälkeen: "Mutta minulla on määräys saada tavata häntä.
Sitäpaitsi olen juuri kuullut hänestä parin vartijan keskustelun
kapakassa tällä harjulla."
"Ketä ne olivat? Minkä näköisiä ne olivat?"
"Toinen oli pitkä mies, iältään ehkä viisikymmentä viisi vuotta,
tukka harmaa, parta inhoittava, silmät tummat ja kostonhaluiset,
arpi toisessa kasvossa ja ääni kuin variksella."
"Humph! Jim-porrasvahti — eronsaanut soturi." "Toinen oli
inhoittavan näköinen lurjus, jonka kieli ansaitsee tunnustuksen."
"Horroeks — vanha toisluokkainen. Palvellut aikansa Dartmoorissa
ja saanut ylennystä — saanut virkatehtäväänsä epäilyttävän
kasvatuksen."
"He molemmat tarvitsevat toisen ylennyksen ja paljon
korkeamman kuin entinen", sanoi Hugh merkitsevästi.

"Tarkoitatteko tätä?" nauroi tohtori pistäen toisen käden
etusormensa vaakasuoraan ja pannen toisen kätensä riippumaan
siitä etusormen varassa.
"Voiko olla mahdollista, että laki on voimaton taistellessaan
rikollisuutta vastaan ja täytyykö sen kutsua joukko roistoja ja
pelkureita vartijoikseen?"
"Te kuulitte jotakin pahaa B 2001:stä, päätän."
"En kuullut mitään, mitä hän olisi tehnyt sellaista, joka estäisi
häntä ylenemästä vaikka Rooman paaviksi."
"Olette aivan oikeassa: häntä parempaa miestä ei ole koko
Portlannin vankilassa", sanoi tohtori, "ja jos hän ei ole aivan niin
tahraton kuin hänen Pyhyytensä, hänen esiintymisensä tällä kertaa
oikeuttaa hänet vaikka paaviksi."
Hugh Ritson katsahti häntä silmiin.
"Te kai olette kuullut, että hän on nyt rangaistuskopissa", jatkoi
tohtori. "Sivumennen, te ette voi tavata häntä ennenkuin
maanantaina. Sitä ennen hän ei voi puhua kenenkään kanssa ja
hänelle ei myönnetä pienintäkään lievitystä, poikaparalle."
Hugh Ritson kysyi syytä.
"Siitä asti kun hän tuli tänne, hänen toverinaan oli muuan
nuorukainen, joka poti keuhkotautia. Poika ei tahtonut olla
sairaalassa, vaan vaihtoi sen vankilaan, kun sai siellä erikoisia
oikeuksia. Hän tiesi kuinka monta päivää hänen vielä piti olla
vankilassa ja merkitsi ne joka ilta puisen lusikkansa varteen. Siinä
kuvastui hänen sielunsa kiihkeä huuto: pois, pois, pois! Tuo Jim-

porrasvahti teki siitä suuren numeron. Poikaraukka tahtoi kuolla
äitinsä syliin. Hänellä oli aikaa jäljellä enää yksi ainoa viikko, mutta
'herrat' lisäsivät hänen vankeutensa kuukauteen. Silloin hän
epätoivoissaan heittäytyi mereen ja kun hänet saatiin ylös, hän oli
kuollut."
"Oliko B 2001 hänen kanssaan silloin, kuten tavallisesti?"
"Oli. Hän joutui pois suunniltaan, hyökkäsi vartijan kimppuun ja
riisti häneltä aseen käsistä. Jim-porrasvartija on ennen ollut
ammattinyrkkeilijä ja syntyi kamala mylläkkä. Hän karkasi takaapäin
B 2001 niskaan huutaen kuin riivattu ja iskuja satoi kuin
vesipisaroita. Syntyi kauhea hämminki, ja vangit kirkuivat kuin
hullut."
"B 2001 on siis voimakas mies?" kysyi Hugh Ritson.
Tohtori nyökkäsi.
"Hän tarttui vartijaan, väänsi hänet melkein solmulle lanteesta,
kohotti sitten päänsä päälle ja iski tantereeseen sellaisella voimalla,
että se olisi vienyt hengen joltakin toiselta, mutta ei siltä mieheltä.
Tuli lisää vartijoita ja vanki vietiin koppiinsa tomuisena, hiestä
märkänä ja verissään, silmät hohtaen kuin tulipallot. He panivat
pojan ruumiin penkille hänen viereensä, huulet valkeina ja kasvot
sinervinä. Se oli kauhea näky, sen voin sanoa teille."
Hugh Ritsonin rinta kohoili ja ihme kyllä, jostakin hänen
sydämensä syvyyksistä nousi merkillinen ylpeyden tunne. Tämä mies
oli sankari ja hänen oma veljensä.
"Ja siitä sitten vankia rangaistiin?"

