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.
VIA AILooking for an interpreter?
Remoto by ProZ.com connects you with an identity-verified interpreter by video or phone in about 60 seconds — 300+ languages, on demand or booked ahead.
Try Remoto »
Miembro desde Nov '11
Idiomas de trabajo:
francés al inglés español al inglés árabe al inglés
Client-vendor relationship recorded successfully!
Christopher Smith has been added to your list of hired vendors.
francés al inglés: Speech by Kristalina Georgieva General field: Ciencias sociales Detailed field: Gobierno / Política
Texto de origen - francés Discours de Kristalina Georgieva à la conférence "Prévention et assurance des catastrophes naturelles
Le 18 octobre 2011, Kristalina Georgieva, membre de la CE chargée de la Coopération internationale, de l'Aide humanitaire et de la Réaction aux crises, a participé à la conférence "Prévention et assurance des catastrophes naturelles", où elle a fait un discours sur l'importance de la collaboration entre les assureurs contre les catastrophes naturelles et les gouvernements.
Déclarations de Kristalina Georgieva, membre de la CE chargée de la Coopération internationale, de l'Aide humanitaire et de la Réaction aux crises (en ANGLAIS) disant que la Banque mondiale a développé, en collaboration avec l'industrie des assurances, toute une série de produits innovants. C'est le cas par exemple de "Assurance indice de pluie" au Malawi, en Ethiopie, en Inde et au Kenya qui a pour but de protéger les agriculteurs contre la sécheresse. Dans les Caraïbes un mécanisme d'assurance contres les risques a été mis en place pour limiter l'impact financier des ouragans et des tremblements de terre. En regroupant les différents types de risques, les gouvernements achètent des assurances 40% moins chères que s'ils avaient négociés individuellement avec les assureurs. La réalité est que la fréquence et l'intensité des catastrophes naturelles ont augmenté ces dernières décennies. En 1975, on enregistrait 78 catastrophes naturelles, l'année dernière ce chiffre atteignait les 385. 2011 a déjà vu cinq grandes catastrophes: des inondations en Australie et en Thaïlande, le tremblement de terre de Christchurch, le tremblement de terre, le tsunami et l'accident nucléaire au Japon, enfin la famine qui touche la Corne d'Afrique. Avant 1988, on ne recense aucune catastrophe qui a nécessité une intervention financière de plus d'un milliard de dollars de la part des assureurs. Depuis lors, on compte 20 cas. En Europe, on se croit – à tord – à l'abri de ces catastrophes. Le Japon nous prouve qu'il est faux de penser de la sorte. En effet, le Japon est un des pays les plus développés au monde et est certainement le mieux préparé aux catastrophes naturelles. Or, les évènements de 2011 ont causé plus de 20 000 morts et les dommages atteignent 220 milliards d'euros. De plus entre 1999 et 2009, 80 000 citoyens européens ont perdu la vie dans des catastrophes naturelles. Ces désastres ont coûté à l'économie européenne plus de 100 milliards d'euros. Les décideurs politiques ne peuvent pas empêcher les tremblements de terre et les inondations, mais ils peuvent développer des politiques efficaces en matière de gestion de catastrophe, ce qui signifierait moins de morts et moins de dommages. Le tremblement de terre qui a frappé le Chili en 2010 a été 100 fois plus importante que celle qui a touché Haïti mais les pertes humaines au Chili a été beaucoup moins importante que celles en Haïti, 521 contre 230 000. L'explication majeure de cette différence est que le Chili était beaucoup mieux préparé aux catastrophes. Kristalina Georgieva se dit convaincue que l'industrie des assurances peut jouer un rôle important dans la gestion des catastrophes. Les décideurs politiques ont trois bonnes raisons de collaborer avec les assureurs. La première est qu'ils peuvent compter sur l'expertise des assureurs. Gérer les désastres c'est aussi gérer les risques. Ils peuvent apprendre beaucoup de leur analyse de risques. La deuxième repose sur le financement de la reconstruction après une catastrophe. La dernière raison est que l'industrie des assurances peut décourager les comportements risqués et promouvoir une prise de conscience du risque. Après cette conférence, elle espère qu'il y aura un début de collaboration entre les assureurs européens et les décideurs politiques chargés de la gestion des catastrophes. Ils devront travailler ensemble sur une série domaine. Premièrement, ils devront s'assurer que la gestion des catastrophes est intégrée dans la législation existante de l'UE régissant l'industrie des assurances. Deuxièmement, ils devront investir dans la recherche. Troisièmement, ils devront utiliser l'expertise de l'industrie des assurances pour façonner leurs développements politiques. Enfin ils devraient mettre en place des mécanismes de partage d'expériences sur les moyens les plus efficaces de s'assurer contre les catastrophes naturelles. Plusieurs approches excellentes ont déjà été développées dans les Etats membres.
