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Chinese to English - Rates: 0.05 - 0.07 GBP per character / 25 - 30 GBP per hour Italian to English - Rates: 0.05 - 0.07 GBP per word / 25 - 30 GBP per hour
Chinese to English: Literary critique General field: Art/Literary Detailed field: Poetry & Literature
Source text - Chinese 福楼拜是一个很冷静的作家。往往短句干净利落，一点不拖沓，寥寥几笔就能够把人物和环境都刻画得入木三分——白描的功夫不简单。这种克制的笔法从表面上看，正好和爱玛的激情形成截然对比
读本书是一次两次的事，因为你总不能察觉出它的好。不仅是情节不起波澜，就连人物本身居然都是那种让人觉得郁闷的形象，视乎每个人都很有鲜明的性格特征，却又怎么都不能让你爱憎分明。它不太合乎浪漫的情怀，虽然它具备一切浪漫剧的条件：年轻美丽的女主角，不幸的婚姻，负心情人，毁灭的结局。可事实上却没有期料中的那种伤情。艾玛的美貌、爱情、忧郁、希望和绝望，甚至于她的死，都是在缺乏同情和赞美的描写中呈现眼前。这一切都不够热情和甜蜜，本书没有一点让人做梦的企图，我领受到的是更为真实的现实。所以我折服，折服写实的残酷
小说描写的是一位小资产阶级妇女因为不满足平庸的生活而逐渐堕落的过程。主人公爱玛为了追求浪漫和优雅的生活而自甘堕落与人通奸，最终因为负债累累无力偿还而身败名裂，服毒自杀。文章写的是一个无论在生活里还是在文学作品中都很常见的桃色事件，但是作者的笔触感知到的是旁人尚未涉及的敏感区域。爱玛的死不仅仅是她自身的悲剧，更是那个时代的悲剧。作者用很细腻的笔触描写了主人公情感堕落的过程，也很努力地寻找造成这种悲剧的社会根源
她的一生总是在不断追求自己的幸福——如果可以这么说的话；但和“信仰上帝，献身魔鬼”的浮士德不同，爱玛总觉得她得到的幸福“不大对头”。当爱玛依偎在恋人身边的时候，她短暂的片刻幸福在福楼拜的描述下，总是让读者感到不安
她每天无数次的幻想着自己可以像上流社会的贵妇一样捧着精致的咖啡杯；她幻想着自己可以和所爱之人像曾经看过的很多小说里的主人公一样在一个宁静的午后的花园邂逅；她幻想着可以去卢浮宫抚摩庄严的大理石，或者去巴黎的歌剧院看一场表演。设想成为另一个样子的能力，是从爱玛十三岁的时候开始孕育培养的。那一年她被父亲送去修道院读书。爱玛在修道院里并没有如通常那样感到压抑，相反，她以她的所好攫取了多愁善感的养料。宗教、教义、宗教仪式，还有修女，为她组织了一个不真实的梦幻世界，她在此沉醉不醒。这是她浪漫的天性所致，也多少因为外省修道院的人性的气质。修女们对待爱玛非常友爱，忏悔时神父缠绵的絮语，讲道中引用情人、婚姻的比喻，同学们偷带进来互相传看的精美画册，还有那个每月来修道院一星期做针线的老姑娘，唱古老的情歌甚至散播小说这种世俗读物。在这里，终因为远离中心而纲纪松懈。于是修道院便充满温情。爱玛的感伤性格在此得到丰厚褊狭的营养，她对生活的想象，即“欢愉，激情，陶醉”的概念也在此完成。在这些概念化的想象之下，蕴含较深又细水长流的日常生活，就显得太平淡了，平淡到她认为是个错误
资本家的狡诈、丈夫的愚钝、情人的冷漠、生活的逼迫，当然还有她的幻想与虚荣逼死了她。时常我会不由自主地去想，即使她嫁给了莱昂，于她，生活的轨迹、心灵的痕迹还是会与书中一样的，只是大同小异罢了。无论是与谁在一起，她最初都是以一颗充满着热望激情的心投身进去的，但到最后她总是会激情燃烧完了，连灰烬也变冷了。她开始感到烦腻、空虚、彷徨，她脑中又出现那个完美的理想形象了。这一切只因爱玛是一个永不满足的女人，只因她对浪漫的需求总会因为环境、现实情况的变化而不断地向前发展、膨胀
艾玛似乎有些像唐吉珂德。她读才子佳人小说，并由此想象着有美满的爱情出现，因此在现实生活中她一次次尝试着将希望寄托在她的情人身上。是不是她纵容了自己的情欲才使得她有那么悲惨的下场？未必。爱玛曾因妇道考虑而拒绝了赖昂，在他们第二次见面的时候，她也曾向宗教信仰寻求拯救，但平庸的神甫却认为人生只要衣食无忧，人生也就足够了，连这最后的一根救命稻草也无情地远离她而去了。她似乎一直为情欲所占据，是否她灵魂中欲望压过了理性？
