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Creative Commercial Specialist - Certified (Sworn) Translator since 2011 - Arts, Culture, Subs, Marketing, Commerce and Legal
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Portfolio
Sample translations submitted: 9
Portuguese to English: Exhibition Material General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - Portuguese O pobre louco
c. 1914-1915
Óleo s. cartão
Catálogo de 1916 — n° 26 ?
Col. particular
A marginalidade dos "loucos" sempre atraiu os artistas, especialmente os vanguardistas.
Nesta representação de um "louco" de Amarante, Amadeo emprega recursos expressivos dos anos em que fora caricaturista, mas transcende-os, sob o impacto do cubismo.
A resolução cromática acentua a dramaticidade do rosto que se ergue como grito silencioso.
Maria Arade destacava este quadro numa crítica à exposição no Porto publicada no jornal A Luta:
"Entre os trabalhos expostos, figura uma cabeça, por sinal com expressão, tendo por nome «O pobre louco».
Se não é o retrato do autor... já é mania chamar aos outros o próprio nome!"
RHS /MS
Translation - English O pobre louco
c. 1914-1915
Óleo s. cartão / Oil on cardboard
Catálogo de / Catalogue of 1916 — n° /no. 26 ?
Col. particular / Private collection
The marginality of the “mad” has always attracted artists, especially the avant-garde. In this representation of a “madman” in Amarante, Amadeo uses expressive resources from his years as a caricaturist, but here transcends them with cubist features. The chromatic resolution accentuates the drama of the face that rises like a silent cry.
Maria Arade singles this painting out in a critique of the exhibition in Porto published in the newspaper A Luta: “Among the works on display is an expressive head called O pobre louco [The Poor Madman]. If this is not a self-portrait... it must now be a fad to call others by one’s own name!”
RHS /MS
Spanish to English: Legal Commentary General field: Law/Patents
Source text - Spanish Teoría de la imputación objetiva.
El reciente Auto de 25 de octubre de 2012, dictado por la Audiencia Provincial de Madrid, confirma el sobreseimiento de las actuaciones acordado por el Juzgado de Instrucción nº 1 de Valdemoro, al entender que no era posible imputar objetivamente a la empresa las lesiones sufridas por un trabajador, dado que fue él mismo quien causó el accidente con su actuar temerario e imprudente, omitiendo los medios de protección, información y formación proporcionados por la empresa.
martes, 15 de enero de 2013
El citado Auto es significativo porque recoge la posición doctrinal más moderna, que deja atrás la concepción tradicional de la causalidad sobre bases exclusivamente naturales, introduciendo consideraciones jurídicas y siguiendo las pautas marcadas por la teoría de la relevancia, es decir, que sólo el tipo penal y la finalidad de la norma correspondiente pueden decidir qué clase de vinculación entre resultado y conducta debe requerirse para que sea relevante para el Derecho Penal.
De esta forma, la mera constatación de dicha causalidad natural no es suficiente para la atribución del resultado, ya que, en cuanto comprobada la misma, se requiere además verificar que a) la acción del autor ha creado un peligro jurídicamente desaprobado para la producción del resultado y que b) el resultado producido por dicha acción es la realización del mismo peligro (jurídicamente desaprobado) creado por la acción. Nos encontramos, por tanto, ante dos condicionantes complementarios de la causalidad natural que deben concurrir simultáneamente, pues en caso contrario se eliminaría la tipicidad de la conducta y, por consiguiente, su relevancia para el Derecho penal.
Así, respecto del primer requisito, señala la resolución que nos ocupa que la creación de un peligro jurídicamente desaprobado está ausente cuando se trate de riesgos permitidos, que excluyen la tipicidad de la conducta que los crea, y próximos a estos los casos de disminución del riesgo, en los que el autor obra causalmente respecto de un resultado realmente ocurrido, pero evitando a la vez la producción de un resultado más perjudicial. Son de mencionar igualmente otros supuestos de ruptura de la imputación objetiva entre los que se pueden incluir los abarcados por el principio de confianza, conforme al cual no se imputarán objetivamente los resultados producidos por quien ha obrado confiando en que otros se mantendrán dentro de los límites del peligro permitido, así como las exclusiones motivadas por lo que doctrinalmente se denomina la prohibición de regreso, referidas a condiciones previas a las realmente causales, puestas por quien no es garante de la evitación de un resultado.
