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John Pinna
Parlavanti Translations, Inc.

Brooklyn, New York, Estados Unidos
Hora local: 02:14 EDT (GMT-4)

Idioma materno: inglés (Variant: US) Native in inglés
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This person has translated 5,952 words for Translators without Borders
What John Pinna is working on
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Sep 3, 2019 (posted via ProZ.com):  Finished up a very interesting medical translation project dealing with phenylketonuria and first-hand accounts from patients and observers. ...more, + 3 other entries »
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Servicios Software localization, Translation, Editing/proofreading, Subtitling, Transcription, MT post-editing, Transcreation, Website localization
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Internet, comercio-eVenta al detalle
AdministraciónAlimentos y bebidas
Cocina / GastronomíaVino / Enología / Viticultura
MúsicaPeriodismo

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Muestrario Muestras de traducción: 9
italiano a inglés: False Job Advertisements and Scams
General field: Mercadeo
Detailed field: Publicidad / Relaciones públicas
Texto de origen - italiano
Annuncio di lavoro falso o annuncio truffa

Perché esistono offerte di lavoro false?
Per fare più soldi facilmente. Ma non solo. A volte, dietro a questa attività, si nascondono operazioni fraudolenti come il furto dei dati personali di una persona o il riciclaggio di denaro.

Come riescono a convincerti?
Si tratta di una strategia di comunicazione. Gli annunci sono creati per attirare le persone che cercano lavoro o che cercano un guadagno immediato. Puntano dritto alle debolezza umana. Le persone con cui entrerai in contatto attraverso questi annunci truffa si comporteranno in modo molto gentile e saranno attenti ai tuoi problemi, anche troppo!

Come si capisce se un annuncio di lavoro è falso?
Leggi sempre molto attentamente gli annunci prima di rispondere ad un offerta. Non fidarti di quelli troppo brevi e che danno poche informazioni.

Come ti puoi difendere?
Per difenderti puoi informarti. Se stai leggendo un annuncio di lavoro dove c’è scritto il nome dell’azienda puoi cercare informazioni su quell’azienda. Se non trovi un sito ufficiale dell’azienda leggi i commenti che sono stati fatti su internet sull’ azienda o attività. Nella ricerca puoi anche inserire il nome dell’azienda + (la parola) truffa per scoprire se qualcuno ha scritto a proposito di attività non regolari dell’azienda.
Se sei una donna, non fidarti degli annunci del tipo “segretaria personale preferibile se disposta a trasferte”. Ma soprattutto, stai lontana dagli annunci dove ti viene proposto un colloquio in ore serali o in un luogo insolito, tipo a casa di chi ti fa il colloquio.
Ti potrebbe essere utile consultare anche il blog di Bob Spammit (spammit.blogspot.com) dove trovi le esperienze di truffe nel settore delle offerte di lavoro oppure degli acquisti online. Puoi leggere delle truffe che altre persone hanno subito oppure condividere un episodio di truffa che hai vissuto, in modo da aiutare altre persone.



http://www.circuitolavoro.it/28500/come-riconoscere-offerte-di-lavoro-serie
https://www.ticonsiglio.com/subito-it-lavoro-come-riconoscere-truffe/
Traducción - inglés
False Job Advertisements and Scams

Why are there false job offers out there?
To make money easily. But that's not all. Sometimes these activities disguise fraudulent operations such as the theft of someone’s personal data or money laundering.

How do they get you to fall for it?
It has to do with the method of communication. The announcements are created to attract people looking for work or immediate gain. They directly target human weakness. The people that will contact you through these scam offers will seem very kind and will be very attentive to your problems, perhaps too much!


How can you determine if a job offer is fake?
Always read the announcements very carefully before responding to any offer. Don’t trust those that are too short or provide very little information.

How can you protect yourself?
To protect yourself, you can educate yourself. If you are reading a job announcement that lists the name of the company, you can look for information about that company. If you do not find an official company website, read the comments posted online about the company or business. In your research, you can also search for the name of the company + (the word) scam to find out if someone has commented about any irregular activity regarding the business.
If you are a woman, do not trust announcements that say things like “personal secretary, preferably willing to travel.” But above all, stay far away from announcements that offer to have an interview during evening hours or in an unusual place, such as the house of the person giving the interview.
It might be helpful to consult the blog of Bob Spammit (spammit.blogspot.com) where you’ll find testimonies of scams in the sector relevant to the job offer or regarding online purchases. You can read about scams that other people have gone through or share an experience of a scam you have witnessed so that you can help other people.

