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Otoño , buen jinete, galopemos, ante que nos ataje el negro invierno.
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portugais vers anglais: Insurance Contract General field: Droit / Brevets Detailed field: Assurances
Texte source - portugais CLÁUSULA 1ª – DISPOSIÇÕES GERAIS E PRELIMINARES
1.1. A aceitação do Seguro está sujeita à análise do risco.
1.2. O registro deste plano na SUSEP não implica, por parte da Autarquia, incentivo ou recomendação a sua comercialização. O presente produto foi registrado na SUSEP sob o número:
1.3. O Segurado poderá consultar a situação cadastral de seu Corretor de seguros no site www.susep.gov.br, por meio de seu registro na SUSEP; Nome completo; CNPJ ou CPF.
1.4. Entende-se como "Líder" do presente seguro esta seguradora, a qual tem a seu cargo os serviços de coordenação do seguro em todas as suas fases. O Segurado, em virtude desta designação, assume o compromisso de dirigir à "Companhia Líder" todas as comunicações a que estiver obrigado por força das "Condições Gerais, Especiais, e Particulares" desta apólice, cabendo ao mesmo à responsabilidade nos termos das referidas condições pelo seu não cumprimento.
1.5. Este Seguro foi contratado com emissão de Apólice Única tendo esta Sociedade Seguradora, na qualidade de Líder, efetuado em seus registros oficiais o lançamento completo da operação, por si e pelas Cosseguradoras.
1.6. Qualquer alteração que venha a ser solicitada pelo Segurado nas condições desta apólice deverá ser enviada à Seguradora para análise e pronunciamento mediante comunicação formal.
1.7. O presente seguro é contratado pelo Segurado em acordo com a proposta encaminhada a esta Seguradora e compõem-se de Condições Gerais, Especiais e Particulares, cujas limitações, obrigações e responsabilidades das partes sugerem a leitura integral da apólice.
1.8. CONTRATAÇÃO DE SEGURO: Em contrapartida ao pagamento do prêmio e sujeito a todos os dispositivos desta Apólice, a Seguradora compromete-se a dar cobertura aos riscos, conforme estabelecido nesta Apólice. Caso haja alguma discrepância entre as disposições desta Apólice, os seguintes termos e condições prevalecerão sobre os outros, em ordem decrescente de importância: (1)Condições Especiais; (2) Condições Gerais.
Traduction - anglais CLAUSE 1 - GENERAL AND PRELIMINARY PROVISIONS
1.1. Acceptance of the insurance is subject to risk analysis.
1.2. The registration of this plan with SUSEP does not imply, from the Authority's side, an incentive or recommendation for its commercialization. This product was registered with SUSEP under number:
1.3. The Insured may consult the registry status of his insurance broker on the site www.susep.gov.br, through its registration with SUSEP; Full name; CNPJ or CPF numbers.
1.4. This insurance company is understood as the "Leader" of this insurance, which is in charge of the coordination of insurance services in all its stages. The Insured, by virtue of this appointment, assumes the commitment of forwarding all communications to the "Leader Company", which may be required under the "General, Special and Particular Conditions" of this policy, assuming responsibility under those conditions for non-compliance.
1.5. This Insurance has been contracted through the issuing of a Single Policy, and this Insurance Company, under its capacity as Leader, has made a complete record of the operation in its official records, for itself and for the Co-Insurer.
1.6. Any changes that may be requested by the Insured under the terms of this policy shall be sent to the Insurer for review and decision through formal communication.
1.7. This insurance is contracted by the Insured in accordance with the proposal submitted to this Insurer and it comprises the General, Special and Particular Conditions, where the limitations, obligations and responsibilities of the parties should entail a full reading of the policy.