Por su parte, el segundo requisito, exige que el riesgo (no permitido) creado por la acción sea el que se realiza en el resultado. Es en este segundo condicionante de la imputación objetiva en el que se plantea la presencia de riesgos concurrentes para la producción del resultado, cuestión en la que habrá que estar al riesgo que decididamente lo realiza, como aquellos otros casos en los que no podrá sostenerse la realización del riesgo en el resultado cuando la víctima se expone a un peligro que proviene directamente de su propia acción, en cuyo caso el resultado producido se imputará según el principio de la ¨autopuesta en peligro¨ o ¨principio de la propia responsabilidad¨.
En este último supuesto, se trata de establecer los casos en los que la realización del resultado es concreción del peligro causado por la conducta de la propia víctima que ha tenido una intervención decisiva en el mismo, tal y como ocurrió en el asunto analizado, en el que, conforme a los postulados indicados, se concluyó que no existían indicios bastantes de la concurrencia de los elementos que configuran el delito contra los derechos de los trabajadores, ya que en palabras del propio Auto no basta la idoneidad lesiva en abstracto de la conducta empresarial, al tratarse de un delito de peligro concreto grave, no de mera actividad, sino de resultado, al que deben aplicarse las reglas de causalidad y de imputación jurídica a efectos de establecer la existencia de relación causa-efecto entre la conducta de peligro y el resultado que provoca.
Translation - English The Theory of Criminal Negligence.
In a sentence handed down on the 25th October, 2012, the Provincial Court of Madrid upheld on appeal the dismissal of a case from the Court of First Instance and Instruction 1 in Valdemoro, confirming that it was not possible to objectively attribute a worker’s injuries to the criminal negligence of the company in question. The Provincial Court further found that the accident had been caused by the worker’s failure to make proper use of safety equipment, despite adequate training.
Tuesday, 15 January 2013
This sentence is significant as it disregards a traditional notion of negligence in favour of a purely legal understanding of the concept, reflecting a more modern legal approach. This approach is informed by the theory of relevance, which contends that only the letter of the law itself should be relevant in determining what constitutes criminal negligence under the law.
Understood thusly, a finding of mere causality is not sufficient to establish criminal negligence. Rather, there are two specific conditions of causality that must also be met for a case of negligence to fall within the remit of the criminal code. Specifically, once causality is established, it must be further proven that 1) the actions which created the hazard resulting in the accident are specifically proscribed under the law and that 2) the accident was a direct result of those same actions.
Under the first condition, the mere creation of a hazard does not in itself constitute criminal negligence unless this hazard is specifically proscribed under the law. Further, cases where a hazard is only partially created by the accused are not liable to criminal sanction, nor other cases covered by the principle of trust, pursuant to which a finding of negligence cannot be made in a case where the actions causing an accident have been undertaken on the mistaken understanding that others are acting in compliance with the law. Still other cases are excluded from criminal negligence by the so-called prohibition of return. These include cases where, prior to the specific sequence of events which culminated in the accident, the general circumstances leading to the creation of an accident were established by someone other than the party directly responsible for maintaining safe work conditions and preventing accidents.
As regards the second condition, on the other hand, for the purposes of establishing criminal negligence, it must be proven that a specific legally proscribed hazard created by an action is directly responsible for the accident in question. It is from this second constraint on negligence that the question of multiple and competing actions contributing to an accident may arise, meaning a direct line of cause and effect must be drawn between a specific action and outcome among potentially multiple causes. This condition also covers those cases where the victim exposes themselves directly to danger as a result of their own actions, in which case any accident occurring will be covered under the principles of “self-endangerment” or “personal responsibility” and not be attributable to criminal negligence.
In cases such as the latter, it must be established that an accident is the direct result of the conduct of the victim. And indeed, this is what was found to have occurred in the case heard in the Provincial Court of Madrid referred to above, in which, according to the principles of criminal negligence discussed, it was concluded that there was insufficient evidence to establish a crime of criminal negligence against the workers on the part of the company. In the words of the sentence itself, “an abstract notion of wrongful conduct on the part of a company is insufficient to establish causality and negligence. Rather, the rules of causality and criminal negligence must only take into account the specific circumstances of the occurrence of an accident and not the mere creation of a hazard when determining the existence of a causal relationship between hazardous conduct and any accident directly resulting from it”.
