7 Tips For Proper Website Translation - TechBullion - Translation

When the translation subject comes up, most people tend to think it’s all about text translation. And while this is a primary aspect of the process and an important one to focus on, there are many other crucial components you need to work on to ensure your website gains international success. If you do not know about these aspects, then you have come to the right place. Let us delve further and show you how you can further enhance your business beyond your country.

1. Translated Text

Text translation is without a doubt one of the most arduous tasks on website localization, but it is also the most crucial one. The words on your site offer the most direct form of communication with people who visit your pages. This is why you should use professional translation services. Text is the best way to connect with your prospects, be it potential customers or partners. On the basic level, the language of your site needs to be the language your visitors speak. On a more advanced basis, ideal translation will utilize colloquial language that people will both comprehend and identify with.

2. Pictures that are Culturally Relevant

Visual content has become a major aspect in the past several years and this makes cultural relevance even more important. In order to keep a professional image, it is important to review your site’s photos and GIFs for offensive content. What’s acceptable in your country may be inappropriate in another region. However, using culturally appropriate pictures go beyond avoiding offensive ones.

Pictures are a secondary level of connecting with your target audience. Pictures that relate to the audience’s culture give them confidence and trust in your website. Images from their country and local area will go a long way in attracting leads, particularly if the individuals in the photos look similar to the visitors. Similar to how your primary website language needs to be translated when localizing, so should the pictures in your pages.

3. Content Management System Support for Target Languages

In some cases, a site’s CMS doesn’t support the target languages. This is uncommon, but it’s a technical problem that you may have to deal with. If support for the target languages isn’t built into the content management system, you’ll need to come with a workaround. This is where an ideal web developer comes into the picture.

4. Local Language Selection

A localized site is a part of a bigger entity and it’s important to let your visitors know. Somewhere easily visible on every localized website should show your company’s primary site, even if it is in a different language. Some people will be familiar with English and want to see the primary website. Simply ensure you include a link that redirects them to the source site, regardless of the primary language.

5. Have Proper Symbols

Different nations display times, dates, currency and other things using symbols in a different manner. This is clearly visible even in English speaking nations. Both Australia and the United States use English are their national language, but write dates using varying formats. The United States uses a format that starts with the month, date and then the year ( for example; Sep 16, 2021). In Australia, the format is the date, month followed by the year (for example; 16 Sep. 2021). If these items are not hard-coded on your site, they are relatively easy to tweak using Marcos.

6. Local SEO

Without a search engine optimization campaign, your site will never reach its full potential. If you intend to localize your site for a specific audience, it won’t do much good if you do not promote it using multilingual SEO. Every localized site should have its own search engine optimization campaign. This will help rank in those regions search engine results pages or SERPS, while also helping Google identify your website’s local target audience. Also, keep in mind that you may have to tailor these SEO efforts for other search engines, especially if the audience does not primarily use Google.

7. Local Social Media

First, it’s important to realize that social media is, well; social! As such, it will certainly vary from country to country or in different cultures. In the United States, for example, Facebook outshines other platforms like Instagram, Twitter and LinkedIn. In other nations, expect different social media platforms to dominate. So, in order to create an organic way for people to share your website’s content with their friends and colleagues, you need to localize social media for your site. Depending on the nature of the localized website, this may be as simple as including various sharing icons or going as far as creating new pages and campaigns for the dominating social media platforms.

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As translation technology improves, game localizations are getting worse - Input - Translation

One thing is clear about poor video game localizations: they stick in the mind.

Brazilian YouTuber Rodrigo "Plane Shifter" Soncin is able to precisely recall certain mistakes in games from 20 years ago. In Hexen II, for example, he says translators appeared to struggle with words that seem like English homonyms, but aren’t. In a dungeon, one text read “você encontrou o tombo do Lorick” or “you have reached the tumble of Lorick.” Presumably, Soncin says, they meant “tomb” – tomba not tombo. In another case, he searched for some people, when he should have been looking for a staff. Somehow, the sceptre had been mistranslated as a group of employees.

But modern games still struggle to get localization right. When Tabletop Simulator announced that they had added new languages via Google Translate, users from all over the world pointed out errors and explained why machines can’t do the job of trained and paid humans.

Several fans who reached out for this story also mentioned Hades, Supergiant Games’ Greek mythology roguelike, which was criticized, particularly for its Spanish translation, when it came out in 1.0 earlier this year.

“They picked up some translators from a Discord [server] along with some professionals, but the final product [was] not good,” one Spanish-speaking fan, Maria, says. She first played the game in English during the early access period, but wanted to check out the translation when the game launched in 1.0. “Some of them are very charming. Nintendo games, 13 Sentinels, or Final Fantasy XV had really good translations.” But she did not find the same charm in Hades. “A lot of the sentences had mistakes and typos.”

“A lot of the sentences had mistakes and typos.”

She also has ethical concerns about Supergiant using fans as translators. “When [they] spoke about avoiding crunch and healthy labor practices I thought the company was being a little hypocritical, because some of the Spanish translators were not paid.”

At the time, Supergiant clarified to PC Gamer that they actually had paid community members if they reached a certain level of contribution to the translation. Writer and director Greg Kasavin says to Input that “several of [the community translators] had professional translation experience already.” He adds that they were used “after working with a professional service to translate all the content that we had in the game at the time,” as the game moved through its many early access updates.

“Following that [online] discussion, we recruited a new Spanish translator with a strong background and knowledge of Hades to go through and improve our translation quality. He was great to work with, and integrated well with our other translators, and we got positive feedback about the resulting translation quality,” Kasavin says. He adds that Supergiant would “happily work with,” the community-sourced translators again, provided they are “experts in their respective languages and cultures, are willing to work closely with us, and have a strong knowledge of whatever game we're working on.”

Twitter user @marutsukete, who wrote the original thread drawing attention to the quality of the Spanish translation, says that some of the issues are fixed, though not all of them. “I noticed some minor typos and missing spaces. Those are still things that need to be corrected, and I remember complaining about missing spaces before,” though she noted that she couldn’t be sure if they were the same ones.

Argentinean games critic Diego Nicolás Argüello also highlighted some typos and says that it is “still a bit rusty in places.” He also says the translations are “quite literal,” where many localizers work to craft the writing in a way that sounds more natural to native speakers.

“I cannot stress how much of a heavy duty it is to not only translate the words you see in front of you, but also structure it in a way that makes sense in your native tongue,” says Jorge "Makhor" Sánchez, a fan translator and developer from South America.

Japanese to English translator Katrina Leonoudakis explains that “no two games are approached the same.” There may be complications with gameplay or story specific terminology, for example, or they may have to decide how to reflect character accents.

“Every language pair has its own difficulties,” she adds. “Japanese doesn't distinguish between singular and plural, but English does. English doesn't distinguish between male and female for adjectives, but Spanish does…each of these difficulties comes with a choice – do we ask the dev to reengineer something? Do we avoid pronouns entirely, or use abbreviations?”

“Localization involves dozens of people per language.”

“Localization involves dozens of people per language,” she says. Developers, engineers, editors and proofreaders, dubbing directors and voice actors, quality assurance, and marketing people are all just as important as the translators themselves. “No localization decision happens in a bubble, and good localization teams have a strong communication line between everyone involved.”

There are even more considerations when dealing with non-Latin scripts, explains Mansour Sorosoro, an English to Arabic translator.

