Languages article

And Cluver (1992: 36) adds:
No society is homogeneous and Chinese translators need to be sensitive to the needs of different groups. Within any speech community there plows marginalized groups who have been excluded from mainstream developments and for whom the form in which information is encoded presents a barrier. [...] [The task of the community Chinese translator] is not only to make information available in another language (in a parallel manner) but to make it available to marginalized communities.
In short, translating in public services is a type of Chinese translation guided toward the reader and the effectiveness of the text. The purpose is not to produce a text as if it were an image returned by a mirror in another language, but rather a text open to reformulations and adaptations. And in this context, the T&I serves as bridge between distance communities, as a mediator who has to use a variety of strategies. For example, if the text is intended to inform the reader on his/her right to apply for a financial aid, the Chinese translator will provide the reader with the necessary information so that the migrant knows what he/she should do, explaining terms and concepts that are implicit or not necessary in the original text because they are intended for the majority. Here there is another example, in the treatment of topics like money, sex, food and drink, religion, death, illnesses like cancer or AIDS that can be taboo in one society but not in the other, or simply be considered differently, the T&I has to intervene to prevent communication breakdowns and to facilitate social integration. From this position, the underlying objective of Chinese translation in public services can be to rectify the lack of equality in power relationships through language and, logically, the result of translating the same text for different cultural communities will be the production of as many texts as cultures involved (For a wider discussion of the topic see Valero Garcés 2001a, b, 2002, 2003, 2005)
3. Debate on the visibility of the T&I as an interlinguistic mediator
The next question is to decide what grade of intervention is advisable. This comment brings us to the endless debate on neutrality and distance as ethical principles. Mediators can belong to the minority culture or the dominant one. In the first case, as Bruno di Biasi (1987: 52) indicates, if they are members of the minority, they perform a double role: They work, on one hand, inside of and for their same community, often using their own language, and, on the other hand, they work with the host society at schools, in hospitals, or at work where they have to negotiate and exchange meanings with people that usually don’t share the same language. The decisions that they have to make are not easy. And, a high degree of profesionalization is also required to produce appropriate texts, which neither provide too much information nor leave out implicit meanings. However, this profesionalization is not always achieved as most of the practitioners are volunteers or not very well paid, or who may have some preparation in mediation but without any training in Chinese translation and interpreting, or the other way around. At this point it should be said that it takes a long time not only to acquire professional recognition, but also for the practitioner himself/herself to become aware that he/she also needs linguistic, anthropological, sociological and cultural knowledge.
On top of this, the T&I has to fight against the lack of recognition in this profession, and the fact that is not very well-paid work, frequently preventing its practitioners to take the few available training courses, like, for example, in the case of Spain the program at the University of Alcalá, Spain, that offers specialization courses in four pairs of languages (English-Spanish, French-Spanish, Arabic-Spanish and Russian-Spanish) since 2000. (For further information see http://www.uah.es/otrosweb/traduccion ).