恰恰相反。有人认为小说揭示了完美理想与平庸现实之间的根本冲突。与其说欲望的充盈使爱玛走到了最后的境地，不如说正是她欲望的匮乏才导致这一点。从文学作品中了解到的所谓幸福爱情，成了一个巨大的无法逾越的欲望的载体者：爱玛始终在这个没有办法跨越的屏障前确认自身的需求。这就使得爱玛和唐吉珂德站在了截然对立的两面：对于前者来说，现实生活中的情人可以给她带来好像小说中的完美爱情；对于后者而言，与风车作战“就是实践着文学中宣扬的骑士精神。齐泽克说过一句绝妙的话：在世俗的十字架中辨认出崇高的玫瑰。对乌托邦的实践，决不是站在“理论/现实”非此即彼的门前。爱玛无法像唐吉珂德那样，在现实中获得对欲望的肯定，因为她没有真正的欲望；她不断要求情人说爱她，从反面表明其欲望的匮乏。罗兰·巴特在《恋人絮语》中指出，“我爱你”不是一个表态，而是一种重复：爱玛需要不断的增补—言辞、动作。甚至风月老手罗道尔弗都觉得有些过分，赖昂甚至惊讶她的动作“从哪里学来的？”因为，如果说欲望可以找到自身的形式，那么欲望的空洞、缺乏就只剩下对形式的需求。
本书蕴含着浪漫的色彩，戏剧的张力，又有着现实的真实。他以巧妙的笔法，再现了１９世纪中期法国社会的单调沉闷、狭隘闭塞；凭借着精妙的观察和描绘，剖析了人的心理；又通过自然、典雅的文笔，向我们展现了世俗的平庸和丑陋。在这个意义上，他的确不是浪漫主义作品，但与其说是现实主义，不如说是反浪漫主义的作品。也许，福楼拜说自己就是爱玛，是指他反浪漫主义的精神气质？
Translation - English Flaubert is a very cool-headed writer. His sentences are short and to the point without dragging in the slightest, cutting to the quick with penetrating depictions of people and places — straightforward prose that is seemingly effortless and yet painstakingly crafted. On the surface, this restrained writing technique contrasts starkly with the passionate emotions of Emma Bovary.
This is a book to be read once or twice at most, because you can never appreciate what is good about it. Not only does the plot never really ignite, even the characters themselves are actually a rather depressing bunch. Almost everyone has their own distinctive personality, but nothing to make you love or hate them. The novel somehow lacks romance, despite having all the ingredients of a romantic drama: the beautiful young heroine, the unhappy marriage, the cheating lover, and the destructive denouement. But in fact, there is none of the sentiment that one might expect. Emma's beauty, love, melancholy, hope and despair — and even her death — are all presented to the reader in a somewhat unsympathetic and unappreciative way. There is not enough warmth and sweetness in all this; the book doesn't attempt to make people dream, in fact, what I gained from it was more a hard dose of reality. I was blown away, therefore, overwhelmed by its brutal realism.
