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Mar 28, 2023 (posted viaProZ.com): Listening to the 1st ProZ.com Virtual Conference for Remote Interpreters - lots of insight, ideas and best practices for working as a Remote Simultaneous Interpreter.
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Spanish to English: Article for MoMA website General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - Spanish Desde el inicio de su producción artística en Barcelona, lo urbano es uno de los temas principales de la obra pictórica de Torres García. La ciudad –exaltada por buena parte de las vanguardias históricas– adquiere en el pintor uruguayo rasgos característicos. El “letrismo”, comprensible o no, forma parte del escenario urbano de Torres García. Es como si el paisaje de la ciudad y la escritura formasen parte de una misma experiencia plástica. La ciudad aparece siempre fragmentada, yuxtapuesta y superpuesta. La ruptura con la tradicional perspectiva renacentista le ayuda a componer los primeros planos que posteriormente serán la base de la pintura ortogonal del constructivismo. Predominan con insistencia en su pintura urbana los temas de la calle, los edificios encaramados unos sobre los otros, los individuos o grupos de personas siempre anónimas, el café, el tranvía, la locomotora, el vapor, el calendario o el reloj. En fin, elementos que, conjugados, provocan una ilusión de aceleración temporal por la verticalización espacial sintetizada en un primer plano simultáneo.
Las palabras recortadas y la mayor parte de las veces indescifrables, así como los números sueltos, nos revelan un mundo que se atomiza y cuya unidad sólo puede ser obtenida a través de la percepción fragmentada y yuxtapuesta. Tanto la época catalana de Torres García (1892-1920), como la neoyorquina (1920-2) y la parisina (1926-32) son fecundas en la temática urbana. Y si las palabras y las letras constituyen una constante en los cuadros de estos períodos, ¿cuál es el sentido de mezclar o de juntar códigos tan diferenciados? El intenso paralelismo pintura/escritura me hace pensar que Torres García tiene por debajo de estos dos códigos un pensamiento único, el universalismo constructivo. Éste le permite expresar de forma siempre coherente lenguajes diferenciados, pero pertenecientes a una misma matriz reflexiva. La imagen, analógica y motivada, convive con la palabra, arbitraria y fruto de la norma y de la convención lingüística y social. En realidad, la propia palabra de Torres García es casi un diseño ideogramático, y compone por ello un proyecto estético unificado en el que es imposible separar uno y otro código.
Translation - English Since the beginning of Torres-García’s artistic production in Barcelona, the urban has played a prominent role in the Uruguayan painter’s pictorial work. The city—exalted by most of the historic vanguards—acquires characteristic features through it. “Lettrism,” whether understood or not, is part of Torres-García’s urban scene. It is as if the city landscape and writing make up parts of a singular visual experience. The city always appears fragmented, juxtaposed, and superimposed. The artist’s break with traditional Renaissance perspective helped him to compose the foregrounds that would become the basis for his Constructivist orthogonal paintings. The street, towering buildings, anonymous individuals or groups of people, the cafe, the streetcar, the locomotive, the steamship, the calendar, and the clock are the themes that insistently predominate his urban painting—in short, elements that when combined create an illusion of temporal acceleration due to their spatial verticality within a foreground devoid of perspective.
The clipped words, almost always indecipherable, as well as the random numbers, reveal an atomizing world whose unity is only achieved through fragmented and juxtaposed perception. Torres-García’s sojourns in Catalonia (1892–1920), New York (1920–22), and Paris (1926–32) were all rich in terms of urban issues. And if the letters and numbers constitute a constant in his paintings from this period, what is the point of mixing or joining them with painting? The intense parallelism of such distinct codes leads me to believe that his theory of Constructive Universalism underlies it. This unifying approach enabled him to coherently express different languages in a single reflexive matrix. The analogical and motivated image coexists with the arbitrary word, the product of linguistic and social norms and conventions. Actually, Torres-García’s own work is almost an ideogrammatic design, a unified aesthetic project in which it is impossible to separate one code from another.
Portuguese to English: Biology text General field: Science Detailed field: Biology (-tech,-chem,micro-)
Source text - Portuguese Diante dos relatos encontrados na literatura e dos resultados apresentados no presente trabalho, pode-se inferir que o predador generalista E. concordis pode regular populações tanto de O. ilicis quanto de P. latus em cafeeiro, além de se manter na cultura quando as densidades populacionais de uma das presas forem alteradas.
O número de ovos postos por dia pela fêmea de E. concordis em relação às densidades de presas oferecidas aumentou com o aumento da taxa de predação (Fig. 2). A partir da densidade 6.3 ácaros/cm2, E. concordis consegue colocar 1ovo/dia, o que pode ser favorável em criações de grande escala. Nas maiores densidade as fêmeas predaram mais, e esse fato pode ser devido ao alto gasto energético utilizado na reprodução, o que indica que o alimento é ideal.
Translation - English In considering reports from the literature as well as results shown in the current work, it can be inferred that the generalist predator E. concordis is able to regulate populations of O. ilicis and P. latus in coffee plants and can remain prevalent in a crop even when the population density of one of the prey species changes.