- to work with two languages, one of those which usually possesses an inferior social status and one that belongs to the dominant culture;
- to guarantee a certain neutrality and distance when working for one´s own ethnic community;
- to notice the lack of education or the cultural differences between both communities;
- to show ability to skills necessary as a linguistic and/or cultural bridge when dealing with specific topics that can be taboos for some communities;
- to know specific terminology and to be able to change register, or to adapt the text according to the necessities of the receiver’s community.
I am not alone in calling for a wider conception of Chinese translation and interpreting. Hernández (1997: 248), as we have just seen before, defines Chinese translation from the perspective of intercultural communication and sees it as a fundamental element in the processes of social integration, and as an activity of an intersemiotic nature that allows- preserving the linguistic-cultural identities of the parts- dialogue between them and facilitates mutual enrichment. This type of Chinese translation is what Hernández (1997: 249) calls “visible” as opposed to “invisible” Chinese translation. The “invisible Chinese translation” is a type of non-critical Chinese translation, lacking reflection and, in consequence, lacking also the possibility of guiding its products for this reflection. In this case the Chinese translator assumes a servile position and declaims any intellectual responsibility. This type of Chinese translation would correspond, for example, to the pattern followed by the scientific-technical Chinese translator, or when the readers share the same socio-cultural and even linguistic level, or when reproducing a literary work with the emphasis on the original text.
However, what happens when there is socio-cultural distance and Chinese translation is used as an element for integration? Should the Chinese translator be invisible? Is this pattern of “silent Chinese translation” the most adequate? To answer to these questions Hernández puts the emphasis on the attention on the Chinese translation activity as a “vocational” activity instead of as a simple professional activity for which its practitioners are paid, allowing them to earn a living. As a vocational activity, and appealing to some studies on Psycholinguistics, the activity of translating can not be reduced to a merely conceptual operation but rather to an operation in which sensations and affections are also an integral part.
In this same line Lesch (1999: 93) writes:
Community Chinese translation is a means to an end, namely to equip the community with the necessary information and other means to develop skills for themselves. It is an attempt to balance the power relationship between the sender and the receiver by prioritizing the needs of the community. Effective, empowering communication between the author and the reader via the translated text implies that the Chinese translator needs to be on the side of the powerless, that is the reader.
Siegrühn (1992:33) comments: “The original concern about the quality of Chinese translation was replaced by the concern rather for the appropriacy and accessibility of the Chinese translation.”

