This site uses cookies.
Some of these cookies are essential to the operation of the site,
while others help to improve your experience by providing insights into how the site is being used.
For more information, please see the ProZ.com privacy policy.
This person has a SecurePRO™ card. Because this person is not a ProZ.com Plus subscriber, to view his or her SecurePRO™ card you must be a ProZ.com Business member or Plus subscriber.
Affiliations
This person is not affiliated with any business or Blue Board record at ProZ.com.
Portuguese to English: Banco do Nordeste General field: Bus/Financial Detailed field: Finance (general)
Source text - Portuguese Este é o lado do Banco do Nordeste que a sua franquia precisa conhecer
Fianciamento para taxa de franquia
Crédito e produtos para capital de giro
Os menores juros do Mercado e prazo longo para o empresário ampliar e modernizar o seu negócio ou abrir a sua franquia
O Banco do Nordeste tem um lado que quer ver você expandir, modernizar ou mesmo implantar a sua franquia. Um lado que oferece os menores juros do mercado e os prazos mais longos. Um lado que disponibiliza capital de giro e financia investimentos, inclusive a taxa de franquia. Um lado que tem produtos e serviços para atender de forma integrada todas as necessidades de crédito do seu negócio. Procure o BNB na hora de montar a sua franquia na Região. Você vai ser o próximo a conhecer e aprovar este lado do Banco do Nordeste.
Translation - English This is the side of Bando do Nordeste your franchise needs to get to know
Financing rates for franchises
Credit and products for working capital
The lowest market interest rates and long periods so that employers can expand and modernize their businesses or start a franchise
Banco do Nordeste has a side that wants to see you expand, modernize or even establish your franchise. A side that offers the lowest market interest rates and longer periods. A side that provides working capital and finance investments, including rates for franchises.
A side that has products and services to serve in an integrated way all the credit needs of your business. Look for the BNB when establishing your franchise in the region. You will be the next to get to know and approve of this side of the Banco do Nordeste
Portuguese to English: supermedial thigh flap General field: Medical Detailed field: Medical (general)
Source text - Portuguese Resumo
Introdução: A reconstrução das perdas de substância da bolsa escrotal permanece até
hoje um desafio mesmo para os cirurgiões mais experientes.Vale destacar, que
geralmente as condições clínicas desses pacientes normalmente estão associadas a
comorbidades ,que dificultam o processo reconstrutivo.O retalho fasciocutâneo da
porção supero-medial da coxa é utilizado desde 1978 , porém em 1980, foi descrito por
Hirshowitz ( 13) para reparação de vulva ,períneo e bolsa escrotal .Objetivo: Avaliar a
utilização do retalho fasciocutâneo da porção supero-medial da coxa nas reconstruções
da bolsa escrotal.Metodos: Foram selecionados 14 pacientes no período de Fev de
2005 a Abril de 2009 ,todos do sexo masculino,com perda de substância da bolsa
escrotal. A técnica cirúrgica foi padronizada ,com descrição passo a passo .
Resultados:A idade média da amostra foi de 40,7 anos, todos pacientes com
lesão da bolsa escrotal , sendo que 35,7% apresentavam acometimento de de 01
área. Em relação as comorbidades associadas, 50% apresentavam diabetes, 21,4%
hipertensão e 35,7% dos pacientes não apresentavam qualquer doença . Obtive
pequenas deiscências em 28,5% da amostra, infecçäo em 21,4% , hematoma em
14,2% e necrose parcial em 7,14% dos casos. O acompanhamento pós-operatório
médio foi de 65,2 dias. Conclusão:O retalho fasciocutâneo da porção supero-medial da
coxa, é uma boa opção para a reconstrução dos defeitos da bolsa escrotal, com curva
de aprendizado curta ,baixo índice de complicações e resultado estético-funcional
diferenciado.
Palavras Chaves: Síndrome de Fournier , Reconstrução da bolsa escrotal , Retalho
fascicutâneo da porção supero- medial da coxa
Translation - English Abstract:
Introduction: Even until today, the reconstruction of cutaneous losses of the scrotum remains as a challenge for experienced surgeons. It is worth mentioning that the clinical conditions of these patients are usually associated with comorbities, which complicate the reconstructive process. The superomedial thigh flap has been used since 1978, and in 1980 Hirshowitz (13) described its use in vulva, perineum and scrotum reconstruction. Objective: Evaluate the use of the superomedial thigh flap in the reconstruction of the scrotum.
Methods: Fourteen patients were selected between February 2005 and April 2009, all of them being male, with cutaneous loss from the scrotum. The surgical techniques have been standardized with step by step descriptions.
Results: The average age was 40.7 years, all patients had had scrotum lesions, and
35.7% had had them in more than one particular area. With regards to associated comorbities , 50% had diabetes, 21.4% hypertension, and 35.7% of the patients had no health problems. There were minor wound dehiscences in 28.5%, infections in 21.4%, hematomas in 14.2%, and the thigh flap had partial necrosis in 7.14% of the cases. The average postoperative follow up lasted 65.2 days.
