Consecutive Interpreting

Note-taking for Consecutive Interpreting

Note-taking for Consecutive Interpreting: A Short Course is the essential step-by-step guide to the skill of note-taking. The system, made up of a range of tried and tested techniques, is simple to learn, consistent and efficient. Each chapter presents a technique, with examples, tasks and exercises. This second edition has been extensively revised throughout, including: an updated chapter on speech analysis new chapters on comparisons and links revised example speeches and notes a summary of other authors' note-taking guidelines for comparison and reference (Part III). The author uses English throughout – explaining how and where to locate material for other languages – thus providing a sound base for all those working in the areas of conference interpreting and consecutive interpreting in any language combination. This user-friendly guide is a particularly valuable resource for student interpreters, professionals looking to refresh their skills, and interpreter trainers looking for innovative ways of approaching note-taking.

Consecutive Interpreting from English

Museum Materialities

This is an innovative interdisciplinary book about objects and people within museums and galleries. It addresses fundamental issues of human sensory, emotional and aesthetic experience of objects. The chapters explore ways and contexts in which things and people mutually interact, and raise questions about how objects carry meaning and feeling, the distinctions between objects and persons, particular qualities of the museum as context for person-object engagements, and the active and embodied role of the museum visitor. Museum Materialities is divided into three sections – Objects, Engagements and Interpretations – and includes a foreword by Susan Pearce and an afterword by Howard Morphy. It examines materiality and other perceptual and ontological qualities of objects themselves; embodied sensory and cognitive engagements – both personal and across a wider audience spread – with particular objects or object types in a museum or gallery setting; notions of aesthetics, affect and wellbeing in museum contexts; and creative and innovative artistic and museum practices that seek to illuminate or critique museum objects and interpretations. Phenomenological and other approaches to embodied experience in an emphatically material world are current in a number of academic areas, most particularly strands of material culture studies within anthropology and cognate disciplines. Thus far, however, there has been no concerted application of this kind of approach to museum collections and interactions with them by museum visitors, curators, artists and researchers. Bringing together essays by scholars and practitioners from a wide disciplinary and international base, Museum Materialities seeks to make just such a contribution. In so doing it makes a valuable and original addition to the literature of both material culture studies and museum studies.