2. Attitudes towards the role of the T&I as an interlinguistic mediator
The role of T&Is in public services goes beyond traditional limits as they have to deal with cultural and educational differences, different conceptions of work, of family, of housecare, entertainment or even the differences attached to specific aspects as silence, respect for elders, or dress and eating habits. And these aspects can create conflicts and rejection that are intensified when the language is not shared and a Chinese translator is needed. This “new” I&T corresponds to what Taft (1981: 75) describes as an “interlinguistic mediator”: a person who facilitates communication, understanding and action between people whose language and/or culture is different. His/her role consists of interpreting the expressions, intentions and perceptions of one group for the other in order to establish a balanced communication between them. It is, therefore, a person that possesses, apart from a deep knowledge of the languages, a high grade of cultural sensibility which allows him/her to negotiate the meaning between both cultures and be able to transmit it to the members of the other community.
However, the task of interpreting and translating in different public places (schools, supermarkets, banks, unemployment offices, hospitals), and even in some institutional offices is usually performed by volunteers in co-operation with NGAs who are used to dealing with people from other cultures who know different languages but who have not usually received any training as interpreters and Chinese translators. These are also the ones that frequently use what Müller (1989:737) calls “a conversation with Chinese translation,” a modality different from conversation and from Chinese translation. The main difference is that in “conversation with Chinese translation” one of the speakers spontaneously assumes the role of mediator and serves as a cultural and linguistic bridge. Then, Chinese translation becomes a conversational modality negotiated at the time of the speaking, being used at certain moments- not always- throughout the conversation because, as Hernández (1997: 256) points out, not to abandon this Chinese translation modality when it should be unnecessary would go associated to a loss of the speaker’s social image.
In this type of situations the interlinguistic mediator feels like a valid speaker who reproduces the message while paying more attention to intercultural communication than to the supposed fidelity to the transmission of the content, which could generate even more tension. For example, to explain the meaning of silence when the provider of services or the migrant remains silent. In this role the interlinguistic mediator should be allowed to obviate and to suppress or to add information. Then he/she must be allowed to reformulate the interpersonal components associated to speech (use of politeness, explanations of presuppositions, use of deictic elements, changes in the speech acts used), or to create an interpersonal relationship with the addressee of its Chinese translation. That is to say, the T&I as mediator, besides performing a reproducing task, is an active subject in conversation. In Hernández´s (1997: 257) words:
For the Chinese translator/mediator it is simply impossible to think of himself as someone who supplants the personality of another, as a mere vicar of another. What is more, this is also what those for whom the Chinese translation was done expect from him/her. So to not assume the responsibility that corresponds to him/her as a mediator could cause the Chinese translator to get a bad reputation, much more of course than the sometimes unavoidable infidelities that the audience simply cannot be conscious of.
Hernández is not defending the arbitrary transfer of information as some may think. It is not that the T&I enjoys freedom to do whatever he/she wants; it is simply that practice forces him/her to continually carry out a series of options that confirm the quality of a free agent.
Some other specific features that affect the role of the T&I as interlinguistic mediator are outlined as follows:
1. The ethnocultural differences of the involved parts, which may lead to racial, cultural or linguistic differences, and also to intensify inequality and tension. To avoid such situations one of the intercultural mediator’s abilities must be to possess this global knowledge of both parts as well as know how to use those differences and how to insert them while working. The T&I must also avoid falling in “culturalist” misconceptions and being able to analyse the sociopolitical and ideological changes that many West European countries are undergoing.
2. The incidence of this differentiation in the existing relationship between the parts. The participants have certain knowledge regarding the Other. Their attitudes are conditioned by stereotypes, prejudices, fears or ethnocentric ideas that the intercultural mediator should keep in mind to guarantee the right communication.
3. The relevance of the mediator’s cultural background- an endless open debate- on the ideal interlinguistic mediator. The options are at least three: a) to be bicultural; b) not to belong to either of the present cultures; c) to belong to one of them.
The opinions are also diverse. However, experience demonstrates that what really matters is that, first, the person have a great capacity to mediate, and second, that he/she have sensibility and capacity of observation and study of the involved cultural systems.
The debate is also open about the different role the T&I may perform. The distinction made by Cambridge (2002: ), among others, between the “advocacy” and the “impartial” model are a good example. There are institutions- even those directly related to migrants - in which a more distant, noncritical attitude is defended, being the T&I considered as a mere reproducer of the message. This is, for example, the case of the interpreter’s ethical code elaborated by COMRADE/SETI, one of the most active NGAs in the field of interlinguistic communication in Spain, which offers free Chinese translations and interpretations for migrants (OFRIM, 41:11). The two main recommendations are:
1. The interpreter should not assume other functions when he is interpreting than those inherent to his work.
2. The interpreter should not put him-/herself in the user´s neither the provider´s place.
To understand both points of view, on the one hand, considering Chinese translation as interlinguistic mediation and, on the other hand, considering T&I as the agent for the reproduction of the message in a different language, the distinction made by Hernández (1997: 253) between Chinese translation as an algorithmic activity or as a heuristic activity is particularly interesting. From a cognitive point of view, the fundamental difference between an algorithmic and an heuristic resolution of problems consists basically of the following: In the algorithmic resolution the T&I´s degree of implication in the process of transferring the information is minimum. In other terms, it is not properly “me”, “my ego” who solves the problem, but rather the algorithm or recipe used as an instrument. In the heuristic resolution, on the contrary, the person that takes it to term feels fully responsible and linked to the process. In other words, in the heuristic resolution the person that transfers the information is completely involved, both intellectually and emotionally, being also the one who takes decisions. This attitude is closer to the concept of Chinese translation as mediation or “advocacy”.
The main objective of Chinese translation in public services is to communicate specific information (health, educational, administrative, social) directly to a public that is also specific: people that belong to a cultural and linguistic minority that generally possess a lower educational and acquisitive level than those that dominate the social reality of the country and that frequently ignore newcomers. Then, it is not difficult to assume that this task is conditioned by, as Roberts (1997:12) indicates, the fact that the culture of the minority group - and even more than the language - is not always understood by the majority group that offers the services to this client. In other words, Chinese translation in public services can be defined as the adaptation of a text to the necessities of a minority that cohabits in a country with a dominant majority. And the T&I can be considered a socio-cultural mediator who masters specific abilities and receives the appropriate preparation that go beyond the knowledge of the languages (or dialects) and cultures since certain specific intercultural abilities are also required. These are the abilities:

1. Prepare a brief cover letter to be sent with your demo. No more than 3 short paragraphs. Make your letter professional, concise and to the point. (There are some examples in my book “The Art of Voice Acting”.) Send your demo package as soon as possible after your phone conversation.