Spanish to English: Brief excerpt from a speech given in the Mexican congress General field: Social Sciences
Source text - Spanish Honorable diputada de la nación, Cristina Ruiz Sandoval, Presidenta de la Confederación Parlamentaria de las Américas de la delegación mexicana; diputada Guadalupe Mondragón, Secretaria de la Comisión de Educación Pública y Servicios Educativos de la Cámara de Diputados; señores parlamentarios presentes, Sr. Raúl Placencia Villanueva, Presidente de la Comisión Nacional de Derechos Humanos; Sr. Peter Katz, sobreviviente del Holocausto; cuerpo diplomático acreditado en México; Sra. Laura Bosques, hija de don Gilberto Bosques; representantes de la comunidad judía, señoras y señores, muy buenas tardes.
Agradezco la invitación que me hicieron para estar en este recinto y poderles presentar nuestro proyecto “Huellas para no olvidar”, el cual ha sido diseñado como una herramienta para enseñar, prevenir y salvaguardar en materia de Derechos Humanos, y se está llevando a cabo con pleno éxito en Colombia, Panamá, Paraguay, Argentina y Chile.
El proyecto consiste en la exhibición de una placa con las huellas palmares de un sobreviviente del Holocausto y sus descendientes, como una forma de solidarizarnos con las víctimas y su sufrimiento, pues como lo expresó el Secretario General de las Naciones Unidas tras la aprobación de la Resolución 60/7, que designó el 27 de enero como el "Día Internacional de Conmemoración anual en memoria de las víctimas del Holocausto", este día es “un importante recordatorio de las enseñanzas universales del Holocausto, atrocidad sin igual que no podemos simplemente relegar al pasado y olvidar.”
Translation - English Honorable Congresswoman of the Nation, Cristina Ruiz Sandoval, President of the Mexican Delegation of the Parliamentary Confederation of the Americas; Congresswoman Guadalupe Mondragon, Secretary of the Commission for Public Education and Educational Services of the Chamber of Parliamentary Deputies; Honorable Congressmen and women present; Mr. Raul Placencia Villanueva, President of the National Commission for Human Rights; Mr. Peter Katz, holocaust survivor; The Accredited Diplomatic Corps of Mexico; Ms. Laura Bosques, daughter of Mr. Gilberto Bosques; representatives of the Jewish community; Ladies and Gentlemen, good afternoon.
I thank you for the invitation extended to me to be present in this place to present to you today our project “Traces to Remember”, which has been conceived as a tool to inform people about, prevent abuses of and safeguard Human Rights. The project is currently being implemented with great success in Colombia, Panama, Paraguay, Argentina and Chile.
The project consists of the exhibition of a plaque with the hand prints of a Holocaust Survivor and their descendants in a form of solidarity with the victims and their suffering. As the Secretary General of the United Nations put it after the adoption of Resolution 60/7, which designated the 27th of January as the “International Day for the Annual Commemoration in Memory of the Victims of the Holocaust”, this day is “an important reminder of the universal lessons of the Holocaust, an atrocity without par that we cannot simply relegate to the past and forget”.
Spanish to English: Excerpt from a private commercial contract General field: Law/Patents Detailed field: Law: Contract(s)
Source text - Spanish Tercera.- Al objeto de compensar el coste del alquiler y mantenimiento de la vivienda, XXX, S.L. abonará al Sr. YYY la cantidad de 1.000 euros/mes, libre de impuestos, en concepto de gasto inherente a su actividad como Consultor de la compañía. Dicho importe será ingresado dentro de los cinco primeros días de cada mes en la cuenta bancaria designada al efecto.
Cuarta.- La extinción, cualquiera que sea su causa, del contrato de arrendamiento de la vivienda que el Sr. YYY tiene suscrito con la Propiedad, conllevará la finalización automática del presente contrato sin que ello comporte derecho de indemnización alguno a favor de XXX, S.L.