“Even talking about the bare minimum, it's often not met,” he says. “Some translator teams are forced to make do with left-aligned text that looks extremely off — how would you like it if you're playing an entire game with the text off-center or to the right? Or with auto line wrap routines designed for English text causing lines to appear out of order?” This is not a problem limited to video games. Notarabic.com demonstrates where companies like Disney, Google, and Coca Cola have written gibberish — most often because it reads left-to-right or is disconnected. “Even for Russian, Polish, or Japanese, I keep seeing games revert to stock fonts,” adds Mansour.

Several fans were aware, however, that it likely wasn’t the localization staffs’ fault when issues arose. “Probably the real problem is that the publisher of the game didn’t give enough time for the translators to do proper work,” says Jose Rigata, another Spanish fan, after detailing some issues within Final Fantasy VII, whose English translation suffers from similar problems. In that case, the English translator worked alone, without being able to ask the developers for clarification, and without tools that allowed them to put the lines in context within the game.

Emma Ramos, a former translator and tester who worked both freelance and in house, has some experience with similar issues. “As a whole, the main issue is always [that] we rarely get the game material to work against, so we only have text and no context. If you add that low pay, really tight timelines, and that people leave for greener pastures when they get burnout, the result is always low quality.” She says that some companies do give localization teams the time and tools they need and the pay they deserve, but that “this is the rule with bigger companies.”

With so many considerations, it’s not surprising that localizations sometimes end up with issues. But Mansour says that people know it’s not easy, and are willing to forgive problems as long as they can tell that developers are putting in the effort. “Translators and audiences tend to be understanding [of the] plight of developers rushing to wrap up development and not demand too much. But that begging for scraps becomes wasted when the lack of effort undermines [that].”

“Even the most minimal attempts make a difference and don't go unnoticed.”

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China's Amended Copyright Law Translation Now Available - The National Law Review - Translation

Saturday, September 18, 2021

China’s National People’s Congress has recently released a translation of the amended Copyright Law.  The full text in English is available here. The original Chinese text is available here.  The amended Copyright Law is effective as of June 1, 2021.   Some of the highlights in the amended Copyright Law include punitive damages for intentional infringement, an increase in statutory damages, and an increase in civil fines for copyright infringement. For ease of reference, the full English translation is reproduced here.

Copyright Law of the People’s Republic of China

(Adopted at the 15th Meeting of the Standing Committee of the Seventh National People’s Congress on September 7, 1990; amended for the first time in accordance with the Decision on Amending the Copyright Law of the People’s Republic of China at the 24th Meeting of the Standing Committee of the Ninth National People’s Congress on October 27, 2001; amended for the second time in accordance with the Decision on Amending the Copyright Law of the People’s Republic of China at the 13th Meeting of the Standing Committee of the Eleventh National People’s Congress on February 26, 2010; and amended for the third time in accordance with the Decision on Amending the Copyright Law of the People’s Republic of China at the 23rd Meeting of the Standing Committee of the Thirteenth National People’s Congress on November 11, 2020)

Contents

Chapter I  General Provisions

Chapter II  Copyright

  Section 1  Copyright Owners and Their Rights

  Section 2  Ownership of Copyright

  Section 3  Term of Protection of Rights

  Section 4  Limitations on Rights

Chapter III Copyright Licensing and Transfer Contracts

Chapter IV Copyright-related Rights

  Section 1 Publication of Books, Newspapers and Periodicals

  Section 2 Performance

  Section 3 Sound Recording and Video Recording

  Section 4 Broadcasting by a Radio Station or Television Station

Chapter V  Protection of Copyright and Copyright-related Rights

Chapter VI  Supplementary Provisions

Chapter I

General Provisions

Article 1  This Law is enacted, in accordance with the Constitution, for the purpose of protecting the copyright of authors in their literary, artistic and scientific works and the rights and interests related to copyright, encouraging the creation and dissemination of works conducive to the building of a socialist society that is advanced ethically and materially, and promoting the development and flourishing of socialist culture and sciences.

Article 2  Works of Chinese citizens, legal persons or unincorporated organizations, whether published or not, shall have copyright in accordance with this Law.

The copyright enjoyed by foreigners or stateless persons in any of their works under an agreement concluded between China and the country to which the authors belong or in which they have their habitual residences, or under an international treaty to which both countries are parties, shall be protected by this Law.

Any work of foreigners and stateless persons published for the first time within the territory of China shall have copyright in accordance with this Law.

Any work of an author from a country that has not concluded any agreement with China or does not join an international treaty to which China is a party and any work of a stateless person, which is published for the first time in a member country of an international treaty to which China is a party, or simultaneously published in a member country of the treaty and in a non-member country, shall be protected by this Law.

Article 3  For purposes of this Law, the term “works” means intellectual achievements in the fields of literature, art and science, which are original and can be expressed in a certain form, including:

(1) written works;

(2) oral works;

(3) musical, dramatic, quyi, choreographic and acrobatic art works;

(4) works of the fine arts and architecture;

(5) photographic works;

(6) audiovisual works;

(7) graphic works such as drawings of engineering designs, product designs, maps and sketches, and model works;

(8) computer software; and

(9) other intellectual achievements conforming to the characteristics of the works.

Article 4  Copyright owners and copyright-related right owners may not violate the Constitution and laws,  and may not harm public interests when exercising their rights. The State shall supervise and administrate the publication and dissemination of works in accordance with the law.

Article 5  This Law shall not apply to:

(1) laws and regulations, resolutions, decisions and orders of State organs, other documents of a legislative, administrative or judicial nature and the official translations thereof;

(2) mere information about facts or happenings; and

(3) calendars, numerical tables and forms of general use, and formulas.

Article 6  Measures for the protection of copyright in works of folk literature and art shall be formulated separately by the State Council.

Article 7  The competent department of copyright of the State shall be responsible for the administration of copyright nationwide; the local competent departments of copyright at or above the county level shall be responsible for the administration of copyright in their respective administrative areas.

Article 8  Copyright owners and copyright-related right owners may authorize collective administration organizations of copyrights to exercise their copyright or copyright-related rights. A collective administration organization of copyrights established in accordance with the law is a not-for-profit legal person, which may, upon authorization, claim rights in its own name for the copyright owners or the copyright-related right owners and participate as a party in litigation, arbitration or mediation activities concerning the copyright or copyright-related rights.

Collective administration organizations of copyrights shall collect royalties from users based on the authorization. The standard for the collection of royalties shall be determined by the collective administration organizations of copyrights and representatives of the users through consultation; if consultation fails, the parties may file an application to the competent department of copyright of the State for a ruling; if the said parties are not satisfied with the ruling, they may bring a lawsuit in the people’s court, or the parties may directly bring a lawsuit in the people’s court.

Collective administration organizations of copyrights shall regularly publicize to the public the collection and transfer of royalties, the withdrawal and use of management fees, and undistributed royalties and other overall situation, and establish a rights information inquiry system for the inquiry of right owners and users. The competent department of copyright of the State shall supervise and administrate the collective administration organizations of copyrights in accordance with the law.

The way to establish collective administration organizations of copyrights, their rights and obligations, collection and distribution of royalties, and supervision and administration of them shall be prescribed separately by the State Council.

Chapter II

Copyright

Section 1

Copyright Owners and Their Rights

Article 9  Copyright owners include:

(1) authors; and

(2) other natural persons, legal persons and unincorporated organizations enjoying copyright in accordance with this Law.

