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French to English: Marketing text for lingerie website General field: Marketing Detailed field: Internet, e-Commerce
Source text - French Pour tous les jours sans surprises, le style «classique» vous réconforte dans votre bien-être.
«Pratique et magique à la fois, du lundi au vendredi, je me sens dans mon slip. Je prends le premier de la pile et je sais que confort et douceur sur ma peau de pêche me feront l’oublier»
Vous osez montrer vos dessous, vous êtes dans le trend, le «fashion» vous rendra star !
«Arrêt sur image, je suis la STAR car mon sous-vêt se veut flashy, moulant, léger, design, je suis juste dans le trend et ça défrise»
L’élégance vous êtes, le «chic» se laisse deviner, vous dévoilez votre raffinement !
«Pour exprimer ma distinction du chic, sous mon costume noir scintillant, je m’accorde un dessous soyeux»
Une envie d’éveiller les plaisirs et vos sens, le «sensuel» vous rend à fleur de peau.
«Lumière tamisée, mon corps frémissant, vêtu d’un fil transparent, le massage s’annonce sensuel et torride»
Translation - English
For easy everyday wear, you won't be disappointed with the comfy 'classic'.
Practical for everyday of the week, I adore my soft and comfortable underwear. I take the first one from the stack and it's like my smooth skin doesn't even realize it's there. Magical !
Be daring and show your undies, you're with-it, the 'fashion' will make you a star !
Freeze frame, I'm the star of the show ! My underwear is flashy, tight, light, stylish. I'm hip and it rocks !
You embody elegance, the 'chic' is suggestive, you reveal your sophistication.
To express my refined style, under my shiny black suit, I treat myself to silky underwear.
An urge to arouse your senses and delights, your skin will shiver with the 'sensual'.
Candlelight, my body quiveriing, wearing a see-through thread, the massage is off to a good start - sensual and hot.
Italian to English: Interview with Abbas Kiarostami (extract) General field: Art/Literary Detailed field: Cinema, Film, TV, Drama
Source text - Italian La scoperta delle parole e delle immagini
Sono nato a Teheran nel 1940. Già dall'età di cinque anni non amavo seguire programmi prestabiliti. Da noi le giornate sono molto linghe e molto calde e si usa fare la pennichella pomeridiana. Io, già allora, non volevo dormire e mi ricordo di avere sempre avuto l'esigenza di combinare qualcosa per disturbare il sonno degli adulti. Me ne andavo in cantina e trovavo molte cose da fare, piantare un chiodo, mettere insieme due pezzi di legno o di carta, unire due coase diverse. Ancora oggi, da adulto, mi è rimasta questa necessità di fare continuamente qualcosa. Quando sono a casa sono incapace di rimanere seduto a guardare la televisione, comincio a preparare le mie fotografie per una mostra, a intagliare il legno o a dipingere. E una vera lotta per essere presente. Ho sempre avuto l'urgenza di communicare I miei sentimenti affinché nessuno dimentichi che ci sono. Lo stesso avveniva da bambino, benché avessi problemi di interazione. Sono sempre stato alla ricerca di mezzi di comunicazione. Poi è ovvio: la prima domanda che i bambini imparano a rivlogere ai grandi è: “Perché?”. In certi bambini, a una certa età, questa cosa finisce mentre altri continuano a chiedersi il perché delle cose. Io sono tra questi ultimi. Probabilmente dovrei cercare le motivazioni che mi hanno spinto a diventare cineasta in questi “perché”, in una grande domanda senza riposta. Forse sta qui la radice di tutte le arti o almeno della mia arte: nella curiosità e nella non-predeterminazione.
Translation - English The discovery of words and images
I was born in Teheran in 1940. Already at the age of 5, I didn't like following schedules. The days were long and hot and during the afternoon nap, I didn't feel like sleeping and I was always finding something else to do which ended up bothering the grown ups while they were sleeping. I'd go in the basement and find lots of things to do, hammer in a nail, put together two pieces of wood, join different objects. Even if I'm older now, I still need to do this. When I'm at home, I can't just sit around and watch TV. I organize my photos for an exhibition, carve wood, or paint. You have to make an effort to exist. I often feel like it's urgent for me to express my feelings somehow so that people will remember me. When I was a kid, it was the same, even if I had problems getting along. I'd always find a way to communicate though. Obviously, the first question a child learns how to ask is "Why ?". As kids get older though, they stop asking "why", but I was one of those kids who never stopped asking. I should probably try and understand the connection between becoming a film maker and continually asking 'why', a huge unanswered question. Perhaps it's the essence of all art or at least my art - never ending curiosity and non-predetermination.