A tal efecto, el Sr. YYY se obliga a notificar, por cualquier medio que garantice su recepción (incluso por correo electrónico) a XXX, S.L. la extinción del contrato de arrendamiento con una antelación de dos meses a producirse la misma.
Translation - English Third: For the purposes of compensating the rental and maintenance costs of the residency, XXX SL will pay Mr. YYY a sum of 1,000 euros/month, tax-free, as an inherent part of the costs associated with his consultancy activities for the company. This sum will be transferred to his designated bank account within the first five days of every month.
Fourth: The annulment, for whatever reason, of the rental contract which Mr. YYY has signed for the property, carries with it the automatic annulment of this present contract without any possibility for compensation of its effects in favor of XXX SL.
To this end, Mr. YYY is obliged to notify XXX SL by means of whichever medium which guarantees its timely and successful receipt (including email) of the annulment of that rental contract with a prior notice of two months.
Spanish to English: Translation of a Novel General field: Art/Literary
Source text - Spanish Vuelve a insertar el billete de metro y de nuevo suena un pitido y se enciende una luz roja. Vuelve el error y lo vuelve a intentar; señal del daño que ha hecho la informática. La ciencia del apagar y encender hasta que funcione. La ciencia de no perder la es-peranza pero no hacer nada para cambiar las cosas.
Pero no pasa. El tomo no se abre.
Es en ese preciso momento cuando todos se vuelven hacia mí. Vuelven sus cabezas hacia el cris-tal de la taquilla, se acercan y se olvidan del saludo, solo exigen con celeridad un cambio de billete.
Da igual que lleve aquí toda la mañana. Da igual que lleve aquí todo el mediodía y toda la tarde. Da igual que para comprar el billete hubiera una flamante máquina nueva que luce mucho más que el treintañero desaliñado de detrás del cristal. La flamante máquina nueva no va a arreglar su situación ahora. La flamante máquina nueva no va a pagar sus prisas.
Porque no sirve de nada gritarle a una máquina. Es muchísimo mejor gritar al joven con uniforme obligado, aunque sea para dejar salivazos que limpiar en el cristal.
Ahora me entretengo para devolverles los billetes.
Disfruto todos y cada uno de los segundos que les retraso. Disfruto de mi momento. Les doy un ticket nuevo y salen corriendo. Y se funden con la masa. Y desaparecen como todos.
Vuelven a esa manada de individuos anónimos que inundan las entrañas de la ciudad y dejan pasar sus vidas por delante de mi taquilla. Y vuelve el silencio del ruido de fondo. La monotonía. La no-novedad.
Hasta que se le atraganta el billete a otra persona.
Translation - English Once again he inserts the metro ticket and once again the machine beeps and a red light flashes. The same action and the same error – a sign of the damage computers have done. The science of turning something off and on again until it works. The science of remaining hopeful, but not actually doing anything to rectify the situation.
Again it hasn’t worked. The turnstile remains locked shut.
It’s at that precise moment that their faces turn to me. They turn their heads to the ticket booth, approach without bothering to say hello, and demand a new ticket immediately thank you.
It doesn’t matter that I’ve been here the entire morning. It doesn’t matter that I’ve been here for the entire afternoon and evening. It’s not important that you can actually buy your ticket from the brand new machine over there, which looks in much better shape than the scruffy thirty-something behind the glass. But the brand new machine isn’t going to sort this out immediately. The brand new machine isn’t going stand there and suck up your abuse just because you’re running late.
Because shouting at a machine just isn’t the same. It’s way better to yell at the young guy in his work uniform, even if it’s just to leave a few gobs of spit for him to clean off the window glass.
So I take my sweet time in giving them their tickets.
I enjoy each and every second that I hold them up. I enjoy my little moment. I hand them their new ticket and they’re off. They melt into the crowd. To disappear like they all do.
They return to the herd of unknown individuals that flood the insides of the city and anonymously act out their lives in front of the ticket window. The white noise in the background returns. The monotony. The always-the-same.
Until someone else loses a ticket in the turnstile.
Spanish to English: Press Release General field: Marketing
Source text - Spanish “La Muñeca de la Salsa”
Luego de 16 años de carrera musical, la boricua Melina Almodóvar “La Muñeca de la Salsa” celebra junto a su orquesta un gran concierto gratuito en el Arts Park Young Circle de Hollywood en Florida donde además de interpretar un gran repertorio y además contará con clases de salsa gratis para todos los asistentes, entre otras sorpresas.