"Neljätoista päivää rangaistuskoppia ja kuusi kuukautta puoli
annosta. Maanantaina hän pääsee pois ja silloin hänellä on sininen
lakki, joka merkitsee hänet vaaralliseksi mieheksi."
Hugh Ritson värisi.
"Onko ihan mahdotonta saada nähdä häntä huomenna?" hän
kysyi.
"Tulkaa huomenaamuna ennen kirkonaikaa minua tapaamaan, niin
saamme puhua johtajan kanssa."

XIV LUKU.
Varhain seuraavana aamuna Hugh Ritson näytti määräyksensä
vankilan portilla, ja hänet neuvottiin tohtorin asunnolle. Hugh ja
tohtori menivät etsimään johtajaa, mutta saivat tietää, että hän oli
koko päiväksi mennyt pois. Apulaisjohtaja makasi vuoteessa
hammassäryssä, eivätkä he voineet tehdä mitään muuta kuin
odottaa huomiseen saadakseen puhutella vankia.
"Te voitte jäädä tänne huomiseen", sanoi tohtori, "ja minä
toimitan, että saatte luoda yleissilmäyksen tähän elämään. Nyt me
lähdemme kirkkoon. Mutta tulkaa tätä tietä."
He astelivat siihen osaan pihaa, johon seinään oli suurin valkein
kirjaimin maalattu: "34 ryhmä" ja alla oli pitkä ja leveä nuoli. Tätä
lähellä oli puusta ja raudasta tehty rakennus ja merkitty samanlaisilla
kirjaimilla: "E Halli". He astuivat käytävään, jonka päästä johtivat
portaat omituiseen sokkelokäytävään, jonka joka puolella oli kapeita
ovia. Vartija asteli edestakaisin väljimmällä paikalla, jota kaasutuikku
valaisi.
"Hush! Katsokaa!" sanoi tohtori pysähtyen muutaman oven
tarkastusreiän eteen ja väänsi samalla sammuksiin kaasun, joka

paloi oven pielessä.
Hugh Ritson lähestyi aukkoa eikä aluksi voinut nähdä mitään
hämärässä. Mutta hän kuuli sisältä merkillistä kalinaa. Silmä
kuitenkin pian tottui ja hän saattoi kynttilän heikossa valossa erottaa
laatikon tapaisen huoneen, joka oli seitsemän jalkaa pitkä, neljä
jalkaa leveä ja kahdeksan jalkaa korkea. Se oli rangaistus-koppi.
Oven vastaisella seinällä oli hylly ja siinä oli tinainen pesuastia.
Oven toisella puolen täytyi varmaankin olla samanlainen hylly,
jossa kynttilä paloi. Luuta, vesikannu ja ruokakaukalo oli kivilattialla.
Huoneessa ei ollut muita huonekaluja kuin päästä päähän ulottuva
riippuva vuode, jossa vanki juuri oli pitkällänsä. Saattoi huomata,
että raskaat kahleet oli sidottu molempiin nilkkoihin ja ne yhtyivät
rinnan ympäri kiertävään rautaliiviin. Jokaisella pienimmälläkin
liikkeellä tämä kahle kalisi. Sama ääni korvissa yötä päivää. Jos vanki
unissansa liikahti, häiritsi tuo kalina hiljaisuutta ja karkoitti hänen
elämästään ainoan valonpilkahduksen — unien lahjoittaman
päivänpaisteen. Hänen päänsä oli oveen päin, niin että kynttilästä
tuleva valo lankesi hänen rinnallaan, olevalle kivitaululle. Vaikka hän
oli rangaistuskopissa, hän kuitenkin kirjoitti ja Hugh Ritsonin tarkka
silmä erotti sanat: "Oi, jospa Jumala näkisi hyväksi tappaa minut,
jospa hänen ankara kätensä murskaisi minut! Oi, minä viheliäinen
ihminen, kuka päästää minut tästä kuoleman ruumiista?" Hän
pysäytti kirjoituksensa ja nakersi kuin lintu kovaa leipäpalaansa, joka
oli hänen vieressänsä.
Hugh Ritson peräytyi ja kun hänen omituinen askelensa kapsi
lattiaan, hätkähti vanki ja käänsi kasvonsa häneen. Ne olivat
laihtuneet, kalpeat kasvot, mutta niiden ilme oli järkähtämättömän