The novel depicts the gradual degeneration of a petit-bourgeois woman who is dissatisfied with her mediocre existence. In order to pursue a life of romance and grandeur, the protagonist, Emma, stoops to committing adultery. Ultimately, having mired herself in debt and ruined her reputation, she commits suicide by taking poison. Love affairs have always been a common feature of life and literature, but in writing about them the author touched on sensitive areas that his contemporaries were yet to explore. Emma's death is not only her own tragedy, but also a tragedy of that era. The author delicately sketches out the heroine's emotional decline while also striving to find the social roots of this tragedy.
It could be said that Emma spends her life in constant pursuit of her own happiness. And yet, unlike Faust, who believed in God but made a pact with the Devil, Emma is never quite satisfied with the happiness that she gains. During those brief moments of bliss when Emma is nestling in the bosom of her lovers, there is always something in Flaubert's descriptions that makes the reader uneasy.
Every day she repeatedly fantasizes about sipping coffee in the company of high society; about afternoon trysts with her sweetheart in some secluded garden, just like the heroines in the many novels she has read; and about stroking stately marble statues at the Louvre or seeing a show at the Paris Opera House. Imagination becomes another kind of ability that Emma begins to nurture from the age of thirteen, when her father sends her off to convent school. Far from inhibiting her, convent life feeds Emma's sentimental inclinations. Religion, doctrines, ceremonies and sisterhood combine to fabricate an unreal dream world in which she becomes hopelessly lost. This is due to her romantic disposition, but also due to the nature of life inside a convent far from home: the friendship of her fellow nuns, the lingering murmurs of the priest during confession, the analogies of "marriage" and "lovers" mentioned in sermons, the beautiful albums which Emma's fellow pupils smuggle in and pass around, as well as the old maid who visits the convent once a month to do needlework, singing old ballads and even handing out pulp fiction. Here, her life veers off-center and her discipline slackens. As a result, the convent becomes a place filled with tender emotions. Emma's sentimental personality feeds off these cramped confines, in which she develops an equally narrow outlook on life that is based on "joy, passion, intoxication". Later, her meaningful yet perpetually mundane life pales in comparison with these imagined conceptualizations, to the extent that Emma thinks it is all a mistake.
The deceit of a capitalist, the foolishness of her husband, the indifference of her lovers, the constraints of life, and of course her fantasizing and vanity drove her to her death. Often I cannot help thinking that even if she had married Léon, the trajectory of her life and the marks on her soul would still have been more or less the same as those described in the book. The passion and desire with which she approaches each relationship always fizzle out in the end, leaving behind cold ashes. She begins to feel bored, empty, and restless, tormented by recurring visions of perfection and idealism. All of this is only because Emma is an insatiable woman whose need for romance continually evolves and expands as her circumstances and surroundings change.
In some ways Emma is almost like Don Quixote. She reads heroic fiction and thus constantly imagines that she will find blissful love. Consequently, in real life she tries time and time again to pin her hopes on her lovers' shoulders. Could it be that Emma's lustful indulgence brings about her tragic downfall? Not necessarily. Emma shuns Léon at first, out of consideration for her responsibilities as a wife and mother. The second time they meet, she seeks succor in religious belief, but this last lifeline is dashed when she seeks guidance from an indifferent priest who believes that keeping warm and well-fed are the only things that matter in life. She seems to be continually preoccupied with passion — has her soul been conquered by desire rather than reason?
Quite the opposite, in fact. Some people think that the novel reveals the fundamental conflict between perfect ideals and mediocre reality. But in fact it was not so much all-consuming desire that drove Emma to her downfall, but a lack of desire. The blissful love that she learned about in sentimental novels became the vehicle for an immense, insurmountable desire: in front of this barrier which she had no way of crossing, Emma identified her own personal needs all along. This is where Emma and Don Quixote stand in sharp contrast to each other. For the former, lovers in real life could give her the perfect love of the sort she read about in books; for the latter, battling windmills was about ‘practicing the chivalry popularized in literature’. Zizek said something wonderful when he paraphrased Hegel's quote about “recognizing reason as the rose in the cross of the present”. Living a utopian existence doesn't have to be about choosing between theory or reality, it's not so black-and-white. Emma cannot be like Don Quixote. In reality she seeks the affirmation of desire because she has no genuine desire herself; she repeatedly asks her lovers to tell her that they love her, thereby conversely revealing her lack of desire. In A Lover's Discourse, Roland Barthes points out that 'I love you" is not a declaration, but a repetition: one which Emma constantly needs to supplement with words and actions. Even the experienced lothario Rodolphe feels that she goes too far, while Léon is also taken aback by her conduct, wondering: “Where could she have learnt it?” Because if desire can find its own form, then a soul that is empty and devoid of desire is left with the need for form.