http://www.circuitolavoro.it/28500/come-riconoscere-offerte-di-lavoro-serie
https://www.ticonsiglio.com/subito-it-lavoro-come-riconoscere-truffe/

español a inglés: How to Play Beethoven and Appeal to Sensuality
General field: Arte/Literatura
Detailed field: Periodismo
Texto de origen - español
Para muchos, la audacia de Yuja Wang consiste en su manera de aparecer en escena; mejor, de convertirse ella misma en una puesta en escena con sus vestidos cortísimos y ajustados. Si se tratara solamente de eso, la audacia de la pianista china sería más bien modesta. Pero la audacia de Yuja Wang es también de otro tipo.

Ella, que nunca tuvo a Beethoven en el corazón de su repertorio, decidió hace un par de años tocar la sonata Hammerklavier, ese tremendo y erizado monumento pianístico. ¿Por qué lo hizo? Ella misma lo contó en una nota que publicó The New Yorker. "Para probar que podía tocar la más difícil de todas las sonatas de Beethoven". Lo hizo, claro. Esta noche, en el Teatro Colón, en la primera de sus actuaciones en Buenos Aires invitada por el Mozarteum Argentino, hará un repertorio más afín a sus inicios: Preludio en sol menor, opus 23, Nº 5; Vocalise, opus 34, Nº 14, y Etude-Tableaux en mi bemol menor opus 39, de Sergei Rachmaninov; la Sonata Nº 3, de Chopin, y la Sonata Nº 6, de Sergei Prokofiev.

"Diría que tengo afinidad con todos los compositores que toco, pero es verdad que la música rusa fue la primera cosa que escuché cuando empecé a estudiar piano -explica Yuja-. También Chopin y música eslava en general. Chaikovski y Rachmaninov, aunque especialmente Chaikovski tenía una afinidad con la generación de mis padres, y la influencia que Chaikovski tuvo en China".

Prokofiev, su impronta maquínica, parece demandar en cambio otras cosas. "Esa dimensión maquínica es una sola de las suyas. Para mí, Prokofiev tiene cuatro elementos característicos que están en toda su música: lo maquínico, como en la Toccata; lo clásico; lo lírico, y lo narrativo. Para no hablar de su carácter sarcástico, que es maravilloso, y su mundo como de cuento de hadas, además. Prokofiev y Rachmaninov fueron grandes pianistas, pero no creo que el virtuosismo deba ser la preocupación principal. Rachmaninov es el compositor de las armonías más exuberantes y las melodías más maravillosas. Es imposible no conmoverse. Y sí, son mis compositores favoritos, junto con Chopin. La tercera sonata que voy a tocar es el ejemplo más perfecto de cómo estructurar arquitectónicamente una pieza. En sus obras cortas y en las de largo aliento, Chopin tiene todo".

Para volver al principio, Yuja Wang dijo una vez que la música era sensual y que no había razón por la cual la ropa no la acompañara. Uno no puede dejar de recordar la frase de Glenn Gould según la cual los Intermezzi de Brahms eran "sexis". "La música es sensual -confirma Yuja-. Hacer sonar bien el piano parece algo muy abstracto, pero la producción del sonido es táctil, el teclado se toca. Hay ahí algo muy sensual. Y además el propio sonido da placer cuando uno toca. Pienso que gran parte del poderío de la música se relaciona con nuestro ritmo más primario".

Como sea, la imagen de Yuja en escena coquetea con el pop, y esto es algo que ella no niega. "Personalmente, me encanta escuchar pop para relajarme y distraerme. Escucho a Rihanna, Lady Gaga y hip hop también. A veces uno necesita la concentración de la música clásica, y otras, Instagram y el pop. Creo que podemos encontrar un equilibrio entre los dos mundos y yo vivo de esa manera".


(Original Spanish text retrieved from:
Gianera, Pablo. “Cómo interpretar a Beethoven y apelar a la sensualidad.” La Nación. N.p., 8 Oct. 2018. Web. 12 March 2019. https://www.lanacion.com.ar/2179441-como-interpretar-beethoven-apelar-sensualidad)
Traducción - inglés
For many, Yuja Wang’s audacity lies in the way she appears on stage; or better yet, in the way she herself transforms in a mise-en-scene with her short, tight dresses. If that were all, the Chinese pianist’s audacity would be somewhat modest, but there’s more to it than that.