1.8. INSURANCE CONTRACT: On payment of the premium and subject to all the provisions of this Policy, the Insurer undertakes to provide coverage for the risks as set out in this Policy. If there is any discrepancy between the provisions of this Policy, the following terms and conditions shall prevail over any other, in decreasing order of importance: (1) Special Conditions; (2) General Conditions.
français vers anglais: FR-EN Building Technology Magazine Article 2017 General field: Technique / Génie Detailed field: Construction / génie civil
Texte source - français Défis techniques
L’architecte-bâtisseur aime à prendre des risques et composer des bâtiments véritablement uniques. Pour obtenir le résultat souhaité, il repousse parfois les limites des produits et des matériaux employés et s’essaye à de nouvelles formes d’expression. C’est ainsi que l’architecture avance et progresse. Pourtant, l’architecte-prestataire est aussi contraint par des éléments extérieurs (implantation du bâti, conditions climatiques, décisions de la maitrise d’ouvrage) qui l’obligent souvent à revoir son approche du projet. Dans les deux cas, il a besoin de solutions techniques originales, capables de s’adapter à ses besoins et contraintes. Des solutions composées sur-mesure, qui lui permettent d’aboutir dans sa démarche et de passer outre le défi technique, pour qu’enfin, l’ouvrage prenne vie.
Vents violents, températures négatives et chutes de neige. Des conditions climatiques extrêmes, pourtant habituelles sur les sites de remontées mécaniques. A Val Thorens, la société d’exploitation, la SETAM, a choisi de rénover trois d’entre elles.
CONDITIONS EXTRÊMES
Remontées mécaniques Val Thorens (France)
Automne 2015. Afin de rendre plus confortable l’attente des skieurs patientant aux remontées mécaniques, la station s’engage dans un vaste chantier visant à couvrir trois d’entre elles (situées entre 2800 et 3000 mètres) d’une enveloppe protectrice. Un projet qui améliore son image mais optimise également l’utilisation des remontées. “A chaque épisode neigeux, la neige s’engouffrait dans les gares ouvertes et s’accumulait dans les fosses des quais d’embarcation. Le personnel devait alors interrompre la circulation des cabines et déneiger. C’était une perte d’exploitation pour la station”, commente Hervé Vieille, du bureau d’études HV Conseil. Pour pallier cela, la station missionne une agence d’architecture qui propose alors un projet… pour le moins original. “Habituellement, les couvertures des remontées mécaniques sont faites dans des matériaux basiques, à faibles coûts et opaques. Ici, l’architecte souhaitait apporter de la transparence et de la clarté pour permettre aux skieurs de voir l’environnement extérieur” ajoute Hervé Vieille. Séduit, le maître d’ouvrage accepte le pari : mettre en œuvre un nouveau matériau, transparent et jusque-là inconnu dans cette station : le XXX XXX.
Traduction - anglais Technical Challenges
The architect-builder loves to take risks and design truly unique buildings. To obtain the desired results, they sometimes push the products and materials they use to their limits in striving for new forms of expression. And thereby architecture advances and progresses. However, the architect-contractor is also constrained by external elements (the layout of the building, climatic conditions, project client decisions) which often force the project to be reappraised. In both cases, original technical solutions need to be found, capable of being adapted to the new requirements and constraints. Customised solutions, which enable the architect to realise their design plans and overcome the technical problems so that the project takes wing.
Storm-force winds, sub-zero temperatures and heavy snowfalls. Extreme climatic conditions, yet common at ski-lift sites. At Val Thorens, the operating company, SETAM chose to renovate three of their ski-lifts.
EXTREME CONDITIONS
Ski-lifts Val Thorens (France)
Autumn 2015. In order to provide greater comfort to skiers waiting in line for the ski-lifts, the ski resort is undertaking major construction work to cover three of its lifts (situated between 2800-3000 metres) in a protective envelope. The project aims to improve their appearance but also to optimise the ski-lifts' use. "After each snowfall, the snow funnels into the wide open stations and piles up in the wells below the embarkation points. The staff then have to interrupt the cabin's circulation to clear the snow. It was an operational loss for the resort", said Hervé Vieille, from the engineering consultancy HV Conseil. In order to alleviate the problem, the resort commissioned an architecture practice to propose a project...which was at the least original. "Usually, ski-lift coverings are made from basic materials, which are cheap and opaque. But here, the architect wanted to bring transparency and light to allow the skiers to see the landscape outside", added Hervé Vieille. Convinced, the project manager accepted the bold plan: to install a new transparent and hitherto untried material in the resort: XXX XXX.
espagnol vers anglais: ES-EN Arts Museum Labels 2016 General field: Art / Littérature Detailed field: Art, artisanat et peinture
Texte source - espagnol Las Ofrendas, como las conocemos, iniciaron durante la Colonia. Esta costumbre se mantuvo relativamente oculta por parte de los indígenas y mestizos, quienes comenzaron a integrar elementos de la religión católica a sus ofrendas.
