 Μέλος από Apr '07
Ηχητικό μήνυμα χαιρετισμού
Γλώσσες εργασίας: Αγγλικά σε ΡουμανικάΡουμανικά σε ΑγγλικάΑγγλικά (μονογλωσσικό)Ρουμανικά (μονογλωσσικό)Γαλλικά σε Ρουμανικά |
|    Ioana Costache
Language degrees, 9 years' experience
Bucharest, Bucuresti, Ρουμανία Local time: 06:01 EET (GMT+2)
Μητρική γλώσσα: Ρουμανικά  | | |
The original is unfaithful to the translation. (Jorge Luis Borges) | Μεταφραστής ελεύθερης απασχόλησης,  Επαληθευμένο μέλος | | Translation, Interpreting, Editing/proofreading, Website localization, Voiceover (dubbing), Transcription, Training | | Ειδικεύεται σε: | | Εκπαίδευση / Παιδαγωγία | Ιδιωματισμοί / Γνωμικά /Αποφθεύγματα | | Διεθνείς Οργανισμοί/Συνεταιρισμοί/Εταιρείες | Γλωσσολογία | | Μάρκετινγκ / Έρευνα αγοράς | Ποίηση & Λογοτεχνία |
| Επίσης εργάζεται σε: | | Επιχειρήσεις/Εμπόριο (γενικά) | Ανθρωπολογία | | Δίκαιο (Γενικά) | Θρησκεία | | Τουρισμός & Ταξίδια | Ζωολογία | | Γεωλογία | Ανθρώπινο Δυναμικό | | Μέσα / Πολυμέσα | Ιατρική: Υγειονομική περίθαλψη | | Μετάλλευση & Ορυκτά / Πολύτιμοι λίθοι | Άλλο | | Γεωγραφία | Οικονομία (Γενικά) | | Λαογραφία | Γενικά / Συζητήσεις / Χαιρετισμοί / Επιστολές | | Κυβέρνηση / Πολιτική | Ιστορία | | Δημοσιογραφία | Δίκαιο: Σύμβαση(εις) | | Ιατρική: Φαρμακευτικά | Αργκό | | Κοινωνικές επιστήμες, Κοινωνιολογία, Ηθική κτλ | Διοίκηση Επιχειρήσεων |
More Less | | Ερωτήσεις που απάντησε: 312, Ερωτήσεις που έθεσε: 13 Easy / 108 PRO, βαθμοί επιπέδου PRO: 639 | Δείγματα μετάφρασης που έχουν υποβληθεί: 17Αγγλικά σε Ρουμανικά: Luke Rhinehart, "In cautarea Omului-Zar"
Detailed field: Ποίηση & Λογοτεχνία | Κείμενο πηγής - Αγγλικά
I was given a hint of the trouble to come when the babysitter for the morning shift, a middle-aged woman named Dolores, looked rather frazzled as she passed over responsibility for the three young children, varying in age form two to seven. She practically ran from the house as soon as I took over.
Things got off to a bad start immediately. First of all the house had neither cable television (and thus a financial network) nor a telephone (and thus access to Jeff back in New York). Secondly, the children claimed that they hadn’t been fed since id-morning snack and were circling the icebox and cupboards like a wolfpack closing in on a kill. Thirdly, I made the mistake of asking them what they wanted for lunch.
“Pizza” had seemed a reasonable request until I discovered that there was no frozen pizza, no leftover pizza, no nearby pizza parlour, and that I was expected to make a pizza. I quickly corrected the children on that expectation but was immediately labelled a liar by the oldest: “You promised us we could have whatever we wanted!”
I tried to get the three kids to become hypnotized by the television set, but discovered that only one of the three channels had cartoons, and the cartoons were so bizarre that minutes after the kids had snuck away to try raiding the refrigerator again, I stood in front of the television hypnotized. In the middle of a manic cat chasing an overconfident mouse would appear Snow White singing away with the seven dwarfs, followed by Dumbo diving into a pool of water and then a video Playboy centrefold smiling shyly out at the kids in the slimmest of bikinis, followed by Batman and Penguin, and then a beautiful two-minute scene of water gurgling down a mountain stream in autumn, the sunlight splashing such spectacular light and shadow and colour it was hypnotizing. I was only snapped out of my trance by the appearance of the three-year-old soaking-wet with blood that soon, thank God, turned out to be tomato juice.
I traipsed into the kitchen and tried throwing together three peanut butter and jelly sandwiches, but found that none of the children would eat them because I’d used ‘crunchy’ peanut butter and not smooth. To show them who was boss, I announced that they could make their own lunches and marched from the kitchen back to catch some more of the cartoons.
A half-hour later, after I’d discovered that the other channels were equally bizarre and equally fascinating, I was feeling pretty good, especially since there had been a beautiful silence from the kitchen. Then I smelled the smoke.
| Μετάφραση - Ρουμανικά
Mi-am dat seama ce m-aşteaptă când dădaca din schimbul de dimineaţă, o femeie între două vârste, pe nume Dolores, mi-a transferat cu o înfăţişare epuizată responsabilitatea pentru cei trei copii cu vârste cuprinse între doi şi şapte ani. A tulit-o afară din casă imediat ce-am preluat eu sarcinile.
Am pornit-o cu stângul. În primul rând, casa n-avea televiziune prin cablu
(deci nici canal TV financiar), nici telefon (deci nu puteam vorbi cu Jeff). În al doilea rând, copiii pretindeau că nu mai mâncaseră de la gustarea de dimineaţă şi dădeau târcoale frigiderului şi dulapurilor din bucătărie ca o haită de lupi care-şi încercuieşte prada. În al treilea rând, am făcut greşeala de a-i întreba ce voiau să mănânce la prânz.
„Pizza” păruse o cerere destul de rezonabilă, până când am descoperit că nu exista nici pizza congelată, nici resturi de pizza, nici vreo pizzerie prin împrejurimi, şi că se presupunea că fac eu pizza. Le-am spus că aşteptarea nu li se va îndeplini, la care cel mai mare din ei m-a făcut imediat mincinos:
- Ne-ai promis că putem să mâncăm ce vrem!
Am încercat să-i fac să stea hipnotizaţi în faţa televizorului, dar am descoperit că numai unul din cele trei canale avea desene animate, şi acestea erau atât de bizare încât la câteva minute după ce copiii se strecuraseră în bucătărie ca să atace din nou frigiderul, stăteam eu hipnotizat în faţa televizorului. Un motan furios fugărea un şoarece foarte încrezător în sine însuşi, după care brusc apărea Albă ca Zăpada cântând împreună cu cei şapte pitici, urmată de Dumbo care plonja în apă, apoi o tipă din Playboy le zâmbea timid copilaşilor îmbrăcată într-un bikini simbolic, urmată de Batman şi Penguin, după care timp de două minute o cascadă se prăvalea pe un munte cu un spectacol uimitor de lumină, umbră şi culoare în soarele de toamnă. M-a smuls din transă numai apariţia copilului de trei ani, mânjit din cap până-n picioare cu sânge care s-a dovedit a fi, slavă domnului, sos de roşii.
M-am dus la bucătărie şi-am încercat să încropesc trei sandvişuri cu unt de arahide şi peltea, numai ca să descopăr că nici unul din copii nu voia să mănânce, fiindcă pusesem unt de arahide grunzuros şi nu fin, cum le plăcea lor. Ca să le-arăt cine-i şeful, le-am spus că n-au decât să-şi gătească singuri şi-am plecat din bucătărie, să mai prind ceva din desenele animate.
Jumătate de oră mai târziu, după ce descoperisem că şi celelalte posturi erau la fel de bizare şi la fel de fascinante, mă simţeam mai bine, mai ales că din bucătărie nu se mai auzea nimic. Apoi am simţit mirosul de fum.
| Αγγλικά σε Ρουμανικά: Patient informed consent form
Detailed field: Ιατρική (Γενικά) | Κείμενο πηγής - Αγγλικά
Approximately every 6 weeks, your doctor will perform radiology tests to check on the status of your disease. These are usually the same tests as the tests performed at screening.
Approximately every 6 weeks, your doctor will perform an echocardiogram (ECHO) or MUGA scan to make sure your heart is functioning properly. This test is being done because you are in the study and would not otherwise be performed.
This schedule might be adjusted if your doctor needs to delay or adjust your study medication.
If you experience side effects at any time, you or a friend/family member should let your study doctor know as soon as possible so that medical attention can be provided if necessary.
The tests that will be performed on the blood samples you provide during the study are routine and will help your doctor look for any changes in your health. One test on your blood is for research purposes and would not be done if you were not receiving treatment in this study. This test is for pharmacogenetics research. It is possible that these tests will be performed at a laboratory outside of your doctor’s office. If any of these samples are sent outside your doctor’s office, they will be coded with a unique subject number. Your name or other personal information will not be given to these laboratories, and only your doctor will be able to identify you by this code number.
| Μετάφραση - Ρουμανικά
La interval de circa 6 săptămâni, medicul dumneavoastră va efectua investigaţii radiologice pentru a vedea evoluţia bolii. De regulă, este vorba de aceleaşi teste efectuate în cadrul screeningului.
La interval de circa 6 săptămâni, medicul dumneavoastră va efectua o ecocardiografie (ECHO) sau o angiografie sincronizată multinucleară (MUGA) pentru a se asigura că inima dumneavoastră funcţionează corespunzător. Acest test se efectuează deoarece participaţi la studiu; altminteri nu s-ar realiza.