Conclusion: The superomedial thigh flap is a good option for reconstruction of the scrotum, with a short learning curve, few complications and differing aesthetic-functional results.
Spanish to English: "Cinematic Realism and the Restoration of Everyday Life: An Interview with Víctor Gaviria" General field: Art/Literary Detailed field: Cinema, Film, TV, Drama
Source text - Spanish El realismo cinematográfico y la restauración de la vida cotidiana: Una entrevista con Víctor Gaviria
AD: En La ciudad letrada de Ángel Rama el autor habla del poder de los letrados como los políticos y los gobernadores y como pueden controlar la ciudad. Ahora es debatible si todavía existe la ciudad letrada tal cual o si actualmente los medios de comunicación tienen más poder que los letrados. ¿Qué tipo de poder tiene usted como cineasta para instigar cambio en la ciudad?
VG: Es una pregunta muy difícil. Es como si los medios de comunicación circularon por un pasillo muy distinto a los letrados; como si estuviera cada uno por su lado muy distinto. Yo no sé cuál es la función de los medios de comunicación en Estados Unidos. No sé muy bien porque la forma como sus conceptos se irradian a Latinoamérica está bien presente pero no sé si es lo mismo que acá. En Latinoamérica los medios de comunicación tienen un poder casi absoluto. O sea han sustituido un poco toda esa “ciudad letrada”, el poder de las academias, las universidades, y tienen un poder absoluto, digamos sobre las nuevas generaciones, sobre nuestros hijos. Entonces, a veces pienso que en los Estados Unidos tienen que estar balanceadas por las ciencias, por la academia de alguna manera porque en Colombia tienen un poder absoluto aunque no se reconoce como tal. Pero es la función de los medios de comunicación tal como irradian desde Estados Unidos y casi forman la mentalidad de nuestros hijos. Nuestros hijos son un poco estúpidos porque creen absolutamente en los valores que les venden los medios de comunicación de una manera absoluta. No están intermediados por nadie.
Como yo veo que trabajan los medios de comunicación en nuestro país, como veo que se crean en Colombia, ellos cubren la información sobre la realidad general de una manera tendenciosa. Ellos se encargan de mostrar y hacer creer a los demás que todo ese tejido del pueblo, de la vida, de los barrios, de las ciudades, de la gente que está por fuera de los medios de comunicación es un tejido degenerado, absurdo, que no lleva a ninguna parte. Entonces, todo el tiempo los medios de comunicación te están informando sobre esa realidad general del país, mostrando que es un caos, un desorden, que allí no hay ningún principio ordenador. Entonces todo el tiempo te están informando – las noticieros sobre todo – y creando un sentido de que es absurdo el funcionamiento de la realidad que está llena de caos, de desorden, de degeneración. ¿Para qué?
Para de alguna manera poderte desanimar completamente por el poder que tiene el pueblo como tal. Sobre los poderes organizativos de los barrios y los poderes organizativos de las familias te dan la idea de que eso es un desorden total. Y los acontecimientos te los presenta siempre en desorden llenos de lagunas, de vacíos, entonces cuando tratas de entender lo que pasa en la realidad los elementos son tan inconexos que tienes que decir “esta realidad es un absoluto caos”; necesitamos reemplazarla por otra. “Esto no sirve para nada.” Entonces lo que te presentan para reemplazarlo es sinceramente unos valores de pequeña burguesía, de aislamiento, de que tienes que construir tu vida en la subjetividad de tu aislamiento, de que tú realmente vas hacia el éxito, hacia el dinero, hacia la belleza, a unos valores que realmente te los empiezan a vender. Pero, te los venden no porque son atractivos sino que te los ofrecen después del fracaso del discurso que te muestran de la realidad.
Es increíble cuando te hablan incluso de cualquier movimiento popular, de cualquier orden de los barrios siempre te muestran un desorden. Cuando yo como cineasta trato de hacer una películas y entrar en ese orden de los barrios de la gente normal, encuentro que hay tejidos de solidaridad, de unión, de valores de belleza y valores de lealtad, una serie de valores en cuanto al futuro, al conocimiento del pasado que tienen una gran organicidad. Entonces pienso que el cineasta lo que tiene que hacer es eso: bien sea documentalista, o sea de ficción, y tiene que mostrar que esos tejidos por fuera de los medios de comunicación existen y que son antiguos que tienen otra lógica. De cierta manera, los medios de comunicación te dan un desorden total acerca de la realidad que no nace únicamente de la ignorancia sino de una visión racista, clasista y de una tendencia muy clara políticamente para mostrar que todos estos órdenes por fuera de los medios de comunicación no existen.