Traducción - inglés Speech by Kristalina Georgieva at the "Prevention and Insurance of Natural Catastrophes" conference
18 October 2011, Kristalina Georgieva, Member of the EC in charge of International Cooperation, Humanitarian Aid and Crisis Response, took part in the "Prevention and Insurance of Natural Catastrophes" conference, where she made a speech on the importance of cooperation between insurance providers and governments.
Statement by Kristalina Georgieva, member of the EC in charge of International Cooperation, Humanitarian Aid and Crisis Response (in ENGLISH) stating that the World Bank has developed, in cooperation with the insurance industry, a whole range of innovative products. This includes, for example, "rainfall index insurance" in Malawi, Ethiopia, India and Kenya, which aims to protect farmers against drought. In the Caribbean, an insurance plan has been set up to limit the financial impact of hurricanes and earthquakes. By pooling the different types of risks, governments are able to buy insurance 40% less expensively than if they negotiated individually with insurance providers. The reality is that the frequency and intensity of natural disasters has increased dramatically over recent decades. In 1975, there were 78 recorded disasters, last year there were 385. In 2011, there have already been five large-scale natural disasters: flooding in Australia and Thailand, the Christchurch earthquake, the earthquake, tsunami and nuclear incident that hit Japan and famine in the Horn of Africa. Before 1988, there had never been a catastrophe for which an insurance provider had to pay out over one billion dollars in claims. Since then, there have been over 20 such events. Europe believes itself – mistakenly so – to be sheltered from such catastrophes. Japan has proved that it is wrong for us to think this way. In fact, Japan is one of the most advanced countries in the world and is certainly the best prepared in terms of disaster prevention. And yet, the events of 2011 caused more than 20,000 deaths and damages are estimated at 220 billion euros. Moreover, between 1999 and 2009, 80,000 European citizens lost their lives to natural catastrophes. These disasters have cost the European economy more than 100 billion euros. Policy makers are unable to prevent earthquakes and floods, but they are able to develop effective policies regarding disaster management, which would lead to fewer deaths and less damage. The earthquake that hit Chile in 2010 was 100 times stronger than Haiti's, but there were far fewer fatalities, 521 in Chile compared to 230,000 in Haiti. The main explanation for this difference is that Chile was far better prepared to cope with natural disasters. Kristalina Georgieva is convinced that the insurance industry can play an important role in disaster management. Policy makers have three good reasons to cooperate with insurance providers. The first is that they can rely on the insurance providers' expertise. Managing disasters is also about managing risk. They can learn much from their risk analysis. The second is financing reconstruction after a natural disaster. The second reason is that the insurance industry can discourage high-risk practices and promote risk awareness. She hopes that this conference will mark the beginning of cooperation between European insurance providers and policy makers responsible for disaster management. They must work together on a number of areas. First, they must assure that disaster management is integrated into existing EU legislation governing the insurance industry. Second, they must invest in research. Third, they must use insurance industry expertise to shape their development policies. Finally, they should establish means for sharing experience on the most effective ways of insuring against natural disasters. Many excellent approaches have already been developed in Member States.
español al inglés: Camarón de la Isla General field: Arte/Literatura Detailed field: Periodismo
Texto de origen - español Y como es criterio común, el cante flamenco es una aventura renovadamente humana, una música que sin perder sus características esenciales suena distinta en cada voz, incluso en cada guitarra. Tan advertida cualidad se acentúa en un estilo, la bulería, más que en otros. Esto no es una teoría más, sino algo fácil de percibir con sólo prestar la debida atención a los giros personales de cada uno de sus intérpretes. Lo que sí es una teoría muy compartida en torno a la bulería es la creencia siguiente, manifestada por muchísimos tratadistas del flamenco: la bulería es en su origen una soleá ligera, a veces ligerísima, y lo más jaleado y mímico del conjunto del arte andaluz, primordialmente desde el ángulo del baile, y el estilo más exacerbado ―valga el vocablo― en el toque de guitarra. Igualmente es teoría compartida, aunque en menos extensión, que la bulería es un estilo flamenco creado por los cantaores jerezanos.
(…)
Eco, voz, compás… El trébol mágico donde se configura la genialidad flamenca de Camarón de la Isla. Tres dones para atesorar la herencia del cante verdadero y para con ellas injertarle una nueva dimensión, un nuevo perfil en el aire. Cante destilado desde el más cierto y válido clasicismo, para trascenderlo desde su concepción personal. Cante fundado nuevamente, sin necesidad de renegar para nada de la tradición. Cante cántaro que solamente un artista muy bendecido y compuesto de rajo legítimo y lucidez artística podía aportar a la historia y vertientes del cante jondo. Cante bello y dramático como ninguno lo fue en todo el flamenco conocido. Y quejío a quejío heridor, un cante que ha tenido amplio destino entre la gente por eso ha marcado todo una época y desde los registros sonoros nos continúa enardeciendo los sentidos y levantando el vello. Nadie que sea legítimamente aficionado puede ser indiferente a su sonido y a su caudal de música humanizada.