Having never had Beethoven in the core of her repertoire, she decided a couple years ago to play the Hammerklavier Sonata, that tremendous and abrasive monument to the piano. Why’d she do it? She explained in a note published in The New Yorker: “To prove that I was able to play the most difficult of all Beethoven’s sonatas.” And clearly, she could. Tonight, at the Teatro Colón, invited by Mozarteum Argentino for the first of her performances in Buenos Aires, she will perform a repertoire closer to her beginnings: Prelude in G minor, opus 23, No. 5, Vocalise, opus 34, No. 14, and Études-Tableaux in E flat minor, Opus 39, by Sergei Rachmaninoff; Sonata No. 3 by Chopin; and Sonata No. 6 by Sergei Prokofiev.

“I would say that I have an affinity for every composer I play, but Russian music was the first thing I heard when I began to study piano,” Yuja explained. “As well as Chopin and Slavic music in general. Also, Tchaikovsky and Rachmaninoff, although Tchaikovsky especially connected with my parents’ generation, and Tchaikovsky had an influence in China.”


Prokofiev on the other hand, with his rhythmic impression, seems to demand other things. “That rhythmic dimension of his music is only one defining element. For me, there are four characteristics of Prokofiev’s music: the rhythmic (as in the Toccata), the classical, the lyrical, and the narrative. Not to mention his marvelous sarcastic personality and his fairytale-like world. Prokofiev and Rachmaninoff were great pianists, but I don’t believe that virtuosity should be the main focus. Rachmaninoff wrote the most exuberant harmonies and the most marvelous melodies. It’s impossible not to be moved. And yes, they are my favorite composers, along with Chopin. The third sonata that I’m about to play is the most perfect example of how to structure a piece architecturally. In his short works, as well in his lengthier ones, Chopin has it all.”

Returning to the theme at the start, Yuja Wang said once that music is sensual and that there is no reason why attire should not accompany it. Let’s not forget Glenn Gould’s quote, that Brahms’s Intermezzos were “sexy”. “Music is sensual,” Yuja confirmed, “playing the piano well seems to be very abstract, but the sound’s production is tactile, the keyboard is touched. There is something very sensual there. Including the fact that the sound itself gives us pleasure as we play. I think a large part of music’s power has to do with our most primitive rhythms.”

Whatever the case may be, Yuja’s image on scene flirts with pop, which she does not deny. “Personally, I love listening to pop to relax and unwind. I listen to Rihanna, Lady Gaga, and hip hop too. Sometimes we need the concentration of classical music, and other times, Instagram and pop. I believe we can strike a balance between the two worlds and this is the way I live.”


(Original Spanish text retrieved from:
Gianera, Pablo. “Cómo interpretar a Beethoven y apelar a la sensualidad.” La Nación. N.p., 8 Oct. 2018. Web. 12 March 2019. https://www.lanacion.com.ar/2179441-como-interpretar-beethoven-apelar-sensualidad)
italiano a inglés: NGO: About Us
General field: Mercadeo
Detailed field: Medios / Multimedia
Texto de origen - italiano
Chi siamo

AMEMOS Italia Onlus è un’opera missionaria composta da un gruppo di persone che, in qualità di volontari, lavorano uniti per la stessa causa: dedicare una parte del loro tempo, del loro denaro e delle loro energie per aiutare le persone più bisognose e indifese del mondo, cioè i bambini.

Abbiamo iniziato la nostra missione nel 1997, nella Guinea Equatoriale (Africa). Da allora lavoriamo dando assistenza all'infanzia nei settori dell’educazione di base, con formazione etica e secondo i principi cristiani, ed aprendo centri scolastici e di assistenza alimentare e sanitaria rivolti ai bambini.

Questo è quanto perseguiamo qui a Amemos Onlus, un’organizzazione umanitaria senza fini di lucro, creata con l’obiettivo di tutelare e garantire i diritti fondamentali alla vita, quali una sana educazione e scolarizzazione, alimentazione, cure mediche adeguate, rispetto della famiglia e libertà di pensiero dei bambini, degli adolescenti e delle donne che vivono in condizioni di disagio sociale per diversi motivi, primo fra tutti la povertà.

Crediamo che ogni bambino meriti un futuro. In Italia e nel resto del mondo lavoriamo ogni giorno per dare ai bambini ciò che ognuno di loro merita: l’opportunità di nascere e crescere sani, di ricevere un’educazione e di essere protetti. Dal 1991 lottiamo per salvare la vita dei bambini e garantire loro un futuro, a ogni costo.

Attualmente operiamo in Guinea Equatoriale.