Melina Almodóvar tiene una amplia experiencia sobre grandes escenarios como se recuerda su destacada participación en el record Guinness 2010 donde interpretó la canción de salsa que más de 1500 bailarines participaron.
“La Muñeca de la Salsa” ha compartido escenarios con destacados artistas como Andy Montañéz, Tito Puente Jr., Ismael Miranda, La Sonora Ponceña, Gilberto Santa Rosa, entre otros, además se ha presentado frente a grandes personalidades de la industria tanto anglo como el popular rapero Sean “Puff Daddy” Combs y en el mercado hispano con el prestigioso productor Emilio Estefan.
Previo a su gran concierto el sábado 15 de marzo, la artista estará visitando los medios locales de la ciudad de Miami y Fort Lauderdale, donde presenta su propuesta musical identificada por su gran energía y contagiosa música arriba del escenario como se destaca en el sencillo “Yo soy la Rumba” el cual llego Top 5 en los listados radiales de popularidad.
Translation - English Puerto Rico’s very own “Muñeca de la Salsa” Melina Almodóvar will give a free concert together with her orchestra in the ArtsPark at Young Circle Hollywood, Florida. In addition to performing all her hits, there will be free salsa lessons for all those in attendance and more.
Melina Almodóvar’s career on the stage spans sixteen years and she is well known for performing the song to which more than 1,500 people broke the 2010 Guinness Record for most people dancing salsa.
“La Muñeca de la Salsa” has shared the stage with esteemed artists such as Andy Montañéz, Tito Puente Jr., Ismael Miranda, La Sonora Ponceña, Gilberto Santa Rosa and many more. She has also performed with other big names in both the English-speaking worlds such as rapper Sean “Puff Daddy” Combs and with Latin artists such as renowned producer Emilio Estefan.
Prior to her concert on the 15th of March, Melina Almodóvar will showcase her typically contagious and energetic musical stylings for the local Miami and Fort Lauderdale media and will perform her chart topping hit single “Yo soy la Rumba”.
Spanish to English: Translation of an award-winning Play General field: Art/Literary
Source text - Spanish ELENA
No sé qué tiene de malo mi idea... Siempre he pensado que el rollo que lleva Segismundo es sadomaso total. En un sótano atado con unas cadenas toda su vida, rodeado de carceleros…
BEATRIZ
Nosotros también ensayamos en un sótano y eso no significa que nadie nos someta a vejaciones... Tienes la mente podrida, Elena. Me niego a convertir “La vida es sueño” en un delirio de cuero y látex.
ELENA
Animaría bastante ese tostón...
BEATRIZ
¿Tostón? ¿Cómo te atreves a llamar tostón a un clásico?
ELENA
¿Y por que sea un clásico vas a tener que sacar a Segismundo como siempre: vestido con cuatro andrajos, una peluca despeluchada y unas cadenas de plástico?
BEATRIZ
Esos andrajos y esa peluca son lo que el público quiere ver.
ELENA
Eres una vendida.
BEATRIZ
Hay que comer.
ELENA
¿Y por qué no trabajas, como todo el mundo?
BEATRIZ
¿Como tú? ¿En un bar apestoso o una pizzería? Yo soy la directora de un grupo de teatro, tengo una reputación que mantener, no puedo ser camarera. No, no te rías... Tengo un nombre en esta ciudad.
ELENA
¿Ah, sí?
BEATRIZ
Sí, recuerda la entrevista en el diario, el otro día.
ELENA
Sí, la recuerdo. También recuerdo algo sobre una col de veinticinco kilos que salía en la página de al lado.
BEATRIZ
¿Cómo vas a compararme a mí con una col?
ELENA
Ambas salíais fotografiadas junto a un paquete de Ducados, y tú fumas Winston.
BEATRIZ
Era para darme una imagen políticamente incorrecta, hermanita...
ELENA
(irónica)
Claro, es verdad, se me olvidaba que eres una artista... Por cierto, ¿en qué universidad hay que apuntarse para que te den ese título?