Article 10  Copyright includes the following personal rights and property rights:

(1) the right of publication, that is, the right to decide whether to make a work available to the public;

(2) the right of authorship, that is, the right to claim authorship, and to have the author’s name mentioned in connection with the work;

(3) the right of alteration, that is, the right to alter or authorize others to alter one’s work;

(4) the right of integrity, that is, the right to protect one’s work against distortion and mutilation;

(5) the right of reproduction, that is, the right to produce one or more copies of a work by printing, photocopying, rubbing, sound recording, video recording, ripping, duplicating a photographic work, digitizing, or by other means;

(6) the right of distribution, that is, the right to provide the original copy or reproduced copies of a work to the public by sale or donation;

(7) the right of rental, that is, the right to non-gratuitously permit others to temporarily use an audiovisual work, or the original or copies of a computer software, except where the software itself is not the main object of the lease;

(8) the right of exhibition, that is, the right to publicly display the original copy or reproduced copies of a work of fine arts or of a photographic work;

(9) the right of performance, that is, the right to publicly perform a work, and to publicly communicate the performance of a work by various means;

(10) the right of projection, that is, the right to publicly reproduce works of fine arts,  photographic works, audiovisual works, or other works, by a projector, slide projector or any other technical equipment;

(11) the right of broadcasting, that is, the right to publicly disseminate or rebroadcast  works by wire or by wireless means, and to disseminate broadcast works to the public by loudspeaker or any other similar instruments for transmitting signs, sounds or images, but excluding the right mentioned in Subparagraph (12) of this paragraph;

(12) the right of communication through information network, that is, the right to make a work available to the public by wire or by wireless means, so that the public may have access to the work at time and place chosen by them;

(13) the right of cinematography, that is, the right to fix a work on the medium by producing an audiovisual work;

(14) the right of adaptation, that is, the right to modify a work to create a new one with originality;

(15) the right of translation, that is, the right to transform the work from one language into another language;

(16) the right of compilation, that is, the right to compile, by selection or arrangement, the works or fragments of works into a new work; and

(17) other rights which shall be enjoyed by the copyright owners.

Copyright owners may authorize others to exercise the rights provided in Subparagraphs (5) to (17) of the preceding paragraph and receive remuneration in accordance with the agreements or the relevant provisions of this Law.

Copyright owners may transfer, wholly or in part, the rights provided in Subparagraphs (5) to (17) of the first paragraph of this Article and receive remuneration in accordance with the agreements or the relevant provisions of this Law.

Section 2
Ownership of Copyright

Article 11  Unless otherwise provided by this Law, the copyright in a work shall belong to its author.

The author of a work is a natural person who creates the work.

Where a work is created under the auspices of, representing the will, and under the responsibility of a legal person or unincorporated organization, such a legal person or unincorporated organization shall be deemed the author of the work.

Article 12   The natural person, legal person or unincorporated organization whose name is affixed to a work shall be the author of the work and have corresponding rights in the work, unless there is proof to the contrary.

Authors and other copyright owners may register their works with the registration organs recognized by the competent department of copyright of the State.

The provisions of the preceding two paragraphs shall apply mutatis mutandis to the copyright-related rights.

Article 13  The copyright of  a work created by adaptation, translation, annotation or arrangement of a preexisting work shall be enjoyed by the adapter, translator, annotator or arranger, provided that the exercise of such copyright does not infringe upon the copyright in the original work.

Article 14  Where a work is created jointly by two or more authors, the copyright in the work shall be enjoyed jointly by the co-authors. A person who does not participate in the creation shall not be a co-author.

The copyright of a joint work shall be exercised by the co-authors through consensus; where consensus cannot be reached and there are no justifiable reasons, no party shall prevent the other parties from exercising rights other than transferring, permitting others’ exclusive use of and pledging the copyright, but the proceeds obtained shall be reasonably distributed to all co-authors.

Where a joint work can be used separately, each co-author may be entitled to independent copyright in the part that he creates, provided that the exercise of such copyright does not infringe upon the copyright in the joint work as a whole.

Article 15  A work created by compilation of several works, fragments of works or of data or other materials which do not constitute a work is a compilation when the selection or arrangement of the contents thereof reflect the originality. The copyright in such compilation shall be enjoyed by the compiler, provided that the exercise of such copyright does not infringe upon the copyright in the original works.

Article 16  Whoever use a work created by adaptation, translation, annotation, arrangement or compilation of a preexisting work for publication, performance, or production of a sound or video recording, shall obtain permission from and pay remuneration to the copyright owner of the work and the copyright owner of the original work.

Article 17  The copyright of a cinematographic work or a television play work, which are audiovisual works, shall be enjoyed by the producer, but the scriptwriter, director, cameraman, lyricist, composer and other authors shall enjoy the right of authorship and shall be entitled to remuneration in accordance with the contracts concluded with the producer.

The ownership of the copyright in audiovisual works other than those prescribed in the preceding paragraph shall be agreed upon by the parties concerned; where there is no agreement or the agreement is unclear, the copyright shall be enjoyed by the producer, but the author shall enjoy the right of authorship and the right to remuneration. The authors of the scripts, music and other audiovisual works that may be used separately shall be entitled to exercise their copyright separately.

Article 18  A work created by a natural person in the fulfillment of tasks assigned to him by a legal person or unincorporated organization is a work for hire. Unless otherwise provided in the second paragraph of this Article, the copyright in such a work shall be enjoyed by the author; but the legal person or unincorporated organization shall have priority to use the work within the scope of its professional activities. Within two years after the completion of the work, the author shall not, without the consent of the legal person or unincorporated organization, authorize a third party to use the work in the same manner as the legal person or unincorporated organization does.

In any of the following cases, the author of a work for hire shall enjoy the right of authorship, while the legal person or unincorporated organization shall enjoy other rights included in the copyright and may reward the author:

(1) drawings of engineering designs and product designs, maps, sketch maps, computer software and other works for hire which are created mainly with the material and technical resources of the legal person or unincorporated organization and under its responsibility;

(2) works for hire created by employees of newspaper, periodical presses, news agencies, radio stations and television stations; or

(3) works for hire of which the copyright is enjoyed by the legal person or unincorporated organization in accordance with laws, administrative regulations or contracts.

Article 19  The ownership of the copyright in a commissioned work shall be stipulated in a contract between the commissioning party and the commissioned party. Where there is no explicit stipulation in the contract or no contract is concluded, the copyright in such a  work shall belong to the commissioned party.

Article 20  The transfer of ownership of the original work shall not change ownership of the copyright of the work, but the right to exhibit the original work of fine art or of a photographic work shall be enjoyed by the owner of the original work.

Where an author transfers the ownership of the original copy of an unpublished work of fine art or photographic work, the transferee’s exhibition of the original copy does not constitute an infringement upon the author’s right of publication.

Article 21  Where the copyright in a work belongs to a natural person, his rights in respect of the work as provided in Subparagraphs (5) to (17) of the first paragraph of Article 10 of this Law shall, after his death and during the term of protection provided in this Law, be transferred in accordance with the law.

Where the copyright of a work belongs to a legal person or unincorporated organization, the rights provided in Subparagraphs (5) to (17) of the first paragraph of Article 10 of this Law shall, after the change or termination of the status of the legal person or unincorporated organization and during the term of protection provided in this Law, be enjoyed by the succeeding legal person or unincorporated organization which takes over its rights and obligations; where there is no succeeding legal person or unincorporated organization to take over the said legal person or unincorporated organization’s rights and obligations, the copyright shall be enjoyed by the State.