Intervalele de timp pot fi modificate dacă medicul dumneavoastră trebuie să amâne sau să modifice administrarea medicamentului experimental.
Dacă se produc orice efecte secundare, dumneavoastră sau un prieten/membru de familie trebuie să informaţi imediat medicul investigator, astfel încât să vi se poată acorda asistenţă medicală, dacă este cazul.
Probele de sânge care vi se recoltează pe durata studiului se vor folosi pentru analize de rutină, care servesc la detectarea oricăror schimbări produse în starea dumneavoastră de sănătate. Unul dintre testele efectuate pe mostrele de sânge se realizează ca parte a unei cercetări ştiinţifice şi nu s-ar efectua dacă nu aţi fi tratat(ă) în cadrul acestui studiu. Testul serveşte cercetărilor de farmacogenetică. Este posibil ca analizele să fie efectuate la un alt laborator decât cel aferent cabinetului medicului dumneavoastră. Dacă se trimit probe de sânge altundeva decât la cabinetul medicului dumneavoastră, acestora li se va aloca un cod numeric unic. Laboratoarele externe nu vor cunoaşte numele dumneavoastră şi nici un fel de alte informaţii personale, iar medicul dumneavoastră va fi singura persoană care poate să vă identifice după codul numeric alocat.
| Ρουμανικά σε Αγγλικά: Mateiu Caragiale, "Remember"
Detailed field: Ποίηση & Λογοτεχνία | Κείμενο πηγής - Ρουμανικά
Trecea o femeie înaltă, cu un bogat păr roşu sub o pălărie mare cu pene, o femeie slabă şi osoasă, fără şolduri şi fără sâni, într-o rochie strâmtă de fluturi negri. Ea păşea ţeapănă ca o moartă, care ar fi împinsă sau atrasă de o putere din afară, străină de voinţa ei, spre un ţel tainic în noapte. Nu ştiu de ce nu mi-a venit să cred că e o femeie ca toate femeile, din capul locului, chiar înainte ca în ochii ei ţintiţi mari, ce arătau a privi înăuntru, şi în trăsurile feţii sale prea sulimenite să-mi pară a recunoaşte... Dar, mai trebuia să mă îndoiesc, mai putea fi numai o bănuială când în mâna cu degetele lungi rânjeau şapte safire de Ceylan? Am rămas uluit, în prada unui simţimânt tulbure, în care şi nedomerirea şi urâtul şi teama îşi aveau partea lor, apoi, cu nările pline de cunoscuta mireasmă — mireasma de garoafă roşie — am dat să o urmăresc. Era însă târziu; o pierdusem. La capătul aleei aşteptau câteva droşti de piaţă; se suise pesemne într-una şi pierise. […]
Era o noapte de catifea şi de plumb, în care adierea molatecă a unui vânt fierbinte cerca în zadar să risipească pâcla ce închegase văzduhul. Zările scăpărau de fulgere scurte, pădurea şi grădinile posace tăceau ca amorţite de o vrajă rea; mirosea a taină, a păcat, a rătăcire. Înaintam cu greutate prin întunerecul ce vătuia aleiele singuratice, trebuind uneori să mă opresc covârşit de slăbiciune. La răspântia unde e fântâna lui Roland din Berlin, în lumina prea vie, care, după beznă, îmi luase văzul săgetat, mă pomenii faţă în faţă cu sir Aubrey, ceea ce, când îl privii mai bine, nu-mi făcu tocmai plăcere.
Nu pentru că de data asta întrecuse orice măsură. Oricum, nu se iese astfel în lume. Pudra cu care îşi văruise obrazul era albastră, buzele şi nările şi le spoise cu o vopsea violetă, părul şi-l poleise, presărându-l cu o pulbere de aur, iar ochilor le trăsese jur împrejur largi cearcăne negre-vinete ce-i dădeau o înfăţişare de cântăreaţă sau de dănţuitoare. Încolo, îmbrăcat tot fără cusur, în frac albastru, sub mantaua uşoară de seară, cu orchideea la cheutoare, nelipsindu-i nici brăţara de la mână, nici inelele din degete. Avea însă ceva schimbat, era neastâmpărat, neliniştit, pe cât eram eu de muiat şi de stins. Împotriva obiceiului lui, vorbea pripit şi tremurat, rugându-mă să rămân cu el — el, care făcea parte din acei oameni ce fără voie, în ciuda însăşi curteniei lor, dau să înţeleagă că fac o însemnată jertfă când suferă să stea cu cineva. Mai mult, îmi luase chiar braţul şi mă întoarse din drum. Îl simţeam cum dârdâie din toate încheieturile, scuturat de friguri, şi vedeam cum ochii aci i se ţinteau în gol, sticloşi ca ai femeii cu păr roşu, aci îi lăcrămau lâncezi şi pierduţi. După cum atunci nu-mi venise să cred că arătarea ce trecuse pe lângă mine era o femeie, acum mi se părea că fiinţa ce mă târa cu ea în umbră nu era un bărbat. […]Rămase astfel înmărmurit câtva timp scrutând întunericul pe care îl biciui deodată cu mănuşile lui albe ca şi cum ar fi voit să alunge o vedenie.
— E o stranie noapte, zise el grav. Asemenea nopţi sunt mai de temut ca beţia; vântul cald împrăştie friguri rele. Stendhal scrie că la Roma, când bate un anume vânt în Transtevere, se ucide.
(Mateiu Caragiale, "Remember" (1913)) | Μετάφραση - Αγγλικά
A tall woman was passing by, her hair a rich red mane under a big, feathered hat, a thin, bony woman with no hips or breasts, draped in a clinging dress of black sequins. Her steps were as stiff as if she were dead, driven or pushed by some outside power, irrespective of her will, towards a secret destination into the night. I don’t know why, but from the very beginning I wouldn’t believe that she was a woman like other women, even before I almost recognised, in her over-painted face and in her glaring, inward-looking eyes … But was there any doubt, could there be any doubt, when there were seven Sinhalese sapphires grinning on her long fingers? I was stunned, prey to a diffuse feeling that was a blend of amazement, ennui and fear, and then I tried to follow her, my nostrils filled with the familiar scent of red carnations. But it was too late; I had lost her. There were a few hansom cabs at the end of the alley; she must have got into one and vanished. […]
It was a night of velvet and lead, and the effete blow of a hot wind tried in vain to dispel the mist that had turned air into glue. The horizon flashed alive with streaks of lightning, the woods and the morose gardens were silent as if stunned by an evil spell; there was a smell of secrecy, of sin, of lunacy. I waded through the dark that lined the lonely alleys, stopping from time to time, overcome by weakness. At the crossroads where Roland’s fountain lies, in the glaring light that pierced my eyes - by now grown used to the darkness - I suddenly found myself face to face with Sir Aubrey, and I was none too pleased when I took a closer look at him.
Not because this time he had exceeded all conceivable limits. One simply doesn’t go out like this. The paint on his cheeks was blue, his lips and nostrils were tinted violet, his hair was covered in gilt powder, and his eyes were ringed in a purple-black colour that made him look like some underworld chanteuse. As for the rest, he was dressed to perfection, a blue tailcoat under his light evening gown, an orchid in his lapel, the bracelet on his wrist, the ever-present rings on his fingers. But there was something changed about him, something as restless and excited as I was weakened and spent. Contrary to his habit, he spoke in a rushed and trembling voice, asking me to stay with him – he, who was one of those people who unwillingly and despite their civility give one to understand that they are doing one a great favour when deigning to spend some time in one’s company. Moreover, he even took my arm and made me change my way. I felt him trembling, seized by uncontrollable shivers, and I could see his eyes fixed in a blank stare, just like the one of that black-clad woman, or in a languid, lost and tearful gaze. Just as then I would not believe that the creature that had passed by me was a woman, now I could not believe that the creature dragging me through the shadows was a man. […] He stood like this for a while, peering into the darkness which he suddenly whipped with a flick of his white gloves, as if to drive away an apparition.
“It is a strange night,” he spoke in a grave tone. “Such nights are more frightful than drunkenness itself; the hot wind spreads an evil fever. Stendhal has it that in Rome, when a certain wind blows from Transtevere, there be murders.”
| Ρουμανικά σε Αγγλικά: Claudia Cîrlig, Close Encounter / Lecţia de română
Detailed field: Ποίηση & Λογοτεχνία | Κείμενο πηγής - Ρουμανικά
Pe vremea cînd mergeam în baruri de expaţi în speranţa de a-mi găsi un iubit care să mă scoată din ţara asta de căcat sau cel puţin să-mi facă traiul de aici cît mai confortabil, am întîlnit un personaj bizar, dar real, ale cărui poveşti aveau să-mi umple luni bune din viaţa mea de atunci.
Lucrurile s-au întîmplat cam aşa:
Eram într-o duminică seara în Amsterdam Cafe, cafeneauau în care se întîlneau străinii, snobii şi lumea bună a Bucureştiului monden. Ieşisem, ca de obicei, la agăţat. Nici nu am intrat bine şi la masa de vis-a-vis am văzut doi bărbaţi, unul tînăr, celălalt cu părul sur, discutînd aprins. Tipu’ tînăr arăta precum Matt Damon, pe cuvînt. Şi atunci mi-am zis că ar trebui să încerc ceva ce văzusem în filmele americane. Am chemat chelnerul şi i-am dat cartea de vizită de la Foto Cabinet, pe spatele căruia am scris doar numărul meu de telefon. Individul s-a uitat tîmp la mine, de parcă cine ştie ce-l puneam să facă, apoi a zîmbit ca şi cum ar fi avut de îndeplinit o misiune gen agentul 007.
