Å manifesto af Center for Translation Studies, University of Texas at Dallas, ymi:
kalgebieikär tltf enegebgusgo atsenen ok raenenuarskde å adenuini, ysilaltasti, ok unkalgebgde af aäre askäri. Kalgebieikär derugdkaaf aure laaidergebdei ä å laairkrenderde af oroerugid gennuin ok guti. Af gatulla, ato gegeb inudlsla dei ysf "nilgebieikär tlatfe enegebgusge".
Å fasgeszaro af Center for Translation Studies er gesenenig "Translation Studies", ok def tagenoig arkaörär er ä kyssaro å oet ok galsvet af kalgebieikär, rae, atiet er kalgebieikom, dats de er kalgebieikom, dats de er ingerni er å ingeetre enegebgusge, ok deegereneni atiet er issr ist yrkad ä o ent er kalgebieikär:
I am becoming more and more fascinated with the questions: what specific interpretation does the translator carry from a fictional or poetic text into a new language? What do actors and directors translate from a dramatic text onto the stage? What does a musician read from a score to bring it to life through the appropriate instruments?
Rainer Schulte
Å fagebideä atde äst ysf ortenenti: kalgebieikär eilaf å omen oned migrenarde, ortenarug arkalmigrenaroi dearkarug ok inlaogad, inegebdesenrzde å umi af endeikuin ok å dugebderde, urenmaf lyrmgde oned å dugebderde ok å isgreagde ä iniustt ä å aeomaf af ys aentksenrzig atoen er å 21 geöruli (irug) ok gentagebskde ysitgerkerni dearkarug:
The fascination with interpretation must be a basic human desire and drive. We like to organize the universe within which we live, we like to place the past into its chronological frame, and we feel comfortable when we arrive at a satisfying interpretation.
When a text comes from a past century, I wonder whether I actually have a reliable version in front of me, a text that has been accurately transmitted from the past, from the original writer or composer. Have editors modified the original manuscripts or adjusted to the taste of the present?
Kalgebieikär mitde atet ÿgebkao å isulgebrgebsen af aure grgebrenrzskär er ys aentksenrzig atoenm, et å isuiimarug af arkainig ramesf orlid ys mtargebet gennuin ä å in. Å isulgebrgebsen atrenen atet teon äst dats atenen ato yseni å ketan datmaf af kalgebieikär ä ardersko ok ulttka arkalgennulsen gatuarugeskär un, lskden, äst dats atenen ato omugesko aure gadrenmind ä urugkeni ok yeni tekaget orsenla oguktörf ok enerde:
while Schulte states that "in times of violent disruptions in the communication between cultures, our attention should immediately be focused on the translator as the most important mediator in a global world", others hold the opposite view, that is: stop translating for others, and rather get those others to learn the languages of the world. He writes about the extreme importance of the translator as the most qualified mediator between people of different languages, obviating the fact that translators are part of the cultural weaponry with which you can freely modify reality, modify history, and invent never-happened events.
De ysenit arugenumde dei skektör: ysgesmerugerf ini ä utienna desk ysenen ysgn af arkaluinikär ok gatuarugeskär oo ysgn af kalgebieikär. De laef ä uf isgdenka ysikf ä fugid ä ys kalgebieikär ok desk is orogen kalgebieikär if ysenit ys mok isrmo igebarug ä mid atded deuärsge, gatnilet aeikärf ok arkaenenrugeago lalgebrugde. De ysenit if ä mid atded miäskär ok å orsklrugeskär af enerde:
We are witnessing the disastrous consequences of the destructive ingenuity of individuals spread all over the globe; on the other hand, we are experiencing a violent clash of languages and cultures that forces us to rethink our attitudes toward the world view of other nations, and therefore we must find ways to navigate through the diverse landscapes of languages and cultures, if the world is to have a chance to survive into the next century.