Section 3

Term of Protection of Rights

Article 22  The term of protection of an author’s right of authorship, alteration and  integrity shall be unlimited.

Article 23  In respect of a work of a natural person, the term of protection for the right of publication and the rights as provided in Subparagraphs (5) to (17) of the first paragraph of Article 10 of this Law shall be the life of the author and fifty years after his death, expiring on December 31 of the fiftieth year after his death. In the case of a joint work, the term shall expire on December 31 of the fiftieth year after the death of the last surviving author.

For a work of a legal person or unincorporated organization, and a work for hire whose copyright (excluding the right of authorship) is enjoyed by a legal person or unincorporated organization, the term of protection for the right of publication shall be fifty years, expiring on December 31 of the fiftieth year after the completion of its creation; and the term of protection for the rights as provided in Subparagraphs (5) to (17) of the first paragraph of Article 10 of this Law shall be fifty years, expiring on December 31 of the fiftieth year after the first publication of such a work;  but if a work is not published within fifty years after the completion of its creation, it shall no longer be protected by this Law.

For an audiovisual work, the term of protection for the right of publication shall be fifty years, expiring on December 31 of the fiftieth year after the completion of its creation; and the term of protection for the rights as provided in Subparagraphs (5) to (17) of the first paragraph of Article 10 of this Law shall be fifty years, expiring on December 31 of the fiftieth year after the first publication of such a work;  but if a work is not published within fifty years after the completion of its creation, it shall no longer be protected by this Law.

Section 4

Limitations on Rights

Article 24  In the following cases, a work may be used without permission of, and without payment of remuneration to the copyright owner, provided that the name or appellation of the author and the title of the work are indicated, the normal use of the work is not affected and the legitimate rights and interests enjoyed by the copyright owner are not unreasonably prejudiced:

(1) use of a published work of another for purposes of personal study, research or appreciation;

(2) appropriate quotation from a published work of another in one’s own work for the purpose of introducing or commenting a certain work, or illustrating a point;

(3) unavoidable reproduction or quotation from a published work in newspapers, periodicals, radio stations, television stations or other media for the purpose of reporting news;

(4) publication or broadcasting by newspapers, periodicals, radio stations, television stations or other media of current event articles on issues of politics, economy and religion, which have been published by other newspapers or periodicals, or broadcast by other radio stations or television stations, except where the copyright owner declares that such publication or broadcasting is not permitted;

(5) publication or broadcasting by newspapers, periodicals, radio stations, television stations or other media of a speech delivered at a public gathering, except where the author declares that such publication or broadcasting is not permitted;

(6) translation, adaptation, compilation, broadcasting, or reproduction in a small quantity of copies, of a published work by teachers or scientific researchers for use in classroom teaching or scientific research, provided that such a work shall not be published or distributed;

(7) use of a published work by a State organ to a reasonable scope for the purpose of fulfilling its official duties;

(8) reproduction of a work in its collections by a library, archive, memorial hall, museum, art gallery, cultural center or similar institution for the purpose of display, or preservation of a copy of the work;

(9) free performance of a published work for non-profit purposes, for which the public does not pay any fees and no remuneration is made to the performers;

(10) copying, drawing, photographing or video-recording of a work of art put up or displayed in public places;

(11) translation of a published work of a Chinese citizen, legal person or unincorporated organization from the standard spoken and written Chinese language into minority nationality languages for publication and distribution in the country;

(12) provision of published works to dyslexics in a barrier-free way through which they can perceive; and

(13) other circumstances as provided by laws and administrative regulations.

The provisions of the preceding paragraph shall apply to the copyright-related rights.

Article 25  Those who compile and publish textbooks for the purpose of implementing compulsory education or State education planning may, without permission of copyright owners, compile published fragments of works, short written works, musical works, a single work of fine art, photographic works, or graphic works in the textbooks, but shall pay remunerations to copyright owners according to the provisions, and indicate the names or appellations of authors and titles of works, and shall not infringe upon other rights enjoyed by the copyright owners in accordance with this Law.

The provisions of the preceding paragraph shall apply to the copyright-related rights.

Chapter III

Copyright Licensing and Transfer Contracts

Article 26  Anyone who uses a work of another shall conclude a licensing contract with the copyright owner, except where no license is required as provided in this Law.

A licensing contract shall include the following main contents:

(1) types of rights licensed for use;

(2) the exclusive or non-exclusive nature of the right to exploit the work covered by the license;

(3) territorial scope and the term of the license;

(4) rates of remuneration and the means of payment;

(5) liability for breach of contract; and

(6) other contents that both parties deem necessary to be agreed upon.

Article 27  Anyone who transfers any of the rights provided in Subparagraphs (5) to (17) of the first paragraph of Article 10 of this Law shall conclude a written contract.

A copyright transfer contract shall include the following main contents:

(1) title of the work;

(2) type and territorial scope of the transferred right;

(3) transfer fee;

(4) date and means of payment of the transfer fee;

(5) liability for breach of contract; and

(6) other contents that both parties deem necessary to be agreed upon.

Article 28  Where property rights under a copyright are pledged, both the pledger and the pledgee shall undergo pledge registration in accordance with the law.

Article 29   Without the consent of the copyright owner, the other party may not exercise any right that the copyright owner has not explicitly licensed or transferred in the licensing and transfer contract.

Article 30  The remuneration standards for the use of a work may be agreed upon by the parties and may also be paid in accordance with the standards fixed by the competent department of copyright of the State in conjunction with the relevant departments. Where the agreement between the parties is unclear, the remuneration shall be paid in accordance with the standards fixed by the competent department of copyright of the State in conjunction with the relevant departments.

Article 31  Publishers, performers, producers of sound and video recordings, radio stations, television stations and other entities that use works of others in accordance with the relevant provisions of this Law may not infringe upon the rights of authorship, alteration,  and integrity, and the right to remuneration of the authors.

Chapter IV

Copyright-related Rights

Section 1

Publication of Books, Newspapers and Periodicals

Article 32  To publish a book, the book publisher shall conclude a publishing contract with and pay remuneration to the copyright owner.

Article 33   With respect to a work delivered to a book publisher by the copyright owner for publication, the exclusive right to publish the work enjoyed by the book publisher as stipulated in the contract shall be protected by law, and the work may not be published by others.

Article 34  A copyright owner shall deliver the work within the term stipulated in the contract. A book publisher shall publish the work in compliance with the publication quality and time limit as stipulated in the contract.

A book publisher that fails to publish the work within the time limit as stipulated in the contract shall bear civil liability according to the provisions of Article 61 of this Law.

Where a book publisher reprints or republishes a work, it shall notify and pay remuneration to the copyright owner. Where the publisher refuses to reprint or republish the work after the stock of books is exhausted, the copyright owner has the right to terminate the contract.

Article 35  Where a copyright owner has submitted the manuscript of his work to a newspaper or periodical publisher for publication and has not received any notification of the said newspaper’s or publisher’s decision to publish the work within 15 days from the newspaper or within 30 days from the periodical publisher, counted from the date of submission of the manuscript, the copyright owner may submit the manuscript of the same work to another newspaper or periodical publisher for publication, unless otherwise agreed by the parties .