- Te rog să nu-i spui de la cine ai cartea de vizită. Doar dă-i-o.
- Da, da, a îngînat...
Şi a plecat. A făcut un opt, ocolind stîlpul barului care ne despărţea şi a mers direct la masa lor. Le-a zîmbit oarecum jenat de ceea ce urma să facă şi i-a dat cartea de vizită tipului tînăr. El a luat-o încurcat, şi-a ridicat privirea şi mi-a zîmbit. La puţin timp, am auzit bipul telefonului a mesaj şi tocmai cînd mă întrebam cine dracu’ îmi trimitea mesaje la acea oră din noapte, mi-am dat seama că era cel căruia tocmai îi dădusem numărul de telefon zece minute mai devreme.
„So, are you coming for a drink?”
Drace, acum chiar eram în încurcătură. Lucrurile se întîmplau pe bune, nu într-un scenariu de film. Tipu’ ăsta, care-mi scria mesaje în engleză, chiar vroia să mă duc la masa lor. Aşa că am mers, ce era să fac? S-au prezentat: Andrew şi Ian. M-au invitat să beau ceva.
- Aş vrea o Coca-Cola, vă rog, am spus foarte hotărîtă cînd a venit chelnerul care-l juca pe James Bond în filmul meu.
Claudia Cîrlig, "Close Encounter / Lecţia de română" | Μετάφραση - Αγγλικά
Back in the times when I used to go to expat bars in the hope of finding a lover who’d serve as my ticket out of this shitty country or at least make living here as comfortable as possible, I met a strange – but real – character whose stories would fill up many a month of my life back then.
This is how it happened, more or less:
One Sunday evening I was in Amsterdam Café, the place to be if you were a foreigner, a snob or one of Bucharest’s glitterati. I was cruising, as usual. I barely stepped in and saw two men seated at the opposite table, caught up in a heated conversation; one of them was younger, the other’s hair was grey. Believe it or not, the young guy was a dead ringer for Matt Damon. So I said to myself that I should try something I’d seen in American movies. I called the waiter and gave him a “Foto Cabinet” business card; on its back I’d written just my telephone number, nothing else. He gave me back a stupid stare, as if I’d asked him to carry out god knows what sort of crazy assignment, then simpered in preparation for an Agent-007 kind of mission.
“Please don’t tell him whose business card this is. Just hand it to him”.
“I will, yes”, he mumbled…
And off he was. He wound his way round the bar pole separating us and made straight for their table. He smiled, somewhat embarrassed by what he was about to do, and gave the card to the young man. He accepted, rather puzzled, looked up and smiled at me. Shortly after, the beep of my mobile phone was letting me know that I had a text message; right when I was wondering who the hell was texting me at that time of the night, I realised it was the man to whom I’d given my phone number ten minutes earlier.
“So, are you coming for a drink?”
Right, now I’m in a fix. Things were really happening, this wasn’t some movie script. This guy, who wrote messages in English to me, actually wanted me to join them. So I went over to their table, what was I supposed to do? They introduced themselves: Andrew and Ian. They asked what I wanted to drink.
“A coke, please”, was my resolute order to the waiter playing James Bond in my movie.
| Ρουμανικά σε Αγγλικά: Andrei Plesu, "Limba pasarilor"
Detailed field: Φιλοσοφία | Κείμενο πηγής - Ρουμανικά
Dans le salon d'attente de la maison de Küsnacht où Jung avait son cabinet de consultation, on voyait une réplique du fameux buste de Voltaire par Houdon [photo ci-dessus]. Fin 1955, un collègue de Bâle, le Dr Théodor Bovet, écrit à Jung, alors octogénaire, que rien plus que le sourire cynique de Voltaire ne lui paraît jurer avec l'amabilité et la chaleur humaine qui accueillent le visiteur - ami ou patient - à son entrée dans le cabinet de Küsnacht. " Comme si, écrit Bovet, vous aviez laissé votre ombre dans le salon d'attente. " Il faisait allusion, en l'occurrence, à un concept central de la psychologie analytique. Jung lui-même définissait " l'ombre " : " La personnification de toutes les caractéristiques que le Sujet ne se reconnaît pas, bien qu'elles persistent dans son tréfonds psychique, et se manifestent directement ou indirectement: il s'agit donc des aspects négatifs de la personnalité, de ses tendances irréconciliables. " L '" ombre ", c'est la part de culpabilité de chaque individu, englobant aussi, il est vrai, les instincts naturels, légitimes. Il est naturel, partant, que tout travail analytique suppose, dans une première phase, la prise de conscience et l'acceptation de " l'ombre " comme partie fatalement constitutive de l'individu. Dans sa confrontation avec lui-même, Jung s'était de longue date soumis à ce traitement. J'en veux pour preuve l'aveu qu'il fait à Bovet, en réponse à sa lettre: " Je suis disposé à admettre vos propos au sujet du buste de Voltaire [...]. Je considère avec plaisir l'expression moqueuse du vieillard cynique. Il me rappelle à chaque instant la futilité de mes aspirations idéalistes, le caractère douteux de ma morale, la petitesse de mes motivations et l'humain en général, hélas... trop humain ". Voilà pourquoi Monsieur Arouet de Voltaire ne quitte pas mon salon d'attente : de la sorte, les patients ne risqueront pas d'être abusés par l'amabilité du médecin. Mon "ombre" est, en réalité, si vaste qu'il m'a été impossible de la perdre de vue dans le programme de déroulement, de ma vie; tant s'en faut, je l'ai comptée comme une part inévitable de ma personnalité, l'assumant jusque dans ses ultimes conséquences et endossant la responsabilité entière de ces conséquences. Des expériences amères accumulées m'ont contraint à constater que les péchés qui sont les nôtres, ou avec lesquels nous nous identifions, peuvent bien être regrettés, mais ne peuvent être véritablement annulés. " C'est donc que Jung percevait, au verso de sa doctrine thérapeutique, la persistance d'un relativisme voltairien. Peut-être en avait-il déjà le sentiment dès 1929, lorsque, dans une lettre encore, il semblait inviter la gravité scientifique à la détente d'un sourire lucide et impassible: " La science n'est que l'art de forger des illusions adéquates [...]. Il n'existe pas de choses réelles qui ne soient relativement réelles. "
Sorry, no Romanian version available yet in a postable format; French version courtesy of merelle
| Μετάφραση - Αγγλικά
In the waiting room of the house in Küsnacht where Jung had his practice there was a bust of Voltaire, a copy of Jean Antoine Houdon’s familiar sculpture. Somewhere at the end of 1955 a fellow psychiatrist from Basle, Dr. Theodor Bovet, wrote to Jung (then in his eighties) that he could find no greater contrast than that between Voltaire’s cynical smile and the human kindness and warmth that welcomed any visitor coming either as a patient or as a friend to the Küsnacht practice. “As if you had left your shadow in the waiting room,” Bouvet wrote, alluding to a concept of analytical psychology. Jung himself defined “the shadow” (der Schatten) as “the embodiment of all those characteristics which the Subject denies, although they lurk in the depths of the psyche and manifest themselves directly or indirectly: it has to do with the negative aspects of one’s personality, with its irreconcilable tendencies”. The “shadow” is every individual’s share of guilt, including instincts which are nonetheless natural and legitimate. Therefore it is quite natural for any analytical endeavour to require as a first step an awareness and acknowledgement of the “shadow” as inevitably part and parcel of an individual’s makeup. Jung had long before submitted himself to this treatment. The confession he made to Bouvet in response to his letter proves it: “I quite agree to what you said about Voltaire’s bust […]. I like to look at the mocking visage of the old cynic. He is a permanent reminder of the futility of my idealistic aspirations, of the doubtful character of my ethics, of the pettiness (die Niedrigkeit) of my motivations and of all things human – which are much too human, unfortunately. That is why Monsieur Arouet de Voltaire keeps permanent guard over my waiting room: so that the patients would not be deceived by the doctor’s kindness and civility. In reality my “shadow” is so great that it was impossible to ignore it in the general course of my life; on the contrary, I treated it as an inevitable part of my personality, I acknowledged it and its whole train of consequences, and I took full responsibility for these consequences. Many a bitter experience has led me to the conclusion that we may regret the sins that we have committed or that we identify ourselves with, but we cannot truly wipe them out.” Therefore Jung perceived the persistence of a Voltairian relativism underlying his therapeutic doctrine. He may have felt it even as early as 1929, when in another letter he seemed to invite scientific gravity to the relaxation of a lucid and imperturbable smile: “Science is but the art of forging apt illusions […]. All things real are but relatively real”.
| Ρουμανικά σε Αγγλικά: Vasile Voiculescu, Sonnet CLXXXIII
Detailed field: Ποίηση & Λογοτεχνία | Κείμενο πηγής - Ρουμανικά
Mereu cerşim vieţii ani mulţi, aşa-n neştire,
Ne răzvrătim, ne plângem de piericiunea noastră,
Şi încă nu-nţelegem că fără de iubire
Se veştejeşte Timpul în noi ca floarea-n glastră;
Rupt din eternitate, el vrea tărâm asemeni
Din care-altoiul şubred să-şi tragă seva nouă;
Noi îl primim cu gheaţă şi-l răsădim în cremeni
Când Dragostea-i unica vecie dată nouă.