rauhallinen, ja niillä kuvastui tuskien luoma ylevyys, vaikk'ei
ainoatakaan toivon sädettä.
"Tunnetteko hänet?" kysyi tohtori.
Mutta Hugh Ritsonin silmät olivat kääntyneet maahan eikä hän
vastannut.
He menivät kirkkoon. Vartijat olivat asettuneet käytäville ladattuine
pyssyinensä. Jumalanpalvelukseen oli saapunut kahdeksansataa
vankia: toiset niistä aikoivat käydä ripillä. He olivat ottaneet
hartaannäköisen muodon ennemminkin miellyttääkseen kappalaista
kuin sisäisestä pakosta. Muuan omituisen näköinen murjaani, joka oli
Hugh Ritsonin lähellä, kiinnitti erikoisesti hänen huomiotansa. Hän
polvistui käytävälle kasvot kuoriin päin. Hänen rinnallaan oli
nuorukainen, joka juuri oli saapunut Millbankista. Vanha
synninmyyrä näytti ilmeisesti uudelle tulokkaalle selittelevän tämän
uuden kodin salaisuuksia. Hän ei suinkaan hienotunteisuudesta
näyttänyt itseänsä hillitsevän, vaikkakin ääni nyt oli painunut
kuiskaukseksi, kun hän keskusteli.
"Näetkö tuon rasvaisen ryökäleen tuolla kuorossa? Se on poika,
joka kattoo eteensä. Hän palveli erästä rouvaa ja eräänä varhaisena
aamuna hän nitisti rouvansa supeltaakseen hänen rahansa ja
mennäkseen muille markkinoille."
Papin ääni keskeytti pitemmät selittelyt, mutta jo seuraavana
hetkenä vanhan veitikan suu kävi kuin mylly, kun hän selitti:
"Hän on aika mestari — kulkee kuorossa ja senvuoksi saa etuja.
Joka lauantai-aamu hänellä on harjoitus — eikä hänellä kuitenkaan
ole ääntä enempää kuin ruisrääkällä."

Ilmeisesti ei täällä ollut epäedullista olla suurin lurjus, kunhan ei
vain osoittanut jalompia harrastuksia. Kun kuivuneenkeltainen vanha
Jew kulki sivukäytävää, tietoviisas kuiskasi kunnioittaen:
"Tuo on vanha Mo. Hän kuuluu vahtiväkeen, vaikkakin kerran oli
aika, jolloin yhressä suunnittelimme, miten voisimme lähettää vahan
Rothschilden vaivaistaloon."
Muutamana hetkenä vasta-tulleen huomiota näytti kiinnittävän
muuan pitkä mies mustan ja harmaan raidakkaassa puvussa,
jollaista käyttivät karkaamista yrittäneet vangit.
"Sanotaan, että hän on täällä kahrest' kymmenest' tuhannest',
mutta se on valhe", kuiskasi vanha mies. "Hän oli vain mutikoinnu
hengen muutamasta herran viinimäen sanansaattajasta."
Viimeinen, mitä Hugh Ritson kuuli, oli tämä mieleen-pantava
neuvo:
"On sellaisia, jotka eivät voi kattoa eteensä, kuten B 2001, ja toisia
taas, jotka eivät täälläkään anna paarmojen pesiä nenälleen. Ja minä
sanon: Pitäkää silmänne auki."
Jumalanpalveluksen jälkeen jaettiin ehtoollinen. Rippivieraita oli
monta sataa, kaikki yksinkertaisia ja hartaita jumalanpelossansa.
Saattoi huomata, että kappalaisen täytyi varoa viiniänsä, sillä
muutamat ahmatit tahtoivat hotkaista kerralla kalkin tyhjäksi.
Tämän yön Hugh Ritson vietti tohtorin asunnolla. Hän ei nukkunut,
vaan nyt, kuten edellisenäkin yönä, hän käveli edestakaisin tunnit
pitkät horjumatta vastustaen kaikkia unimatin kiusauksia. Kello
viiden aikaan aamulla hän kuuli suurta kelloa soitettavan parin