Las ofrendas entonces ya no se colocaban en las tumbas, sino en el interior de una habitación, sobre el piso y una mesa –de ahí que se le llame Altar de Muertos.
En 1955, XXX XXX comenzó con la importante tradición de colocar Ofrendas y Altares de Muertos, no sólo dedicados a una persona, como Diego Rivera, sino para rendirle homenaje al trabajo artesanal de México.
Desde su apertura en 1994, el Museo XXX XXX invita a sus visitantes a revalorar la tradición de colocar Altares y Ofrendas de Muertos. Esta exposición temporal es una de las más emblemáticas del Museo.
Nuestra monumental exposición de Día de Muertos se divide en dos: un Altar de Muertos con los elementos tradicionales: velas, copal o incienso, flores de cempasúchil, pan de muerto, frutas, alimentos, bebidas, dulces y calaveritas de azúcar.
Así como una exposición de calacas de cartonería, que año con año cambia su temática, presentando personajes muy representativos del Museo, como la Sra. XXX XXX siendo pintada por Diego Rivera para “Retrato de La Tehuana”.
Nuestras Ofrendas también pueden escenificar otras latitudes, dependiendo de las muestras que estén exhibiéndose en el Museo
En el 2013, las calacas se transportaron a París, para hacer referencia a nuestra exposición "Obras Maestras del Museé de l'Orangerie" y con calacas de cartonería que representaran a los artistas presentes en la exposición.
● La Muerte: Desde Nuestros Ancestros Hasta los Artesanos (Preview link for context here)
La Muerte en nuestras colecciones de Arte Prehispánico y Popular
Arte Prehispánico
La colección del Museo XXX XXX cuenta con alrededor de 800 piezas de arte prehispánico, algunas de ellas, relacionadas con el culto a la muerte.
La tradición del Día de Muertos tiene sus orígenes desde el período prehispánico, cuando diversos grupos mesoamericanos acostumbraban enterrar a sus muertos acompañados de algunos objetos que, según sus creencias, les serían de utilidad en su otra vida: alimentos, ropa y objetos personales.
En nuestro acervo de Arte Prehispánico, contamos con piezas alusivas a la muerte, como esta urna funeraria, perteneciente a la Cultura Zapoteca.
Asimismo, tenemos una colección de 40 perros xoloitzcuintles hecho de cerámica, originarios de la Cultura de Occidente
La colección de xoloitzcuintles del Museo XXX XXX los representa con diversas poses, que hablan de su relación con el hombre.
“Xoloitzcuintle” proviene del náhuatl “xólotl”, que significa “muerte”, e “izcuintle” que es “pequeño”. Este “pequeño Dios de la Muerte” tenía como función ser el guía de los difuntos en su camino al Mictlán (lugar de los muertos).
Los xoloitzcuintles en barro, que también fungieron como vasijas de uso funerario y que datan de hace más de tres mil años, fueron encontrados en tumbas, pues se enterraba a los indígenas junto con estos perros.
Los perros xoloitzcuintle, originarios de México, son parte importante en la historia del museo. Diego Rivera le regaló una pareja a XXX XXX, y desde entonces se conservan los herederos de esta especie en los jardines.
Arte Popular
Dentro de nuestras mil piezas de Arte Popular, podemos admirar algunas con relación a la muerte.
Traduction - anglais The Ofrendas (often referring to both offerings and the altars on which they are placed), as we understand them, commenced during the Colonial period. The custom remained relatively hidden by the natives and mestizos, who began to integrate elements of the Catholic religion into their ofrendas.
The ofrendas were no longer placed in the tombs, but inside the dwelling, on the floor or on a table - hence they were called the Altar of the dead.
In 1955, XXX XXX began the important tradition of placing Ofrendas on Altars of the dead, not just dedicated to one person, like Diego Rivera, but to give homage to Mexican arts and crafts.