(Original Italian text retrieved from:
https://www.amemosonlus.com/chi-siamo)
Traducción - inglés
About Us

AMEMOS Italia Onlus is a missionary project conducted by a group of volunteers working together to achieve a common goal. They dedicate a part of their time, money, and energy to help the people most in need and most vulnerable in the world: children.


We began the mission in 1997 in Africa’s Equatorial Guinea. Since then we have worked to provide children with assistance in areas of basic education, in an ethical manner and in accordance with Christian principles, by opening centers that provide education, food assistance, and medical attention for children.

This is what we pursue here at Amemos Onlus, a non-profit humanitarian organization created with the goal of protecting and ensuring fundamental human rights, including wholesome education, nutrition, proper medical treatment, and respect for the family and freedom of thought for the children, adolescents, and women who live in uneasy social conditions for a variety of reasons, above all poverty.


We believe that every child deserves a future. In Italy and across the world we work every day to give children that which every one of them deserves: the opportunity to be born and grow up healthy, to receive an education, and to be protected. Since 1991 we have fought to save the lives of children and guarantee them a future, at any cost.

We currently operate in Equatorial Guinea.


(Original Italian text retrieved from:
https://www.amemosonlus.com/chi-siamo)

español a inglés: ORGANIC AGRICULTURE FOR SUSTAINABLE FARMING
General field: Otros
Detailed field: Agricultura
Texto de origen - español
RESUMEN

Este boletín analiza las tendencias recientes y el desarrollo de la agricultura orgánica en la región asiática, con enfoque especial en el caso de Taiwán. En los últimos años, la agricultura orgánica ha aumentado rápidamente en todo el mundo. La venta de alimentos orgánicos mundial se estimó en US $ 26 mil millones en 2003. Japón tiene el tercer mayor mercado de alimentos orgánicos próxima a la UE y EE. UU. En Asia, el área total bajo manejo orgánico fue sólo 0,33 por ciento de la de los seis continentes del mundo en 2001. Sin embargo, aumentó a 4 por ciento en 2004, un aumento de diez veces en un período de tres años. De acuerdo con la IFOAM (2003), la superficie bajo manejo orgánico en Asia fue el más grande de China (301.295 ha), seguido de Indonesia (40.000 ha), Sri Lanka (15.215 ha), Japón (5083 ha), Tailandia (3, 429 ha), Pakistán (2009), Taiwán (1092 ha), República de Corea (902 ha) y Malasia (131 ha). La ley norma orgánica es esencial para garantizar la calidad del producto orgánico. Recientemente, Japón revisó su regulación norma orgánica en una estricta ley legislado, en el que se añade una medida que establece sanciones para los infractores de las normas de etiquetado orgánicos. Otros países asiáticos (China, India, Israel, República de Corea, Taiwán y Tailandia) también implementan sus propios reglamentos orgánicos, pero aún no los han legislado en la ley. Malasia ha finalizado su regulación, pero aún tienen que aplicar plenamente, mientras que Indonesia y otros países asiáticos están ya sea en el proceso de elaboración de los reglamentos o ninguna acción se ha tomado en absoluto en este asunto. En Taiwán, el Consejo de Agricultura (COA) ha acreditado oficialmente tres organizaciones no gubernamentales (ONG), organizaciones de certificación de alimentos orgánicos. Hasta junio de 2003, un total de 1,092.4 hectáreas de tierra fue certificado por estas organizaciones a ser granjas orgánicas para producir diversos alimentos orgánicos (arroz, verduras, frutas, té y otros). La importación de alimentos orgánicos, principalmente de Japón y EE. UU. está aumentando en Taiwán en los últimos años. Importados y los alimentos orgánicos producidos localmente se venden en los supermercados, tiendas de alimentos orgánicos, y cadenas de tiendas de escala y la agroindustria a través de comercio electrónico.
Traducción - inglés
SUMMARY