BEATRIZ
No hace falta estudiar en ningún sitio para ser artista. Los mejores siempre han sido los autodidactas. Yo he leído, he visto, he pensado, Elena. Quizá mi labor no sea la más llamativa, pero sin mí este grupo no hubiera llegado a nada... Yo tengo la visión global de cada espectáculo, yo conozco el rumbo que debemos seguir para no estancarnos...
ELENA
Y yo sólo me encargo de la escenografía, el vestuario, las luces... Pero claro, me falta “visión global”. Unicamente me encargo de salvar los montajes cuando fallan todos los detalles que tú has descuidado ocupada en tu “visión global”...
BEATRIZ
¿Y qué quieres? ¿Ser tú la directora? Por mí, de acuerdo. A ver qué subvención nos dan después de ver tu versión sadomasoquista de “La vida es sueño”, a ver en qué centro cultural nos contratan...
ELENA
Escúchate a ti misma, Bea. Eres patética. ¿Cómo puedes venderte de ese modo?
BEATRIZ
No me vendo, siempre mantengo la línea del grupo, hagamos lo que hagamos. Lo importante no es la obra, es el tratamiento que se le dé, el concepto espectacular, el espacio sonoro... ¿Qué sabes tú de eso? Además, si no hacemos estas obras para sobrevivir, luego no podríamos hacer lo que realmente nos motiva.
ELENA
Al final nunca hacemos lo que realmente “nos motiva”.
BEATRIZ
No digas eso. Verás cuando escriba el texto que tengo en mente... Romperemos esquemas, viajaremos por todo el mundo... Imagina: un buceo de profundidad en la psique humana, el retrato de un solo personaje, un único personaje con diferentes facetas, diferentes egos representados por distintos actores, cinco, siete, diez egos diferentes, diez egos en una sola persona...
ELENA
Ah, es autobiográfica.
Translation - English HELENA
I don’t know what’s so wrong with my idea… I always thought that deep down Segismund was totally into S&M. Chained up in a basement all his life surrounded by men ‘guarding him’…
BEATRICE
But we spend half our lives rehearsing in this basement and we’re not all into whips and chains. I refuse to adapt ‘Life is a Dream’ into a kinky leather ‘n latex show. You’re my sister and I love you, but Helena, you’re sick in the head…
HELENA
You’ve got to admit though, it would definitely liven that moth-eaten drag up a bit…
BEATRICE
‘Life is a Dream’ a drag? How can you say that? It’s a classic!
HELENA
And so because it’s a classic you have to put Segismund in the same ragged loincloth, tattered wig and plastic chains as always?
BEATRICE
What can I say? The public love that loincloth…
HELENA
You’re a sell-out.
BEATRICE
And I’ve got bills to pay.
HELENA
Then why don’t you just get a normal job like everyone else?
BEATRICE
What? Making crappy pizza or pulling beers? I am the director of a theatre group and have a reputation to maintain. I am not a waitress. Don’t laugh… I have a name to uphold.
HELENA
Yeah, right…
BEATRICE
Let me remind you I was interviewed in the local paper the other day.
HELENA
I remember. And I also remember that story about a 50 kilo pumpkin on the same page.
BEATRICE
How can you compare me with a pumpkin?
HELENA
And you appeared with a cigarette in your hand... You don’t even smoke!
BEATRICE
Well, I wanted us to come across as edgy and modern…
HELENA
(sarcastically)
Ah, but of course, I forgot that you’re an artiste… What school do you sign up at to become one of those?
BEATRICE
You don’t have to study anywhere to be an artist, Helena. The best have always been self-taught. I’ve lived. I’m well-read. My work may not be the most amazing but I know that without me this group wouldn’t exist. I understand the bigger picture and I know how to get the best out of every show and keep us evolving.
HELENA
Of course, I clearly have no idea about the ‘bigger picture’. I just look after the set design, wardrobe, lighting and the million other things you’ve got no idea about because you’re too busy with ‘the bigger picture’…
BEATRICE
Well, what do you want? To be the director? Fine by me. Let’s just see what funding your S&M version of ‘Life is a Dream’ gets… Let’s just see what Cultural Centre gives us a gig…
HELENA
Just listen to yourself, Bea. You’re pathetic. How can you be such a sell-out?