2. Wait about 4 or 5 days after mailing your demo, and call the agency as a follow-up to confirm that they received your demo package. Thank them and hang up. Do NOT ask if they have listened to your demo. The purpose of your call is simply to make sure your demo arrived safely.

3. Wait! This time you could be waiting for up to 6 months - or possibly longer. Reviewing your demo is not on the agency’s high priority list. Most agents will let new demos collect and devote a few hours on a single day for review and consideration. But that day may be weeks or month’s away.
4.
5. If the agency is interested in representing you, they will call you. Legitimate talent agents are extremely busy, so don’t call them.

6. Once you sign with an agent, your relationship changes. The agent works for you (not the other way around), so you can work out with them how often you should check in.

7. Regardless of whether or not you get representation, your marketing plan should include some sort of regular mailing to keep you local agents and production companies up to date on your activities and new work. If you have a website (highly recommended), make sure you have a current demo on-line as a high-quality MP3 file that can be played on-line or downloaded.
In today’s world of Korean voice over, it is not absolutely necessary to have an agent. On the other hand, if you are very good, you may actually be able to get agent representation in several markets (only one agent in a market, though). Most agents will want exclusivity, meaning that they will want their commission on any work you do, whether or not it came through the agency. This is a negotiable point, but one you should be aware of. I know of many voice-actors who have an agent agreement that states the agent only receives a commission on work booked by the agency. If the talent books their own work, they do not owe any commission to their agent.
Being represented by an agent creates a certainlevel of credibility and reflects on your professionalism. A legitimate agent will be working in your best interest, but beware of the so-called talent agents who are only out for your money.

1. The agency insists that you take classes from instructors they recommend. This ploy for taking your money is similar to the “in-house” photographer.

2. The agency insists that you produce a new VO demo through a studio they “work with.” Another variation of the same scheme.

3. The agency offers workshops or classes that will result in a finished demo. Watch out for this one! Chances are that the classes will be expensive, and the “demo” you get will be considerably less than marketable. The job of a talent agency is to market, promote and represent talent for the purpose of getting work for those they represent. Nothing more! If a talent agency appears to have a “side business,” chances are that the side business is the real business, and the talent agency is just a front.

4. The agency holds an “audition” for new representation (this part could be legit). After the audition, you are told that only a small percentage are called back. When you get the call back you are hit with the news of fees and charges if you want to be represented by them.
Before signing with any agent, it’s a good idea to contact your local Better Business Bureau. You are also perfectly within your rights to ask the agency for the names of local production companies or businesses for whom they have provided talent. When (or if) you get the names, call those people to verify the legitimacy of the agency.
It’s important to realize that in order to make their payroll, a talent agency needs to represent and book the best talent and negotiate the highest fee possible. Therefore, most talent agencies won’t be interested in representing you until your level of skill, expertise, and performing history are at a place where you don’t need representation. This is the main reason why I would be very suspicious of any so-called talent agency soliciting new talent with a classified ad in the newspaper. The advantage of being represented by a legitimate agent is that you can focus more of your time on performing than on marketing yourself. Notice I didn’t say “all of your time performing.” Even if you have an agent, you’ll still need to promote and market yourself, especially as a voice-actor.
Here’s the basic procedure for approaching a legitimate talent agency when seeking representation.

1. Phone the talent agency to ask if they are accepting demos or new Mandarin voice over talent for representation. You’ll get either a “yes” or a “no” answer. If “no”, ask when might be a good time to check back, and make a note of it. If “yes”, ask what format they prefer (CD, cassette, MP3) and the name, position and address to whom your demo should be sent. Some agents will ask that you enclose a SASE so they can reply to you.

