When the interlinguistic translation loses some of its precision this is most often a consequence of the double translation process that occurs in the translator’s mind but of which he/she is hardly aware. It is the unconscious, a term coined by Sigmund Freud, where the translator loses part of the message. Most of Freud’s works have been translated by German to English Translation, and the basic idea in them is that the emphasis falls on something we are ignorant of – the existence of an internal language. Any reading process, including that of interpreting a text occupies a great part of the translator’s mind, and in most case this happens unconsciously without his/her realization of this fact. Thus the translator will inevitably have to remember incidents in his own life arising from personal experiences including, pains and passions, sentiments and downfalls, impressions and memories. Thus the translator has no choice but to unconsciously manipulate the text.
The area in-between the original and the translation is extremely fascinating especially when it is studied by expert theorists of translation. It is in this zone that the two languages and/or cultures collide and intercept, so the resulting mixture is a kind of cross-fertilization which perverts and mistakes their distinctive characteristics, claims Italian to English Translation ideologist, Paolo Bartoloni. What may said to be neither arrival nor origin is what is sometimes referred to as the interstitial area – it involves both the memory of origin and the enigma of arrival. In fact, this is not an easy place to inhabit, because it is a sinister place, relatively unstable and constantly changing.
After translating the text, the translator faces yet another critical challenge: revising his or her own work. In the revision stage, the translator must, return to the first draft, which is in the interstices: it is no longer the source text, but is not yet the translated text. In this phase the feeling of uncertainty starts to creep in – a feeling known to anyone who has been a translator. The revision process is always dependent on the very responsible editorial policy the publishers take. Many is the time when editors have tried to influence the translator’s methodology. One such instance is a Portuguese Translation Services editor who has spoilt the whole process. In many cases, insufficient research carried out by editors on the model customer and the dominant of the text intermittently rewrite the works that are to become publications, influenced by mass consumption literature.
Usually, translators should stay open to interventions made by other on their text, as they can be very wholesome contributions to the final product. If the person who is going to review the translated work has enough expertise in the field, then translator’s attitude should be positive. Often, the translator is too emotionally involved in his or her choices to be the best judge, so it is significant to have a third party, someone who can suggest possible choices. French to English Translation theorist Antoine Berman argues that to translate means to assume the culture of the other and accept that others are invited to contribute to its development as well. Cinema, music and theater which are performing arts also demand such support. A translator who has decided to translate an author coming from the margins of the world, he/she must also bear in mind that his/her culture is a border culture. This leaves him with the almost impossible task of balancing on the tightrope being left with the unpleasant feeling of vertigo.