Italian to English: Cristiano De André (excerpt from an article) General field: Art/Literary Detailed field: Journalism
Source text - Italian «Cantare le sue canzoni è un modo per parlare con lui», dice in questa intervista il figlio del cantautore genovese.
Da quando suo padre Fabrizio se ne è andato, per molto tempo Cristiano De André non è riuscito a cantare le sue canzoni. «Non riuscivo nemmeno ad ascoltare la sua voce. Appena la sentivo, stavo subito male».
Una botta troppo forte, che lo ha portato a perdere la fiducia in sé stesso, a commettere molti errori nella vita privata e ad abbandonare la musica. Fino allo scorso gennaio, quando Fabio Fazio lo ha invitato a chiudere la maratona televisiva dedicata al grande cantautore genovese, nel decennale della sua scomparsa. Cristiano ha suonato e cantato Creuza de ma: è stato il momento più emozionante della serata e lì qualcosa si è sbloccato. «Da quel momento, ho ricevuto molte lettere di persone che mi invitavano a tornare e mi sono detto: tutti cantano le canzoni di mio padre, perché non posso farlo io?». È nato così De André canta De André, il tour che sta portando Cristiano in giro per l’Italia con un repertorio di canzoni scritte dal padre. Tra queste, ce ne sono due a cui Cristiano è particolarmente legato.
La prima canzone è Amico fragile («perché per tanto tempo mi sono sentito fragile come lo era lui quando l’ha scritta»), la seconda si intitola Verranno a chiederti del nostro amore, canzone che lo riporta a un momento molto tenero della sua infanzia.
«Una notte mio padre finì di scriverla e andò a svegliare mia madre per fargliela ascoltare. Io li guardavo dal buco della serratura. Alla fine, lei lo abbracciò. È uno dei ricordi più belli che ho dei miei genitori insieme». Di lì a poco, Fabrizio e la moglie si sarebbero separati. […]
Translation - English "Singing his songs is a way to talk with him", says the son of the Genoese singer-songwriter in this interview.
Since his father Fabrizio passed away, for a long time Cristiano De André couldn't sing his songs. "Neither could I listen to his voice. As soon as I heard it, I felt bad right away.”
It was such a shock, that it made him lose faith in himself, make a lot of mistakes in his private life and give up music. Until last January, when Fabio Fazio invited him to close the television marathon dedicated to the great Genoese singer-songwriter, for the 10th anniversary of his death. Cristiano played and sang Creuza de ma; it was the most touching moment of the evening and there was something unlocked. “From that moment, I received many letters from people who invited me to come back and I said to myself, 'Everybody sings my father's songs, why can't I do the same?'” This lead to De André sings De André, the tour which is taking Cristiano around Italy with a song repertory written by the father. Among these, there are two to which Cristiano is particularly attached.
The first song is Amico fragile (“Because for a long time I felt weak as he was when he wrote it”), the second is entitled Verranno a chiederti del nostro amore, the song that takes him back to a very tender moment of his childhood.
“One night my father finished writing it and he went to wake up my mother to make her listen it. I looked at them through the keyhole. At the end, she hugged him. It is one of the most beautiful memories I have of my parents together.” Shortly after, Fabrizio and his wife would be separated. [...]