minuutin ajan ja kohta kuului akkunan alta monien jalkojen
synnyttämä tramp, tramp, tramp. Vangit, viiden sadan ryhmissä, oli
tuotu ulos aamukierrokselle. He näyttivät — harmaat takit tiukasti
olkapäille vedettyinä — ikävystyneiltä aamuauringon koleassa
valossa, kädet riippuivat hervottomina sivuilla, ja he astuivat huojuen
ja laahustaen aivan kuin olisi ollut tavattoman vaikea vetää raskaita
kenkiä. Vartiosto oli paikallansa, vartijapäällikkö vihelteli, ja sitten
miehet hajaantuivat kahdenkymmenen viiden miehen ryhmiin,
kullakin oma vartijansa.
"Rivit suoriksi, kaksi askelta oikeaan — mars!" Sitten uudistui taas
tramp, tramp, tramp. Kun ulkotöihin lähtijät kulkivat portista, saivat
heidän vartijansa päivystäjältä kiväärinsä, pistimensä, vyönsä ja
patroonakotelonsa. Kivenhakkaajat kulkivat aivan hänen akkunansa
alitse, ja Hugh Ritson horjahti taapäin, kun muuan pitkä sinilakkinen
mies — käyden kuin runneltu eläin — sattui nostamaan katseensa
akkunaan.
Kello kahdeksan johtaja ilmestyi vastaanottohuoneeseensa. Hän oli
laihahko mies, jonka kasvot ja olento muistuttivat vinttikoiraa. Hänen
sotilastakkinsa oli koristettu kunniamerkeillä ja hänen vaatteissaan
oli vahva Whitehallin tuoksu. Hän otti vastaan Hugh Ritsonin paperit
oudon hämmästyksen ja arvokkuuden sekaisin ilmein — siihen
yhdistyi ylenmääräinen kohteliaisuus, kuin hän olisi ottanut vastaan
valtiosihteerin, ja ankaruus, kuin tuomitessa kahlehdittua vankia
vedelle ja leivälle.
"Miehet palaavat aamiaiselle kello yhdeksän", hän sanoi,
"Watkins", vartijapäällikölle, "tuokaa B 2001 kansliaan heti, kun 34
ryhmä on palannut."

Hugh Ritson oli jättänyt vastaanottotoimiston ja kulki juuri pihan
yli, kun hän kuuli äänekästä melua meren puolelta.
"Vene!" huusi parikymmentä ääntä, ja joukko vankeja hyökkäsi
siihen suuntaan, jossa kahdeksanairoinen vene oli teloillansa
vajassa. "Mies on karannut, hyökkäsi vaatteineen päivineen mereen
ja lekottelee virtaa alas."
Kuinka nämä paholaiset nauroivat, kuinka he kirosivat leikillänsä,
kuinka he tekivät työtä ja kuinka heidän silmänsä kiiluivat ja
kasvonsa kiihkosta vääntyivät irviin koettaessaan saavuttaa
vankitoveriansa, joka oli koettanut paeta! Jokainen vanki, joka auttoi
karkurin kiinni saamisessa, sai kuuden päivän loman. Tohtori vei
Hugh Ritsonin pieneen torniin, joka oli hänen asuntonsa katolla.
Täältä he saattoivat nähdä yli vankilan muurin kivikkorannalle
alapuolellensa. Lähellä kirkon raunioita joukko vankeja juoksi
edestakaisin heiluttaen käsiänsä ja huutaen innoissansa.
"Se on 34 ryhmä", huomautti tohtori, "Jim-porrasvahdin ryhmä."
Aurinko oli noussut, meri hohti ja säteili tuhansin vivahtein, ja
lukemattomista kevyistä laineista vesilinnut pistivät kaarevan
kaulansa pinnalle, pulpahtaakseen taas pian syvyyksiin. Muutamassa
paikassa veden hopeajuovalla uiskenteli jotakin, aluksi se näytti
tynnyriltä. Siinä oli kärrynkorit, jotka vanki oli työntänyt veteen
käyttääksensä sitä veneenä.
"Se uppoaa; kaikki vankkurit ovat raskaasti raudoitetut", selitti
tohtori.
Vanki seisoi siinä. Hän oli heittänyt pois takin ja hatun ja hänen
käsivartensa olivat hartioihin asti paljaat. Vartija juoksi jyrkänteen

