Creative in Interpreting

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2o preguntas aleatorias sobre el tema de interpretación Creative in Interpreting"

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Dulce glez

México

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Creative in Interpreting


Froggy Jumps Creative in InterpretingVersión en línea 2o preguntas aleatorias sobre el tema de interpretación Creative in Interpreting" por Dulce glez 1 According to the text, what are the three levels at which creativity in interpreting can be examined? a a) Products, mental processes, and the interpreter’s behaviour. b Grammar, syntax, and target language vocabulary. c 2 ⁠What does the text state about creativity in interpreting versus literary translation? a Creativity is only relevant to literary translation, not to interpreting. b Creativity in interpreting is closer to non‑literary translation. c 3 According to Kussmaul, what does considering translation as “recreation” mean? a The translator is always restricted by the source message, which cannot be changed. b The translator can create a completely new message without any restrictions. c 4 What concept does Wills introduce to describe the translator’s/interpreter’s work? a Authentic message. b Derived message. c 5 According to Newmark, when is creativity necessary? a When standard translation procedures fail and translation seems “impossible”. b Always, for every single sentence no matter how simple. c 6 ⁠According to MacRae, where else can an interpreter show creativity, besides linguistic form? a In inventing preparation techniques, note‑taking methods, and an interpreting style. b Only in the speed of speech processing. c 7 According to Niska (citing Rey), what are neologisms? a Old words that have fallen into disuse and are brought back. b Lexical units whose signifier‑signified relationship had not been materialised c 8 ⁠According to Walter, what type of selection requires more creativity from the language mediator? a Uncontrolled selection. b Controlled selection. c 9 What are Wallas’s four stages of the creative process as applied to translation? a Analysis, synthesis, production, and revision. b Preparation, incubation, illumination, and evaluation. c 10 Why does Riccardi consider interpreting a creative process? a Because it is an online problem‑solving activity under severe time constraints. b Because the interpreter has unlimited time to reflect on each word. c 11 What does the “anticipation” strategy in interpreting consist of? a Mechanically repeating the last thing the speaker said. b c Predicting what will be said next using imagination and context. 12 According to Riccardi, what does the “least commitment” strategy involve? a b Exploring multiple possible linguistic solutions while the source message is still unfolding. c Committing to the first linguistic solution that comes to mind. 13 According to MacRae, what is “the truest test of an interpreter’s imagination and inventiveness”? a Translating technical terms literally. b c Transferring a colourful joke from one language or cultural context to another. 14 What does Kussmaul claim about creative comprehension? a Comprehension is not only receptive but also a productive process guided by personal knowledge. b Comprehension is a purely passive act of receiving information. c 15 According to Balacescu and Stefanink, what interacts in creative text comprehension? a Only linear, sequential processes. b Top‑down and bottom‑up processes. c 16 ⁠How does Torrance define the creative thinking process? a Process that involves sensing difficult, making hypotheses, testing them, and communicating results. b As a sudden act of inspiration without any prior analysis. c 17 Why does the text argue that Cho’s view of creativity does not fully apply to interpreting? a Because interpreters never automate any mental processes. b c Because situational characteristics change with each assignment, requiring constant creativity. 18 According to the text, what does responding creatively to an interpreting situation imply? a Following a fixed script without any deviation under any circumstance. b Adapting and reacting constructively to new situations, not merely conforming to them. c 19 What is the key difference between creativity in written translation and in interpreting, according to the author? a In interpreting, many elements are unpredictable, not just language use. b There is no difference; creativity works the same way in both modalities. c 20 According to the final conclusions, what prevails in all interpreting circumstances? a The need to adapt and respond in a flexible and spontaneous way to new elements in the situation. b The rigid and invariable application of grammatical rules. c

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Creative in InterpretingVersión en línea

por Dulce glez

According to the text, what are the three levels at which creativity in interpreting can be examined?

⁠What does the text state about creativity in interpreting versus literary translation?

According to Kussmaul, what does considering translation as “recreation” mean?

What concept does Wills introduce to describe the translator’s/interpreter’s work?

According to Newmark, when is creativity necessary?

⁠According to MacRae, where else can an interpreter show creativity, besides linguistic form?

According to Niska (citing Rey), what are neologisms?

⁠According to Walter, what type of selection requires more creativity from the language mediator?

What are Wallas’s four stages of the creative process as applied to translation?

Why does Riccardi consider interpreting a creative process?

What does the “anticipation” strategy in interpreting consist of?

According to Riccardi, what does the “least commitment” strategy involve?

According to MacRae, what is “the truest test of an interpreter’s imagination and inventiveness”?

What does Kussmaul claim about creative comprehension?

According to Balacescu and Stefanink, what interacts in creative text comprehension?

⁠How does Torrance define the creative thinking process?

Why does the text argue that Cho’s view of creativity does not fully apply to interpreting?

According to the text, what does responding creatively to an interpreting situation imply?

What is the key difference between creativity in written translation and in interpreting, according to the author?

According to the final conclusions, what prevails in all interpreting circumstances?