Welcome to Est. 1999, the official blog of Abraham Translations. As is perhaps easy to surmise, the name of this blog reflects the year that Abraham Translations was founded.
It all began with the correction of a few texts that had been translated by another time-pressed translator. Within the year, translating had become my main source of income; now, it has long been the only way I put bacon on the table.
I am rather proud of many of the projects on which I have worked.
Est. 1999, basically, is a visual confirmation of past projects, a blowing of my own horn, a presentation of translator-related topics, and an occasional departure into other areas that I deem worthy of presenting. Enjoy.

Sunday, 24 April 2016

The Breeding of a Super Race (2009)

(Documentary film, 52 min., by Boris Rabin aka Boris Karadzhev; a German-Russian co-production of  arte, Lichtfilm, Mirumir and MDR.)
When I translated a treatment for this documentary in 2008 for Lichtfilm GmbH, Cologne, the working title was still Creating a New Human Race in the Soviet Union / Menschenlabor Sowjetunion; the latter, the German title, seems to have been retained.
Oddly enough, at Lichtfilm, the website proclaims the English title as The Breading of a Super Race, a title given after my involvement and that makes me think of Cannibal Kiev. (Is the reference too obscure to be understood?) In any event, the title does not seem to appear on the DVD cover, as one can see above, or in the film credit sequence
First 8.5 Minutes –
in German:
The film description at Lichtfilm's website, like most of their film descriptions, was probably supplied by Google TranslatorAbraham Translations definitely did NOT do it. It seems to be the description used everywhere on-line, and is such a damning example of "Denglish" (Deutsch + English = Denglish) that we won't use it here.

In short, The Breeding of a Super Race documents and traces the various aspects of the Soviet Union's attempts, following the death of Lenin, to create a "new man", be it for use as a soldier during war, for hard labor, or for laboratory testing. Aspects touched upon in the film include cross-breeding between man and ape, rejuvenation by blood transfer, fixing conditional reflexes to genes, and artificially inseminating women by the sperm of geniuses.

Friday, 15 April 2016

The Slumbers

Here's something that I worked on briefly: I translated a detailed project description to it way back in 2013.
Normally, as the project hasn't been realized yet, I wouldn't present it here due to reasons of client confidentiality (which is golden here at Abraham Translations). BUT: the production firm itself, Bastei-Media, already has all the info I supply here on their own website, and all I'm doing it reiterating information they themselves have already made public about the project. They even supply some nice illustrations to The Slumbers, one of which is found above, at their webpage to the project.
To simply supply a loose English translation of the German description of the project found on the website: "The Slumbers. You think you know all about fairytales — but you've never heard of Morraga, Agrapok, and Sobothan? Then it's time for you to discover the world of the Slumbers! Fairytales as we know them only offer half the truth. The true heroes are not Snow White, the Frog Prince, or Sleeping Beauty's prince. The real heroes are the Slumbers! For they possess the unique ability to make all wishes reality ... providing there are enough of them around. But the evil witch Morraga wants to seize the power of granting wishes all for herself and become the ruler of the Kingdom of Fairytales. And she is close to succeeding. Were there not Agrapok, the littlest of all Slumbers. Joining forces with two children from the world of humans, Agrapok undertakes to defeat the witch Morraga and her evil spirits. The Slumbers is an interactive story universe in which the [animated] series, game, and book merge to create an exciting adventure."

Sunday, 10 April 2016

Asger Jorn

(ISBN-10: 3925782796 / ISBN-13: 978-3925782794)
Born Asger Oluf Jørgensen on 3 March in Vejrum, Jutland (Denmark), the artist died on 1 May 1973 Aarhus, Jutland (Denmark). Jorn, along with Karel Appel, Corneille, Christian Dotrement and Joseph Noiret, founded the one of my favorite post-war avante-garde movement, the highly influential group known as CoBrA in 1948.
This catalog was published by Die Galerie, Frankfurt, on the occasion of their exhibition on the artist, which ran September 5 - November 9, 2013. The bilingual (German & English), 96-page catalog includes texts by Pierre Alechinsky, Corneille, Asger Jorn, Hanne Lundgren-Nielsen, Per Poulsen-Hansen and Peter Femfert, the gallerist.
From the exhibition:
Asger Jorn: Advanced Anti Geometric Space, 1963
The English press release which I translated includes the following: "This extensive exhibition featuring a broad selection of about 50 different works by the Danish artist Asger Jorn (1914-1973) is the prelude to a renewed and intensive involvement with the pioneering artist of the 20th century and, at the same time, an allusion to the 100th anniversary of the birth of Asger Jorn on March 3, 1914.
"In a retrospective that spans all the work phases of the artist from 1937 to 1972 and includes paintings and works on paper as well as ceramics and sculptures, the artist Asger Jorn is both recognized and honored as a painter and art theorist who decidedly influenced and inspired both the work of the artist group CoBrA as well as all of Europe with his concepts of artistic expression free of all norms and conventions. His life was characterized by an exuberant and limitless joy of experimentation and discovery. [...]"