Pero vayamos a los estilos a través de El Camarón. Los estilos con la concepción cantaora de Camarón de la Isla obtienen una intensidad sobrevoladora, gracias al énfasis y el personalísimo sometimiento de los tercios. Y ninguno se le resistía a su forma de someterlo a sus cualidades. Tuvo un poder en este aspecto de suma relevancia, consiguió infringirle su sello propio tanto a la seguidilla como a la malagueña. Hasta en los estilos más en desuso, como el polo y el romance, consigue dejar en ellos su impronta y los reivindica en cierto modo. Y es desde esta prisma de la impronta personal, desde donde hay que contemplar la aportación creativa de Camarón al cante flamenco. Recreó muchísimo sin desvirtuar las más tradicionales formas. Pero digamos que le buscaba las vueltas o las cosquillas a los estilos para hacerlos suyos, distinguidos por su interpretación y, sin embargo, fieles a las estructuras tenidas por justas y cabales. Una faena extraordinaria ésta, que supone, junto a su eco, a su voz y a su compás, el secreto de su originalidad y de su maestría infusa.
Traducción - inglés As a rule of thumb, the tale of flamenco singing is reshaped by its descendents; a music that sounds distinct in every voice, and even in every guitar, without losing its essential characteristics. One such remarkable quality is accentuated more so in one style than others: the bulería. This is not just a theory, but something easy to perceive by only paying the slightest attention to the personal touches of each one of its interpreters. What is indeed a very commonly-held theory with regards to the bulería is the continuing belief, manifested by a great number of those who write about flamenco: the bulería originates from a light soleá, at times leggerissimo, and the most championed and mimicked of all the Andalusian arts, primordially from the angle of the dance, and the most exacerbated (le mot juste) guitar style. Another theory which is just as commonly-held, although to a lesser extent, is that the bulería is a flamenco style which hails from Jerez.
(…)
Resonance, voice, rhythm: the magical trifecta where the flamenco genius of Camarón de la Isla crystallises. These three gifts were given to enshrine the legacy of authentic flamenco singing and to create a new dimension, to blow fresh life into the air. His singing is distilled from the truest and most enduringly valid classicism, in order to transcend it from his personal conception. He sings as if for the first time, without the slightest need to renounce tradition. He belts out lyrics that only a truly blessed artist who possesses genuine raw emotion and artistic lucidity could contribute to the history and different elements which make the heart and soul of flamenco. His beautiful and dramatic singing was like no other in the history of flamenco. Y quejío a quejío heridor, a song that has had much success among people, for he has left an impression upon an entire generation and ever since then, his rich range continues inflaming our senses and standing our hairs on end. No true fan could be indifferent to his sound and his wealth of humanised music.
But let’s have a look at the styles given the ‘El Camarón’ treatment. The styles re-imagined by Camarón de la Isla obtain a soaring intensity, thanks to his emphasis and his highly personal submission of the thirds. And no one could fight against his way of subjecting it to his qualities. He had a power of the upmost relevance in this respect; he managed to put his own stamp on the seguidilla as much as the malagueña. Even in the most disused styles, such as the polo and the romance, he manages to leave his mark on them and, in some way, restore them. And it is by considering his individual nature that you have to contemplate the Camarón’s creative contribution to flamenco singing. He recreated much without distorting the most traditional forms. But let’s say that he would go through periods of trial and error or would go over the styles with a fine tooth comb in order to make them his, distinguished by his interpretation and yet, was faithful to the structures gained by just means. Such an extraordinary task, which holds, together with his resonance, his voice and his rhythm, the secret of his originality and his inspired mastery.
More
Less
Formación en el ámbito de la traducción
Bachelor's degree - Aberystwyth University
Experiencia
Años de experiencia: 15 Registrado en ProZ.com: Jul 2011 Miembro desde Nov 2011
francés al inglés (BA European Languages, Aberystwyth) español al inglés (BA European Languages, Aberystwyth) árabe al inglés (Escuela de Idiomas Las Palmas)
I am a native English speaker from the London area and a freelance translator working from French and Spanish into English. Previous projects include translating information panels for a museum, blog posts on luxury goods and experiences in Paris, and contracts for film credits, as well as content relating to classic music and contemporary theatre.
I am also an experienced subtitler, which you can find more information on by clicking here.
Miembro desde Nov '11
Especialización 