The book contains dramatic tension and hints of romance, but there is also authentic reality. Flaubert portrays the tedium and narrow-mindedness of mid-19th century French society with a well-crafted writing style; he analyses human psychology using subtle observation and description; and he shows us the mediocrity and ugliness of the world through natural, elegant prose. In this sense, his novel is not a romance; but it is also less a work of realism than one of anti-romanticism. Perhaps in saying that he himself is Emma, Flaubert was alluding to his anti-romantic ethos?
Italian to English: Automotive history General field: Marketing Detailed field: Automotive / Cars & Trucks
Source text - Italian La presentazione ufficiale della Lancia Lambda avviene nell’ottobre del 1922 al Salone di Parigi, ma la genesi della vettura - considerata il grande capolavoro di Vincenzo Lancia – ha inizio dopo il termine della Grande Guerra. È il 7 dicembre 1918, quando viene depositata la richiesta per il brevetto di un’autovettura innovativa: il brevetto Lancia n° 171922 viene ufficialmente registrato il 28 marzo 1919.
Il disegno che lo accompagna raffigura una vettura bassa e affusolata, priva del convenzionale telaio a longheroni e traverse ed equipaggiata con un compatto motore anteriore, in cui l’asse di trasmissione verso le ruote posteriori è ospitato in un tunnel che attraversa longitudinalmente l’abitacolo. Le tradizionali panche disposte su due file vengono divise in coppie di sedili singoli leggermente sfalsati. La vettura così disegnata ha un aspetto sportivo e porta il baricentro molto in basso sia per l’assenza del telaio sia per il pianale condiviso tra sedili e tunnel di trasmissione collocati alla stessa altezza.
Per la prima volta un’automobile è priva del telaio convenzionale ed è la stessa carrozzeria a svolgere il ruolo portante della vettura, richiamando non più la consueta struttura ereditata ancora delle carrozze trainate da cavalli ma quella di una nave. Anche l’allora emergente carrozziere Pinin Farina racconterà successivamente che Vincenzo Lancia prende ispirazione dal robusto scafo delle navi con le quali spesso si reca negli Stati Uniti.
Oltre alla scocca portante c’è un’altra innovazione che Lancia introduce sulla nuova vettura: le sospensioni anteriori a ruote indipendenti. In questo caso la testimonianza ci giunge dallo stesso progettista Battista Falchetto, l’uomo di fiducia di Vincenzo Lancia, capace di riportare le geniali intuizioni dell’imprenditore prima su carta e poi in pratica. Le notevoli asperità delle strade di allora causano la rottura di una balestra dell’asse anteriore di una Lancia Kappa condotta dallo stesso Vincenzo Lancia, pilota esperto e di lungo corso, mentre stava andando a far visita a sua madre in Valsesia. Memore di quell’incidente, Lancia chiede a Falchetto di progettare per la nuova vettura delle sospensioni anteriori in grado di assorbire le asperità del terreno meglio di quanto non faccia un ponte rigido che, a ogni oscillazione verticale di una ruota, fa corrispondere un movimento in senso opposto dell’altra. Falchetto, prontamente, gli sottopone ben quattordici soluzioni differenti per sviluppare le sospensioni a ruote indipendenti.
Per migliorare ulteriormente il comportamento dinamico della vettura occorre poi rendere più corta possibile la parte meccanica anteriore, composta da motore, frizione e cambio. La scelta cade su un compatto quattro cilindri a V stretto che permette di ottenere maggior potenza senza intaccare l’affidabilità. La prima versione del V4 da 2,1 litri di cilindrata eroga 49 CV a 3.250 giri/minuto.