Ci-n van acum te mânii pe mine şi m-arunci,
Minunile iubirii n-au stavile pe lume;
Ca Lazăr la auzul duioaselor porunci,
Oricând şi ori de unde mă vei striga pe nume,
Chiar de-aş zăcea în groapă cu lespedea pe mine,
Tot m-aş scula din moarte ca să alerg la tine.
| Μετάφραση - Αγγλικά
Our wish to live forever turns us to foolish beggars,
Complaining and rebelling against our own decay,
Failing to see that love-starved, loving-bereft Time staggers
And wilts, like in a dry spell the darling buds of May.*
Eternity-born scion, it needs eternal host:
The sap of new beginnings in both of them should flow.
We plant it in a stone bed, we watch it die by frost,
When Love's the one forever we'll ever get to know.
In vain you now discard me and banish me in wrath,
By no dam can love's wonders be hampered or forestalled;
Like Lazarus awoken with tenderness from death,
Whenever and wherever I hear my name be called,
Even if I lay buried, a tombstone at my head,
In answer to your summons I would rise from the dead.
*Yes, it's exactly where you think it's from. Voiculescu' sonnets were ostensibly the continuation to Shakespeare's. I know it's trite as trite can be, but I couldn't help it. Besides, I needed a rhyme and it came in handy :D I.C.
| Αγγλικά σε Ρουμανικά: Luke Rhinehart, "The Search for the Dice Man"
Detailed field: Ποίηση & Λογοτεχνία | Κείμενο πηγής - Αγγλικά
I began standing late at night staring into my medicine cabinet and wondering exactly how many of my various sedatives I’d have to take to earn the big sleep. Once, during a cab strike when I’d been forced to use the subway, I found myself late in the evening on the edge of the platform staring down at the tracks, thinking how easy it would be to time my leap a few seconds before the speeding express train raced in. and there was almost no one around to notice or care, the platform being almost empty. Tears of self-pity welling in my eyes, I edged closer yet.
In the distance came the muffled roar of the approaching train. Hearing it, I became convinced that not only could I jump but that I would. That’ll show’em! I felt the strange thrill-chill of exhilaration-terror of the martyrish adolescent as I moved to the very edge of the platform and watched the train come barrelling out of the black maw to my left and tear towards me.
Suddenly there was an arm around my neck and something poking in my back and I was pulled roughly away from the track. So fast did this happen that it was only a minute later that I realized that two young thugs had pulled out my wallet, ripped off my watch and were sprinting away down the platform and up some stairs. The express train had rushed on past without me. In Manhattan it’s never possible to do anything in peace.
(Luke Rhinehart, "The Search for the Dice Man") | Μετάφραση - Ρουμανικά
Stăteam noaptea târziu, contemplam dulăpiorul cu medicamente şi mă întrebam ce număr de sedative din diversele mele provizii mi-ar putea aduce somnul cel lung. Odată, în timpul unei greve a taximetriştilor, când mă văzusem obligat să iau metroul, m-am trezit că stau seara târziu la marginea peronului şi mă uit lung la şine, gândindu-mă ce uşor mi-ar fi să-mi programez saltul cu câteva secunde înainte ca trenul să se năpustească în staţie. Şi nu era nimeni prin preajmă care să bage de seamă sau căruia să-i pese; peronul era aproape pustiu. Cu lacrimi de auto-compătimire în ochi, m-am apropiat şi mai mult de margine.
Din depărtare venea zgomotul surd al trenului. Când l-am auzit, m-am convins nu doar că puteam să mă arunc, ci că asta voi şi face. Să vadă ei! Mă încerca fiorul ciudat de groază euforică a adolescentului cu veleităţi de martir, pe măsură ce mă apropiam de marginea peronului şi urmăream trenul cum vine din gura neagră a tunelului din stânga mea şi se îndreaptă vijelios spre mine.
Deodată m-am trezit cu braţul cuiva în jurul gâtului; ceva mă împungea în spate; eram smucit dinspre şine. Totul s-a întâmplat atât de repede, încât mi-a luat o jumătate de minut ca să-mi dau seama că doi borfaşi îmi înhăţaseră portmoneul, îmi smulseseră ceasul şi fugeau cât îi ţineau picioarele pe peron şi pe nişte scări. Trenul trecuse mai departe, fără mine. Nimic nu poţi să faci liniştit în Manhattan.
| Αγγλικά σε Ρουμανικά: Smithsonian Earth
Detailed field: Γεωγραφία | Κείμενο πηγής - Αγγλικά
The Earth’s tectonic plates are known to be in constant motion, shifting by up to 15 cm each year. However, the mechanism that causes them to move has been hotly debated. Some scientists have argued that organised convection cells in the mantle move the tectonic plates. The relatively cool lithospheric plates are underlain by mantle rock that is hot enough to flow, and this rock is thought to churn in three-dimensional cells, similar to the much more rapid convective cells in a pan of boiling soup. At their upper margins, mantle convection cells are thought to act like conveyor belts, dragging along the overlying plates. Other scientists discount the idea of organized three-dimensional convection cells in the mantle, and instead argue that gravity pushes actively growing plates down and away from high, thermally buoyant spreading ridges. Furthermore, once an oceanic plate segment enters a subduction zone, gravity acts to pull the cool and relatively dense plate downwards into the hot mantle.
James F. Luhr (ed.), Smithsonian Earth
| Μετάφραση - Ρουμανικά
Se ştie că plăcile tectonice sunt în continuă mişcare şi că se deplasează cu până la 15 cm anual. Însă mecanismul care determină deplasarea lor a fost subiectul unor dezbateri aprinse. Unii oameni de ştiinţă au susţinut că plăcile tectonice sunt deplasate de celulele de convecţie din manta. Plăcile relativ reci din litosferă stau pe roca din manta, care este suficient de fierbinte pentru a putea forma celule tridimensionale de convecţie asemănătoare celor mult mai rapide care se formează în apa care fierbe. Se crede că partea superioară a celulelor de convecţie funcţionează ca o bandă transportoare care deplasează plăcile (teoria covorului rulant). Alţi oameni de ştiinţă resping ipoteza celulelor de convecţie din manta şi susţin că gravitaţia împinge în jos plăcile aflate în creştere şi le îndepărtează de dorsalele înalte, flotante datorită temperaturii lor ridicate. Mai mult, odată ce un segment de placă oceanică ajunge într-o zonă de subducţie, gravitaţia trage placa rece şi relativ densă în jos, în mantaua fierbinte. | Αγγλικά σε Ρουμανικά: Trademarks, Copyrights & Restrictions (legal, website)
Detailed field: Δίκαιο: Ευρεσιτεχνίες, Εμπορικά σήματα, Πνευματικά δικαιώματα | Κείμενο πηγής - Αγγλικά
All trademarks, service marks, and trade names are proprietary to XYZ Inc. and its affiliates. Except as otherwise provided herein, you may not reproduce, perform, create derivative works from, republish, upload, edit, post, transmit, or distribute in any way whatsoever, any materials from this Site or any other web site owned or operated by XYZ (the "Site Materials") without the prior written permission of XYZ. However, you may download or make one copy of the Site Materials, and other downloadable items displayed on the Site, for personal, non-commercial home use only, provided all copyright and other notices contained in the Site Materials are left intact. Any modification of the Site Materials, or any portion thereof, or use of the Site Materials for any other purpose constitutes an infringement of XYZ's copyrights and other proprietary rights. Use of the Site Materials on any other web site or other networked computer environment is prohibited without prior written permission from XYZ.