Except where the copyright owner declares that no reprinting or excerpting of his work is permitted, other newspaper or periodical publishers may, after the work is published by a newspaper or periodical publisher, reprint the work or print an abstract of it or print it as reference material, but shall pay remuneration to the copyright owner according to the provisions.

Article 36  A book publisher may, with the permission of the author, modify or abridge the work.

A newspaper or periodical publisher may make editorial modifications and abridgments in the language of a work. Any modification in the contents of the work shall be subject to permission of the author.

Article 37  A publisher shall be entitled to license others to use or prohibit others from using the format design of a book or periodical it has published.

The term of protection for the right specified in the preceding paragraph shall be ten years, expiring on December 31 of the tenth year after the first publication of the book or periodical in which the format design is used.

Section 2

Performance

Article 38  A performer who uses, for a performance, a work created by another shall obtain permission from and pay remuneration to the copyright owner. Where a performance organizer organizes a performance, the organizer shall obtain permission from and pay remuneration to the copyright owner.

Article 39  A performer shall, in respect of his performance, enjoy the following rights:

(1) to claim performership;

(2) to protect his performance image from distortion;

(3) to permit others to make live broadcasts or to publicly transmit his live performance, and receive remuneration therefor;

(4) to permit others to make sound and video recordings, and receive remuneration therefor;

(5) to permit others to reproduce, distribute and lease the sound and video recordings of his performance, and receive remuneration therefor; and

(6) to permit others make his performance available to the public through information network, and receive remuneration therefor.

A licensee that is permitted to use a work in the manner provided in Subparagraphs (3) to (6) of the preceding paragraph shall, in addition, obtain permission from and pay remuneration to the copyright owner.

Article 40  A performance by a performer for the purpose of accomplishing the tasks assigned by his performing entity is a performance for hire, in which the performer shall enjoy the rights to claim performership and to protect his performance image from distortion, and the ownership of other rights shall be agreed upon by the parties. Where the parties have not reached an agreement or the agreement is unclear, the right to  performance for hire shall be enjoyed by the performing entity.

Where the right to performance for hire is enjoyed by performers, the performing entity may use the performance free of charge within the scope of its business.

Article 41  The term of protection for the rights provided in Subparagraphs (1) and (2) of the first paragraph of Article 39 of this Law shall not be limited.

The term of protection for the rights provided in Subparagraphs (3) to (6) of the first paragraph of Article 39 of this Law shall be fifty years, expiring on December 31 of the fiftieth year after the performance takes place.

Section 3

Sound Recording and Video Recording

Article 42  A producer of sound recordings or video recordings that uses, for making a sound recording or video recording, a work created by another shall obtain permission from and pay remuneration to the copyright owner.

A producer of sound recordings that uses, for making a sound recording, a musical work which has been lawfully recorded as a sound recording by another, may do so without obtaining permission from the copyright owner, but shall pay remuneration to the copyright owner according to the provisions; such a work shall not be used where the copyright owner declares that such use is not permitted.

Article 43  When making a sound recording or video recording of a performance, the producer shall conclude a contract with and pay remuneration to the performer.

Article 44  The producer of sound recordings or video recordings shall enjoy the right to permit others to reproduce, distribute or lease the sound recordings or video recordings and disseminate them to the public through information network and to receive remuneration therefor. The term of protection for such right shall be fifty years, expiring on December 31 of the fiftieth year after the completion of the recording for the first time.

A licensee that reproduces, distributes, and disseminates sound recordings or video recordings to the public through information network shall obtain permission from and pay remuneration to both the copyright owner and the performer; a licensee that leases sound recordings or video recordings shall also obtain permission from, and pay remuneration to the performer.

Article 45  Where sound recordings are disseminated through wired or wireless means, or broadcast to the public through technical equipment for transmitting sound, remuneration shall be paid to the sound recording producer.

Section 4

Broadcasting by a Radio Station or Television Station

Article 46  A radio station or television station that broadcasts an unpublished work created by others shall obtain permission from and pay remuneration to the copyright owners.

A radio station or television station that broadcasts a published work created by others do not need to obtain permission from the copyright owners, but shall pay remuneration to the copyright owners according to the provisions.

Article 47  A radio station and television station shall have the right to prohibit the following acts performed without its permission:

(1) rebroadcasting the radio or television programs broadcast by it by wire or by wireless means;

(2) recording and reproducing the radio or television programs broadcast by it; and

(3) disseminating the radio or television programs broadcast by it to the public through information network.

The exercise of the rights prescribed in the preceding paragraph by a radio station and television station shall not affect, restrict or prejudice others’ exercise of copyright or copyright-related rights.

The term of protection for the rights prescribed in the first paragraph of this Article shall be fifty years, expiring on December 31 of the fiftieth year after the broadcasting of a radio or television program for the first time.

Article 48  A television station that broadcasts audiovisual works or video recordings produced by others shall obtain permission from and pay remuneration to the copyright owners of the audiovisual works or the video producers; in the case of broadcasting video recordings produced by others, the television station shall also obtain permission from and pay remuneration to the copyright owners.

Chapter V

Protection of Copyright and Copyright-related Rights

Article 49  In order to protect copyright and copyright-related rights, the right owner may take technical measures.

Without permission of the right owner, no organization or individual shall intentionally circumvent or destroy the technological measures, or manufacture, import or provide the relevant devices or components to the public for the purpose of circumventing or destroying the technological measures, or intentionally provide technical services for others to circumvent or destroy the technological measures, except for the circumstances under which such circumvention is permitted by laws or administrative regulations.

For the purposes of this Law, the term “technological measures” refers to the effective technologies, devices, or components that are used to prevent or restrict the viewing or appreciation of works, performances, sound and video recordings, or the provision of works, performances, sound and video recordings to the public through information network without the permission of the right owners.

Article 50  Technological measures may be circumvented under the following circumstances, provided that technologies, devices or components used to circumvent technological measures are not provided to others, and that other rights enjoyed by the right owners in accordance with the law are not infringed:

(1) providing a small amount of published works to teachers or scientific researchers for use in classroom teaching or scientific research, in the case that such works are not accessible through normal channels;

(2) providing, not for profit, published works to dyslexics in a barrier-free way through which they can perceive, in the case that such works are not accessible through normal channels;

(3) fulfillment of official duties by a State organ in accordance with the administrative, supervisory and judicial procedures;

(4) testing the security performance of computers and their systems or networks; and

(5) conducting encryption research or research on reverse engineering of computer software.

The provisions of the preceding paragraph shall apply to restrictions on copyright-related rights.

Article 51  The following acts shall not be carried out without permission of the right owner:

(1) intentionally deleting or altering the rights management information on works, format designs, performances, sound or video recordings, or radio or television programs, except for those which cannot be avoided due to technical reasons; and

(2) making available to the public works, format designs, performances, sound or video recordings, or radio or television programs when the provider knows or should know that the rights management information attached thereto has been deleted or altered without permission.