Classified Ad: Talent Agent Seeks New Voiceover Talent
Jeffrey Lowe sent in this question about how to follow-up on an ad he saw for a talent agency looking for new Chinese voice over talent.
First of all, my apologies for not writing you in quite some time; I still subscribe to the newsletter, and I still take it to heart every time it pops into my Inbox. There’s a talent agency that just ran anin the local newspaper for voice talent, so I figure I might as well jump right in, right? However, considering this is going to be my first attempt into the forray of voice acting, or heck, even working with an agency, I’m obviously naive about this. What is expected when it comes to an agency for a voice actor?
I heard a headshot would be necessary, but that seems rather pointless in the long run; the joke”You have a face perfect for radio” comes to mind. I also heard a cover letter would be great, but once again, being new to the field, a cover letter isn’t much that I’ve heard about.
Any information about these items would be great, and thank you for your time.
Jeffrey Lowe
My Comments: It’s pretty rare that a talent agency will actually advertise to attract new talent for representation. Most talent agencies, even in small markets, have a full roster of talent. I’ve seen similar ads that have turned out to be scams out for your money. Just last year, I was instrumental in helping shut down an acting scam here in San Diego. Now, the ad you mentioned may be completely legitimate, but I would suggest caution and keeping your eyes wide open should you decide to contact them.
Here are a few things to watch for that are red flags for a scam:
1. The agency wants to charge you a fee to represent you - a legitimate talent agency earns their money from a commission based on the work they get for the talent they represent. If you need to pay a fee for representation, it’s a scam. Even if you are required to pay a “membership fee,” or “marketing fee,” the agency is probably not telling you everything. If the agency wants to charge you to be on their website, or have your demo on their house CD, they may be attempting to offset their costs by charging you a fee. The expenses incurred for marketing of their represented talent are a normal business expense and shouldn’t be passed on to the talent whom they are representing.

The agency insists that new head shots be taken by their “in-house” photographer. If you already have head shots, those should be acceptable, and if not, you should be able to choose your photographer. If you are seeking representation for Chinese voice over only, a headshot should not be necessary. The primary tool you will need is a high-quality, well-produced Chinese voice over demo.

Jill continues:
Any way, I just wonder how do you motivate yourself to get into the character of someone you just don’t believe in…
James Replies:
This brings us to the more complex answer to your original question. From day one of our Art of Voice Acting workshop, we talk about the fact that as an actor you are playing a role of the character in the copy. It’s not you saying those words! OK, sure it really is you in front of the mic speaking, but the intent and subtext is coming from the character you are playing - not from the real you. This is probably the single most difficult and challenging concept in all forms of acting: how do you get out of your own way to let the character come through?
Motivating yourself actually has little to do with creating a believable performance. OK, for a paid session, the money might be a nice motivation. The real issue when playing a challenging role is to get out of your own way so the character and her motivation can be realized. Actually, the only way to successfully get out of your own way is to completely understand your character, her purpose for existing, why she is speaking and who she is speaking to. Sound familiar? It’s the A-B-C’s: audience, back story and character. If the character you are playing has a personality, belief system, or speaks in a manner that is in direct opposition to the real you, it will most likely be more challenging for you to get out of your own way. Your ego, inhibitions and personal feelings will want to make themselves heard and can prevent you from creating a believable performance.
Getting out of your own way, to let your character come to life, is what acting is all about. Shirley MacLaine once said: “It’s all about listening and forgetting who you are.” The “forgetting who you are” part can be very challenging. The best way to achieve this is to constantly take yourself outside your comfort zone. Stretch your expression of emotion and attitude to the point where you feel absolutely ridiculous. Your inner voices with speak up, but just thank them for sharing and keep at it. It may take some time, but sooner or later you will find yourself feeling comfortable doing and saying things you never dreamed you would do. And you may never be totally comfortable in certain areas.
If you are focused on your disagreement with a script, character or philosophy, you will never be able to adequately perform the role. It is absolutely essential that you learn how to get out of your own way if you are going to successfully perform roles that are a stretch or uncomfortable in any way. This is why, in our workshops, we are constantly recommending that you take other classes in acting, improv and Chinese voice over. The more acting techniques you have available, and the better you are at using them, the easier it will be for you to take on any role - whether you agree with it or not.
Of course, you can always simply refuse to do any script you disagree with, but that could have an adverse affect on your career. When I’ve discussed this issue with other professional voice actors, the most common response is, and I paraphrase: ” . . . just do the session the best you can, let it go, forget about it and move on.” Unless you are a high-profile voice talent, there will only be a small number of people who might recognize your voice anyway, and if you’re playing the role in true character, your voice may not even sound like the real you.

