A Quote by Cornelia Funke

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. — © Cornelia Funke
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.
There is no such thing as a perfect, ideal, or 'correct' translation. A translator is always trying to extend his knowledge and improve his means of expression; he is always pursuing facts and words.
A satisfactory translation is not always possible, but a good translator is never satisfied with it. It can usually be improved. (Newmark)
Boys! Are they always this impossible? Do they always say cryptic, indecipherable things? (Note to self: work with Liz to adapt her boy-to-English translator into a more mobile form—like maybe a watch or necklace.)
I have always maintained that translation is essentially the closest reading one can possibly give a text. The translator cannot ignore "lesser" words, but must consider every jot and tittle.
You know it was really hard to do a set, or even to do interviews in English, because in Europe, we always had a translator with us.
I'd always read a lot about rock 'n' roll growing up, but the first real thing I set out to do was become an English professor. Even so, I always hoped in some way or another that I would get to write about music in a popular - non-academic - format.
I always read the translator's draft all the way through - a very laborious business.
Particularly for English people, Shakespeare is always at the forefront of both drama and the English language. He's always been there. I can't remember starting school and not learning about him.
The oldest cliché in the world is about "what's lost in translation," but you don't very often read much intelligent about what's gained by translation, and the answer is everything. Our language is a compendium of translation.
The trouble is, being an actor, you're always being sent scripts, so you've always got something to read. You've always got about three scripts to read, that you have to read, all the time. So finding a book or getting into a book series is hard, especially for me.
What's always a challenge for me is that my Spanish is not the level of my English. Nor do I read in Spanish the way I read in English.
For me, every translation is a new book, with the translator inevitably broadening the meaning of the original book in any translation.
Many people do not know that Jesus did not speak Latin or English or Hebrew; he spoke Aramaic. But nobody knows that language. So we're talking about the Bible itself being a translation of a translation of a translation. And, in reality, it has affected people's lives in history.
My brother and I always had conversations about me being a rapper. I always used to tell him, 'I'm gonna be the hottest rapper.'
My metaphor for translation has always been that translation is really a performance art. You take the original and try to perform it, really, in a different medium. Part of that is about interpretation and what you think the author's voice really is.
I wanted to write a story about colonization and about Hawaii. I went to college right at the height of identity politics, and that's how I always read 'The Tempest,' for example.
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