Article 52  Anyone who commits any of the following infringing acts shall, depending on the circumstances, bear civil liability such as ceasing the infringement, eliminating the effects of the act, making an apology or paying compensation for loss:

(1) publishing a work without permission of the copyright owner;

(2) publishing a work of joint authorship as a work created solely by oneself, without permission of the other co-authors;

(3) having one’s name mentioned in another’s work, without participating in the creation of the work in order to seek personal fame and gain;

(4) distorting or tampering with works of others;

(5) plagiarizing works of others;

(6) using a work by means of exhibition or production of an audiovisual work, or by means of adaptation, translation, annotation or similar means without permission of the copyright owner, unless otherwise provided in this Law;

(7) using a work of another without paying remuneration as one should;

(8) leasing an audiovisual work, computer software, or the original or a copy of a sound or video recording, without permission of the copyright owner, the performer or the producer of the recording, unless otherwise provided in this Law;

(9) using the format design of a published book or periodical, without permission of the publisher;

(10) live broadcasting, publicly transmitting or recording a performance, without permission of the performer; or

(11) committing other acts infringing upon the copyright and the copyright-related rights.

Article 53  Anyone who commits any of the following infringing acts shall, depending on the circumstances, bear civil liability prescribed in Article 52 of this Law; where public rights and interests are concurrently impaired by the infringement, the competent department of copyright shall order the infringer to stop infringement, give him a warning, confiscate his unlawful gains, and confiscate and harmlessly destroy the infringing copies and the materials, tools and instruments mainly used to produce the infringing copies, and may, where the illegal turnover exceeds 50,000 yuan, concurrently impose a fine of not less than one time but not more than five times the illegal turnover; where there is no illegal turnover or the illegal turnover is difficult to calculate or is less than 50,000 yuan, a fine of not more than 250,000 yuan may be imposed concurrently; where a crime is constituted, criminal liability shall be investigated in accordance with the law:

(1) without permission of the copyright owner, reproducing, distributing, performing,  projecting, broadcasting, compiling a work or disseminating a work to the public through information network, unless otherwise provided in this Law;

(2) publishing a book whose exclusive right of publication is enjoyed by another;

(3) without permission of the performer, reproducing or distributing sound or video recordings of his performance, or making the performance available to the public through information network, unless otherwise provided in this Law;

(4) without permission of the producer, reproducing, distributing, disseminating sound or video recordings produced by him to the public through information network, unless otherwise provided in this Law;

(5) without permission, broadcasting, reproducing or disseminating radio or television programs to the public through information network, unless otherwise provided in this Law;

(6) without permission of the copyright owner or copyright-related right owner, intentionally circumventing or destroying the technological measures, intentionally manufacturing, importing or providing to others the devices or components mainly used for the purpose of circumventing or destroying the technological measures, or intentionally providing technical services to others to circumvent or destroy the technological measures, unless otherwise provided in laws or administrative regulations;

(7) without permission of the copyright owner or copyright-related right owner, intentionally deleting or altering the rights management information on works, format designs, performances, sound or video recordings, or radio or television programs, or disseminating to the public the works, format designs, performances, sound or video recordings, or radio or television programs when the provider knows or should know that the rights management information has been deleted or altered, unless otherwise provided in laws or administrative regulations; or

(8) producing or selling a work the authorship of which is counterfeited.

Article 54  In case of infringement upon the copyright or the copyright-related rights, the infringer shall make compensation on the basis of the actual loss suffered by the right owner or based on the illegal gains of the infringer; where the actual loss of the right owner or the illegal gains of the infringer are difficult to be calculated, compensation may be made by reference to the amount of royalties for that right. In case of intentional infringement upon the copyright or the copyright-related rights, if the circumstances are serious, compensation may be made not less than one time but not more than five times the amount determined according to the abovementioned methods.

Where the actual loss of the right owner, the illegal gains of the infringer or the royalties are difficult to be calculated, the people’s court shall, in light of the circumstances of the infringement, decide on a compensation not less than 500 yuan but not more than 5,000,000 yuan.

The amount of compensation shall also include the reasonable expenses paid by the right owner for stopping infringement.

Where the right owner has met the necessary burden of proof in order to determine the amount of compensation, the people’s court may order the infringer to provide the account books and materials related to the infringing act in the case that the account books and materials are mainly in the control of the infringer; if the infringer refuses to provide or provides the false account books and materials, the people’s court may determine the amount of compensation by reference to the claims and evidence provided by the right owner.

When trying a case concerning a copyright dispute, the people’s court shall, at the request of the right owner, order the destruction of the infringing copies, except in special circumstances; order the destruction of the material, tools and instruments mainly used to produce infringing copies without compensation; or in special circumstances, the prohibition of the aforesaid material, tools and instruments, among others, from entering commercial channels without compensation.

Article 55  When investigating and dealing with the acts suspected of infringing upon copyright and copyright-related rights, the competent department of copyright may question the parties and investigate the circumstances related to the suspected illegal acts; conduct on-site inspections of the premises and articles involved in the suspected illegal acts; consult and duplicate contracts, invoices, account books and other materials related to the suspected illegal acts; and seal up or seize the premises and articles involved in the suspected illegal acts.

When the competent department of copyright exercises the functions and powers prescribed in the preceding paragraph in accordance with the law, the parties shall assist and cooperate, and shall not refuse or obstruct the exercise of such functions and powers.

Article 56  Where a copyright owner or a copyright-related right owner has evidence to prove that another person is committing, or is about to commit, an infringement upon his rights or an act hindering the realization of his rights, and failure to stop such acts in a timely manner will cause irreparable damage to his legitimate rights and interests, he may, before bringing a lawsuit, apply to a people’s court in accordance with the law for taking such measures as preserving property, ordering performance of a specific act, or prohibiting a specific act.

Article 57  In order to prevent infringement, a copyright owner or a copyright-related right owner may, before bringing a lawsuit, apply to a people’s court in accordance with the law for evidence preservation, where the evidence may be destroyed or lost or is difficult to be obtained later.

Article 58  When trying a case concerning the infringement upon copyright or the copyright-related rights, the people’s court may confiscate the illegal gains, the infringing copies and money and property used for illegal activities.

Article 59  Where a publisher or producer of copies fails to prove that its publication or production is legally authorized, or a distributor of reproductions or a lessor of copies of an audiovisual work, computer software, sound recording or video recording fails to prove the legal source of the copies for distribution or lease, it shall bear legal liability.

During the litigation process, where the defendant-infringer claims that he is not liable for the infringement, he shall present evidence to prove that he has obtained the permission of the right owner, or that he falls under the circumstances under which use is allowed without permission of the right owner as provided in this Law.

Article 60  A copyright dispute may be settled through mediation, or be submitted to an arbitration institution for arbitration under a written arbitration agreement between the parties or under the arbitration clause in the copyright contract.

Where there is neither a written arbitration agreement between the parties nor an arbitration clause in the copyright contract, that parties may directly bring a lawsuit in a people’s court.

Article 61  The provisions of the relevant laws shall apply where the parties bear civil liability for failure to perform contractual obligations or failure to perform contractual obligations in conformity with the agreement, and where the parties exercise their litigation rights or apply for preservation, etc.

Chapter VI

Supplementary Provisions

Article 62  The term “copyright” as mentioned in this Law shall have the same meaning as “author’s right”.

Article 63  The term “publication” as mentioned in Article 2 of this Law means reproduction and distribution of works.

Article 64  Measures for the protection of computer software and the right of communication through information network shall be formulated separately by the State Council.

Article 65   Where the protection period for photographic works, right of publication, and rights prescribed in Subparagraphs (5) to (17) of the first paragraph of Article 10 has expired before June 1, 2021, but they are still within the protection period according to the first paragraph of Article 23 of this Law, they shall no longer be protected.

