In this paper, mermaiding slang, present in the American series MerPeople, is analysed as containing stylistically marked vocabulary, mainly wordplays, created through lexical blends. Following such analysis, I intend to investigate how mermaiding-related terms and phrases were transposed into Brazilian Portuguese subtitles. For that, my discussion briefly presents issues related to language varieties, the main word-formation processes used in the production of wordplays, and the main strategies adopted to translate them. Due to the inherent characteristics of that type of slang and wordplay, I also touch on creativity and humour. My results revealed that only a small percentage of the source language wordplays were transposed as such in the target language, confirming, among other things, that this type of translation is difficult and challenging. Yet, for results in Brazilian Portuguese considered below expectation, suggestions will be offered, bearing in mind that translators should possibly reproduce the wordplays in the target language since they characterise mermaiding slang.
Keywords: Slang, Wordplay, Lexical Blend, Translation, Reproduction.

This paper, titled ‘Translation and Embodiment of Gendered Spaces: Reading The Great Indian Kitchen’, investigates the translatability of gendered embodied spaces in Malayalam films in general, and in The Great Indian Kitchen (2021), in particular. Critical reading of the embodiment of gendered spaces, as represented in this film, results in a site where knowledge and pleasure, produced and defined by the dominant cinematic aesthetics, get subverted. The subversion offers a feminist critique of the representations of women and women’s experiences produced by popular Malayalam cinema. This subversion is visible in Malayalam cinema, which has been attempting to revise these popular gendered representations since the 2010s (Pillai, 2013, p. 26). This paper argues that these attempts become a form of feminist translation. This paper further argues that such an informed reading would enable an uninitiated reader to reinterpret the experiences of women subjects and their interactions with normative discourse/s.
Keywords: Audiovisual Translation, Knowledge, Embodiment, Gender, Space, Malayalam Films.

Renowned German director and screenwriter, Robert Schwentke holds a significant position in the annals of cinema’s history. His directorial work on The Time Traveler’s Wife (2009) stands out as an exemplary American romantic science fiction drama film. The film adaptation draws its inspiration from Audrey Niffenegger’s 2003 novel of the same name. This paper aims to undertake a comparative study, delving into the cultural disparities between the book and its cinematic counterpart, shedding light on the transformation of the fiction genre into the unique visual medium of film. The central focus of this investigation revolves around the extent to which the film’s director adhered to the source material and the creative departures made. Furthermore, we seek to unravel the distinct qualities that render this movie exceptional, despite the cultural differences from the original novel. These pivotal inquiries will be thoroughly explored in the article.
Keywords:Literary Adaptation, Translation, Fiction, Cultural Disparities, Adherence.

For a long time now, Indian literature has meant Indian English literature to the reading public, especially in the West. This came about after Rushdie burst into the international literary scene with Midnight’s Children, a novel about India that changed the very course of Indian English fiction. Even when the translation industry in India is considered to have boomed in the 1990s, translated literature still remained largely popular only with academics and with a small discerning readership. But this seems to have changed in the new millennium. This is evident from more and more publishing houses getting involved in bringing out translations, constitution of new literary prizes solely aimed at translated literature, translated literature from India finding a place in the long lists and short lists of international awards and featuring in almost every list of Indian newspapers and magazines that bring out year-end best lists. Is translation in India getting its due share of glory now? What changed from the 1990s to the second decade of the 2000s that the tables almost seem to have turned regarding Indian English fiction and Indian fiction in English translation? The paper looks at this resurgence of translations in comparison with Indian English fiction and attempts to explore the ways these changes have come about. The paper argues that if Indian English novels have become more local, bhasha novels have become more global. The paper will focus on the recent translations from Malayalam literature to substantiate its arguments and seeks to comment on the politics of language, literature, and representation in contemporary India.
Keywords:Translation, Indian English Fiction, Bhasha Novels in English Translation, New Trends.

Transcreation, now burgeoning in cross-cultural communications like international advertising and marketing campaigns, is a frequently-adopted approach to literary translation and has been practised across the continents from Britain to the USA and from India to Brazil, producing such masters as Edward FitzGerald, Ezra Pound, Tagore, P. Lal and Haroldo de Campos, whose numerous transcreations are worth classifying so that training modules can be better designed for student translators and practitioners. For these people, the time is ripe to take a transcreational turn as they face huge challenges from AI-driven machine translation. After ploughing through many instances, this research classifies transcreation into two types: one with a source text and the other without. The former is sometimes called transwriting since it involves writing in addition to translation. The latter is found to be almost the same as writing or copywriting. The only difference is that the departure point of transcreation without a source text is translation while that of writing or copywriting is not. The skopos theory is used to explain the way transcreation is practised in both literary and nonliterary fields. The implications of this classification for translation teaching and translator training are also illustrated.
Keywords:Transcreation, Skopos Theory, Copywriting, Transediting, Transwriting, Translation Teaching.

Basanti (1980), a novel by Bhisham Sahni is one of the most significant yet underappreciated literary works in Hindi. Through its titular character, it fittingly brings to life the struggles and predicament of India’s lower working class, focusing, particularly, on the plight of women in the workforce. The novel was first translated into English by Jaidev in 1997. Nearly two decades later, Shveta Sarda produced another English version in 2016. While both translations effectively capture the spirit of the Hindi original, they diverge significantly in their approaches and methodologies in terms of translation choices. Consequently, the article undertakes an in-depth comparative study of the two translated versions of Basanti. The exercise not only helps in exploring the complexities of translation and retranslation practices in contemporary India but also entails how varying approaches and motives can influence the translation of a literary work.
Keywords:Hindi Literature, Hindi Literature in Translation, Bhisham Sahni, Politics of Retranslation, Retranslation Hypothesis.