Since the early days of translation and interpreting studies, scholars have emphasized the value of certain personality related traits for translation and interpreting performance. Especially in the conference interpreter world, preconceived opinions about the desired personality traits for conference interpreters seem to exist. However, there is little to no empirical evidence to either corroborate or refuse these ideas. In this paper we aim to explore a set of individual difference variables (IDs) — as these traits are called in the literature — to gain an insight into the profile of aspiring interpreters and to explore whether this profile differs from that of other advanced language experts. To this end, we have compared the IDs of three groups of advanced language learners who have received the same bachelor training but will branch off into three different master’s programmes: interpreting, translation and multilingual communication. By means of self-report questionnaires we have gauged the language learners’ willingness to communicate, cultural empathy, social initiative, flexibility, open-mindedness and emotional stability before they began their professional training. The data show that student interpreters score significantly higher than students of multilingual communication and student translators on the social initiative and emotional stability dimensions. These results seem to indicate that students aspiring to become interpreters can be distinguished from students aspiring to become translators or multilingual communicators on the basis of these personality traits. These differences are already in place before the students embark on their professional training in the master’s programme.
The primary aim of my paper is to reveal the possible role of illustrations in the (re)interpretation of a text as seen in the example of an Ottonian image cycle illustrating a Late Antique adventure story. The work in question is the so-called Apollonius pictus (Budapest, National Széchényi Library, Cod. Lat. 4), a manuscript fragment consisting of three and a half large parchment leaves that contain the oldest known illustration cycle of the History of Apollonius, king of Tyre (Historia Apollonii Regis Tyri). The images (thirty-eight red line drawings) focus on the protagonists; with the exception of some ships, a few buildings and curtains, there is almost nothing that alludes to the mise-en-scène. In spite of their relative simplicity, the images effectively articulate the meaning of the story by means of the protagonists’ body language. Through the study of their postures and gestures in relation to the text and in the context of other early medieval visual narratives, I arrive at the conclusion that the images offer an alternative reading of the story. This reading gives the leading role to one of the female protagonists, Tarsia, and emphasizes special personality traits and life events that make her similar to saints. Analyzing the communicative function of the illustrations, I shed light on the Ottonian reception and use of classical narrative traditions from a specific perspective.
Chart 8 , it is possible to generate a cross-habitus hypothesis that translators look for happiness at work in inward-oriented job aspects rather than external orientations, which could be connected to their personalitytraits. 10 Finally, the modified
entire community, became a means of self-expression for a limited group of a few tradition-conscious individuals. Behind their decision are several factors: social position (often middle peasant “conservativism”); family attitudes; personalitytraits; an