| Μετάφραση - Ρουμανικά
Toate mărcile înregistrate, mărcile de servicii şi denumirile înregistrate sunt proprietatea XYZ şi a partenerilor săi. Cu excepţiile prevăzute mai jos, este interzisă reproducerea, difuzarea, crearea de lucrări derivate, republicarea, încărcarea, editarea, afişarea, transmiterea sau distribuirea prin orice modalitate a materialelor de pe acest Site sau de pe oricare alt Site aflat în proprietatea XYZ sau administrat de XYZ (“Materialele de pe Site”), fără acordul prealabil în scris al XYZ. Totuşi, este permisă descărcarea sau realizarea unei singure copii după Materialele de pe Site, precum şi după celelalte materiale care pot fi descărcate aflate pe Site, doar pentru uzul personal, fără scopuri comerciale, cu condiţia ca toate înscrisurile cu drepturi de autor conţinute de Materialele de pe Site să fie lăsate intacte. Orice modificare a Materialelor de pe Site sau a unei porţiuni din Materiale sau utilizarea Materialelor de pe Site pentru orice alte scopuri reprezintă o încălcare a drepturilor de autor ale XYZ, precum şi a altor drepturi de proprietate. Este interzisă utilizarea Materialelor de pe Site pe oricare alt web site sau în altă reţea dacă nu se obţine în prealabil permisiunea scrisă a XYZ. | Ρουμανικά σε Αγγλικά: Ştefan Augustin Doinaş, Vestea
Detailed field: Ποίηση & Λογοτεχνία | Κείμενο πηγής - Ρουμανικά
Şoarece sărind din gură-n gură
(pentru cei cu suflet de copil
ce-au ieşit pe brânci, printr-o spărtură,
din cetatea lor, şi vin tiptil;
pentru cei fugari din bătălie,
plini de praf şi asudând sub za;
pentru ucigaşii cu simbrie
dornici foarte a se boteza;
pentru făcătorii de hrisoave,
care iscodind din ins în ins
colectează ghicitori şi snoave
şi-ntreţin legenda dinadins;
pentru regii cu domnie scurtă,
care nu mai au decât un ceas;
pentru mamele ce-şi ţin în burtă
plozii, ca să-i nască la popas;
pentru epilepticii în care
diavolul e pedepsit să stea
în genunchi şi-n veşnică mişcare;
pentru cei călăuziţi de stea;
pentru preoţii în mari odăjdii,
graşi, pletoşi, cu vată în urechi,
intonând troparele nădejdii,
plictisiţi de zeul lor cel vechi;
pentru cei cu aripi lungi pe umăr
de la rai şi iad; pentru femei
osândite-n gloate fără număr
fiecare prin frumuseţea ei;
pentru cei ce vând pe cale leacuri
speculând durerea tuturor;
pentru cei care-au murit de veacuri
şi se târâie-n urmaşii lor;
pentru cei din alte universuri
şi cu alte-nfăţişări; şi chiar
pentru autoru-acestor versuri,
călărind un falnic armăsar
care - asemeni celui din poveste -
paşte numai jar şi scuipă foc)
toată lumea află trista veste:
Întâlnirea nu mai are loc! | Μετάφραση - Αγγλικά
Scurrying from one mouth to another
(for those possessed of childlike innocence
who crawled out of their city under cover
of darkness, unbeknownst to human sense;
for those who fled the battlefield in fear,
covered in dust and with exhaustion spent;
for your businesslike, freelancing killer,
suddenly turned eager to repent;
for lovers of old lore and superstition
who go round asking old wives for their tales,
which they write down as their scholastic mission
to stop the lifting of the legend's veils;
for kings of short reign, waiting in the Tower
for death to push them from throne into grave;
for pregnant mothers who postpone the hour
of birth, teaching the unborn to behave;
for those who go through seizures in a trance,
whose minds and bodies one another mar,
for ever locked in a Saint Vitus' dance;
for those plotting their course by the star;
for priests resplendent in their holy robes,
fat and long-haired, their ears plugged with wax,
dully droning out a chant of hope,
bored with a god who does their patience tax;
for those who sprouted long wings on their shoulders,
from heaven or from hell begot; for maids
condemned in countless crowds by righteous scolders
who know that beauty in a sin-swamp wades;
for those who sell sham healing in the street,
making a fortune out of everybody's pain;
for those whose hearts in their descendants beat
long after life ceased flowing in their veins;
for the inhabitants of far-off worlds,
different in shapes and sizes from our breed,
and even for the writer of these words,
riding forth upon a valiant steed -
the proverbial dark horse that runs
against all odds, and ends up first in race)
the sad news reaches everyone and stuns:
The meeting is no longer to take place! | Αγγλικά σε Ρουμανικά: J. Trout, S. Rivkin, "The Power of Simplicity"
Detailed field: Διοίκηση Επιχειρήσεων | Κείμενο πηγής - Αγγλικά
Simple Simon met a pieman
Going to the fair;
Says Simple Simon to the pieman,
"Let me taste your ware."
Says the pieman to Simple Simon,
"Show me first your penny."
Says Simple Simon to the pieman,
"Indeed I have not any." (Mother Goose)
Through the years, being called “simple” was never a plus. And being called “simpleminded” or a “simpleton” was downright negative. It’s no wonder that people fear being simple.
We call it the curse of “Simple Simon.”
When psychologists are asked about this fear, they get a little more complex. (Not suprising.) Psychologist John Collard of the Institute of Human Relations at Yale University described seven kinds of common fears. (All of us have some of them.)
1. Fear of failure
2. Fear of sex
3. Fear of self-defense
4. Fear of trusting others
5. Fear of thinking
6. Fear of speaking
7. Fear of being alone
It would appear that not being simple - or not seeking simple solutions – stems from number 5, “fear of thinking”.
The problem is that instead of thinking things through for ourselves, we rely on the thinking of others. (This is why the worldwide management consulting business is expected to grow to about $114 billion by the year 2000.)
Says Dr. Collard: “Not only is it hard work to think, but many people fear the activity itself. They are docile and obedient and easily follow suggestions put forward by others, because it saves them the labor of thinking for themselves. They become dependent on others for headwork, and fly to a protector when in difficulty.”
| Μετάφραση - Ρουμανικά
Niculiţă N-am Habar s-a-ntâlnit c-un plăcintar
Ce spre târg zorea.
Niculiţă N-am Habar zise către plăcintar:
„Dă-mi o plăcinţea.”
Zise-al nostru plăcintar către Nicu N-am Habar
„Fără bani, nimic.”
Niculiţă N-am Habar zise către plăcintar
„N-am nici firfiric.”
(Mama Gâscă)
De-a lungul timpului, niciodată n-a fost de bine să ţi se spună că eşti „simplu”. Iar să ţi se spună că eşti „simplu în gândire” sau „simplist” era ceva de-a dreptul negativ. Însemna că eşti prost, credul, sau sărac cu duhul. Nu e de mirare că oamenii se tem să fie simpli.
Ăsta e blestemul lui „Niculiţă N-am Habar”.
Când îi întrebi pe psihologi despre teama de simplitate, devin ceva mai complecşi. (Nimic surprinzător în asta). Psihologul John Collard de la Institutul pentru Relaţii Umane al Universităţii Yale a descris şapte tipuri comune de temeri. (Cu toţii încercăm unele din ele).
1. Teama de eşec
2. Teama de sex
3. Teama de auto-apărare
4. Teama de a te încrede în altcineva
5. Teama de gândire
6. Teama de exprimare
7. Teama de singurătate
S-ar părea că evitarea simplităţii – sau a dorinţei de a găsi soluţii simple – decurge din numărul 5, „teama de gândire”.
Problema este că, în loc să gândim noi înşine lucrurile până la capăt, ne bazăm pe gândirea altora. (Acesta este motivul pentru care se preconizează că activitatea de consultanţă pe plan mondial va ajunge la o cifră de afaceri de 114 miliarde de dolari până în anul 2000.)
Dr. Collard afirmă: „Nu doar că gândirea este o muncă grea, dar multora le e teamă de activitatea în sine. Sunt oameni docili, obedienţi, care urmează cu uşurinţă sugestiile făcute de alţii, fiindcă îi scuteşte de efortul de a-şi pune mintea la contribuţie. Devin dependenţi de alţii care să gândească pentru ei şi dau fuga la un protector când se găsesc în dificultate.”
| Ρουμανικά σε Αγγλικά: Liviu Maior, "Romanians in the Habsburg Army"
Detailed field: Ιστορία | Κείμενο πηγής - Ρουμανικά
Sorry, no Romanian text available. Book info: Liviu Maior, "Românii în armata habsburgica: soldati si ofiteri uitati", Bucuresti, Editura Enciclopedica, 2004 | Μετάφραση - Αγγλικά
Even among the Austrian generals there were diverging opinions and attitudes related to the political developments in the Empire. Bariţiu left a conclusive description in this regard. He revealed Anton Puchner’s pro-Hungarian feelings, emphasizing that all the military “executions” that had taken place during the summer had been approved by him; Puchner owned great estates in Hungary. His deputy, general Pfersmann, already in his seventies, was a dull person, devoid of any military qualities. Another general, Gedeon, was a Hungarian former colonel of the Szekler regiment, who naturally felt strongly in favour of the Hungarians. The same can be said about general Wardener, while colonel Iovits, former commander of the Năsăud regiment, is meaningfully characterised by Bariţiu as “cut out to be a bishop rather than a colonel”.
The relations they had were none too cordial, either: “Suffice it to say that general Puchner had a hard time with his colleagues, and the officer corps did not fare any better”.
Actually, the relations between the commanders of Austrian armies and the Ministry of War were far from normal throughout the whole empire. Both Radetzky and Windischgrätz acted without showing any consistency with the government’s intentions; they took major decisions – such as the politically unjustified attack on Prague – which caused real problems to Count Lacour, the Minister of War.
What was going on at the top influenced what was going on in the lower echelons, as proved by the ambiguous relation between the generals and the commanders of military units. This was a crisis triggered by the feeling of loyalty and the interests of the provinces where they were stationed. In this respect Transylvania was no exception; the relation between Puchner and Urban during the summer and autumn of 1848 was common knowledge. (Liviu Maior, “Romanians In The Habsburg Army: Forgotten Soldiers And Officers”)
| Αγγλικά σε Ρουμανικά: John Searle,
Detailed field: Φιλοσοφία | Κείμενο πηγής - Αγγλικά
Here are a few examples of states that can be Intentional states: belief, fear, hope, desire, love, hate, aversion, liking, disliking, doubting, wondering whether, joy, elation, depression, anxiety, pride, remorse, sorrow, grief, guilt, rejoicing, irritation, puzzlement, acceptance, forgiveness, hostility, affection, expectation, anger, admiration, contempt, respect, indignation, intention, wishing, wanting, imagining, fantasy, shame, lust, disgust, animosity, terror, pleasure, abhorrence, aspiration, amusement, and disappointment.
It is characteristic of the members of this set that they either are essentially directed as in the case of love, hate, belief, and desire or at least they can be directed as in the case of depression and elation. This set raises a rather large number of questions. For example, how can we classify its members, and what are the relations between the members? But the question I now want to concentrate on is this: What exactly is the relation between Intentional states and the objects and states of affairs that they are in some sense about or directed at? What kind of a relation is named by "Intentionality" anyhow and how can we explain Intentionality without using metaphors like "directed"?
