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Whether or not this was the case, the looped texts had clearly travelled a considerable distance from their origin, my play. In some cases, they had shed almost all recognizable features connecting them to the play, with the notable exception of character names (although they, too, were sometimes transformed). As the looping process continues, it becomes harder and harder to retain a sense of what is acting as source and what as target, especially as noisy machine translations tend to be bi- or multilingual, meaning they contain untranslated traces of the other language (sometimes also of a third, intermediary language, although developments in machine translation have made this more rare).
The way I understand Samuel Webers take on Walter Benjamins theory of translation, laid out in Translatability I and Translatability II, 10 is this: if you look closely enough at any original, it too turns out to be a mere translation.