Saturday, 26 March 2016

Hotel Sahara (2008)

 
(Documentary, 86/52min, written and directed by Bettina Haasen, produced by Gebrueder Beetz Filmproduktion, development funded by Media Development and UNESCO, production funded by FFA Filmförderungsanstalt, DFFF, Medienboard Berlin-Brandenburg, and MEDIA Program.)
Some projects go a long way back. My first involvement with this project was in 2005, when I translated some early documents related to the film’s development. I was to work on and off on various texts for the next two or three years. Then, as normal, nothing — until one day I noticed that the documentary film had been released. (Often I find that out accidentally when channel hopping and I catch this or that production I once worked on being broadcast on arte, 3Sat or some German regional broadcaster.) 
Trailer
To use the synopsis at Gebrueder Beetz: "A dead-straight, endless road leading to nowhere. And at the end of the road: Nouadhibou, a town in the West African country Mauritania,* bordered by the ocean on one side and the Sahara Desert on the other. A bleak and inhospitable departure point for the tens of thousands of people that pour in from neighboring countries, all with only one dream in mind: Europe. Hotel Sahara is a film journey to the last invisible border separating the West-African coast and Europe. The bleak city on the Atlantic Coast is a metaphor, a point of arrival and of departure, a gathering place of broken dreams — a place of waiting for that better life on the far side of the Atlantic. It is above all a no-man's land, a place of endless waiting and endless hoping. The film reveals how difficult it is to differentiate between 'true' and 'false' refugees. Is one 'real' only when threatened life and limb? What if one simply desires to escape a deadening lack of perspective? With an observant and cautious eye, Hotel Sahara documents how closely the dream of a better life is linked to sudden stagnancy, and how much patience is required to wait for years to finally, perhaps, arrive somewhere."
* A country, interestingly enough, in which owning slaves was still legal up until 2007. 
A serious film for serious times. One that shares its title with a non-serious film full of white folks from less serious times, 1951: the British comedy feature directed by Ken Annakin and starring Yvonne De Carlo, Peter Ustinov and David Tomlinson.
 
Trailer to
Hotel Sahara (1951):

Saturday, 19 March 2016

God Bless Iceland (2009)

God Bless Iceland (58' & 70' & 100') was written by Titti Johnson and Helgi Felixson, the latter of whom also directed. A ma.ja.de. production made in co-production with Felixfilm (SE), Irisfilm (IS), SVT (SE), RUV (IS), and NDR; and in association with arte, YLE (FI) DRTV (DK) and TV2 (NO). Supported by the Nordic Film & TV Fond and IcelandicFilm Centre.
Under its original working title, "Point of No Return", I translated and/or corrected a few funding applications for this documentary, and later I also translated some of the voice-over commentary. (Please note, I did NOT do the subtitles; had I, they would've been cleaner and with fewer mistakes.)
Deckert Distribution, which distributes the documentary, gives the following summary: "The financial crisis has hit the core existence of no other country as hard as the small nation of Iceland: A country, that in the last years has been one of the most prosperous nations in the world, suddenly becomes a metaphor for the global crisis and a proof for the uncontrollability of raging turbo-capitalism.
"In the last months the world is shown a series of dramatic pictures: Outraged demonstrators in the centre of Reykjavik, finally the resignation of leaders in banks and government as well as the election in May 2009.
"God Bless Iceland tells the story of the financial crisis in Iceland, diving into the very real and daily confrontations of the calamity, which undermined not only the economy of Iceland but the very identity of the small island nation as well."
Trailer: