Monday, April 19, 2021

When Diplomacy Is Lost in Translation - Sixth Tone - Translation

When diplomats from China and the United States met in Alaska for the first high-level bilateral talks of the Biden administration, few expected the translators to steal the spotlight. In China, Zhang Jing won praise for her calm and fluent translation of the Chinese representatives’ remarks, while Zhang’s American counterpart was criticized for amplifying the U.S. delegation’s already strident language.

The famous Chinese comparativist writer Qian Zhongshu once cited an Italian proverb to describe the work of a translator: traduttore traditore — “translator, traitor.” And it’s true: The wording chosen by a translator is always more or less “traitorous” to the original, but Qian wasn’t entirely fair in his assessment. Many linguistic betrayals are often the result of a translator’s loyalty, if not to the language used, then to established diplomatic protocols and speech. Take Zhang, for example. Tasked with translating a catchphrase used by one of the Chinese representatives — “We Chinese Aren’t Buying It!” — she chose to paraphrase, translating it as “This is not the way to deal with the Chinese people.” These adjustments become exponentially more fraught, however, in times of geopolitical upheaval.

Looking back at the history of Sino-international diplomatic relations, there’s a long tradition of “loyal betrayals.” For example, the famous Macartney Mission to China in 1793 was defined by the supposedly arrogant reply of the Qianlong Emperor to King George III’s entreaties to establish formal diplomatic relations. The resulting diplomatic snafu is frequently cited as evidence of the Qing dynasty’s self-imposed isolation. But Lawrence Wang-Chi Wong, a professor at the Chinese University of Hong Kong, has argued that how Qianlong replied may have boiled down to decisions made, not by any diplomat, but by the man who translated King George III’s letter of state: likely José Bernardo de Almeida, a Jesuit priest living in Beijing.

The translator’s reasons for ‘betraying’ the original wording are understandable.

In translation, the British crown’s attempt to establish equal diplomatic relations with China became a humble request to become a tributary of the Qing court. The original letter describes diplomat George Macartney’s purpose in conducting the mission according to European convention: “We have the happiness of being at peace with all the world, no time can be as propitious for extending the bounds of friendship and benevolence, and for proposing to communicate and receive those benefits which must result from an unreserved and amicable intercourse, between such great and civilized Nations as China and Great Britain.”

The Chinese version reads differently: “Now that our country is at peace with all places, we must take advantage of this time to pay tribute to the Great Emperor of China, in the hope of gaining some benefit.”

At the end of the original letter, King George III makes his expectations of the relationship clear. “And it will give us the utmost satisfaction to learn that our wishes in that respect have been amply complied with and that we are brethren in sovereignty, so may a brotherly affection ever subsist between us,” it reads. The translation is far more toadying: “The envoys have been instructed in detail to be careful and respectful before the Great Emperor, and to appear sincere, and to be liked by the Great Emperor, for that is my heart’s desire.”

The translator’s reasons for “betraying” the original wording are understandable. He was uncertain about the possible consequences of a completely truthful translation — especially for himself, a foreign missionary who was already walking on thin ice in the Qing capital. For him, it was safer to follow the established protocols of Chinese tributary diplomacy in his translation, even if it meant “betraying” the language of the original letter.

A painting of Keying's visit to Hong Kong, November 1845. From Hong Kong’s Public Records Office

A painting of Keying's visit to Hong Kong, November 1845. From Hong Kong’s Public Records Office

A similar kind of “loyal betrayal” also occurred during the first formal diplomatic encounter between China and the United States. In 1844, half a century after the Macartney Mission, the U.S. sent its own first mission to China. Like the Macartney Mission, the Cushing Mission presented the ruling Daoguang Emperor a personal letter from then-U.S. President John Tyler. In his new book, not yet translated into English, University of Delaware professor Wang Yuanchong provides a fascinating analysis of how the letter was altered before being delivered. Wang argues that Keying, one of China’s de facto top diplomats, modified the translation of Tyler’s letter in ways that “made this state document look very much like a tableau of a tributary state that admired Chinese civilization and affluence.”

Take for example a paragraph describing the geographical locations of China and the U.S.: “The rising sun looks upon the great mountains and great rivers of China. When he sets, he looks upon rivers and mountains equally large in the United States.” The original wording emphasizes that China and the U.S. are located in eastern and western hemispheres, and there is no superior or inferior. But in the Chinese translation, China’s “great mountains and great rivers” are rendered as “imperial lands,” while America’s “rivers and mountains equally large” are translated as “humble places” — making inequality between China and America immediately apparent. At other points, Keying softens Tyler’s phrasing: “We doubt not that you will be pleased that our messenger of peace, with this letter in his hand, shall come to Pekin (Beijing), and there deliver it” becomes, in Chinese translation, “I am sending an envoy to Pekin to present a letter to you, with the intention of peace, and I hope that the Great Emperor will not be displeased by it.” The effect is to make diplomat Caleb Cushing look more like a tributary’s envoy than a representative of an equal nation.

Concerning accuracy, Keying’s adjustments were undoubtedly a “betrayal,” even if they were loyal to the established diplomatic system of the Qing dynasty. It is not surprising that after reading President Tyler’s letter, the Daoguang Emperor’s only reply was the word “read.”

Since the late Qing, China’s interactions with the West have become more frequent, but the instinct, conscious or otherwise, toward “translation as betrayal” has not diminished. Interestingly, however, as speakers gained exposure to Western culture and languages, they were sometimes able to detect the “betrayals” of their translators. In August 1946, near the start of the civil war between the Communists and the Kuomintang government, the American journalist Anna Louise Strong sat down with Mao Zedong in the Communist stronghold of Yan’an. When she asked Mao what his views were on the possible use of the atomic bomb by the Kuomintang’s American allies, Mao was dismissive. “The atomic bomb is a paper tiger used by the American reactionaries to scare people; it looks scary, but in reality, it is not,” he replied.

Anna Louise Strong in Federal Court, U.S., 1949. Art Whittaker/New York Daily News Archive via People Visual

Anna Louise Strong in Federal Court, U.S., 1949. Art Whittaker/New York Daily News Archive via People Visual

Searching for an idiomatic translation of zhi laohu, or “paper tiger,” Mao’s elite school-educated and English-savvy minister of propaganda, Lu Dingyi, landed on the more familiar American word “scarecrow.” It was a term Strong would know, but it weakened the more profound criticism of Mao’s original statement.

Only Strong’s lack of reaction alerted Mao that something had been lost in translation, and he made a point of stopping the conversation to ask her if she had really understood what he meant.

Strong ventured it was something put in a rice paddy to scare birds away.

“No,” Mao said, switching to heavily accented English. “It is a paper tiger.”

Translator: Matt Turner; editors: Cai Yineng and Kilian O’Donnell.

(Header image: Zhang Jing interprets at a press conference in Beijing, March 6, 2019. IC)

Android 12 Recycle Bin, automatic app translation seen in leaked build - SlashGear - Translation

Thanks to its history, lineage, and convention, the Android mobile platform is closer to desktop operating systems compared to something like iOS or even the augmented iPadOS. Many of the conventions and features people enjoy on desktops are sometimes available on Android, though it often requires OEMs or third-party apps to implement them. Sometimes, however, Google itself eventually gives in and makes those features available for all Android users, like two that may be coming in Android 12 that will give users access to a “Recycle Bin” and get apps translated even if the developers didn’t provide any translations themselves.

Android has long exposed part of the platform’s file system to users, something that Apple refused to do for iOS, Google itself didn’t really provide its own file management app until much later with Files by Google. Third-party apps and manufacturers provided their own file managers for years, some of them adding convenience features like a Trash or Recycle Bin folder for restoring deleted files later. Android 11 added such functionality but hid it from view and made it accessible only on a per-app basis.

XDA’s examination of an earlier leaked Android 12 build revealed that Android’s Storage settings might soon show that Trash folder. It seems that, at the moment, users will be able to empty the Trash from the Settings app but it isn’t clear whether they will be able to restore individual deleted files from there. That said, Google’s Files app will be getting its own Trash folder feature that can do all of those things, so it might not be an urgent concern for Google.

Another interesting Android 12 feature might be the ability of the operating system to automatically translate any app to the user’s language settings. This will be extremely helpful for the hundreds of apps that don’t offer translated text in their user interfaces and content. XDA speculates that, rather than using Google Lens to translate screens, this will be working on a lower level instead.

There is, however, no guarantee that these features will actually be released under Android 12. The foundations, however, are being laid out so it might be safe to expect them to appear sooner rather than later.

Sunday, April 18, 2021

Paramount+ Starts Spanning The Globe As U.S. Streamers Try Not To Get Lost In Translation - Deadline - Translation

After the arrival of four major new streaming services in late-2019 and early-2020, this year is when the competition is going global.

One of the newest worldwide hopefuls is a Stateside pioneer. Paramount+, the rebranded and reconceived version of CBS All Access, which launched in 2015, is boldly going where the latter service has not gone before. Like its media rivals Disney, WarnerMedia and Discovery, ViacomCBS sees transcending the U.S. as crucial to being able to replace traditional revenue with streaming as a hedge against cord-cutting. By 2024, the company expects to have 65 million to 75 million subscribers (up from 16 million for CBS All Access and Showtime’s OTT service). Total streaming revenue should hit $7 billion to $8 billion.

'Castlevania' To End With Season 4 As Netflix Eyes New Series In Same Universe

On March 4, the Paramount+ branding kicked in domestically. At the same time, the service also lit up in 23 other markets — 18 in Latin America, four in the Nordics as well as in Canada. Australia, New Zealand and Europe are among the other regions expected to follow with key launches later this year.

For Kelly Day, who became president of streaming and COO of ViacomCBS Networks International last year, the task is fairly straightforward. “We just look at it like this: There are seven and a half billion people outside the U.S.,” she said in an interview with Deadline. “By going into these markets, we have all this incredible opportunity to reach so many more viewers in so many different places.”

With 350 million subscription video on demand customers expected to sign up outside the U.S. by 2024, she added, “The international opportunity in streaming is massive.”

ViacomCBS hopes Pluto, which Viacom acquired in 2019 before reuniting with CBS, will be a secret weapon. The free, ad supported service saw its monthly active user base go from 1 million to 13 million in 2020. It had already been in the UK and Germany and then expanded to Latin America and Spain at the exact time when the coronavirus pandemic made free streaming more appealing than ever. This year, Pluto will arrive in France and Italy. The company estimates it will have 100 million to 120 million active users globally by 2024.

The programming mix on Patramount+ internationally will be different from the U.S. version. There will be originals like SpongeBob SquarePants spinoff Kamp Koral. In addition, the service will also add new and vintage Showtime series, CBS fare (including NCIS, a top draw for Netflix in the U.S.) and known properties like The Handmaid’s Tale and Killing Eve in some territories. Locally produced titles include Ib the Dog in the Nordics and the MTV-derived Acapulco Shore and Are You the One Brazil and upcoming originals Cecilia and The Envoys for Latin America.

Day says a tailwind for Paramount+ is the company’s history of operating globally long before streaming. ViacomCBS CEO Bob Bakish made his reputation by working a long stretch as an international exec at Viacom, helping boost networks like Nickelodeon, MTV and Comedy Central. The Paramount name also hitches the service’s fortunes to a name that can travel a lot more than CBS could.

“It’s an advantage for us as a company to have such a deep history with MVPDs and telco partners around the world,” Day said.

The field is not wide-open, however. Disney said last month that Disney+ has racked up more than 100 million subscribers in two dozen countries. After launching in the U.S., Australia and New Zealand in 2019, it has expanded across Asia and Europe and will be adding a number of key Latin American, European and Asian territories later this year. Having taken control of Star via the 21st Century Fox acquisition in 2019, Disney also has made Disney+ an add-on to Star’s streaming service in India and other territories and also has launched a stand-alone Star service in many territories.

HBO Max launched nearly a year ago in the U.S., but the company plans to be in 39 territories across Latin America and the Caribbean starting in June. It will also launch in Europe, but it won’t be in the UK, German or Italy until at least 2025 due to a long-term distribution deal with Sky.

Wall Street analysts came away from the February streaming presentation by ViacomCBS fairly upbeat, but the field is crowded and mounting a truly global service requires resources.

Benjamin Swinburne of Morgan Stanley last week lowered his 12-month price target on ViacomCBS shares to $50 from $55, maintaining his “equal-weight” (neutral) rating. He wrote in a note to clients that the uncertain outlook for streaming was a key factor. “Long-term, we are unsure of global Paramount+ demand and streaming earnings power,” he wrote.

Michael Nathanson of MoffettNathanson factored international presence into a recent sector analysis with the provocative title, “Is Streaming a Good Business?” In the report, he asserted that only a small handful of contenders have enough horsepower to make their global dreams come true without losing money.

“Netflix’s greatest asset – and the likely Achilles’ heel of many of their competitors – is indeed their international footprint, which should drive incremental profit and return on invested capital into the future,” he wrote. “While both the market and the press remain focused on the domestic SVOD streaming wars, the real opportunity seems to be in both the shift in ad monetization from linear to digital and the higher total available market outside the U.S. as content owners pivot from pay-TV to OTT. Aside from Netflix, Disney has already demonstrated this success as few others aside from Discovery seem to be all in around the world.”

Having expanded to 130 countries in 2016 and reaching 204 million subscribers by the end of 2020, Netflix has a few years’ head start on its newer U.S.-based competitors. Its spending on content — now approaching a staggering $20 billion a year — is a significant barrier to entry. Amazon Prime Video has been in more than 200 countries since 2016. Its willingness to shell out hundreds of millions on A-list movies and potential global blockbusters like the Lord of the Rings series will keep it very much in the chase. Apple TV+ is newest to the party among tech giants, but the company’s installed base of more than 1 billion devices enabled it to launch the service in 100 countries in November 2019.

As Netflix co-CEO Ted Sarandos sees it, there is still enormous upside in the global marketplace.

“There’s about a billion pay-TV households in the world, people who pay in some form for subscription television,” he said in a recent interview with Jason Bateman, Will Arnett and Sean Hayes on their Smartless podcast. “And there are more than 3 billion people with a mobile phone who watch mobile content on their phone. So, when you think about the addressable world, we’re only about 10% there.”

Create .dictionary file from .txt or other method - Mac Rumors - Dictionary

Hi Guys!

I already have a hungarian-english and english-hungarian dictionary, which is working fine with the original dictionary app (file extension: .dictionary).
I would like to have a german-hungarian and hungarian-german dictionary too, but I've not found this type of dictionary file yet.
I have already two .txt file (germ-hun and hun-germ; you can download it from: https://ift.tt/2T2cLvV), which contain the words and meanings.

Is there any solution convert the .txt file into .dictionary file, which I can paste under /Library/Dictionaries folder?

Thank you very much for your help in advance.

Bilyeu: Mama put, buka, and the OED - Toledo Blade - Dictionary

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The translation debate: ‘No, translators do not alter the original story or distort its intention’ - Scroll.in - Translation

Over the past 30 years, literary translation from Indian languages into English has seen tremendous growth, marked by a steady rise in the number of titles published each year. Translated texts are discussed with keen interest and some “vernacular” authors have come to occupy a central place in the national literary landscape as a result.

However, the increase in attention and readership has not been accompanied by a deeper appreciation of the process of translation, its distinct achievements and limitations. It is largely in this spirit that I propose to undertake a critical scrutiny of this article by the well-known Tamil writer Ambai, which was published here last month. Several collections of short stories by Ambai have been published in English translation, with at least three of them winning prestigious prizes in India. Translators of Ambai’s fiction include the late Lakshmi Holmstrom, Aniruddhan Vasudevan, Gita Subramanian, CT Indra and GJV Prasad, accomplished translators all. As far as I know, Ambai has not published any work of literary translation herself in English.

A framework for translation

Here are some basic concepts about translation meant to provide a framework for the critical remarks that would follow. Essentially, literary translation is the (re)writing of a given literary text in the source language into literary text in the target language. The translator must first interpret the original, see what effect it has on them, then try to represent that effect in a language and culture not the author’s own. And how do translators do it?

To paraphrase Mark Polizzotti, author of Sympathy for the Traitor: A Translator’s Manifesto (2018), they achieve it through a combination of empathy for what they are translating, resourcefulness with language, and instinctive choices at each instance to convey in each instance a particular blend of tone, sense, sensibility, music, information, emotion, and rhythm. The translated text is shaped for the most part by the cumulative effect of a translator’s choices.

The notion that a translation is in the service of the source text, and that the translator should attempt to find an exact equivalence with the original is an outmoded idea. As Walter Benjamin wisely said, “Translation is a provisional means of coming to terms with the foreignness of a text.” The core value of a translation is that it is a part of the literary corpus in the target language.

So, while translating, the translator must not only do justice to the source text, but also produce a text in the target language that is comprehensible and affords literary pleasure to the reader. The translator is always balancing these two requirements with their skill and ingenuity.

Now we turn to Ambai’s ideas on translation and translators.

Illusions of inadequacy

As someone who has translated and published a fair amount over the years, I don’t think translating from an Indian language into English comes anywhere close to “piercing a mustard seed to let in the seven oceans”. The hyperbole may seem true of Kural because of the brevity of the two-line couplets that make up this ancient Tamil classic, and the distilled language of poetry. Such a conceit cannot come easily to an author of contemporary prose fiction or their translators.

Ambai’s complaints about the inadequacy of translation in the rest of the article are far from convincing. For starters, the two instances she cites to establish the inherent limitation of translation across cultures – narrating an Indian story to an American child and the interpretation of a Puranic tableau by an American cultural anthropologist – do not pertain to translation of a literary text. By its very nature, literary translation is more anchored and disciplined, with its own purpose and methods.

Ambai seems to imply further that the experience of reading a translation must be very nearly the same as reading the source text; else, much is lost through the enterprise of translation. This is to miss the inexorable reality of the translation process. Because it happens through a translator’s reading and interpretation of the original, a translation is a representation, not a reproduction, of the original. It is a different text, and not necessarily a lesser one for the difference, because both are literary texts created, each in its own way, through an intense engagement with words and meanings..

Similarly, if there are words in, say, Tamil for which there are no equivalent words in English, it can be a source of pride and joy for some, but it is no tragedy if the translator uses other means to convey the meaning of such words. Language is a system of signification, and translation from one language to another happens at the level of the signified; or, as Benjamin puts it, from “the language beyond languages.”

If a stream flows chalachala in Tamil, it’s a gurgling stream in English. If woman laughs galagala in Tamil, she breaks into peals of laughter in English. This act of “carrying across” cannot be construed as a diminution of the source language without undermining translation itself.

Of languages and cultures

There is another sound reason for not fetishising the language of the source text. Translation happens not only between cultures, but also between two time periods within the same language. That’s why, across the world, ancient and medieval texts are translated into contemporary language over and over again.

The obvious reason is that none of us can understand the language of the past easily, even if it be our own. So, if the past is another country and we make allowances within our own culture for the foreignness of its language, it makes perfect sense to do the same for our foreignness with respect to another culture.

Most translated fiction published in India is meant for the Indian/South Asian market. Very few of these translations have been published abroad. We mostly translate for an Indian readership. So, there has been no need to “pander” to the global North with footnotes. Even better, footnotes went out of fashion quite a while ago because they were perceived as causing disruptions to the narrative flow.

Signposting untranslatable culture-specific terms and providing a glossary at the end are the strategies employed by translators to deal with terms that are not directly translatable, and not through footnotes. Glossaries stem from a simple need to address cultural differences and a desire to be understood by readers others than those from our own culture.

For example, two Tamil novels set in a subaltern landscape, Poomani’s Piraku, about a community of the oppressed, and Joe D’Cruz’s Aazhi Soozh Ulagu, describing the trajectory of a fishing community, both featured glossaries for the benefit of readers used to standardised Tamil. From the same perspective, translators are not guilty of self-abasement in resorting to such practices in their work.

Why translation is essential

Is English translation a superfluous, distorting and demeaning crypto-colonial imposition on Indian language literatures and authors, as Ambai seems to imply in this article? Hardly. There are three reasons we should unconditionally value the production of English translations.

First: It provides Indians who know only their mother tongue along with English, or only English, access to literatures in many Indian languages, a very important contribution to the evolution of contemporary literary culture in India.

Second: Since people who have literary competence in two or more Indian languages have become a rare species, translation into Indian languages, and indeed several foreign languages, have begun to happen through English translations. Vivek Shanbhag’s Ghachar Ghochar (translated from the Kannada by Srinath Perur) is a good example. Several other examples can be cited where English translations have provided the vital link to other Indian and foreign languages.

Third: English translations help to showcase these literatures across the country and the world. They enable Indian language authors to participate in domestic and international literary communities, opening doors to conferences, residencies, festivals and workshops, all the way from Brooklyn to Borobudur, with Bellagio in between. The benefits to individual authors as well as the cause of literature cannot be overstated. Without English translation, Indian language authors would be condemned, in George Steiner’s words, to “a life in their own province, bordered by silences.”

Ambai’s proposition that there is a hierarchy between the translator and the translated is absurd. It is true that for Indian language writers, being translated into English seems like a privilege, at least party because good translators are in short supply. However, beyond their freedom to choose the works/authors to translate and functional autonomy during the process of translation, translators are hardly in a position to pull rank on the authors they translate.

Without some kind of “real estate” and the networking/favour-trading capacity it enables, translators have precisely zero clout in the milieu. It’s baffling why Ambai would dream up a hierarchy that doesn’t exist in reality. In the words of a senior colleague, “the implication seems to be that translators are somehow powerful and celebrated. As any translator knows, translation is a largely thankless task: solitary, poorly remunerated, and if successful, ignored in reviews.”

Ambai’s comments on the type of books selected for translation are equally baffling. Commercial prospects for literary translations have always remained low. Literary translation is supported by publishers and cultural institutions more as an essential facet of cultural production than with the expectation of sizeable profits.

A large proportion of the translation titles produced over the last 30 years are works of unimpeachable literary merit and by authors celebrated in their own community. It can hardly be argued that the market has skewed the selection of texts for translation in favour of the unworthy.

Finally, we take up a couple of negative comments made by Ambai on translators: that “they alter the original story from what it actually stands for and they unravel a story in ways in which it was never intended” and that “stories hide elements and emotions in a way that they reveal things in a manner totally different from what the translator can conceive.”

Speaking as a translator, I must say that it is impossible to alter the original story, distort its intention or give away its mysteries merely by the act of translating the text, word for word, sentence for sentence. However, a translator is a reader first, and no author can abridge a reader’s autonomy through authorial assertions over and beyond what is contained in the text.

Contrary to Ambai’s assertion, translation is indeed done from the source text and not from the author’s exegesis. Again, Ambai’s ideas of how a text is received and translated are outmoded and hinge on the presumption of an author’s authority over their translator(s). Unfortunately, there is no reasonable basis for such a presumption.

Knowledge of any art rests primarily with its practitioners. Translation is no different. It is perhaps time for translators to speak up on behalf of their own art, not only to obviate any possible misconception by other stakeholders, but also to inform the reading public, including critics, of the nuances of their work. The milieu can only be enriched by such a development.

(With inputs from Daisy Rockwell.)

Indefiniteness: Bad Translation/Lack of Definition Redux - Lexology - Translation

I previously wrote about a Federal Circuit Opinion that affirmed a lower court ruling that the term “half-liquid” was indefinite despite the apparent mis-translation of the original Italian term “semiliquido” https://ift.tt/3wWWcV7. On March 1, 2021, the losing party (IBSA Institut Biochimique, S.A., Altergon, S.A., IBSA Pharma Inc.) filed a petition for writ of certiorari in the U.S. Supreme Court and so I thought it would be interesting to take another look at this case. Indeed, the petitioner presented a novel question for review of the lower courts’ decision of indefiniteness of the term at issue. The question presented in the petition is:

Whether, pursuant to the United States’ obligations under the TRIPS Agreement, codified at 19 U.S.C. § 3511, a court construing the claims of a U.S. patent may give no weight to a foreign priority patent application, despite its submission to the U.S. Patent & Trademark Office during prosecution of the patent-in-question, because it is written in a foreign language and exhibits minor differences from the U.S. patent resulting from a translator’s judgment.

In essence the argument presented in the petition is that the Federal Circuit decision improperly treated a foreign applicant/inventor differently because of the translation error (semiliquido apparently is correctly translated to semi-liquid not half liquid) because the lower courts allegedly excluded the understanding of the inventors’ in their native Italian. This statement from page 5 is illustrative:

If the lower courts’ view holds, precedent will be set to give foreign applications no weight in claim construction proceedings, as the types of differences the courts found dispositive here are common with translations, no matter the foreign language. That rule would flatly contravene the requirement that a foreign application be treated equally as a domestic one. And the rule would have profound implications for foreign applicants’ right to claim priority to their domestic applications.

On April 5, 2021, the U.S. Supreme Court denied, without explanation, the petition. My commentary on the case remains: humans make errors so pay careful attention to translations, particularly to important features of the invention. Despite the petitioner’s arguments here, as most patent practitioners should be aware there are various times during the life cycle of a patent application/patent when corrections can be made to the specification and/or claims, e.g., after filing, during prosecution, before issuance, and post-issuance via certificates of correction (for relatively minor errors) and reissues. I am not aware of any instances where foreign applicants have any disadvantages in these types of correction procedures at the USPTO.