Notice that Intentionality cannot be an ordinary relation like sitting on top of something or hitting it with one's fist because for a large number of Intentional states I can be in the Intentional state without the object or state of affairs that the Intentional state is "directed at" even existing. I can hope that it is raining even if it isn't raining and I can believe that the King of France is bald even if there is no such person as the King of France.
(John Searle, "Intentionality. An Essay in the Philosophy of Mind", Cambridge University Press 1983, p. 4)
It is a bit difficult to know how one would argue for the existence of perceptual experiences to someone who denied their existence. It would be a bit like arguing for the existence of pains: if their existence is not obvious already, no philosophical argument could convince one. But I think by way of indirect argument one could show that the reasons philosophers have given for denying the existence of visual experiences can be answered. The first source of reluctance to speak of perceptual experiences is the fear that in recognizing such entities we are admitting sense data or some such, that is, we are admitting entities that somehow get between us and the real world. I have tried to show that a correct description of the Intentionality of visual experience does not have these consequences. A second source of reluctance to concede that there are visual experiences (in, e.g., Merleau-Ponty) is the fact that any attempt to focus our attention on the experience inevitably alters its character. As one proceeds through the active affairs of life one seldom concentrates one’s attention on the flow of one’s visual experiences, but rather on the things they are experiences of. This tempts us to think that, when we do focus our attention on the experience, we are bringing something into existence which was not there before, that visual experiences exist only as a result of adopting the ‘analytic attitude’ as when one does philosophy, neurophysiology, or impressionist painting. But this seems to me to misdescribe the situation. One does indeed alter the character (though not, in general, the content) of a visual experience by focusing one’s attention on it, but it does not follow from this fact that the visual experience was not there all along. The fact that one shifts one’s attention from the conditions of satisfaction of the visual experience to the experience itself does not show that the experience did not really exist prior to the shift in one’s attention. (J.R. Searle, “Intentionality. An Essay in the Philosophy of Mind”, Cambridge University Press, p. 44) | Μετάφραση - Ρουμανικά
Câteva exemple de stări care pot fi Intenţionale: credinţa, dorinţa, speranţa, dorinţa, dragostea, ura, aversiunea, plăcerea, neplăcerea, îndoiala, întrebarea dacă…, bucuria, euforia, depresia, anxietatea, mândria, remuşcarea, tristeţea, suferinţa, vina, iritarea, încurcătura, acceptarea, iertarea, ostilitatea, afecţiunea, aşteptarea, mânia, admiraţia, dispreţul, respectul, indignarea, intenţia, voinţa, închipuirea, fantezia, ruşinea, dorinţa fizică, dezgustul, animozitatea, teroarea, repulsia, aspiraţia, amuzamentul, dezamăgirea.
Caracteristic pentru toate elementele acestei mulţimi e faptul că fie sunt inerent orientate (dragoste, ură, credinţă, dorinţă), fie au, cel puţin, o orientare (depresia, euforia). Se pun mai multe probleme în legătură cu mulţimea: cum îi putem clasifica elementele, şi care sunt relaţiile dintre ele? Problema asupra căreia vreau să ne îndreptăm atenţia este: care anume e relaţia dintre stările Intenţionale şi obiectele şi starea de lucruri înspre care se orientează sau la care se referă? Ce fel de relaţie e desemnată prin “Intenţionalitate” şi cum putem explica intenţionalitatea fără a recurge la metafore ca “a se orienta”?
Remarcaţi că intenţionalitatea nu poate fi o relaţie banală, ca faptul de a sta pe ceva sau de a lovi ceva cu pumnul, fiindcă, într-un mare număr de cazuri, pot să mă aflu într-o stare intenţională, fără ca obiectul sau starea de lucruri înspre care se orientează starea intenţională să existe măcar. Pot să sper că va ploua, chiar dacă nu plouă, şi pot să cred că regele Franţei e chel, chiar dacă nu există un rege al Franţei.
E destul de greu să ştim cum i-ar putea fi demonstrată existenţa experienţelor perceptuale cuiva care ar nega-o. E ca şi cum ai încerca să demonstrezi existenţa durerilor: dacă existenţa lor nu este, deja, evidentă, nici un argument filosofic n-ar reuşi să convingă pe cineva. Dar cred că, folosind o metodă indirectă, putem contrazice motivele în baza cărora filosofii au negat existenţa experienţelor vizuale. Prima sursă a reţinerii lor în a vorbi despre experienţele perceptuale este teama că, recunoscând astfel de entităţi, admitem stimuli senzoriali, în fine, admitem nişte entităţi care intervin între noi şi lumea reală. Am încercat să arăt că o descriere corectă a intenţionalităţii experienţei vizuale nu are aceste consecinţe. Experienţa vizuală nu este a obiectului percepţiei vizuale, iar trăsăturile care precizează conţinutul intenţional nu sunt, în general, trăsăturile experienţei. O a doua sursă a reţinerii (de exemplu, la Merleau-Ponty) este faptul că orice încercare de a ne concentra atenţia asupra experienţei îi schimbă, inevitabil, caracterul. În activitatea noastră cotidiană, rareori ne concentrăm atenţia asupra fluxului de experienţe vizuale; suntem atenţi la lucrurile a căror experienţă o avem. Asta ne îndeamnă să credem că, atunci când suntem atenţi la experienţă, facem să existe ceva ce nu existase înainte, că experienţele vizuale există doar ca rezultat al unei atitudini analitice pe care o adopţi cum ai adopta filosofia, neurofiziologia, pictura impresionistă. Ceea ce mie nu mi se pare aşa. Într-adevăr, se schimbă caracterul (deşi, în general, nu şi conţinutul) experienţei vizuale, în momentul în care îţi concentrezi atenţia asupra ei, dar nu rezultă, de aici, că experienţa vizuală nu existase de la început. Faptul că omul îşi mută atenţia de la condiţiile de satisfacţie ale experienţei vizuale la experienţa însăşi nu demonstrează că, de fapt, experienţa nu existase înainte de această schimbare. | Αγγλικά σε Ρουμανικά: Travel Guide - London; ghid turistic Londra
Detailed field: Τουρισμός & Ταξίδια | Κείμενο πηγής - Αγγλικά
CHELSEA
Chelsea became fashionable in Tudor times, and reached its peak between the 1960s and the 1980s when showy young shoppers paraded along the King’s Road. Once the haunt of artists, including Turner, Whistler and Rossetti, who were attracted by the river views from Cheyne Walk, Chelsea is too expensive for most artists now, but the artistic connection is maintained by many galleries and antique shops.
Carlyle’s House
Map 7C. Cheyne Row SW3. Open Wed-Sun, public hols, from Apr-Oct. adm charge.
The historian Thomas Carlyle moved into this 18th-century house in 1834, and wrote many of his best-known books here, notably The French Revolution and Frederick the Great. The novelists Charles Dickens and William Thackeray, poet Alfred Lord Tennyson and naturalist Charles Darwin were all regular visitors. The house has been restored and looks as it did during Carlyle’s lifetime.
Chelsea Old Church
Map 7C. Cheyne Walk SW3. Open Tue-Fri, Sun. Free.
Rebuilt after World War II, the glory of its building is its Tudor monuments. One to Sir Thomas More, who built a chapel here in 1528, contains an inscription he wrote asking to be buried next to his wife. Outside the church is a statue of him, gazing across the river.
Copyright Dorling Kindersley 2006 | Μετάφραση - Ρουμανικά
CHELSEA
Chelsea a devenit un loc la modă în epoca Tudorilor, iar apogeul l-a atins în perioada 1960-1980, când tinerii ieşiţi la cumpărături se perindau pe King’s Road. În trecut un cartier al artiştilor (inclusiv Whistler, Turner şi Rossetti, atraşi de priveliştea râului dinspre Cheyne Walk), Chelsea a devenit prea scumpă pentru majoritatea artiştilor din prezent, dar păstrează legături cu arta prin numeroasele sale galerii şi magazine de antichităţi.
Carlyle’s House – Casa memorială Carlyle
Hartă 7C. Cheyne Row SW3. Deschis miercuri-duminică şi de sărbătorile legale, din aprilie până în octombrie. Intrare cu taxă.
Istoricul Thomas Carlyle s-a mutat în această casă de secol XVIII în 1834; aici a scris multe din cele mai cunoscute cărţi ale lui, printre care Revoluţia Franceză şi Frederic cel Mare. Charles Dickens, William Thackeray, Alfred Lord Tennyson şi Charles Darwin se numărau printre vizitatorii frecvenţi. Casa a fost restaurată şi arată ca pe vremea lui Carlyle.
Chelsea Old Church
Hartă 7C. Cheyne Walk SW3. Deschis marţi-vineri, duminică. Intrarea liberă.
Reconstruită după al doilea război mondial, biserica se mândreşte cu monumentele ei în stil Tudor. Monumentul lui Sir Thomas Morus, care a construit aici o capelă în 1528, conţine inscripţia prin care el cerea să fie înmormântat alături de soţie. Lângă biserică se află o statuie care îl reprezintă pe Morus privind peste râu.
Copyright Editura RAO 2007 | Αγγλικά σε Ρουμανικά: Travel Guide - Paris; ghid turistic Paris
Detailed field: Τουρισμός & Ταξίδια | Κείμενο πηγής - Αγγλικά
No. 51 Rue de Montmorency
Map 4G. 75003.