reunalle ja laukaisi. Luoti sattui. Vanki repäisi paitansa helmasta
kappaleen ja sitoi ranteensa.
"Miksi hän ei heittäydy pitkäksensä?" sanoi Hugh Ritson. Hän ei
tiennyt, kuka vanki oli, mutta sydämessänsä hän kiihkeästi toivoi,
että vanki pääsisi pakoon.
"Hän on auttamattomasti tuomittu — hän on joutunut pyörteeseen
ja virta painaa hänet takaisin saarelle", puheli tohtori.
Puolta tuntia myöhemmin aseellinen vartijajoukko parin kolmen
avustajan saattamana kuljetti kiinnisaadun pakolaisen vankilan
johtajan kansliaan. Pitkä ja vankka mies marssi vartijoiden välissä
varmoin askelin ja pää pystyssä. Hänellä ei ollut takkia eikä hattua ja
toiseen paljaaseen käsivarteen oli likaisenharmaa vaatteenkappale
kömpelösti sitaistu. Hänen rintansa oli paljas, silmänsä leimusivat ja
lukuunottamatta hyytynyttä verijuovaa hänen kasvonsa olivat
tuhkanharmaat. Mutta tätä miestä ei vastoinkäyminen ollut
murtanut: hän näytti uhmaavan sitä.
"Ottakaa miehen numero", komensi johtaja.
"Jaa, ottakaa se ja katsokaa, että otatte sen oikein", uhitteli vanki.
"Se on B 2001", sanoi vartijapäällikkö.
Johtaja tarkasti käsissään olevia papereita.
"Kutsukaa se herra tänne", hän sanoi kansliapäivystäjälle. "On
onni teille, että joku hallituksen luvalla tahtoo puhutella teitä", hän
lisäsi vankiin kääntyen.

Vanki ei vastannut. Hän ei nyt ollut nöyrä eikä yrmeä, vaan hän
esiintyi kohteliaasti, vaikkakin kiivastuneena, niinkuin mies, joka on
kärsinyt vääryyttä.
Seuraavana hetkenä Hugh Ritson astui huoneeseen. Hänen
silmänsä painuivat maahan ja hänen epävarma askeleensa oli raskas
ja koliseva. Hän hypelöitsi takkiansa hermostunein sormin, hänen
sieraimensa laajenivat ja hänen koko ruumiinsa huomattavasti vapisi.
"Tässä on mies, jota haluatte puhutella", sanoi vartijapäällikkö
kohteliaasti kumartaen.
Hugh Ritson koetti kohottaa katsettansa, mutta se vaipui äkkiä
maahan. Hän avasi huulensa puhuakseen, mutta sanat pysähtyivät
kielelle. Sillä aikaa märkä, likainen, alaston, sidottu ja verintahrattu
vanki aseellisten vartijoitten välissä seisoi hänen edessänsä suorana
ja ylväänä ja hänen silmänsä näyttivät tunkeutuvan toisen sielun
pohjiin asti. Vanki pani toisen kätensä lanteelleen ja osoitti toisella
halveksien Hugh Ritsonia.
"Mitä tuo mies minusta tahtoo?" hän sanoi syvällä rintaäänellänsä.
Tämän kuullessaan Hugh Ritson vastasi kiihkeästi:
"Paul, minä en tahdo lisätä sinun kärsimyksiäsi lausumalla julki
säälittelyni."
Virkailijat katsahtivat toisiansa silmiin.
"Minä en huoli sinun säälistäsi", virkkoi vanki katkerasti.
"Et, vaan minä tarvitsen sinun sääliäsi", sanoi Hugh Ritson hiljaa.

