Quotes About Translation

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I read pretty well in French and Spanish. I don't want to read a book written in French or Spanish in translation.

To me, the process of art is very much a process of translation, of borrowing.

I have some English words on the first album, but any time I try to do it, you miss something. You think it's just a simple translation from French to English, but it's so different as far as the understanding.

If you've got some to say to Ric Flair, you come say it to me, and I'll make the translation.

I assume that we are all limited by our own brains and experiences and can only understand other people and other creatures through a kind of translation that brings them closer to us.

Chinese readers are buying books in translation, particularly non-fiction about China, in large numbers.

Yes, translation is by definition an inadequate substitute for being able to read a masterpiece in the original.

During the 20th century, Chechnya was written about by local poets and novelists, as well as writers from Russia and Central Asia, but very little is available in English translation.

Walter Benjamin used to think that languages expand their register thanks to translation, because translation forces ways of using words and structures that were alien to the original speaker of the target language.

As an artist, you make music. And if you see people who don't know how to market your music, you get involved in it. Otherwise, what you want to accomplish 'gets lost in translation' - no pun intended.

I had to struggle with the language. I can understand Hindi now, but I still can't communicate. And things get lost in translation; I feel rejected all the time.

Most of us do not, in fact, read another language, and so when we read a translation, we have no way of knowing what has been changed or added.

My translation work has been pretty separate from my fiction, as it was basically an accidental side project that turned into a separate and parallel career.

How does a poet teach himself or herself? I think chiefly by imitation, chiefly by practising it as a deliberate technical exercise often. Translation, imitation, those were my methods anyway.

'The Tin Drum' is one of my favourite books of all time - I've probably got 12 or 15 copies with different covers, different translations - but it's also just about my favourite film.

My mother introduced to me as a child the world of language: the way in which translation can be a system by which you can understand others.

I've always loved cuneiform; I've always loved the way it looks. I love that it's the world's oldest script. And the creative potential of bad translation or misunderstanding or something has always been at the core of the idea of 'Dirty Projectors.' So the cuneiform is pretty playful - basically, just a joke.

The fact that I stick up for women doesn't mean that I think all men are rapists. But that's lost somewhere in translation. Obviously I don't think that. I married one! I gave birth to two of them.

The English book world is relatively closed to translation, so only a small amount of foreign language work can come in.

In a lot of these areas, from machine translation to search quality, you're always trying to balance what you can do computationally with each query.

I have read Omar Khayyam's 'Rubaiyat' in translation and marvelled at the emotions and its universal appeal and dreamt of authoring such a work in Telugu. 'Pyaasa' is the result.

I think translations should convey the feelings expressed in the original work. This is what I have believed in and practised.