This bulletin analyzes recent trends and the development of organic agriculture in Asia, with a special focus on Taiwan. In recent years, organic agriculture has rapidly increased throughout the world. The sale of organic foods worldwide was estimated to be USD 26 billion in 2003. Japan has the third largest market of organic foods after the European Union and the United States. In Asia, the area devoted to organic cultivation was only 0.33% of the total area of all six inhabited continents on the planet in 2001. Nevertheless, it increased to 4% in 2004, a 10-fold increase in a period of 3 years. According to the IFOAM (2003), the surface area of organic cultivation in Asia was largest in China (301,295 ha), followed by Indonesia (40,000 ha), Sri Lanka (15,215 ha), Japan (5,083 ha), Thailand (3,429 ha), Pakistan (2,009 ha), Taiwan (1,092 ha), South Korea (902 ha), and Malaysia (131 ha). Standards regulating organic foods are essential to guarantee the quality of organic products. Recently, Japan revised its regulations on organic food with strict legislation, in which a measure was added that establishes penalties for offenders of organic labeling standards. Other Asian countries (China, India, Israel, South Korea, Taiwan, and Thailand) have also implemented their own regulations on organic food but have yet to enact them into law. Malaysia has finalized its regulations, but has yet to wholly implement them, while Indonesia and other Asian countries are currently either in the process of determining regulations or have not taken any action at all on the matter. In Taiwan, the Council of Agriculture (COA) has officially recognized three non-governmental organizations (NGOs) authorized to provide organic food certification. By June 2003, these organizations had provided certification to a total of 1,092.4 hectares of land designated as organic farms producing a variety of organic foods (rice, vegetables, fruit, tea, etc.). Organic food imports, mainly from Japan and the US, have increased in Taiwan in recent years. Imports and locally grown organic food are sold in supermarkets, health food stores, large-scale retail chains, and through online sales in the agricultural industry.
italiano a inglés: Mstislav Rostropovich: a cellist’s meandering journey through 20th century music
General field: Arte/Literatura
Detailed field: Periodismo
Texto de origen - italiano
Mstislav Rostropovich, per tutti Slava, è stato sicuramente uno dei più influenti musicisti della seconda metà del Novecento. Senz’altro il più rispettato violoncellista della sua generazione, buon pianista accompagnatore della moglie, la grande soprano Galina Vishnevskaja, e direttore di buon livello, specie dei compositori russi e sovietici in particolare (le integrali delle sinfonie di Prokofiev e Shostakovich sono ammirevoli). L’etichetta discografica Warner ha deciso di dare omaggio a questo grande artista, morto dieci anni fa a 80 anni, con l’uscita di un grande e lussuoso box delle registrazioni solistiche in possesso della casa: le incisioni della casa discografica Emi, quelle Erato e una buona selezione di live sovietici usciti diversi anni fa come “The russian years”. Sono 40 cd più 3 dvd e un bellissimo libro, soprattutto fotografico, con scatti provenienti dall’archivio della famiglia dell’artista. I cd sono stati nuovamente remasterizzati per l’occasione con un buon esito soprattutto per le incisioni più “anziane”.

Il repertorio coperto dall’importante cofanetto è vasto e coronato delle interpretazioni di pezzi di compositori del Novecento: commissioni volute per lo più da Rostropovich stesso per incoraggiare l’allargamento delle composizioni per lo strumento. Quindi abbiamo da una parte i grandi classici come il concerto di Antonín Dvorák presente tre volte di cui una meravigliosamente accompagnato da Carlo Maria Giulini, incisione che è tra gli imperdibili di questo concerto cavallo di battaglia di ogni violoncellista e il concerto di Schumann con Bernstein, un liricissimo must have per chiunque adori questo splendido e doloroso pezzo. Ma molte altre sono le incisioni diventate giustamente leggendarie: il Don Quixote di Strauss con Karajan e i Berliner, versione che rivaleggia con l’altra incisa da Karajan di statuto mitologico, ovvero quella con Fournier. Dall’altra ci sono le composizioni per le quali Rostropovich andava particolarmente fiero ovvero quelle in cui ha avuto un ruolo perché coinvolse compositori più o meno grandi in composizioni scritte per lui. Splendido rimane il concerto di Penderecki che Slava incise con la direzione del compositore.


Soprattutto, però, rimane a perenne gloria del violoncellistal’aver ispirato Prokofiev e Shostakovich nell’interessarsi dello strumento. L’esito è stato innanzitutto il bellissimo concerto, anzi Sinfonia-Concerto, postremo capolavoro di Prokofiev. Una pagina di grandissima invenzione, fresca nonostante la declinante salute del compositore, nutrita di un generoso e quasi trascendentale virtuosismo strumentale che solo il giovane Rostropovich poteva dominare: in quest’opera, composta quando il bando delle autorità sovietiche sul compositore era già operante, Prokofiev ritrova la sua voce graffiante, sardonica, piena di contrasti e riesce anche ad abbandonarsi ad un lirismo doloroso che ricorda gli accenti della gloriosa Prima Sonata per violino e pianoforte. Della Sinfonia-Concerto nel box si trovano ben tre lettura diversissime per anni e livello: la migliore è quella livesovietica degli anni 60, interessantissima anche quella con Ozawa, un po’ noiosa quella con Sargent.