Considered to be the oldest house in Paris, No. 51 was built in 1407 by Nicolas Flamel, a book keeper and alchemist. Today, the house is a French restaurant.
Musée de la Monnaie de Paris
Map 5F. Quai de Conti 75006. Open daily. Adm charge.
The minting and milling halls of the museum (1777) contain an extensive coin and medallion collection, displayed in vertical glass stands so each side of the coin is visible. The display includes a production cycle with late 19th-century and early 20th-century tools.
Val-de-Grâce
Map 7F. Pl Alphonse-Laveran 75005. Open Tue, Wed, Sat, Sun. adm charge.
One of France’s most beautiful churches, it was built for Anne of Austria (wife of Louis XIII) in thanks for the birth of her son. Its imposing lead-and-gilt dome is an impressive 41 m tall and 19 m across. A huge fresco with over 200 triple-life-size figures decorates the cupola, and six huge, twisted marble columns frame the altar.
Copyright Dorling Kindersley 2006 | Μετάφραση - Ρουμανικά
Rue de Montmorency nr. 51
Hartă 4G. 75003
Considerată cea mai veche casă din Paris, cea de la nr. 51 a fost contruită în 1407 de Nicolas Flamel, contabil şi alchimist. În prezent, casa este un restaurant cu specific franţuzesc.
Musée de la Monnaie de Paris
Hartă 5F. Quai de Conti 75006. Deschis zilnic. Intrare cu taxă.
Secţiunile din muzeu dedicate monetăriei datând din 1777 conţin o bogată colecţie de monete şi medalii, expuse în vitrine verticale, care asigură vizibilitatea atât a aversului, cât şi a reversului. Expoziţia ilustrează şi un ciclu de producţie realizat cu unelte datând de la sfârşitul secolului al XIX-lea – începutul secolului XX.
Val-de-Grâce
Hartă 7F. Place Alphonse-Laveran 75005. Deschis marţea, miercurea, sâmbăta, duminica. Intrare cu taxă.
Una din cele mai frumoase biserici din Franţa, ctitorie a Anei de Austria, soţia lui Ludovic XIII, drept mulţumire la naşterea fiului său. Impresionanta cupolă de plumb aurit este înaltă de 41 m şi are diametrul de 19 m. Cupola este decorată cu o imensă frescă, ale cărei peste 200 de personaje depăşesc de trei ori mărimea naturală, iar altarul este încadrat de şase coloane torsadate din marmură.
Copyright Editura RAO 2007 | Αγγλικά σε Ρουμανικά: DK Animal - Amphibians
Detailed field: Ζωολογία | Κείμενο πηγής - Αγγλικά
ANATOMY
Compared to other vertebrates, amphibians have a fairly simple body structure, well adapted for life in water and on land. Most adult amphibians have four limbs, with four digits on the front limbs and five on the back. Newts and salamanders have a relatively small head, a long, slender body, with short limbs of equal length, and a long tail. However, some salamanders have very small limbs with reduced numbers of digits, or lack rear limbs altogether. Most frogs and toads have a distinctive compact body shape, with a large head, short back, small front limbs, large, muscular back limbs, and no tail. Caecilians have a worm-like, limbless body, with a pointed head and a short tail. Apart from caecilians, which use smell, most amphibians hunt using sight and have large eyes that help them to locate prey at night. They also have an extremely wide mouth, which enables them to consume relatively large prey.
Although most amphibians breathe using lungs, they do not have a rib cage and a diaphragm to inflate them. Many amphibians can absorb oxygen into their blood through other organs and tissues, including gills, the skin, and the lining of the mouth. The relative importance of each route varies among different life stages and adult forms. Young amphibian larvae breathe using external gills, as do those salamanders that retain the larvae form into the adult stage. Most terrestrial frogs and toads, and some salamanders, have lungs, but also absorb a certain amount of oxygen through the skin and the mouth (see panel, facing page). One group of salamanders, the plethodontinds, have no lungs and rely entirely on the skin and mouth to take in oxygen. (p. 430-431)
Rhinoderma darwinii
Darwin’s frog
An inhabitant of mountain forest in the southern Andes, Darwin’s frog is famous for brooding its eggs in its vocal sacs – a form of parental care seen in few other amphibians. Brown or green above with a black underside, it is easily recognized by its small size and sharply pointed snout. Adults live in damp, shady valleys close to the flowing water, and are largely nocturnal, feeding on insects and other small animals. During the breeding season, the male attacks the female with a soft, bell-like call. Once the eggs have been laid, the male looks after them until they hatch. (p. 447)
| Μετάφραση - Ρουμανικά
ANATOMIA
Comparativ cu alte vertebrate, amfibienii au o structură a corpului simplă, bine adaptată la viaţa în apă şi pe uscat. Majoritatea amfibienilor adulţi au patru membre, din care cele anterioare au patru degete, iar cele posterioare, cinci. Tritonii şi salamandrele au capul relativ mic, corpul lung şi subţire, cu membre scurte, egale ca lungime, şi o coadă lungă. Totuşi, unele salamandre au membrele foarte mici, cu un număr redus de degete, sau nu au deloc membre posterioare. Majoritatea broaştelor şi broaştelor râioase au un corp compact, de formă caracteristică: spate scurt, cap mare, membre anterioare mici, membre posterioare bine dezvoltate şi musculoase, fără coadă. Corpul apodelor este asemănător unui vierme; nu are membre, capul este ascuţit, iar coada scurtă. Cu excepţia apodelor, care se folosesc de miros, majoritatea amfibienilor vânează cu ajutorul văzului şi au ochi mari, cu ajutorul cărora localizează prada noaptea. De asemenea, gura este extrem de largă, ceea ce le permite să înghită o pradă destul de mare.
Deşi cei mai mulţi amfibieni adulţi respiră cu ajutorul plămânilor, nu au cuşcă toracică şi nici diafragmă care să umfle plămânii. Mulţi amfibieni pot să absoarbă oxigenul în sânge prin intermediul altor organe şi ţesuturi, printre care branhiile, pielea şi mucoasa bucală. Importanţa acestor modalităţi variază în funcţie de etapele de vârstă şi de forma adultă. Larvele respiră prin branhii externe; la fel şi acele salamandre care perpetuează forma larvară în stadiul adult. Majoritatea broaştelor şi broaştelor râioase de uscat, precum şi unele salamandre, au plămâni, dar absorb o anumită cantitate de oxigen şi prin piele şi gură (vezi caseta din pagina anterioară). Un grup de salamandre, plethodontidele, nu au plămâni şi îşi procură oxigenul numai prin intermediul pielii şi gurii.
Rhinoderma darwinii
Broasca lui Darwin
Trăitoare în pădurea tropicală din Anzii sudici, broasca lui Darwin este faimoasă pentru că îşi cloceşte ouăle în sacii rezonatori, un comportament parental întâlnit la puţini alţi amfibieni. Maro sau verde pe partea dorsală şi neagră pe partea ventrală, broasca poate fi uşor recunoscută după dimensiunea redusă şi după botul ascuţit. Adulţii trăiesc în văi umede şi umbroase, lângă ape curgătoare, şi sunt preponderent nocturni, hrănindu-se cu insecte şi alte animale mici. În sezonul de împerechere, masculul atrage femela cu un sunet ca o bătaie de clopot. Odată depuse ouăle, masculul le îngrijeşte până la ecloziune.
| Αγγλικά σε Ρουμανικά: DK Animal - Fish
Detailed field: Ζωολογία | Κείμενο πηγής - Αγγλικά
MARINE AND FISHWATER FISH
Fish need mechanisms to keep the concentration of water and salts in the body in a stable state. Those fish that move between salt and fresh water, including salmon, lampreys, and sharks and rays, have the same concentration of water and salts in their body as the water around them. However, most fish have a different internal salt balance to the surrounding water. This difference presents a potential problem, because osmosis, which occurs across tissues such as those in the mouth and gill chambers, could result in a harmful, possibly fatal, change in their internal chemistry.
In marine fish, the concentration of salts is lower inside the body than it is in the sea water, so the fish face a tendency to lose water, raising their internal salt concentration. To counteract this, most marine fish drink large quantities of sea water and excrete most of the salt but only a little of the water. Some bony fish have cells called chloride cells in their gills that remove salt from the body. By contrast, freshwater fish are at risk of losing salt to the environment. They drink only a small amount and obtain extra salt from their food. They also have cells in their mouth and gills that move salts against the normal direction of diffusion. Those fish that have a salt balance the same as the water around them do not need to drink at all. (p. 462)
Xiphias gladius
Swordfish
A popular food and game fish, this fast-swimming predator gets its name from its long, sword-like snout. Unlike the blue marlin (see p. 519), it certainly uses its snout as a weapon, stunning or impaling smaller fish and squid. It then slashes the crippled victim into pieces or swallows it whole. The swordfish occasionally attacks small boats – including those with copper-sheathed hulls – with devastating results. Its chief predators are the mako and blue shark, several species of tuna and marlin, and sometimes sea lampreys. Swordfish spawn in tropical waters throughout the year, peaking between April and September, depending on the area. (p. 518)
| Μετάφραση - Ρουμανικά
PEŞTI OCEANICI ŞI DE APĂ DULCE
Peştii au nevoie de mecanisme de menţinere a echilibrului apei şi sărurilor din corp. Peştii care trec din apa sărată în apa dulce, printre care somonul, petromizonii, rechinii şi pisicile de mare, au aceeaşi concentraţie de apă şi săruri ca şi apa în care se află, însă majoritatea peştilor au un echilibru salin intern diferit de al apei din jur. Diferenţa reprezintă o potenţială problemă, deoarece osmoza care se produce în ţesuturile din gură şi camerele branhiale ar putea duce la modificări nocive, chiar fatale, ale echilibrului chimic intern.
