“Wie man Geld on-line-risikofrei bildet wie man Geld online von überall in der Welt verdient”

Esta União Europeia tem um papel decisivo a desempenhar na cena europeia liderando essa batalha e não alinhando atrás dos que vêem a segurança como única resposta para este problema aterrador. europarl.europa.eu

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Warning: The “less than” construction, in “Subtraction”, is backwards in the English from what it is in the math. If you need, for instance, to translate “1.5 less than x”, the temptation is to write “1.5 – x”. Do not do this!

Which brings me back to where I started. Last year, in another sign of how things are changing, Waterstones launched its monthly Rediscovered Classics promotion with Sagan’s Bonjour Tristesse. I was happy about this, but disappointed, to put it mildly, to find that it was the Penguin Modern Classics edition that it had piled up in-store, awaiting new readers. So what I want to say now is this: if you tried it then and hated it, please, have another go, only this time entrust yourself to Irene Ash’s gorgeous 1955 translation. The story of a teenager called Cecile who discovers, during a golden Riviera holiday, that her beloved papa is to remarry, I am willing to bet it will cast a spell on you, whether you are poolside, or stuck at home in Britain, watching the rain.

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Regarding point (2) above: It can be really frustrating (and embarassing) to spend fifteen minutes solving a word problem on a test, only to realize at the end that you no longer have any idea what “x” stands for, so you have to do the whole problem over again. I did this on a calculus test — thank heavens it was a short test! — and, trust me, you don’t want to do this to yourself!

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The first step to effectively translating and solving word problems is to read the problem entirely. Don’t start trying to solve anything when you’ve only read half a sentence. Try first to get a feel for the whole problem; try first to see what information you have, and then figure out what you still need.

The second step is to work in an organized manner. Figure out what you need but don’t have, and name things. Pick variables to stand for the unknows, clearly labelling these variables with what they stand for. Draw and label pictures neatly. Explain your reasoning as you go along. And make sure you know just exactly what the problem is actually asking for. You need to do this for two reasons:

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I didn’t meet the author but we corresponded by email after I sent her queries. I am fortunate because so many experienced and established translators share their advice with incredible generosity. It is a vibrant, supportive community with many workshops, summer schools and conferences where newcomers can learn from professionals. As a reader, I’m immensely grateful to translators who re-create the worlds of Jacek Hugo-Bader, Erri de Luca and Joseph Roth, such as Antonia Lloyd-Jones from Polish, Danièle Valin from Italian and Stéphane Pesnel from German.

“There are some books whose success is very local,” says Adam Freudenheim, the publisher of Pushkin Press, and the man who introduced me to the Russian writer Teffi (and to Gundar-Goshen). “But the best fiction almost always travels well, in my view.” For him, as for other presses that specialise in translated work (Harvill Secker, Portobello, And Other Stories, MacLehose Press and others), the focus is simply on publishing a great book; the fact that it is translated is “not the decisive thing”. And this, in turn, is how he accounts for the increasing popularity of foreign fiction – a shift that he, like Ann Goldstein, believes is real enough to turn out to be permanent. There are, quite simply, a lot of great translated books out there now, their covers appetising, their introductions informative, their translations (mostly) works of art in their own right.

I started teaching myself Korean in 2010, just before I started an MA in Korean Studies at the School of Oriental and African Studies [in London]. The choice of Korean was strangely random; looking back, it doesn’t make any sense. I had this idea that I wanted to be a translator. I loved reading and writing, and I’d always wanted to learn a language; I was 22, and could only speak English, which was a bit embarrassing. Korean was a language I knew few people study here, and I felt that made it interesting, and that it would give me a niche. I don’t know that it was difficult to learn; I haven’t anything to compare it with. But I only really learned to read Korean. I still find having a conversation in Korean difficult.

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Naturally, publishers and booksellers alike are keen to capitalise on our exotic new appetites (to use the phrase “cash in” seems a bit unfair in these slightly rarefied circumstances). Nearly every week, publicists send me new or previously ignored (by us) foreign novels. Among those I’ve received this year, and thoroughly recommend, are Madonna in a Fur Coat by Sabahattin Ali (trans: Maureen Freely and Alexander Dawe), a Turkish novel from 1943; The Day Before Happiness by Erri De Luca (trans: Jill Foulston), an Italian novel – it, too, is set in Naples – from 2009; and, most gripping of all, the Israeli page-turner Waking Lions by Ayelet Gundar-Goshen (trans: Sondra Silverston). Meanwhile, Daunt’s publishing wing has just brought out what I believe will be my next foreign read: Marie, by the French writer Madeleine Bourdouxhe (trans: Faith Evans). The chic book with which to be seen this summer, it was written in 1940 and is set in 1930s Paris. It tells the story of a happily married woman who has a passionate affair with a younger man. Comparisons have been made both to Proust and Virginia Woolf.

