Vol/51 No/2 2012ApriL/MAYTheLinguist27FEATURESThe series continues with a look at the public service interpretingscenario in PolandHow much of a need for public serviceinterpreting is there in Poland?the level of immigration is not as high as insome EU member states, so the need is notas great, but there is a demand, particularlyin English, French, German and russian.Among the so-called 'rare languages' arethose of neighbouring countries, such asUkrainian, Belarusian, czech and Slovak.Are there best practice standards thatrequire equality, irrespective of language,and support the development of PSI?it is sworn translators (meaning bothtranslators and interpreters) who work for thepublic services, serving mainly as interpretersfor the courts and police, and as officialtranslators. the code of Sworn translatorswas prepared in 2005 as a compendium ofethics and good practice. it is used by theMinistry of Justice's commission of Sworntranslators' professional Accountability, as anofficial source of reference.What has been achieved by way ofestablishing national PSI standards?the Sworn translators' profession Act of 2004requires candidates to pass a state specialistexamination in legal translation and courtinterpreting. it provides for disciplinarymeasures, and obliges sworn translators tokeep a register of commissions received, tocomply with the rules of good practice,professional ethics and confidentiality, toupgrade professional qualifications, and notto refuse a court or police commission. it isone of the most demanding among similaracts passed by European states. the act stipulates that four of the ninemembers of the commission of Sworntranslators' professional Accountability, andthree of the eleven members of the StateExamination Board, must be representativesof translators' associations.To what extent has training towardsthese standards been established?the act includes a duty 'to upgradeprofessional qualifications', and in the last 10years about 40 polish universities have set upcourses for legal translators and interpreters.tEpiS (the polish Society of Sworn andSpecialised translators) has been holdingregular quarterly workshops or 'repetitorium'for many years, and in 2011 it organisednine-month courses for candidates for Sworntranslator, which ran on weekends.Are PSI qualifications from othercountries recognised?A 2010 regulation by the Ministry of Justiceprovides for an adaptation course and acompetence test for translators andinterpreters with qualifications from EUcountries. these are tailored to the individual. What has been achieved in terms of thetraining of public service personnel onhow to work with PSIs?A series of meetings is planned for 2012within the framework of EULitA (the EuropeanLegal interpreters and translators Association)activities in poland. tEpiS is alreadycollaborating with the National School forJudges and prosecutors in order to launch aninterdisciplinary course on how to work withinterpreters and translators in the courts.Have there been any developments interms of securing working standards?No working standards have been determinedby law, but the code of Sworn translators iswidely accepted as an approved source ofsuch standards, except for fees. Fees were setby the Ministry of Justice in 2005, at just ?9per hour, and have not increased, which hasled to complaints and protests, so far in vain.What would you like to achieve in thenext five years?A statutory duty for translators to be taughttranslation skills and techniques. An increasein the official rates for legal interpreting andtranslating services, which are well belowEuropean standards. the distinction betweenthe profession of interpreter and translator tobe established by law. improved internationaljudicial cooperation and the exchange ofbest practices with the support of EULitA.Danuta Kierzkowska, President of TEPIS.Global insightsFees were set by the Ministry of Justicein 2005, at just ?9 per hour, and have not increased© SAMikEiNäNEN, 'hoUSEoFJUSticE', 22/7/05 ViAFLickr(cc BY-SA 2.0) SEAT OF JUSTICEThe Supreme Court of Poland, Warsaw

Words,Images andPerformancesinTranslationRita Wilson & Brigid Maher Continuum,London,2012; ISBN 9781441172310Paperback,£24.9928 TheLinguistAPRIL/MAYwww.iol.org.ukREVIEWSThis interdisciplinary collectivevolume is primarily focused onthe processes and products oftranslation as they intersect withother areas: the visual arts, film,theatre and new technologies.Intersemiotic translation has beendiscussed by scholars sinceTranslation Studies emerged as adiscipline in the 1970s, mainlyfollowing Pierce, Jakobson andWittgenstein. However, the scholarly analysisof multimodal texts and theirmediation has tended to belimited to specific forms (comics,advertising, web writings, etc)and has rarely been framed in aglobal, theoretical framework.There are exceptions of course(Gorlée 1994 & 2005; Chiaro2004), but developments havebeen inconsistent and morework is needed in this field. SoContinuum's two recentvolumes, Translation, Adaptationand Transformationand Words,Images and Performances inTranslation,fill a gap in the criticalliterature of Translation Studies. Words, Images andPerformances.is structured in11 chapters, set by the editors inthe context of 'glocalisation',which determines the mediationof texts in the current culture ofglobal dissemination with an1234567891011121314151617181920212223 Across7The only country of mainlandSouth America with English as anofficial language. (6)8Classic film from 2009 featuringa constructed language. (6)9Political name for former Persia. (4)10One of the three locative cases in Finnish, Hungarian andEstonian. (8)11Unlike a stative verb, this showscontinued or progressive action onthe part of the subject. (7)13Typical French sound, as in bonor France. (5)15One of the minority languagesof the UK. (5)17 Arabic-speaking nation whichthe Romans called the 'granary ofthe empire'. (7)20Basic form, from which othervocabulary can be derived. (4,4)21 A voiceless consonant inphonetics. (4)22 A Gilbert and Sullivan opera,meaning 'exalted gate' inJapanese. (6)23 Country whose language islargest of the North Germaniclanguages, by numbers ofspeakers. (6)Down1Gilbert ______, famous for verse translations of ancient Greekdrama. (6)2Thomas ____, German author ofDeath in Venice. (4)3Country of southern Africawhere German is a recognisedlanguage. (7)4Story, as told by Aesop or LaFontaine. (5)5A meat speciality which enteredEnglish from Yiddish. (8)6Country whose nationallanguage can be called Lettish. (6)12A Low Alemannic Germandialect, spoken in Mulhouse, for example. (8)14 A dialect continuum spokenfrom Turkey, through Iraq, to Iran. (7)16 Cry of the Greek Cypriotmovement for union with Greece. (6)18Hebrew and Arabic are officiallanguages of this state. (6)19 Czech loanword first used in aplay by Karel Capek. (5)21In philology, a base to which inflectional suffixes areadded. (4)Answers, opposite.awareness of local voices. With amajority of contributors fromAustralia, New Zealand andJapan, non-Europeanperspectives are voiced, whichhelps to redress the balance of a largely Eurocentric TranslationStudies output. Two chapters discuss thetranslation of fiction andtransnational narratives inliterature, but all others bring theissues of mediating image, textand/or performance to the fore,with the last contribution on'guerilla' translation and the effectof media piracy on translation. A large proportion of the bookis devoted to the issues of imagemediation in relation to words.This is expressed through a rangeof topics: a discussion of theproblems created by translatinghybrid texts that comprise wordsand images in the (semi)canonicalart work of Whiteley (Zanoletti);an investigation of the transfer ofgender images in advertising(Torresi); a study of the mediationof film into advertising (withLeotta's sensitive analysis of ThePiano); and considerations onopportunities offered by cartoonsin voicing conflicts and the painof being culturally translated. Other fiery areas of multimodalcultural exchanges are alsoincluded, pointing to potentialmisrepresentations in journalism(Baines) and implicit censorship intelevision (Federici). Finally,performance is considered, withsome peculiarities of theatretranslation in the UK (Brodie) andchallenges of the interculturaltransfer of a Noh play in Canada. Up-to-date and extendedbibliographies at the end ofeach chapter, and an index, helpmake this volume stimulating toread, informative and cohesivein its approach.Lucile Desblache, University of RoehamptonCrossword puzzle no.2