The number of eggs laid per day by E. concordis, relative to densities of prey provided in the study, increased proportionately with predation rate (Fig. 2). With the density of 6.3 mites/cm2 and higher, E. concordis attained oviposition rates of 1 egg/day, which could be useful for breeding on a large scale. At the highest prey densities, predation by E. concordis was increased; this may be due to the high level of energy used for reproducing, thus indicating that O. ilicis is an ideal food source for this species.
Portuguese to English: Literary Journal article General field: Art/Literary Detailed field: Poetry & Literature
Source text - Portuguese Na saída, tudo está diferente, a rua já está livre, o céu límpido, e ele imagina felicidades e reconciliações, os termos do bilhete de Vilela tinham sido os da intimidade, onde ele pensou em ameaça? Quer retomar a amizade, quer chegar sem demora, como explicar esse atraso ao amigo? A cartomante adivinhara tudo, o motivo da consulta, o estado em que ele se encontrava; por que não adivinharia o resto? "O presente que se ignora vale o futuro. Era assim, lentas e contínuas, que as velhas crenças do rapaz iam tornando ao de cima, e o mistério empolgava-o com as unhas de ferro."
"Vá, ragazzo inamoratto", haviam sido as palavras dela. E ele vai. Vilela o recebe, ele pede desculpas por não chegar mais cedo, pergunta o que há. Vilela não responde, leva-o a uma sala onde está Rita, morta e ensanguentada. Vilela segura-o pela gola e, com dois tiros, deixa-o morto no chão.
Em "A cartomante", a imagem destacada das palavras da narrativa, "os giros concêntricos", pode nos auxiliar a percorrê-la. Tudo gira, de alguma maneira, entre o amor e a morte, a crença e o limite; entre os três que compõem o triângulo, onde a cartomante funciona como um pivô; entre o contingente e o necessário: acaso e destino, onde as palavras da cartomante operam, no pano de fundo, com tudo o que pode animar um efeito de oráculo.
Translation - English Upon leaving, everything is different, the street is unblocked, the sky is clear, and he imagines happiness and reconciliation, the terms of Vilela's card were based on intimacy, where did the idea of a threat come from? He wants to restore their friendship, he wants to arrive without delay, how could he explain this delay to his friend? The fortune teller divined everything, the purpose of the consultation, Camilo's state of mind; why should she not divine the rest? “Ignorance today makes tomorrow worthwhile.” "Thus it was, slowly and unerringly, that the young man's old beliefs came back to the surface, and mystery gripped him in its nails of steel."
"Off you go, ragazzo inamoratto," were the words she used. And off he goes. Vilela meets him, Camilo apologizes for not arriving sooner, and asks him what is the matter. Vilela does not answer, leads him to a room to find Rita, dead and bloody. Vilela grabs him by the throat, and with two shots of his revolver, leaves him dead on the floor.
In “The Fortune Teller," the image that is emphasized by the words "sweeping round in concentric circles," can help us to scrutinize the narrative. Everything oscillates, in one way or another, between love and death, belief and its limits; between the three people who compose the triangle that seems to pivot around the fortune teller; between the contingent and the necessary: chance and fate, where the fortune teller's words operate, in the background, with everything that can encourage the effect of an oracle.
French to English: Script from a video about cooking General field: Other Detailed field: Cooking / Culinary
Source text - French J’ai fait une création de desserts par rapport au Paris-Deauville. Je l’ai appelé le Paris-Deauville. Et c’est la base en fait, c’est le gâteau de ma maman que j’ai retravaillé un petit peu et que j’ai nommé Paris-Deauville. C’est un gâteau unique parce que je ne l’ai jamais goûté nulle part ailleurs. C’est un soufflé au caramel qui est refroidi et qui est servi froid dans un moule à savarin, donc quelque chose d’assez atypique. Cela ressemble à beaucoup de choses… A un riz au lait, un gâteau de semoule, un flan mais cela ne ressemble à rien à la fois. C’est une texture particulière.
J’en ai fait un petit peu un lieu où je me prêtais aux voyageurs. Qu’est-ce que j’aurai eu envie de manger à toutes heures de la journée ? donc on peut très bien trouver… un tartare pas comme les autres bien sûr, un steak œuf à cheval ou alors on a des choses un peu plus sophistiquées avec une entrecôte de veau avec des asperges et des morilles en ce moment.
Translation - English I created some desserts by making comparisons to Paris-Deauville. I called it Paris-Deauville. It is based on my mother's cake recipe, in fact, which I have reworked a little and named Paris-Deauville. It is a unique cake because I have never tasted anything like it anywhere else. It is a soufflé with caramel, cooled down and served cold in a savarin mold, therefore something rather atypical. It resembles many things… Rice pudding, semolina cake, custard... and at the same time, it does not resemble anything at all. It has a unique texture.
I made a little bit of it at a joint where I served travelers. What would I want to eat at any time of the day? Therefore, we can easily find… a steak tartare unlike any other, of course, a steak topped with an egg or perhaps something more sophisticated, like a veal rib steak with asparagus and morel mushrooms, which are in season now.
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Spanish to English (Monterey Institute of International Studies, verified) English to Spanish (Monterey Institute of International Studies, verified) English to Portuguese (Associação Alumni, Translation and Interpretation Department, verified) Portuguese to English (Associação Alumni, Translation and Interpretation Department, verified) Spanish to English (Middlebury Institute of International Studies, verified)
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