Vanki naurahti karkeasti ja kääntyi sitten vartijaan.
"Tässä, viekää minut pois. Minä olen saanut tästä tarpeekseni."
"Kuuntele minua. Minulla on jotakin sanottavaa sinulle — jotakin
tehtävää sinun puolestasi."
Vanki räjähti taaskin nauruun.
"Viekää minut pois, kuuletteko?"
"Mitä jos minä sanon, että olen pahoillani kaikesta, mitä on
tapahtunut?" jatkoi Hugh.
"Silloin sinä olet tekopyhä", vastasi vanki.
Hugh Ritson oikaisi ryhtiänsä ja veti kuuluvasti ilmaa keuhkoihinsa.
Äkkiä väri katosi hänen vääntyneiltä kasvoiltansa. Hetkisen
äänettömyyden jälkeen hän sanoi hiljaisella, murtuneella äänellä:
"Paul, sinä tiedät, millainen mies minä olen, älä kohtele minua liian
kovasti. Minä olen tullut tänne tehdäkseni sinulle palveluksen. Muista
kärsimyksiäsi —"
Vielä kerran vanki purskahti kylmään nauruun. "Muista mitä muut
— eräs muu — on kärsinyt sinun kanssasi."
Vangin kopea ilme muuttui ja silmissä leimahtivat salamat.
"Tässä, viekää minut pois", hän puuskutti hiljaa tukehtuneella
äänellä. Hän astui taapäin, mutta vartija sulki häneltä tien. "Minä en
tahdo jäädä kuuntelemaan tätä miestä. Kuuletteko? Minä en tahdo
kuunnella", hän huusi tulisesti, "hän on tullut tänne kiduttamaan
minua — siinä kaikki."

Welcome to our website – the perfect destination for book lovers and
knowledge seekers. We believe that every book holds a new world,
offering opportunities for learning, discovery, and personal growth.
That’s why we are dedicated to bringing you a diverse collection of
books, ranging from classic literature and specialized publications to
self-development guides and children's books.
More than just a book-buying platform, we strive to be a bridge
connecting you with timeless cultural and intellectual values. With an
elegant, user-friendly interface and a smart search system, you can
quickly find the books that best suit your interests. Additionally,
our special promotions and home delivery services help you save time
and fully enjoy the joy of reading.
Join us on a journey of knowledge exploration, passion nurturing, and
personal growth every day!
ebookbell.com

Translating Promotional And Advertising Texts Ira Torresi

About This Presentation

Slide Content

Tags

Categories

Download

Quick Actions

Statistics

Related Slideshows

Translating Promotional And Advertising Texts Ira Torresi

About This Presentation

Slide Content

Slide 1

Slide 2

Slide 3

Slide 5

Slide 6

Slide 7

Slide 8

Slide 9

Slide 10

Slide 11

Slide 12

Slide 13

Slide 14

Slide 15

Slide 16

Slide 17

Slide 18

Slide 19

Slide 20

Slide 21

Slide 22

Slide 23

Slide 24

Slide 25

Slide 26

Slide 27

Slide 28

Slide 29

Slide 30

Slide 31

Slide 32

Slide 33

Slide 34

Slide 35

Slide 36

Slide 37

Slide 38

Slide 39

Slide 40

Slide 41

Slide 42

Slide 43

Slide 44

Slide 45

Slide 46

Slide 47

Slide 48

Slide 49

Slide 50

Slide 51

Slide 52

Slide 53

Slide 54

Slide 55

Slide 56

Slide 57

Slide 58

Slide 59

Slide 60

Slide 61

Slide 62

Slide 63

Slide 64

Slide 65

Slide 66

Slide 67

Slide 68

Slide 69

Slide 70

Slide 71

Slide 72

Slide 73

Slide 74

Slide 75

Slide 76

Slide 77

Slide 78