Anche Shostakovich aveva raccolto le sollecitazioni del geniale violoncellista, componendo per lui ben due concerti di cui il primo rimane un capolavoro assoluto, con quel movimento lento geniale, una composta elegia dolorosissima, un pianto per la società sovietica gelata nel suo fiorire, una estrema testimonianza della capacità mimetica di Shostakovich che nella condizione della sua Russia riesce a evocare l’intera dolente umanità frustata dall’ingiustizia e dal destino, grande Leitmotiv della sua ultima produzione. La lettura che ne dà Rostropovich rimane ovviamente di assoluto riferimento: nessuno meglio di lui, costretto all’esilio, poteva interpretare la lamentevole condizione dell’Urss brezneviana.

Molte altre ovviamente sono le perle di questo cofanetto che non si finirebbe di ascoltare, ma bisogna soffermarsi su dei capolavori assoluti, pietre angolari del repertorio violoncellistico, quali sono le Suites per violoncello solo di Bach che Rostropovich ha inciso ufficialmente solo alla fine della sua carriera. I pezzi costituiscono una sorta di bibbia dello strumento, qualsiasi violoncellista degno di questo nome suona abitualmente le suitescercando di misurarsi con la meravigliosa scrittura bachiana e cercando di migliorarne l’interpretazione in maniera quotidiana.

Come mai uno strumentista del calibro di Rostropovich ha aspettato così tanto prima di incidere ufficialmente, quasi a imporre il suo crisma sull’opera, solo in tarda età? Non lo sappiamo. Sicuramente l’artista ha meditato quei pezzi tutta la vita e l’interpretazione che ne è uscita è diventata presto un classico. Nel box si possono apprezzare sia in versione audio che in video con tanto di commento dello stesso Rostropovich. Ovviamente si situano nell’olimpo della discografia bachiana insieme ai classici di Casals, Fournier, Mainardi, e pur non avendo fatte proprie le norme dell’esecuzione storicamente avvertita siamo di fronte ad una interpretazione “classica”, da intendersi come tradizionale, di livello eccelso, come non potevamo non aspettarci da un artista di quella caratura.


(Original Italian text retrieved from: Malandra, Lucio. “Mstislav Rostropovich, il viaggio del violoncellista errante nella musica del Novecento.” Il Fatto Quotidiano. N.p., 24 Aug. 2017. Web. 13 March 2019. https://www.ilfattoquotidiano.it/2017/08/24/mstislav-rostropovich-il-viaggio-del-violoncellista-errante-nella-musica-del-novecento/3812032/#)

Traducción - inglés
Mstislav Rostropovich, known by many as Slava, was surely one of the most influential musicians of the second half of the 20th century. Without doubt the most respected cellist of his generation, fine piano accompanist to his wife, the great soprano Galina Vishnevskaja, and high-level conductor, especially with Russian and Soviet composers (his complete recordings of the symphonies of Prokofiev and Shostakovich are quite admirable). Warner Bros. Records has decided to pay homage to this great artist, who died ten years ago at the age of 80, with the release of a large, deluxe box set of the soloist’s recordings from the company’s collection: recordings by record labels Emi and Erato, and a fine selection of live Soviet recordings released over the years in an era known as “The Russian Years.” 40 CDs, 3 DVDs, and a beautiful book containing many photographs and pictures from the artist’s family archive. The CDs have been newly remastered for the occasion to great effect, especially regarding his oldest recordings.

Included in this sizeable box set is a vast repertoire full of interpretations of pieces by 20th century composers, often commissioned by Rostropovich himself to encourage the increase of compositions for the cello. Thus, we have great classics such as Antonin Dvorak’s Cello Concerto with three different recordings (one with a marvelous accompaniment by Carlo Maria Giulini), an indispensable recording of this exceptional concerto (a tour de force for every cellist), and Schumann’s Cello Concerto conducted by Leonard Bernstein, an incredibly lyrical must-have for anyone who loves this splendid, sorrowful piece. Also included are those that have rightly become legendary: Strauss’s Don Quixote with the Berlin Philharmonic conducted by Karajan, a version that rivals another Karajan recording that has attained mythical status, that of Fournier. But also included are works that Rostropovich was particularly proud of, those he had a direct role in bringing to life as a result of working with composers of varying degrees of fame that wrote compositions especially for him. Penderecki’s concerto, a piece that Slava recorded under the composer’s direction, remains a splendid performance.