Corpul peştilor oceanici are o concentraţie de săruri mai mică decât a apei de mare, astfel că peştii au o tendinţă de deshidratare, ceea ce duce la o concentraţie crescută a sărurilor din organism. Pentru a contracara această tendinţă, peştii oceanici beau multă apă şi elimină sarea, reţinând doar apa. Branhiile unor peşti osoşi conţin celule haloexcretoare, care elimină excesul de sare din corp. Prin contrast, peştii de apă dulce riscă demineralizarea. Beau puţină apă şi îşi procură surplusul de săruri din hrană. Gura şi branhiile sunt dotate cu celule care inversează direcţia normală de difuzie a sărurilor. Peştii cu acelaşi echilibru salin ca al apei din jur nu au nevoie să bea apă deloc.
Xiphias gladius
Peştele-spadă
Un peşte popular, atât de consum cât şi în pescuitul sportiv, acest răpitor rapid îşi datorează numele rostrului lung, asemănător cu o sabie. Spre deosebire de marlinul albastru (vezi p. 519), îşi foloseşte rostrul drept armă, pentru a ameţi şi a străpunge peşti mai mici şi sepii. Victima mutilată este apoi tăiată în bucăţi sau înghiţită întreagă. Uneori peştele-spadă atacă ambarcaţiuni mici, chiar şi pe cele cu copastia îmbrăcată în aramă, iar rezultatele sunt devastatoare. Este vânat de mako şi de rechinul albastru, de câteva specii de ton şi marlin, şi uneori de petromizonii oceanici. Se reproduce în apele tropicale, pe toată durata anului, mai ales din aprilie până în septembrie, în funcţie de zonă.
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More Less | | OTHER-University of Oxford | | Έτη εμπειρίας σε μεταφράσεις: 9. Έγινε μέλος του ProZ.com: Jul 2003. Έγινε μέλος στις: Apr 2007. | | Ρουμανικά σε Αγγλικά (Romanian Ministry of Justice, verified)
Αγγλικά σε Ρουμανικά (Romanian Ministry of Justice, verified)
Αγγλικά (Cambridge University (ESOL Examinations, External, Misc.), verified)
Αγγλικά σε Ρουμανικά (Romanian Ministry of Culture - Central Commission for Granting Translator Certificates, verified)
Αγγλικά σε Ρουμανικά (Asociatia Traducatorilor din Romania, verified)
Αγγλικά (University of Oxford, UK, verified)
Αγγλικά (DG-SCIC, trainer for interpreters, verified)
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More Less | | ITI, The Philological Society, BASEES, IAFL, ATR | | Across, Adobe Acrobat, Adobe Illustrator, Adobe Photoshop, AutoCAD, Dreamweaver, FrameMaker, Frontpage, Indesign, Microsoft Excel, Microsoft Word, Multilizer, Adobe Audition 3, Sony SoundForge 9, Passolo, Powerpoint, QuarkXPress, SDL TRADOS, Wordfast | | http://www.romanianenglishtranslation.com | | Αγγλικά (PDF) | | Conference attended | | Ioana Costache προσυπογράφει ProZ.com's Επαγγελματικές Κατευθυντήριες Οδηγίες. | | Λίγα λόγια για μένα
Services I provide:
Translation, proofreading, and conference interpreting, from/into Romanian/English. Areas of competence: legal (trade law, human rights, minority rights, administrative), business, marketing (market research, qualitative reports, quantitative reports), EU, governance, community development, Phare, pharma (marketing-related), medical (clinical trial protocols, informed consent), linguistics, fiction, nonfiction, science (geography, geology, astronomy, zoology), travel guides.
Translation from French and Spanish into Romanian and English (linguistics, philology).
Transcription with or without translation (English, Romanian).
Revision, proofeeading, reviewing, and website localization (into Romanian only).
Glossary compilation.
To project managers, whom it might concern
If considering me for a job, please note that the post-translation services that I provide are defined as follows (according to BS EN 15038:2006):
REVISION = examining a translation for its suitability for the agreed purpose, comparing the source and target texts and recommending corrective measures;
PROOFREADING = checking of proofs before publishing;
REVIEWING = examining a target text for its suitability for the agreed purpose and respect for the conventions of the domain to which it belongs and recommending corrective measures.
I'm glad to be of service, and I will do my best to ensure your clients get value for money. However, please be prepared to answer LOTS of questions and to put up with my punctiliousness. I can also be quite headstrong and opinionate, especially where language is concerned.
I appreciate job-specific glossaries, reference materials, and any other input on your side; in turn, I'm happy to contribute any reference material or information that I have and might be relevant, as long as I'm not breaching other clients' confidentiality.
Most importantly, your feedback is always welcome!
This being said, I look forward to working with you on interesting and rewarding projects.
Yours,
Ioana
More about me:
- DPhil student, Medieval and Modern Languages Faculty, University of Oxford (recipient of ORSAS award and Clarendon bursary);
- DG SCIC-certified teacher of conference interpreting - 2006;
- M.St. Distinction (Oxon) in General Linguistics and Comparative Philology - 2005;
- recipient of OSI/FCO Chevening Scholarship 2004-2005;
- MA in Applied Linguistics and ELT, BA in Philology (Major: English, Minor: Romanian), Faculty of Foreign Languages and Literatures, University of Bucharest;
- Grand Prize awarded by the Romanian Academy & Romanian National UNESCO Committee for Cultural Development in the national translation contest organized in 2002 - "I.L. Caragiale" year (see section Premiile FNSA / Concursuri)
A member of The Romanian Translators' Association, The British Association for Slavonic and East-European Studies, The Philological Society, the University of Oxford's Research Centre for Romance Linguistics, the International Association of Forensic Linguists, the Institute of Translation and Interpreting.
Recent projects: 2009
My most recent translation is The Journey of Man: A Genetic Odyssey, by Spencer Wells, of Genographic Project fame. The GORGEOUS Romanian edition was published by Editura CD Press. CD Press specialize in geography, biology, Earth sciences and life sciences generally, and they do a great job of opening these fields to a young audience. Spencer Wells's book, though, is aimed at a wider readership, and it is the publisher's way of celebrating Darwin year.
Other projects: 2007
Luke Rhinehart, The Search for the Dice Man, Romanian edition entitled Întoarcerea Omului Zar.
Starting with the Trinity 2007 issue, I proofread the Christ Church Library Newsletter. It's great reading!
THE wildlife encyclopedia. I translated about a fifth of this fascinating book. You can count on me for any information about amphibians and fish :) DK's Animal (by David Burnie, ed.), Romanian edition by RAO publishers, entitled Animale. Ghid vizual complet al lumii salbatice
Smaller projects were the four DK travel guides that I translated - Amsterdam, London, Madrid, Paris.
Romanian versions: Amsterdam, Londra, Madrid, Paris
Other projects: 2006
I pride myself on having translated Dorling Kindersley's Smithsonian Earth
(joint translation with Dana Ligia Ilin, see also here). That was quite a project, and a labour of love.
For a more detailed list of my translation projects, please see my CV.size +1>
Other projects: 2005
In 2005 I translated Jack Trout and Steve Rivkin's Power of Simplicity and I co-authored a multimedia "Romanian - English Phrasebook" with Lidia Cotea, who worked on the Romanian - French combination and co-ordinated the Multimedia Series.
Already on the market:
"Romanian - French Phrasebook"
"Romanian - English Phrasebook"
"Romanian - Italian Phrasebook"
"Romanian - Spanish Phrasebook"
"Romanian - Portuguese Phrasebook"
"Romanian - German Phrasebook"
Up and coming in the Multimedia Series:
"Romanian - Hungarian Phrasebook"
For more info, see here
Please note that right now I'm doing postgraduate research, which is sure to affect my availability. However, I'm open to negotiation on a project-by-project basis :)
Please hit the 'Personal' tab to see my CAT tools!
And here's a visual guide to the meaning of (a translator's) life...
For various linguistic resources, other than the ones shown below, please see the Resources section. Thank you!
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Λέξεις - κλειδιά: English, Romanian, French, translation, conference interpreting, proofreading, proofchecking, editing, transcription, transcript, transcripts, business law, contract law, human rights, minority rights, Roma rights, marginalised groups, marginalized groups, governance, EU, European Parliament, marketing, market research, pharma, linguistics, philology, fiction, poetry, nonfiction, Christ Church library newsletter, Christ Church library newsletters, travel guide, travel guides, tourism, geography, geology, astronomy, zoology, community development, engleza, romana, franceza, traducere, traduceri, interpretariat de conferinta, corectura, revizie, engleza de afaceri, engleza juridica, administratie, drept administrativ, contracte, drepturile minoritatilor, drepturile omului, grupuri marginalizate, UE, Uniunea Europeana, cercetare de piata, farma, farmaceutice, lingvistica, filologie, literatura, beletristica, proza, poezie, geografie, geologie, astronomie, zoologie, ghid turistic, ghiduri turistice, turism, dezvoltare comunitara, français, francais, roumain, anglais, traduction, linguistique, philologie, localizare, localization |
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