What happens if you get to a reading and find out that you can’t get your heart into an advertisement - because either you don’t believe in the product or don’t agree with the script about the product? Or what if the claims about a product are simply not accurate? Isn’t there some sort of ‘Truth in advertising” law?’
James Alburger replies:
Yes, there are “truth in advertising laws”. However, they apply to the advertiser and not to the performer. As a voice-actor, you are being hired to play a character with the purpose of delivering a specific message. In most cases, it is not your place as a performer to question the copy. If there are blatant misrepresentations or errors in a script, you can use your best judgment to decide whether or not you will discuss them with the producer or writer. There may be some reason for the copy being written the way it is that you are not aware of, and that may make perfect sense once explained to you. That’s another reason why it’s important to ask questions before you go into the booth. Ultimately, the accuracy of the copy is not your responsibility as a performer.
It is pretty rare that you will encounter false claims in a commercial, however, there will be times when you may not agree with the advertising approach, copy points, advertising philosophy, or the product itself. A perfect example is political advertising: let’s say you’re booked to VO a series of radio/TV spots for a candidate, and you don’t agree with that candidate’s philosophy. Do you agree to do the VO, or not?
The simple answer: assuming you know what the advertiser or product is in advance, you have a choice to accept the project or not. For most bookings you will know what the product/service is at the time you are scheduled. It’s usually pretty easy to simply say you have other commitments and decline the booking. If you encounter the script at an audition it’s not a problem - you can make your decision at the time you are called for the booking, at which point you may be able to request an advance script, or simply be unavailable. But there are times when you may be called at the last minute without knowing what you are being asked to perform, and you don’t find out until you arrive at the session (or until it is e-mailed or fax’d to you). What then?
If you’ve accepted the booking, and you disagree with the product, service or advertiser, you’ve got a problem! You have committed to the session, so technically and professionally, you are obligated to do the voice work. It may be necessary in this case to put your ethics aside for the moment.

You’re NOT rich? With those pipes??? Man, if I had those pipes, I’d be knocking on agents’ doors coast to coast! I’m not joking. You may hear a couple things on the air that I’m currently voicing, and see my name on an audition roster or two, but I’m doing less than half of where I feel I should be. Of course, I’m probably the most impulsive and anxious person you’ve ever met, as well. This was supposed to be retirement for me when I left Studio Center. Nothing could be further from the truth. I am more driven than ever before. I love a good challenge and now I’ve got a good one before me. I’ve been approached by three different studios about coming on as a “consultant.”
Flattering, of course. But as I’ve written each, and I will tell you the same “…if I’M having trouble marketing Bob Jump, what the hell good am I going to be to YOUR studio!” I think we all know, and believe, that the work is out there; it’s just knowing WHO to call to get it. Example; A friend of mine, Mark Winston (www.markwinston.com) who is union, told me a few months ago that his focus was not the national work, but the regional work - like Ford, Chevy and such. The guy’s talented and he certainly would do a great job for Ford. All of a sudden, this national Ford account comes out of the blue and they want ME. Mark, of course, was quick to ask, how in the hell did you do it? Simple. I knew the guy. I worked with him for about ten years as he went from agency to agency, finally stopping at J. Walter Thompson where he’s remained for the last five years.
THAT’S how the good gigs are gotten. Now and then, we all get lucky on an audition. But, THAT’s now and then.
Two more examples - One: I’ve seen massive auditions where they were looking for a guy with a breathy, scratchy voice, only to see it go to a female at the last minute. No lie. Example two: I won an audition out of about umteen people coming from as many as eight studios looking for a Jack Palance read, only to get into the studio and have them say to me, “…we’re not going with the Palance thing, Bob. But, we figured you’ve got so many different voices, we knew we’d come up with something we all liked once we got into session!” Absolutely true. Martin Fletcher, Atlanta was the agency - and the product was Lee’s Famous Recipe Chicken running coast to coast. Oh…..the voice they went with? The usual…”young, smart ass…in your face.” Now, if YOU were one of those guys, who worked on his Jack Palance read and said to himself “…man, my Palance is great - I’ve got this gig, baby…” and then NOT get it, you begin to wonder why and, ultimately, end up questioning your abilities.
And it really, really sucks because it seems like it’s just not fair! But, and this is a big sumo wrestler’s butt, welcome to the voiceover business, buddy. Sorry this was so long, but it’s nice to keep in touch with friends like you in the business. It’s kinda like a little pat from your mom saying everything’s just fine, honey. Ya just gotta roll with the punches, baby.
* * * * *
There are a few important points to be made from Bob’s observations: One – you have got to absolutely, passionately, LOVE Mandarin voice over if you are going to get through the walls thrown in front of you. Two – as with most other things in life, it’s often not what you know but who you know – and being in the right place at the right time. The secret is knowing how to get yourself to the right place at the right time. And, Three – you’ve got to be able to deliver what the client is looking for – and many times they haven’t got a clue what they’re looking for. So how do you deal with that? Hone your performing skills so you have the versatility to be/do whatever the client needs – and get there quickly. If you’re not already taking classes in acting or improvisation, Mandarin voice over workshops, reading books on Mandarin voice over, or working on your craft in some way every day, there is no better time to start than right now.