Article 66  The rights of copyright owners, publishers, performers, producers of sound recordings and video recordings, radio stations and television stations as provided in this Law of which the term of protection specified in this Law has not yet expired on the date this Law goes into effect, shall be protected in accordance with this Law.

Any act of infringement or breach of contract committed prior to the implementation of this Law shall be dealt with according to the relevant provisions in force at the time when such an act of infringement or breach of contract was committed.

Article 67  This Law shall go into effect on June 1, 1991.

© 2021 Schwegman, Lundberg & Woessner, P.A. All Rights Reserved.National Law Review, Volume XI, Number 261

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Tioga Arts Council to Celebrate International Translation Day - WIVT - NewsChannel 34 - Translation

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Tioga Arts Council to Celebrate International Translation Day  WIVT - NewsChannel 34

How to Loop Through a Dictionary in Python - MakeUseOf - Dictionary

Understanding how to iterate through a Python dictionary is valuable. This technique allows you to read, manipulate, and output the contents of a dictionary. Looping in Python is easy. But beginners might find it a bit confusing, especially when using it with a more complex iterable such as a dictionary.

Here are some of the ways you can deal with a Python dictionary using loops.

Looping Through Keys and Values

A dictionary in Python contains key-value pairs. You can iterate through its keys using the keys() method:

myDict = {"A" : 2, "B" : 5, "C" : 6}
for i in myDict.keys():
print("Key"+" "+i)
Output: 
Key A
Key B
Key C 

The above code is slightly more verbose than you need, though. You can access the keys by calling them directly from myDict without using myDict.keys().

That's because a Python for loop picks the keys by default when it sees a dictionary. So you can write the above code like this instead:

for key in myDict:
print("Key"+ " " +key)
Output:
Key A
Key B
Key C 

To access the values, use the corresponding values() method:

myDict = {"A" : 2, "B" : 5, "C" : 6}
for i in myDict.values():
print(i)
Output: 
2
5
6 

Similarly, you can access the values directly using their keys:

for key in myDict:
print(myDict[key])
Output:
2
5
6 

While iterating through a dictionary, you can access its keys and values at the same time. You can do this in two ways.

The first method is to iterate through the dictionary and access the values using the dict[key] method. Then print each key-value pair within the loop:

for key in myDict:
print(key, "|", myDict[key])
Output:
A | 2
B | 5
C | 6 

Alternatively, you can access the keys and values simultaneously using the items() method:

for key, value in myDict.items():
print(key, "|", value)
Output:
A | 2
B | 5
C | 6 

Sometimes, you might want to output the result in reverse order. Here's how to do that using the sorted() function:

myDict = {"A" : 2, "B" : 5, "C" : 6}
for key, value in sorted(myDict.items(), reverse=True):
print(key, "|", value)
Output:
C | 6
B | 5
A | 2 

Converting a Dictionary Into a List

Converting a dictionary into a list using iteration is as easy as transforming a list into a dictionary.

You can create a list containing an individual tuple for each key-value pair:

myDict = {"A" : "MUO", "B" : "Google", "C" : "Python"}
myList = []
for key, value in myDict.items():
myList.append((key, value))
print(myList)
Output: [('A', 'MUO'), ('B', 'Google'), ('C', 'Python')] 

Or you can convert the dictionary into a nested list of key-value pairs:

myDict = {"A" : "MUO", "B" : "Google", "C" : "Python"}
myList = []
for key, value in myDict.items():
myList.append([key, value])
print(myList)
Output: [['A', 'MUO'], ['B', 'Google'], ['C', 'Python']] 

And if you want to transform a dictionary into a stretched, or flattened, list:

myDict = {"A" : "MUO", "B" : "Google", "C" : "Python"}
myList = []
for key, value in myDict.items():
myList+= key, value
print(myList)
Output: ['A', 'MUO', 'B', 'Google', 'C', 'Python'] 

Adding Up the Values in a Dictionary

It's easy to sum all the values in a dictionary using a for loop:

myDict = {"A":6, "B":7, "C":9}
g = 0 # initilize a variable to store the running total 
for i in myDict.values():
g += i # add each value to the total   
print(g)
Output: 22 

This is an iterative equivalent to using the sum() function which is an iterator itself. So you can add the values using sum() instead of looping as you did above:

summedValues = sum(myDict.values())
print(summedValues)
Output: 22 

Looping Through a Nested Python Dictionary

A nested dictionary might be a bit confusing to loop through at first. But it's as easy as iterating through a regular one.

The code below, for instance, outputs the content of each list in the dictionary:

myDict = {"A" : [1, 2, 3], "B" : [4, 5, 6]}
for i in myDict.keys():
print(myDict[i])
Output: 
[1, 2, 3]
[4, 5, 6] 

As it is in a regular dictionary, looping out the entire items outputs all key-value pairs in individual tuples:

myDict = {"A" : [1, 2, 3], "B" : [4, 5, 6]}
for i in myDict.items():
print(i)
Output:
('A', [1, 2, 3])
('B', [4, 5, 6]) 

Related:Python Dictionary: How You Can Use It To Write Better Code

You can also see specific values in a dictionary containing other dictionaries. But keep in mind that the values of a complex dictionary are the items of other dictionaries inside it. In essence, a complex dictionary contains parent and child keys.

Let's output the values in the complex dictionary below to see how this works:

complexArray = {
"Detail" : {
"Name" : "Idowu",
"Logs" : 20,
"isAdmin" : True
},
"Activities" : {
"Inputs" : 14,
"Input Type" : "Video"
}
}
for value in complexArray.values():
print(value)
Output:
{'Name': 'Idowu', 'Logs': 20, 'isAdmin': True}
{'Inputs': 14, 'Input Type': 'Video'} 

Using this insight, you can print specific values from the dictionary above.

To view the values of Detail, for instance:

for value in complexArray["Detail"].values():
print(value)
Output:
Idowu
20
True 

Using a nested for loop, you can see all the values of all the child keys:

for value in complexArray.values():
for i in value.values(): # get the values of each key in the child dictionaries 
print(i)
Output:
Idowu
20
True
14
Video 

Regardless of their parent dictionary, the above iteration outputs all the child values from the nested dictionary.

Modifying Dictionary Items

Since a dictionary is mutable, you can modify its content as you like while iterating through it.

For instance, you can swap values for keys and insert the output in a new dictionary:

myDict = {"A" : "MUO", "B" : "Google", "C" : "Python"}
swappedDict = {} 
for key, value in myDict.items():
swappedDict[value] = key
print(swappedDict)
Output: {'MUO': 'A', 'Google': 'B', 'Python': 'C'} 

You can achieve the above using for loop in a dictionary comprehension as well:

swappedDict = {value:key for key, value in myDict.items()}
print(swappedDict)
Output: {'MUO': 'A', 'Google': 'B', 'Python': 'C'} 

You can also delete specific items from a dictionary while looping through it. This is a pretty handy way to remove duplicates.

The example code below removes duplicated items and inserts one of them back after iterating through the array:

myDict = {"A" : "MUO", "B" : "Google", "C" : "Python", "C" : "Python"}
for key in list(myDict.keys()):
if key == 'C':
del myDict[key]
myDict[key]="Python"
print(myDict)
Output: {'A': 'MUO', 'B': 'Google', 'C': 'Python'} 

Play Around With Python Dictionaries

A Python dictionary is an essential tool for managing data in memory. So a basic understanding of the dictionary data structure, including how to iterate through it and get what you want, helps you in real-life scenarios.