French to English: Los Angeles review General field: Other Detailed field: Tourism & Travel
Source text - French J’avais choisi cet hôtel pour son prix, sa déco, sa localisation et en espérant que certains commentaires disant que l’hôtel était bruyant se révèlerait être faux. Et bien je n’ai pas été déçue pour les trois premiers points, ni pour le quatrième puisque sur six nuits, seule la dernière a été bruyante. Je m’explique : La nuit est à moins de cinquante euros, ce qui n’est vraiment pas cher, surtout qu’elle est vraiment propre et bien équipée : frigo (totalement silencieux), micro-onde, cafetière, une table et 2 chaises, une très grande penderie, une bonne literie, des rideaux occultants ainsi qu’une moustiquaire et du wifi gratuit. A notre arrivée, il y avait également un téléviseur à tube cathodique, mais le dernier jour de notre séjour, nous avons eu la surprise de trouver à notre retour de promenade un écran plat fixé au mur ! Cela fait visiblement partie de leur plan de rénovation. En ce qui concerne la rénovation justement, les chambres ont été redécorées avec goût récemment et tous les murs de l’hôtel sont couverts de peintures de cinéma (marilyn, spiderman, décors hollywoodiens, …). C’est vraiment une idée sympa. L’hôtel dispose également d’une piscine extérieure (bien cachée de la rue), d’une laverie (1$ la machine, 0.50$ pour le sèche linge), d’une machine à glaçons (0.25$ le seau) et d’une minuscule salle de petit déjeuner. Je dirai d’ailleurs que cette salle est le point noir de l’hôtel : il n’est servi que jusqu’à 9h et il n’y a que 2 tables pour 4 personnes et 2 tabourets pour manger sur le bar pour tout l’hôtel ! Mais il suffit de prendre son plateau et de tout remonter dans les chambres. Le petit déjeuner est assez complet, avec jus, confiture, gaufre à faire soi-même, toasts, café, lait et céréales. Quant à sa localisation, l’hôtel est très bien situé, et en particulier pour les voyageurs sans véhicule. Il est situé à 100 m d’une station de la ligne rouge de métro, d’un starbuck, d’une pizzeria et d’un supermarché où vous pourrez acheter des titres de transport. En métro, vous pouvez rejoindre le walk en fame en 5 min, union station en 15 min et universal studios en 10 min (il vous faudra ensuite prendre une navette gratuite à la sortie du métro). Nous sommes d’ailleurs rentrés des studios universal à 22h et je dois dire que le métro ainsi que les environs immédiats de l’hôtel étaient tout à fait convenables. En ce qui concerne le bruit maintenant, sachez que vous entendrez légèrement le bruit des voitures pendant la nuit, ce qui ne nous a pas dérangé pendant 5 nuits. La 6eme nuit en revanche a été beaucoup plus bruyante puisque qu’un groupe d’américain avait décidé de se parler et de s’amuser toute la nuit sur les balcons du motel…
Translation - English Originally, I chose this hotel for its price, its decor, its location and was hoping that some particular reviews saying that the hotel was noisy would be proven wrong. Well, I wasn't at all displeased concerning the first three points or for the third, since during my six week stay, only the last night was noisy. Let me explain. It's less than 50 euros a night, which is really inexpensive, when you consider it's very clean and well-equipped : the fridge (completely silent), microwave, coffee maker, a table and 2 chairs, a very big wardrobe, good linen, thick curtains as well as a mosquito net, and free wifi. When we arrived, there was also a classic television, but on the last day of our stay, coming back after a walk, we were surprised to find a flat screen screwed to the wall! This is obviously part of their renovation process. Actually, concerning the renovation, the rooms were recently tastefully redecorated and all of the hotel walls are filled with paintings from movies (Marilyn, Spiderman, hollywood sets,...) This is a nice idea. The hotel also has an outdoor pool (nicely hidden from the street), a laundromat (1$ the washer, 0.50$ for the dryer), an ice machine (0.25$ a bucket) and a tiny breakfast room. In fact, I'd say that this is the bad thing about the hotel - breakfast served only until 9 o'clock and for the whole hotel there are only 2 tables of 4 and 2 stools to eat at the bar! That being said, you can just take a tray and take it all up to your room. The breakfast is a full meal, with juice, jam, waffles you make yourself, toast, coffee, milk, and cereal. As for the location, the hotel is in a good spot, and especially for travelers without a car. It's about 100 meters from the red line of the metro, a Starbucks, a pizza joint, and a supermarket where you can buy bus and metro tickets. By metro, you can get to the walk of fame in 5 minutes, Union Station in 15 min and Universal Studios in 10 min (you'll have to take a free shuttle when you get off the metro). In fact, we came back from universal studios at 10pm and it's safe to say that the area just around the hotel was very decent and safe. Now, about the noise, you do hear a little sound of cars during the night, which didn't bother us for 5 nights. The 6th night though was much more noisy since a bunch of Americans had decided to chat and party all night long on the motel's balconies.