Since its opening in 1994, the XXX XXX Museum invites its visitors de re-evaluate the tradition of placing Altars and Ofrendas of the dead. This temporary exhibition is one of the most emblematic of the Museum.
Our monumental exhibition of the Day of the Dead is divided in two: an Altar of the dead with traditional features: candles, copal or incense, cempasúchil flowers, pan de muerto, fruits, food, drink and sugar calaveritas.
In addition an exhibition of calacas (papier-mâché skeleton figures) which changes its theme year after year, presenting figures who are very representative of the Musem, such as XXX XXX being painted by Diego Rivera for "Portrait of a Tehuana woman"
Our Ofrendas may also dramatize other parts of the world, depending on the displays that are being exhibited in the Museum.
In 2013, the calacas were transported to Paris to reference our exhibition "Masterpieces of the Musée de l'Orangerie" with papier-mâché calacas that represented the artists featured in the exhibition.
● Death: From Our Ancestors to the Artisans
Death in our collections of Pre-Hispanic and Popular art
Pre-Hispanic Art
The collection of the XXX XXX Museum has around 800 pieces of Pre-Hispanic art, some of which are related to the cult of death.
The tradition of the Day of the Dead is rooted in Pre-Hispanic times, when several Mesoamerican groups used to bury their dead accompanied by various objects, which according to their beliefs, would be useful to them in the after-life: food, clothes and personal objects.
In our archive of Pre-Hispanic Art, we have pieces that allude to death, like this funerary urn, belonging to the Zapotec Culture.
In addition we have a collection of 40 xoloitzcuintles dogs, made from ceramic, originating from the Western Culture.
The collection of xoloizcuintles in the XXX XXX Museum are represented in seveal poses, which depict their relationship with man.
“Xoloitzcuintle” comes from the náhuatl “xólotl”, which means “death”, and “izcuintle” that is “pequeño”. This "small God of Death" acts as a guide to the deceased on their route to Mictlán (place of the dead).
The xoloitzcuintles in clay also served as funerary vessels and date back more than three thousand years, were found in tombs, as the natives were buried next to these dogs.
The xoloitzcuintles dogs, originally from Mexico, are an important part of the history of the museum. Diego Rivera gave a pair as a gift to XXX XXX, and ever since their descendants have been kept in the gardens.
Popular Art
Among the thousand pieces of Popular Art we have, we can admire several that are linked with death.
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Master's degree - University of Birmingham
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Années d'expérience en traduction : 14. Inscrit à ProZ.com : May 2013.
français vers anglais (University of Birmingham, verified) espagnol vers anglais (University of Birmingham, verified) français vers anglais (MA in Trans studies, verified) espagnol vers anglais (MA in Trans studies, verified) portugais vers anglais (University of Birmingham, verified)
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I am a translator of three languages into English; Spanish, French and Portuguese . I mainly work with UK and European translation agencies translating legal texts, certificates, contracts, and the translation or transcreation of marketing documents, press releases and product brochures. In addition, being a qualified accountant, and having extensive experience of Finance and Financial Software, my specialities are naturally related to Finance, Accounting and Software . In addition I have worked with various Spanish universities in the translation of academic journal articles from Spanish to English in the fields of Literature and Architecture.
I have also done important translations for museums and cultural institutions.
A sample translation is available with this profile. I can also provide references, a list of translation projects and a record of my CPD.
Lately, I have acquired considerable experience in translating videos for synchronised dubbing.
I have an MA in Translation Studies from the University of Birmingham , and a 1st class honours degree in Spanish and French from the same university. During this time I also spent three years studying Portuguese. I have also studied at the University of Zaragoza in Spain and at Aix en Provence in France. I have written essays and articles in French and Spanish on Art History and Literature for these universities.
Currently, in addition to my translation work, I have established an internet business teaching English to Spanish professionals, working with several companies for whom I also do translation work.
As a freelance translator, I believe in offering the highest quality of service to the client. I aim to fulfill all aspects of the brief through research, attention to detail and respecting the deadline. Please contact me through the ProZ network or by email for a quotation, or call on +44 7866 413464 or +44 1223 478655
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