Above all, however, the cellist shall forever be remembered for inspiring Prokofiev and Shostakovich’s interest in the instrument, resulting in Prokofiev’s beautiful concerto, or better put Symphony-Concerto, his final masterpiece. A work of great innovation, lively despite the declining health of the composer, nourished by a generous and almost transcendental virtuosity of the instrument that only the young Rostropovich could master: in this work, composed even under the Soviet authorities’ ban on the composer, Prokofiev rediscovers his scathing, sardonic voice, full of contrast, succeeding also in surrendering himself to a sorrowful lyricism that recalls aspects of his glorious Sonata No. 1 for violin and piano. The box set includes three very different renditions of the Symphony-Concerto of varying dates and musical quality: the best, the live Soviet recording of the 1960s; the also highly interesting interpretation by Ozawa; and a little dull, the version conducted by Sargent.


Shostakovich was also solicited by the brilliant cellist for compositions. He wrote at least two concertos for Rostropovich, one of which remains an absolute masterpiece with its brilliant slow movement, a heart-wrenching elegy, a lament for a Soviet society frozen in the midst of its bloom, an extreme testimony to Shostakovich’s capacity for imitation who, in the plight of his mother country Russia, is able to evoke the entirety of humanity’s pain frustrated by injustice and destiny, an important leitmotif of his last production. Rostropovich’s performance obviously remains an absolute exemplar; nobody but him, forced into exile, could better interpret the lamentable conditions of Brezhnev’s USRR.

So many other gems can be found in this box set that we could never tire of, but we must pause and reflect on those absolute masterpieces, those cornerstones of cello repertoire, the Bach suites for solo cello. Rostropovich officially recorded them at the end of his career. The pieces are sort of a Bible for the instrument; any cellist worth their salt routinely plays the Bach suites seeking to measure themselves against Bach’s wonderful writing and to improve their renditions of them daily.


Why did an instrumentalist of Rostropovich’s caliber wait so long before officially recording (indeed, almost baptizing) these pieces, only doing so in his later years? We don’t know. Surely the artist meditated on these works his entire life, and the renditions that he recorded quickly became classics. In the box set they can be enjoyed in both audio and video formats with lots of commentary from Rostropovich himself. Clearly, they belong at the top of Bach discography together with those of Casals, Fournier, Mainardi, and although they were not performed in line with historically accepted norms, we are indeed looking at a “classical” interpretation of an exceptional level, intended as traditional, such as we could only expect from an artist of Rostropovich’s magnitude.


(Original Italian text retrieved from: Malandra, Lucio. “Mstislav Rostropovich, il viaggio del violoncellista errante nella musica del Novecento.” Il Fatto Quotidiano. N.p., 24 Aug. 2017. Web. 13 March 2019. https://www.ilfattoquotidiano.it/2017/08/24/mstislav-rostropovich-il-viaggio-del-violoncellista-errante-nella-musica-del-novecento/3812032/#)
inglés a español: The Spanish Economy: Monthly Report / La economía española: informe mensual
General field: Negocios/Finanzas
Detailed field: Negocios / Comercio (general)
Texto de origen - inglés
Weathering the recession

The three hubs of growth in the world economy are now in recession. Japan is going through a long period of weakness with the end still not in sight. In the United States, the slowdown which began in 2000 has grown worse since the terrorist attacks on September 11 and has now fallen into a full recession. The German economy more and more shows its weakness and its inability to recover the role it previously held as engine of growth in the European economy. On top of this troubling horizon comes the drop in economic activity in Eastern Asia and the complicated situation in some Latin American economies, outstanding among which is the case in Argentina. In fact, we are at the most delicate moment in the cyclical stage since the beginning of the Nineties when the Gulf War cut short growth in the second half of the Eighties.



The main international economic bodies also share the view that the recession will be short-lived. Forecasts published by the Organization for Economic Cooperation and Development (OECD), the European Commission and the International Monetary Fund in November drew special attention in order to clarify doubts about 2002 and 2003. Essentially, the prognosis is the same. The year 2002 is already set until the second half-year but it is expected that 2003 will be notably dynamic. The differences in the forecasts lie more in the strength of the recovery than in questioning recovery itself.
Traducción - español
A capear la recesión

Los tres centros de crecimiento de la economía mundial ya están en recesión. Japón pasa por un largo período de debilidad sin final a la vista. En los Estados Unidos, la desaceleración que empezó en el año 2000 ha empeorado desde los ataques terroristas del 11 de septiembre y ha caído en plena recesión. La economía alemana cada vez más revela su debilidad y su incapacidad de recuperar su papel en lo que anteriormente ocupaba como el motor de crecimiento de la economía europea. Además de esta perspectiva preocupante, deparan otras dos incidencias: la caída de actividad económica en Asia de Este y la situación complicada de algunas economías latinoamericanas, entre ellas destaca Argentina como ejemplo. De hecho, pasamos por el momento más delicado de la etapa cíclica desde el inicio de los años 90 cuando el crecimiento de la segunda mitad de los años 80 fue truncado por la Guerra del Golfo.