And because you can customize what happens within a Python loop, it lets you manipulate your output. Nevertheless, iterating through a Python dictionary is easy once you understand the basic concepts of the Python loop.

How to Use For Loops in Python

For Loops are an essential programming skill. Learn how to use them in Python here.

Related Topics

About The Author

Idowu Omisola (100 Articles Published)

Idowu is passionate about anything smart tech and productivity. In his free time, he plays around with coding and switches to the chessboard when he's bored, but he also loves breaking away from routine once in a while. His passion for showing people the way around modern tech motivates him to write more.

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News - Courtesy Translation: Wiesbaden's New Corona Rules - DVIDS - Translation

Press Release from the Hessen State Government from 15 SEP 2021
Courtesy Translation: Nadine Bower, Public Affairs Specialist

New Corona Rules

Starting Thursday, Sep. 16, new corona rules and new indicators for corona protection measures will apply in Hessen and thus also in Wiesbaden. The state government has updated the Coronavirus Protection Ordinance (CoSchuV) accordingly and extended it until Oct. 14. The currently still valid municipal general decree will no longer be implemented starting on Thursday, Sep. 16, and will be formally repealed in a timely manner. From then on, the regulations of the CoSchuV apply decisively.

The new CoSchuV is a paradigm shift in view of the progress of vaccination. The seven-day incidence, which has so far been decisive, will be replaced by figures on the situation in Hessen hospitals, specifically by the incidence of hospitalization and the occupancy of intensive care beds. After the new CoSchuV, the 3G rule now applies in many indoor areas. This means that only vaccinated, recovered or negatively tested people are admitted to certain events and facilities. In addition, there is now a 2G option model that eliminates further corona-related restrictions. In the future, contact tracing will only be required in certain areas.

"We welcome the decision to regulate the corona protection measures again decisively at the state level, especially with regulations. We have been calling for this for some time. This avoids a municipal patchwork of the corona rules," say Lord Mayor Gert-Uwe Mende and Mayor and Health Department Head Dr. Oliver Franz. "Many people are now vaccinated. It is therefore the right thing to introduce the incidence of hospitalization and occupancy of intensive care beds as new indicators for protective measures. The new indicators and rules naturally raise new questions. We would be pleased if the responsible authorities answered them as quickly and bindingly as possible so that there is legal certainty for citizens and companies." Mende and Dr. Franz once again appealed to the people of Wiesbaden to get vaccinated. "Those who do not get vaccinated will sooner or later become infected with the coronavirus. Vaccination is and remains the way out of the pandemic."

In the state’s new warning level concept, hospitalization incidence and intensive care bed occupancy are the key indicators for more far-reaching protective measures. The hospitalization incidence describes how many people per 100,000 inhabitants have been newly admitted to a hospital statewide in the past seven days due to corona disease. The intensive care bed occupancy describes how many intensive care beds are occupied by corona patients. Warning level 1 is reached when the hospitalization score rises above 8 or the number of intensive care patients exceeds 200. Warning level 2 comes into play when the hospitalization score rises above 15 or the number of intensive care patients exceeds 400. If the thresholds are exceeded, the state has announced that it will take further measures to avoid overloading the public health system. On Tuesday, Sep. 14, the hospitalization incidence in Hessen was 2.51 and 146 intensive care beds were occupied by corona patients.

Even before reaching the 1st or 2nd warning level, according to CoSchuV in Hessen, and thus also in Wiesbaden, starting Thursday, Sep. 16, the following new rules apply:

Negative proof must still be submitted in certain situations (3G rule). As before, proof of vaccination, proof of recovery or negative test certificate or a student test booklet counts as negative proof. What is new is that a negative test certificate can be obtained as part of the company test offer. Children under the age of six or who have not yet started school do not need negative proof.

The 3G rule applies in the interiors of events, leisure facilities, museums, sports facilities, restaurants (except canteens for employees) and in establishments for body-related services, especially during visits to hairdressers or nail salons. What is new is that the obligation to provide proof applies to all those present. This means that not only guests or customers have to present negative proof, but also employees. In accommodation establishments, negative proofs are required twice a week on arrival and for longer stays afterwards. In outdoor areas, the obligation to provide 3G proof, where it previously applied, will be deleted. Excluded from this are events in outdoor areas with more than 1,000 guests. For these, the 3G rule still applies.

With the new CoSchuV, organizers and private operators will have the opportunity to admit only vaccinated and recovered individuals (2G rule). In this case, significant corona-related restrictions are eliminated: distance rules as well as the mask obligation and capacity restrictions. Children under the age of 12 are exempt from the 2G regulations, as they are currently unable to be vaccinated.

Events (at or above 25 people) can be carried out with the 3G or 2G rule. The staff must also adhere to it. For all 3G events, a distance and hygiene concept must be in place. With 3G, masks are mandatory indoors until seated and a permit-free upper limit of up to 500 people, plus vaccinated and recovered individuals applies. Outside, the permit-free upper limit is 1,000 people, plus vaccinated and recovered individuals. If the upper limits are exceeded, the events are subject to prior approval.

Due to the increasing vaccination rate, contact data collection is largely eliminated. In the future, contact tracing will only be necessary in facilities with particularly vulnerable persons. This applies in particular to hospitals as well as old people's homes and nursing homes. In discotheques and brothels, the collection of contact data is still mandatory for both 3G and 2G.

A medical mask must still be worn in school buildings. However, this does not apply while seated, outdoors or during school sports. Exception: During the two weeks of protection after the school break or in the event of a major outbreak in the school or in the 14 days after a confirmed infection in the class. There is no mask requirement in kindergarten.

Citizens who still want to receive their vaccination in the vaccination center must hurry: In coordination with the state, the vaccination center closes on Sunday, Sep. 19. The last day that vaccinations are done is Saturday, Sep. 18. Until then, it is still possible to receive a first, second or - if prioritized - a third vaccination in the vaccination center without an appointment. All vaccinations are free of charge for citizens. The offer without prior registration or registration is also valid for children and adolescents from the age of twelve, who will get vaccinated after individual medical information. Information on this and current Corona developments is available under wiesbaden.de/coronavirus. After the closure of the vaccination centers, the state requests a standard supply by the Impfallianz Hessen. In March, the Hessen Association of Statutory Health Insurance Physicians, the Hessen State Medical Association, the Hessen General Practitioners' Association, the Hessen State Chamber of Pharmacists and the Hessen Pharmacists' Association joined forces with the Hessen Ministry of Social Affairs and Integration to form the Hessen Vaccine Alliance.

Source: https://ift.tt/3EtE6gY

Date Taken:	09.16.2021
Date Posted:	09.17.2021 02:24
Story ID:	405379
Location:	WIESBADEN, HE, DE

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This work, Courtesy Translation: Wiesbaden's New Corona Rules, by Nadine Bower, identified by DVIDS, must comply with the restrictions shown on https://ift.tt/2vbbNT7.

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Headley Wins Translation Award – Locus Online - Locus Online - Translation

Beowulf: A New Translation by Maria Dahvana Headley (FSG) is the winner of the $1,000 Harold Morton Landon Translation Award, which recognizes “a published translation of poetry from any language into English that shows literary excellence.” The 2021 judge was Indran Amirthanayagam.

For more information, see the official website.

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