French to English: Sweet fougasse (focaccia bread) with candied oranges General field: Other Detailed field: Cooking / Culinary
Source text - French Fougasse à l’orange confite
Après la fougasse salée, je vous propose une fougasse sucrée.
J’ai passé la première partie de mon enfance au Maghreb (Algérie et Tunisie), et la seconde partie dans le sud de la France, à Aix-en-Provence. J’en ai retiré un profond amour pour la cuisine provençale.
La fougasse est un peu ma madeleine de Proust, et me rappelle ma jeunesse dans le Sud. J’espère que vous apprécierez autant que moi ce pain si particulier.
Pour 2-4 personnes – Préparation : 30 mn – Cuisson : 20 mn – Thermostat : 6-7 (200°C) – Faire reposer : 1h10.
Ingrédients :
* 500 g de farine type 55 (voir aussi le blutage)
* 1/2 sachet de levure boulangère
* 1 pincée de sel
* 50g de sucre blanc
* 10 cl d’eau
* 1 cuillère à soupe d’huile d’olive
* 1/2 orange
* 1 œuf
* 1 cuillère à soupe d’oranger
* 4 lamelles d’écorce d’orange confite
* Sucre glace
Recette :
* Mélanger la farine, le sel, le sucre et la levure.
* Faire un puit au centre et ajouter l’eau. Mélanger. Incorporer l’huile.
* Pétrir l’ensemble jusqu’à obtenir une pâte lisse et homogène. Faire une boule.
* Couvrir d’un linge et laisser gonfler 15 mn à température ambiante.
* Râper le zeste de l’orange puis la presser.
* Battre l’œuf avec la fleur d’oranger, le jus et le zeste d’orange.
* Ajouter cette préparation à la pâte. Le mélange obtenu doit être mou mais pas collant. Au besoin rajouter un peu de farine.
* Faire une boule, puis l’aplatir avec la paume de la main pour en faire un pain ovale.
* Découper en petits cubes les lamelles d’écorce d’orange confite et les disposer sur la pâte.
* Faire 4 entailles en diagonal avec un couteau.
* Réserver durant 1 heure à température ambiante.
* Mettre au four pendant 20 mn. Et laisser refroidir.
* Au moment de servir, saupoudrer de sucre glace.
Remarque : l’idéale est de mélanger avec la main, on ressent mieux la texture. Un robot pétrisseur peut très bien faire l’affaire pour les plus pressés.
Translation - English Sweet fougasse (focaccia bread) with candied oranges
After the seasoned fougasse, here's the sweet fougasse.
I spent the first part of my childhood in Maghreb (Algeria and Tunisia), the second part in the south of France, in Aix-en-Provence. I developed a deep love for provençale cooking.
Fougasse is for me a little like Proust's madeleine, reminding me of my childhood in the south. I hope that you will appreciate this special bread as much as I do.
For 2-4 people - Preparation : 30 minutes - Cooking time : 20 minutes - Temperature : 6-7 (200°C) - Sitting time : 1h10
Ingredients :
*500 grams of flour
*1/2 packet of yeast
*1 pinch of salt
*50 grams of white sugar
*10 cl of water
*1 tablespoon of olive oil
*1/2 orange
*1 egg
*1 tablespoon of orange water
*4 slices of candied orange skin
*Icing sugar
Recipe :
*Mix the flour, salt, sugar, and yeast.
*Make a small hole in the middle and add water. Mix. Add the oil.
*Knead it all together until you obtain a smooth and homogeneous dough. Form a ball.
*Cover with a cloth and let it rise for 15 minutes at room temperature.
*Grate the orange zest then squeeze it.
*Beat the egg with the orange water, the juice, and the orange zest.
*Add this mixture to the dough. The mixture obtained should be soft but not sticky. If necessary, add a little flour.
