I'm not a collector. I don't keep letters, or books, or souvenirs. But I do keep one copy of each translation of my books into a foreign language. Have you ever seen a murder story printed in Singhalese? Wow!
So much gets lost in the translation. Even if you sat there listening to it with a microscope, there's no way you're gonna find out what it means.
Better known as the Secret of the Golden Flower, this is a famous neidan text that the Western world came to know through Richard Wilhelm's 1929 translation. The Chinese text used by Wilhelm was edited by Zhanran Huizhen zi in 1921. Besides this, at least five more versions are available, all of which date to the late Qing dynasty (1644-1911) and are ascribed to Lu Dongbin, who revealed them through spirit writing.
Readable, faithful, accurate-what more could you ask for in a modern translation of the Bible? GOD'S WORD Translation is a great version for enhancing your love for God's Word. I recommend it.
I'd done a drawing of the model using only peripheral vision, looking at a spot on the wall to the right of where she sat. It wasn't really a drawing of her I produced; it was a drawing of the cloud of lights and darks she dissolved into when I focused on the spot. You could look at my drawing of this cloud and read it as a nude female figure, though a little translation was required.
Nor ought a genius less than his that writ attempt translation.
There's something, I think, that gets lost when we write something - something gets lost in the translation. So I speak everything out, and it's more important how it sounds. And applying that to more formal aspects of writing.
I'm told that a couple of my Russian translations are just plain terrible, though, and there may be others.
As strange as this may sound, I very seldom read fiction. Because my novels require so much research, almost everything I read is non - fiction - histories, biographies, translations of ancient texts.
I've translated a lot of American literature into Japanese, and I think that what makes a good translator is, above all, a feel for language and also a great affection for the work you're translating. If one of those elements is missing the translation won't be worth much.
I mainly wanted non-english writing poets, because I loved the idea that I was translating translations.
I've personally reached the point where the sound of MP3s are so uncompelling, because so much is lost in translation.
I didn't realize how different our band's senses of melody actually were. I would write a part that just made perfect sense to me, but for them, it was mind-boggling. Likewise, they could play stuff with relative ease that I never could have. If there was something lost in translation melodically, it wouldn't work at all - we'd just be 17 people in a giant room staring awkwardly at each other. When that happened, I'd go home, figure out what was wrong, fix it, and then return to smooth sailing.
To use the same words is not a sufficient guarantee of understanding; one must use the same words for the same genus of inward experience; ultimately one must have one's experiences in common.
I'm not a best-seller, but through translations, I've accumulated some money.
A firm, for instance, that does business in many countries of the world is driven to spend an enormous amount of time, labour, and money in providing for translation services.
The good thing about playing with other musicians is that it's much easier to make the translation to playing live. It's much more difficult if you're trying to take something you've overdubbed alone on stage. But again, there are some benefits.
There is a insularity within American fiction even for adults. It's very tough for books in translation in the US.
A massive and brilliant accomplishment--the first English translation of the original Grimm brothers' fairy tales. The plain telling is that much more forceful for its simplicity and directness, particularly in scenes of naked self-concern and brutality. Hate, spite, love, magic, all self-evident, heartbreaking, delightful. I will return to this book over and over, no doubt about it.
Generally risk-averse, specialist translation imprints have also hollowed out a fairly comfortable niche for themselves: they get ninety percent of the profits for ten percent of the work, often largely funding their operations - and their salaries - through grants that they don't even apply for. If it wasn't for publicly-funded arts bodies and organizations such as PEN, I wouldn't have been able to work on either [Abdellatif] Laâbi or [ Rashid ] Boudjedra.
I would feel pretty embarrassed if I was doing what I do and I wasn't at least attempting the eloquent translation of the human experience in some way.
I want my words to survive translation. I know when I write a book now I will have to go and spend three days being intensely interrogated by journalists in Denmark or wherever. That fact, I believe, informs the way I write - with those Danish journalists leaning over my shoulder.
And I always read the English translation and always have conversations with my translator, for example about the names. I always have to approve it.
I find it interesting that people often seem to believe that authors of realistic fiction are directly translating their personal experiences into their work. The fact is that telling a story is a transformative experience. There is rarely a one-to-one translation onto the page unless you're writing memoir, and even then, memory is unreliable. I think that the best books feel emotionally true, and that truth has to be rooted in real-world experience.
The US and the European Union needs to help in the translation of the demand for democracy into a political will.
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