BEATRICE
I’m not a sell-out. I’m just trying to maintain the artistic integrity of the group in a sustainable way. The important thing isn’t the play itself, it’s how we do it… the concept behind the show as a whole… what do you know about any of that? And if we didn’t put on this type of show we wouldn’t be able to afford to do what we really want.
HELENA
But we never end up doing what we really want.
BEATRICE
Don’t say that until you’ve seen what I’m planning to write... It’ll break new ground and take the world by storm! Imagine: a plunge into the depths of the human psyche, a portrait of a single person, but with several different sides to them, with different actors playing the different parts of the character… five, six, TEN different personalities all brought together in the one character…
HELENA
So it’s autobiographical, then?
Portuguese to English: Translation of a Novel General field: Art/Literary
Source text - Portuguese — Cara, isso é muita doideira — Afonso disse. — Cê corre o risco de ficar mental, irmãozinho. Se liga aí.
André começou a caminhar em direção à padaria/bar na esquina da calçada de seu prédio.
— Eu vou tomar um café na padaria pra ver se dá uma clareada nas ideias — André disse.
— É bom — Afonso comentou.
— Mas o que é que você tava me dizendo mesmo? — André perguntou ao celular e, dirigindo-se rapidamente ao atendente da padaria, pediu um café preto.
— Eu tava dizendo que você não pode acreditar que a mulha tá dentro das tuas ideias, irmão, porque se você acreditar nessa porra, fodeu, cê vai estar abrindo a porteira pra doideira se instalar de vez, e com três vias registradas em cartório.
André colocou açúcar no café que lhe fora servido num copinho de vidro, mexeu com a colher e tomou um gole. Estava uma merda. O café daquela padaria era sempre uma merda, uma lama preta com gosto de pentelho queimado, mas era de um café assim que André estava precisando, um café ruim, café tapa na cara, café “sêji ômi”. A situação requeria uma dose de amargor para bloquear a fraqueza mental e forçá-lo a ser forte.
— Cê precisa fazer alguma coisa para tirar essa pilha errada do pensamento — Afonso disse.
— Tô fazendo — André respondeu, e tomou mais um gole do nauseabundo líquido preto.
— Fazendo o quê?
— Tô bebendo café ruim pra dar um corte na programação mental errada — disse André, e sentiu o olhar de reprovação do tiozinho do outro lado do balcão, que estava servindo um pingado para um sujeito de meia idade com a cara mais envergada do que um arco de berimbau. Do outro lado do salão da padaria, a onipresente televisão regurgitava blablablás.
Translation - English ‘Mate, I think you’re coming close to losing it all together. This is how it begins.’
André began to walk towards the bar on the corner.
‘I’m going to have a coffee and see if I can get my shit together’.
‘Good idea’, Afonso replied.
‘But what were you just saying?’, André put his hand over his cell phone and asked the waiter for a black coffee.
‘I was saying that the minute you start to actually believe that she’s in your head then you’re already fucked man. You’re just gonna get more and more paranoid until you actually turn into a certifiable wacko for real.’
André’s coffee arrived in a small glass. He added sugar, gave it a stir and took a sip. It was awful. But the coffee from this bar was always awful – like black mud with a burnt pubic aftertaste. The situation required a bitter distraction to block out his mental fragility and force him to be strong and this was just the kind of coffee he needed: a cup of crap like a slap in the face with an extra dose of ‘harden the fuck up’.
‘You gotta do something to get that monkey off your back before it settles in for a ride, man…’, Afonso said.
‘I am...’, responded André, chugging down another mouthful of the hideous black liquid.
‘Doing what?’
‘Drinking shitty coffee to short circuit this train of thought’, André said, catching a glare from the guy behind the bar who was in that moment serving a short white coffee to a middle aged guy with a face as crooked as a dog’s leg. On the other side of the bar, the television screen blared out its incessant verbal churn of blablablas.
Portuguese to English: News article (art related) General field: Art/Literary
Source text - Portuguese Uma vida ao serviço das artes visuais:
Maria da Graça Carmona e Costa galardoada com a Medalha Municipal de Mérito Cultural
Maria da Graça Dias Coelho Carmona e Costa apanhou o gosto pela arte durante a década de 1970, quando começou a trabalhar como assistente de Dulce D’Agro, fundadora da Galeria Quadrum, colecionadora e grande impulsionadora da arte em Portugal.