*Form a ball, then flatten out with the palm of the hand to make an oval shaped bread.
*Make 4 diagonal slits with a knife.
*Let it sit for 1 hour at room temperature.
*Place in oven for 20 minutes. And let it cool.
*When served, sprinkle with icing sugar.
Note : Ideally it's best to mix by hand, you can feel the texture better like that. A bread mixer can work really well if you're in a rush.
French to English: International Law in theory and practice (extract) General field: Law/Patents Detailed field: Philosophy
Source text - French Est-il théoriquement concevable que le droit international serve à légaliser une situation illicite ? La pertinence de cette question se mesure à l'aune de la signification théorique de sa réponse. S'il tolérait la légalisation d'actes qui lui sont contraires, un ordre juridique ne serait-il pas destiné à sa destruction en tant que tel ? Pourrait-on encore lui reconnaître un caractère juridique ?
En principe, les sources formelles du droit international ne permettent pas qu'une situation illicite soit légalisée et fonde des droits dans le chef des parties intéressées. Pour comprendre l'écart entre le refus formel du droit international d'assumer une telle fonction et la pratique internationale qui ne manque pas de la lui attribuer, il convient d'interroger la doctrine quant à la signification de cette césure et à l'admissibilité théorique d'un tel rôle.
Parmi les multiples théories doctrinales, cette étude se propose de confronter l'analyse de ces questions qui découle respectivement de la théorie normativiste du droit élaborée par Hans Kelsen et de la méthode d'appréhension du droit international développée par Charles Chaumont. Le choix de ces deux courants doctrinaux est motivé par leurs conceptions opposées des relations qui se nouent entre le droit -devoir être- et le fait -être.
Si l'école normativiste exclut qu'une telle fonction puisse être remplie par le droit international au risque de lui faire perdre son caractère juridique , l'école de Reims conçoit que le droit international légitime l'illicite et appréhende cette fonction comme le résultat d'un rapport de force entre les objectifs divergents que les multiples conceptions du droit international lui assignent . Pour Hans Kelsen, le fait que le droit international serve parfois à légitimer des situations illicites constituerait la preuve de son inexistence. Pour Charles Chaumont, l'antagonisme des fonctions attribuées au droit international en constitue l'essence même. Par conséquent, ce rôle de légitimation de l'acte illégal ne serait peut-être que l'expression de la nature intrinsèquement contradictoire du droit international et, par conséquent, de sa réalité. (...)
Translation - English Is it theoretically conceivable that international law be applied to legalize an illicit situation? The relevance of this question is measured by the theoretical meaning of its answer. If it allowed the legalization of acts that are contrary to it, wouldn't legal order be destined for self-destruction? Could we still acknowledge its legality?
In principle, the explicit roots of international law do not allow an illegal situation to be legalized and serve as a legal basis on behalf of the parties concerned. In order to understand the gap between the formal refusal of international law to assume such a role and international practice, which makes a point of insisting upon it, it is worthwhile examining the doctrine in regards to the importance of this discrepancy and the theoretical acceptability of such a role.
Among the many doctrinal theories, this study aims to compare the analysis of these questions resulting respectively from the normativist theory of law drawn up by Hans Kelsen and from the method of understanding international law developed by Charles Chaumont. The choice of these two doctrinal trends is motivated by their opposing views of relations developed between the law -ought to be- and the fact -is.
If the normativist school of thought dismisses the idea that such a function can be carried out by international law jeopardizing its legal nature, the Reims school believes that international law legalizes illicitness and understands this as the result of a power struggle between diverging objectives conveyed by various theories of international law. According to Hans Kelsen, the fact that international law is sometimes used to legitimize illicit situations would constitute proof of its non-existence. As for Charles Chaumont, the antagonism of the roles attributed to international law constitutes its very essence. Therefore, perhaps this role of legitimizing an illegal act is only an expression of the intrinsically contradictory nature of international law and, consequently, of its reality.
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Years of experience: 17. Registered at ProZ.com: Nov 2011.
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- I specialize in subtitling.
- Half French.
- Extensive travels around France.
- Familiar with many different accents.
- I also translate from Italian to English.
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