Entonces, ¿Qué hace el cineasta como yo? Mostrar que incluso los niños de la calle tienen intenciones; incluso los ladrones buscan cosas; que estos muchachos pistolocos tienen un sentido filosófico de la vida, tienen una cantidad de pensamientos absolutamente mucho más profundos que lo que te venden los medios de comunicación que son una serie de superficialidades. [Los medios] te venden una insolidaridad; te muestran otros valores que son tan distintos de los que la realidad tiene. Entonces, el cineasta, lo que tiene que hacer es poner en orden los hechos, esto primero, esto después. Cuando tú restableces el orden te das cuenta del poder enorme que tienen los barrios, las comunidades, los pensamientos fuera de los medios de comunicación. En Colombia, por lo menos, los medios tienen una tendencia absolutamente política de desanimarte, de desacreditarte, de desprestigiarte todo ese orden social que pervive. Tú ves en las películas mías siempre hay un orden social que subyace llena de buena sentimiento, de solidaridades, etc.
Translation - English Cinematic Realism and the Restoration of Everyday Life: An Interview with Víctor Gaviria
AD: In Angel Rama’s Ciudad Letrada he talks about the power of the well-educated: politicians, governors, priests, academicians, etc. and how they can control the city. Now it is debatable if the “lettered city” as such still exists or the media has more power than the well-educated. What type of power do you have as a director to instigate change in society?
VG: Well, that’s a very difficult question. The media has circulated very distinctly than the well-educated; it is as if both of them were coming from a very different perspective. I do not know what the function of the media in the US is. I do not know that very well because of how these concepts (of the media) irradiate to Latin America. Yes, they are present but I do not know if they are the same here because in Latin America the media has an absolute power. The power of the academies, the universities has substituted the “lettered city” and it has an absolute power over nations and our children. Therefore, sometimes I think that in the US they are counterbalanced to some extent by the sciences and the academies, but in Colombia they have a sort of absolute power even though it may not be recognized as such. But as far as the development of the media just as they irradiate from the US and almost form the mentality of our children. Our children are ingenuous because they believe in the values sold to them by the media in an absolute way. The media is not intermediated by anyone.
However, with regards to how I see the functioning of the media in my country, the completely created media in Colombia covers general information about reality in a tendentious manner. I have stopped to think: Of what does this tendentious manner consist? And it consists in that those that run the media put themselves in charge of showing the social fabric of the lower class, life, barrios, cities and of the people that remain outside of the media. They try to inform and make everyone believe them. For everyone outside of this fabric it is a degenerated fabric. It’s absurd. It is a social fabric that does not go anywhere. Thus, the media is always informing us about this very general reality of the country showing that it is a chaos, a disorder, that there are no regulating principles. Therefore, overall newscasts, inform us all of the time creating a sense that the functioning of reality is absurd and is full of chaos, disorder and degeneration.
Why do they do this? To somehow completely discourage the lower class from thinking that they have any power. So, the organizing power of neighborhoods and families give the impression of complete disorder, and events are always presented to us disorderly with gaps and holes. Thus, when trying to understand what is happening in reality, the elements are so unconnected that one has to say to oneself that “this reality is absolute chaos and we have to replace it with another because this one is not worth anything.” Then, what the media presents to us are the values of the small isolated bourgeois. These values are the subjectivity of isolation, that you have to build your own, that your life is headed in the direction of success, money, beauty and towards other values that they sell. But, they sell them to us no because their attractive but because they offer them to us after the failure of the discourse that shows us a lot of reality.
It’s incredible when the media talks about any popular movement that comes up out of any type of order in the barrios they always show disorder. When I as a director try to make some films in which I go to the substratus and enter in that order of the barrios of the regular people, I find the fabric of solidarity, of union, of values of beauty, loyalty. Some would be values with the future in mind or with the knowledge of the past in mind, but they have a great organization. So, what the director has to do is this. The director, whether documentary maker or fictionist, has to show that those social fabrics outside of the media exist, have their own logic and have been around for a very long time. In one sense, the media give us a total disorder of reality that is one not born of only ignorance but of a racist, classist vision and of a very clear political tendency to show that those orders outside of the media do not exist.
Therefore, what does a director like me do? He shows that those orders have intentions and that even the pistolocos have a philosophic sense of life, that they have a good number of thoughts that are much more profound than what the media sells, which is a series of superficialities. Those running the media sell insolidarity and show values that are very distinct than those that reality has. So, the director has to put the events in order, these first, this second. Upon reestablishing the order, one realizes that what the barrios and communities have thoughts outside of the media is enormous. In Colombia, at least, the media has an absolutely political tendency to discourage, discredit and disrespect all of this order that remains. In my films, there is always a social order that is underlying full of good sentiment and solidarity.
More
Less
Experience
Years of experience: 20. Registered at ProZ.com: Aug 2009.