Passaram duas décadas até que Graça lhe seguisse o exemplo e, em 1997, cria com o marido, Vítor, também em Lisboa a Fundação Carmona e Costa (FCC).
O fito era (e continua a ser) o de desenvolver, dinamizar e divulgar projetos na área da arte portuguesa contemporânea, centrados no desenho enquanto prática transversal a todas as disciplinas artísticas.
Começam por mostrar o seu acervo no “espaço de artes decorativas” (onde, no Edifício Espanha da Rua Soeiro Gomes, se pode continuar a ver uma notável seleção de porcelana chinesa e faiança portuguesa) e expor o vasto património artístico, recolhido pelos fundadores ao longo da vida.
Em parceria com especialistas e outras instituições, a fundação vem desempenhando um papel fundamental no apoio a artistas em diferentes momentos de carreira, através da aquisição de obras ou de outras formas de sustentação.
A natureza filantrópica e benemérita de Maria da Graça Carmona e Costa é bem conhecida no meio das artes, materializando-se em mecenato, e no apoio à Bolsa Fullbright (para mestrado ou doutoramento em universidades dos EUA), ao prémio AICA (Associação Internacional de Críticos de Arte) à oferta de uma bolsa de Estudos anual a um aluno da AR.CO (Centro de Arte & Comunicação Visual) ou ainda enquanto membro fundador do BAC (Banco de Arte Contemporânea).
Com as Galerias Municipais a relação de parceria é já longa e tem-se materializado na realização de exposições conjuntas como, por exemplo, as grandes retrospetivas de José Pedro Croft e de Pedro Chorão.
À imagem da sua fundadora, a Fundação Carmona e Costa é um exemplo de como a iniciativa privada pode criar um património que se torna público, apostando numa programação dinâmica e diversa, com edições próprias e providenciando condições de trabalho a muitos artistas.
Por tudo isto, a Medalha Municipal de Mérito Cultural que lhe foi entregue pela edilidade no dia 19 de dezembro é amplamente merecida.
O nosso muito obrigado à Maria da Graça.
Translation - English A life of service to the visual arts:
Maria da Graça Carmona e Costa awarded the Municipal Medal of Cultural Merit
Maria da Graça Dias Coelho Carmona e Costa developed a taste for art during the 1970s when she began working as an assistant to Dulce D’Agro, a collector and renowned promoter of art in Portugal and founder of the Quadrum Gallery.
Two decades passed until Maria da Graça followed her example and, together with her husband Vítor, created the Carmona e Costa Foundation (FCC) in Lisbon in 1997.
The aim was (and continues to be) to develop and disseminate dynamic projects in contemporary Portuguese art, focusing on drawing as a practice that cuts across all artistic disciplines.
They began by exhibiting their collection in the “decorative arts space” (where, in the Edifício Espanha in Rua Soeiro Gomes, one can still find a remarkable selection of Chinese porcelain and Portuguese faience), demonstrating the vast artistic heritage collected by the founders throughout their lives.
In partnership with experts and other institutions, the foundation has played a key role in supporting artists at different stages of their career through the acquisition of works or other forms of support.
Maria da Graça Carmona e Costa’s philanthropic and charitable nature is well known in the arts community, manifesting itself in patronage and support of the Fullbright Scholarship (for Masters or PhD-level studies in the USA), the International Association of Art Critics Prize (AICA), to the offer of an annual student scholarship to the Centre for Art and Visual Communication (AR.CO) or as a founding member of the Contemporary Art Bank (BAC).
Her partnership with the Municipal Galleries is long-standing and has resulted in joint exhibitions such as the comprehensive retrospectives of José Pedro Croft and Pedro Chorão.
Built in the image of its founder, the Carmona e Costa Foundation is an example of how a private initiative with a unique commitment to dynamic and diverse programming can create a heritage that becomes the public’s and provides livelihoods for many artists.
For all these achievements, the Municipal Medal of Cultural Merit awarded on the 19 December is richly deserved.
Our deepest thanks go to Maria da Graça.
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