Of the four of us who walked across the border into Austria in 1956 only my father spoke English. What he spoke, he remembered from his school days. I had a bilingual edition of AA Milne’s Now We Are Six from which I had learned the useful words and, but, so…

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You can see how this is wrong by using this construction in a “real world” situation: Consider the statement, “He makes $1.50 an hour less than me.” You do not figure his wage by subtracting your wage from $1.50. Instead, you subtract $1.50 from your wage. So remember: the “less than” construction is backwards.

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The current version of Pilot will include a beta feature that will translate speech of people near the user. There are limitations, such as the number of people speaking at once, the environmental noise, or the distance and location of someone in your proximity, but it is a beta release to test the full experience.

The success of her novels has been astonishing, a phenomenon. There’s something universally compelling about them, apart from the fact that they’re very readable. I’m not a critic, and I haven’t read lots of contemporary novels, but people who have seem to think there’s nothing else really like them. There’s something about the way she looks at emotional relationships. They examine things you might not necessarily examine yourself. I translated The Days of Abandonment [about a woman who descends into an “absence of sense” when her husband leaves her] first. We all had to do a version of the first chapter, and then they picked me. I remember that I was completely gripped by it. It’s so powerful. It’s a story we all know, but she made it more intense, more interesting, somehow.

If a language is shown as Incomplete in the language editor, it means that some text strings have not yet been translated. These will be shown in the default language for the theme unless you translate them.

My way with fiction generally is to read the first chapter or so then get down to it. It is far from scholarly. A kinder way of putting it might be that it isn’t pedantic. I listen intently for the timbre of the voice and seek a comparable voice in English that might bring to English the experience a native reader might have in Hungarian. Narrative proceeds from there.

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I didn’t learn Italian until I was in my 30s, when I began taking weekly lessons with some of my colleagues in the office. The inspiration for it was that I wanted to read The Divine Comedy in Italian, and I dragged everybody else with me. Then about five years later, in 1992, the then editor of the New Yorker, Bob Gottlieb, received a manuscript in Italian. It was by Aldo Buzzi, sent to him by the cartoonist Saul Steinberg, a friend of Buzzi’s. Bob wanted to write a note to Saul, so he ask me to read it so he knew what to say. I read it, and I liked it, so I decided to try translating it – and Bob published it. A year after that, someone asked me to translate my first book. It does feel strange to be a well known translator now, it’s totally unexpected. The idea that any translator would be at all well known strikes me as amazing.

Finding the right voice in Jo Nesbø’s case was about visualising Harry [Hole], the central character, thinking about the kind of person he was. For Knausgaard, in the first person, it was more difficult. It was trying to get inside Karl Ove, meeting him, finding who the person was I was describing. All the characters are, in a sense – I know this can be argued about – real. Karl Ove exists, his wife, friends, so you don’t want to get it too wrong.

I always read the book first. Though a translator friend told me she never reads the book first. And I thought, “Wow, that’s an approach.” You’re putting yourself completely in the position of the reader – every time you turn the page there’s a surprise. So I have tried that and I kind of like it, even though I have been very firm in print about the virtues of reading the book first. I don’t do much research or preparation. I’ve always been of the opinion that whatever I need to know, the writer will tell me.

Never translate the destination address (also known as the target.) The destination address is the location a visitor is taken to when they follow the link. It’s always shown in quotation marks and points precisely to a specific internet location or to a Liquid variable containing it.

As with any piece of writing, the most difficult part of the job is editing the drafts. This is slow work in order to ensure that the reader will not stumble or bump into a jarring word or clause. I work straight through to produce a first draft, and then I rewrite until it feels as if it had been written in English.

You’ll be expected to know that a “dozen” is twelve; you may be expected to know that a “score” is twenty. You’ll be expected to know the number of days in a year, the number of hours in a day, and other basic units of measure.

The book I am proudest of is a book of poetry called The Solitudes by a 17th-century poet, whose last name is Góngora, and it is the most difficult poetry that I have ever run across in any language. Very complex structure. And it’s absolutely beautiful, gorgeous poetry. And I thought, oh my God, if I can do this, I can leap tall buildings in a single bound – there’s nothing I can’t do.

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