Editorial and Academic Translation
Translating non-fiction books, academic texts, and essays on art and culture demands a deep understanding of both the subject matter and the conventions of academic and literary writing.
Whether working on a comprehensive art history book, a scholarly essay, or a thesis, the translation must preserve the integrity of the original text while ensuring it is clear, engaging, and culturally adapted for the target audience.
With experience in academic standards, publishing practices, and collaboration with authors, editors, and publishers, I provide specialized translations that meet the highest standards of precision and readability.
Requirements and Challenges in Editorial and Academic Translation:
Knowledge of Academic Writing Conventions:
Academic texts often follow specific citation styles (e.g., APA, MLA, Chicago) and regional standards for quotations and references. Adhering to these rules is essential to maintain credibility in the target language.
Literal Yet Fluent Translations:
Balancing factual accuracy with a natural, pleasant flow is critical for academic and non-fiction texts to be both informative and readable.
Collaborative Process:
Translations for books and academic works often involve close collaboration with authors, editors, and publishers to ensure alignment with the original vision and editorial guidelines.
Subject Expertise:
Non-fiction and academic works on art and culture frequently involve specialized terminology, historical context, and references that require a translator with deep knowledge of the field.
All translation and localization services are available in the following language pairs:
English → Italian (EN-IT)
Italian → English (IT-EN)
Chinese → Italian (ZH-IT)
Chinese → English (ZH-EN)
French → Italian (FR-IT)
French → English (FR-EN)
Services Offered:
Non-Fiction Art Book Translation
Translating published works such as art history books, exhibition monographs, and biographies with accuracy and cultural sensitivity.
Academic Essays and Research Translation
Providing precise translations of academic essays, theses, and dissertations, tailored to meet international academic standards.
Conference Presentation Materials
Translating slides, abstracts, and handouts for academic and professional conferences in the arts and cultural fields.
Journal Articles and Scholarly Abstracts
Translating peer-reviewed journal articles and abstracts to ensure clarity, accuracy, and adherence to academic conventions.
Published translations I have worked:
IL NESSO TRA MIGRAZIONI, AMBIENTE E CAMBIAMENTI CLIMATICI: IL CONTRIBUTO DEI MIGRANTI NELLA LOTTA AI CAMBIAMENTI CLIMATICI NELLE AREE MONTANE D’ITALIA.
BRANDANO, M.G., A. FAGGIAN, L. GALLINA, A. MEMBRETTI, M. MODICA E G. URSO (2024).
Organizzazione Internazionale per le Migrazioni (OIM)
Source (Woman, Art, and Society by Withney Chadwick)
[…] Gentileschi’s version departs from this tradition in significant ways. Removing Susanna from the garden, a traditional metaphor for the bounteous femininity of nature, Gentileschi isolates the figure against a rigid architectonic frieze which contains the body in a shallow and restricted space. The awkward twist and thrust of the body with its outflung arms, transforms the image into one of distress, resistance, and awkward physicality very much at odds with representations by Tintoretto, Guido Reni, and others who choose to position the female figure within attitudes of graceful display. Other representations of the subject in Italian painting, including those by the Carracci circle and Sisto Badalocchio (c. 1609) reinforce the masculine, gaze by directing both looks toward the female body. The conspiratorial glance of one Elder toward the viewer in Gentileschi’s painting may be unique. It also produces a more disturbing psychological content, as the triangle inscribed by the three heads, and the positioning of the arms, not only focuses Susanna as the object of the conspiracy, but also implicates a third witness, a spectator who receives the silencing gesture of the older male as surely as if “he” were part of the painting’s space. The figure of Susanna is fixed like a butterfly on a pin between these gazes, two within the frame of the painting, the other outside it, but implicitly incorporated into the composition. Abandoning more traditional compositions in which Susanna’s figure is off-center, along a diagonal or orthogonal line which allows the spectator to move freely in relation to the image, Gentileschi moves the figure close to the center of the composition and uses the spectator’s position in front of the canvas to fix her rigidly in place.
Translation
[…] La versione di Gentileschi si discosta in maniera significativa da questa tradizione. Allontanando Susanna dal giardino, tradizionale metafora della generosa femminilità della natura, Gentileschi isola la figura contro un rigido fregio architettonico che racchiude il corpo in uno spazio poco profondo e ristretto. La goffa torsione e spinta del corpo a braccia spalancate trasformano l’immagine in una rappresentazione di angoscia, resistenza e fisicità sgraziata, in netto contrasto con le raffigurazioni di Tintoretto, Guido Reni e altri che scelsero di posizionare la figura femminile in atteggiamenti di graziosa compostezza. Altre rappresentazioni del soggetto nella pittura italiana, comprese quelle del circolo dei Carracci e di Sisto Badalocchio (c. 1609), rafforzano lo sguardo maschile, indirizzando gli occhi di entrambi i vecchi verso il corpo femminile. Lo sguardo d’intesa di uno dei vecchi verso lo spettatore nel dipinto di Gentileschi può essere considerato un unicum. Questo dettaglio introduce inoltre un contenuto psicologico più inquietante: il triangolo formato dalle tre teste e la posizione delle braccia non solo focalizza Susanna come oggetto della cospirazione, ma implica anche un terzo testimone: uno spettatore esterno verso cui è rivolto il gesto di tacere di uno dei vecchioni, come se anche “lui” facesse parte dello spazio pittorico. La figura di Susanna è fissata, come una farfalla su uno spillo, tra questi sguardi: due interni alla cornice del dipinto e uno esterno, ma implicitamente incorporato nella composizione.
Hi there!
My name is Valeria, and I’m a translator, writer, and art educator.
I hold a BA in Sculpture and an MA in Fine Arts from the Central Academy of Fine Arts (CAFA) in Beijing, where I also worked as an art teacher and curriculum developer for almost ten years.
After relocating to Italy in 2020, I now focus on art translation, copywriting, and educational content creation. I’m also the owner and creator of Art Sprouts, an online platform, where I share my experience in art education and Reggio-inspired learning.
Tell Me About Your Project
Every project is unique, and I’d love to hear about yours.
Whether you’re looking for translation, copywriting, or educational content creation, use the form below to share the details or request a personalized quote.
You can also write to me directly at valeria@thearttranslator.com. I strive to reply within 48 hours and am happy to answer any questions or provide advice tailored to your needs.
Let’s collaborate to make your vision a reality—I look forward to hearing from you!