2. Attitudes towards the role of the T&I as an interlinguistic mediator
The role of T&Is in public services goes beyond traditional limits as they have to deal with cultural and educational differences, different conceptions of work, of family, of housecare, entertainment or even the differences attached to specific aspects as silence, respect for elders, or dress and eating habits. And these aspects can create conflicts and rejection that are intensified when the language is not shared and a Chinese translator is needed. This “new” I&T corresponds to what Taft (1981: 75) describes as an “interlinguistic mediator”: a person who facilitates communication, understanding and action between people whose language and/or culture is different. His/her role consists of interpreting the expressions, intentions and perceptions of one group for the other in order to establish a balanced communication between them. It is, therefore, a person that possesses, apart from a deep knowledge of the languages, a high grade of cultural sensibility which allows him/her to negotiate the meaning between both cultures and be able to transmit it to the members of the other community.
However, the task of interpreting and translating in different public places (schools, supermarkets, banks, unemployment offices, hospitals), and even in some institutional offices is usually performed by volunteers in co-operation with NGAs who are used to dealing with people from other cultures who know different languages but who have not usually received any training as interpreters and Chinese translators. These are also the ones that frequently use what Müller (1989:737) calls “a conversation with Chinese translation,” a modality different from conversation and from Chinese translation. The main difference is that in “conversation with Chinese translation” one of the speakers spontaneously assumes the role of mediator and serves as a cultural and linguistic bridge. Then, Chinese translation becomes a conversational modality negotiated at the time of the speaking, being used at certain moments- not always- throughout the conversation because, as Hernández (1997: 256) points out, not to abandon this Chinese translation modality when it should be unnecessary would go associated to a loss of the speaker’s social image.
In this type of situations the interlinguistic mediator feels like a valid speaker who reproduces the message while paying more attention to intercultural communication than to the supposed fidelity to the transmission of the content, which could generate even more tension. For example, to explain the meaning of silence when the provider of services or the migrant remains silent. In this role the interlinguistic mediator should be allowed to obviate and to suppress or to add information. Then he/she must be allowed to reformulate the interpersonal components associated to speech (use of politeness, explanations of presuppositions, use of deictic elements, changes in the speech acts used), or to create an interpersonal relationship with the addressee of its Chinese translation. That is to say, the T&I as mediator, besides performing a reproducing task, is an active subject in conversation. In Hernández´s (1997: 257) words:
For the Chinese translator/mediator it is simply impossible to think of himself as someone who supplants the personality of another, as a mere vicar of another. What is more, this is also what those for whom the Chinese translation was done expect from him/her. So to not assume the responsibility that corresponds to him/her as a mediator could cause the Chinese translator to get a bad reputation, much more of course than the sometimes unavoidable infidelities that the audience simply cannot be conscious of.