Translation - English The official presentation of the Lancia Lambda took place in October 1922 at the Paris Motor Show, but the genesis of the car that is widely regarded as Vincenzo Lancia’s greatest masterpiece dates back to the end of the First World War. On 7 December 1918, a patent application was filed for an innovative car, leading to the official registration of Lancia patent number 171922 on 28 March 1919.
The accompanying drawing depicted a low, streamlined automobile, devoid of the conventional ladder frame with side members and cross members. It was equipped with a compact, front-mounted engine that connected to the rear wheels via a driveshaft housed in a tunnel that ran along the floor of the passenger compartment. The two traditional bench seats were divided into pairs of slightly offset single seats. The car’s sporty appearance and significantly lowered centre of gravity were due partly to the absence of the ladder frame and partly to the transmission tunnel being located beside the seats, rather than under them.
It was the first car built without the conventional rigid chassis evolved directly from horse-drawn carriages; instead the car’s weight and load were borne by a body shell inspired by ship designs. Pinin Farina, who in those years was an up-and-coming coachbuilder, subsequently recounted that Vincenzo Lancia's inspiration for this new structural concept came from the robust hull of the ships on which he often travelled to the United States.
In addition to the load-bearing body, another innovation that Lancia introduced on the new car was independent front suspension. This breakthrough is splendidly evidenced by the drawings of Vincenzo Lancia's trusted lead engineer, Battista Falchetto, who was able to put the entrepreneur's brilliant concepts down on paper and then into practice. The extremely rough Italian roads of the time had previously caused a leaf spring to break on the front axle of the Lancia Kappa driven by Vincenzo Lancia himself, who was an accomplished and experienced racing driver, en route to visiting his mother in Valsesia. With that incident in mind, Lancia asked Falchetto to design the new car with front suspension that could absorb impacts from bumpy terrain better than a rigid axle, by allowing each wheel to rise and fall on their own without affecting the opposite wheel. Falchetto promptly submitted a sketch of 14 alternative designs for independent wheel suspension.
To further improve the car's dynamic behaviour, it was necessary to make the front mechanical section, consisting of the engine, clutch and gearbox, as short as possible. Accordingly, Lancia opted for a compact, narrow-angle four-cylinder engine in a V configuration that allowed for more power without affecting reliability. The first version of the 2.1-litre V4 delivered 49 HP at 3,250 rpm.
Chinese to English: Journalism - football General field: Art/Literary Detailed field: Journalism
Source text - Chinese 青岛队落后辽宁队3分，理论上还有争取亚冠参赛的资格。为了这仅有一丝希望，虽然是客场作战，但是青岛队开场之后，还是表现出很强的取胜欲望。第10分钟，青岛中能获得角球机会，皮球主罚到禁区，陕西队前点球员后蹭解围变成助攻，中路的朱建荣侯了个正着，顺势弹射将球打进，1-0，青岛队客场领先。
Translation - English Qingdao Jonoon kicked off the match three points behind Liaoning and still with a theoretical chance of qualifying for the AFC Champions League. Buoyed by this albeit slim hope of qualification, the Sea Bulls displayed a strong desire to win right from the start, despite being the away side. The breakthrough came as early as the tenth minute from a corner kick. As the ball was sent into the penalty area, a Shaanxi forward scuffed his back-headed clearance right into the path of Qingdao centre-forward Zhu Jianrong, who seized the chance to lash home a bouncing shot that put the visitors 1-0 ahead.
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Bachelor's degree - Salford University
Experience
Years of experience: 19. Registered at ProZ.com: Oct 2005. Became a member: Oct 2005.
I have been a full-time translator since since 2005, specialising in Chinese to English translation since 2011, and am an Associate Member of the Chartered Institute of Linguists.
I have a BA degree in Modern Languages (French and Italian) and spent five years living and working in China.
My greatest professional assets are punctuality, reliability and a meticulous attitude to research.
I have significant experience in the following fields:
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Automotive
Technical / Engineering
Sports Journalism (football)
I also work in the following fields:
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Environment / Ecology / Zoology
I prefer not to work in the following fields:
Medical, Financial, Software/Hardware
If you have need of my services, feel free to contact me and I will do my utmost to help.
References and more information available on request
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