Los principales organismos económicos internacionales también comparten la opinión de que la recesión será breve. Los pronósticos publicados en noviembre por la Organización para la Cooperación y el Desarrollo Económico (OCDE), la Comisión Europea y el Fondo Monetario Internacional hicieron especial hincapié para clarificar las dudas sobre los años 2002 y 2003. En lo fundamental, el pronóstico es el mismo. El año 2002 ya está fijo hasta la segunda mitad del año pero se espera que el año 2003 sea particularmente dinámico. Las diferencias en los pronósticos radican más en la fuerza de la recuperación que la cuestión de si la va a suceder.
inglés a italiano: TNF Mission Statement / Dichiarazione d'intento della TNF
General field: Mercadeo
Detailed field: Publicidad / Relaciones públicas
Texto de origen - inglés
IN A WORLD WHERE HUNDREDS OF BILLIONS OF DOLLARS ARE SPENT ON BOMBS, DEVELOPING THE NEXT CONSUMER GADGET, OR ON INVASIVE MARKETING CAMPAIGNS, IMAGINE WHAT THE WORLD WOULD BE LIKE IF THIS KIND OF MONEY WERE SPENT ON BUILDING STRONGER BUILDINGS, FINDING MORE SUSTAINABLE WAYS TO PRODUCE MORE FOOD, CONSERVING ECOSYSTEMS, FINDING CURES FOR DISEASES, WORKING TOWARDS WORLD PEACE AND PROSPERITY, OR SIMPLY PROVIDING THE ECONOMICALLY DISADVANTAGED WITH OPPORTUNITIES IN EDUCATION AND BUSINESS.


THIS IS PRECISELY WHAT THE TELLUS NOVA FOUNDATION AIMS TO DO, TO CONTINUE DEVELOPING A NETWORK OF BUSINESSES WHOSE PROFITS ARE DIRECTED TOWARDS HANDS-ON IMPROVEMENT OF THE HUMAN CONDITION. BY FUNDING GRANTS, MICRO-LOANS, AND BUILDING PROJECTS TO HELP THE POOR AROUND THE WORLD TO PAY SCHOOL FEES AND START BUSINESSES, BY WORKING WITHIN COMMUNITIES TO ENHANCE PHYSICAL INFRASTRUCTURE, AND BY USING PUBLIC MEDIA TO GENERATE OUR CULTURAL MOVEMENT, OUR MISSION WILL CONTINUE TO PROGRESS.


WE DON'T BELIEVE IN USING FORCE OR WAITING FOR GOVERNMENT AND BIG BUSINESS TO DO THE RIGHT THING, WHICH IS WHY WE AIM TO DO THIS OURSELVES BY GROWING OUR BUSINESS NETWORK AND DONOR BASE TO CONTINUE SUPPORTING OUR EFFORTS FINANCIALLY. COUPLED WITH OUR MOVEMENT TO CREATE A GLOBAL CULTURE OF INDIVIDUAL-IDENTITY, RATIONALISM, AND CRITICAL THINKING, INDIVIDUALS ACROSS THE WORLD CAN DEVELOP A STRONGER CONNECTION WITH THEIR INNER SELVES, AS WELL AS TO OTHERS IN THEIR ENVIRONMENT. WE ARE CONFIDENT THAT BY ENGAGING IN THESE COMBINED ACTIVITIES, OF ADDRESSING PEOPLE’S REAL-LIFE ECONOMIC, SOCIAL, AND EDUCATIONAL CONCERNS, AND ENCOURAGING PEOPLE TO CULTURALLY MOVE AWAY FROM TRIBALISM, THAT WE WILL BE ABLE TO MOVE CLOSER TO WORLD PEACE AND PROSPERITY.


THIS MAY SEEM LIKE A LOFTY GOAL, BUT WE KNOW, THAT WITH YOUR SUPPORT, THAT IT IS PERFECTLY ACHIEVABLE, AND OUR PRACTICAL, SOCIOECONOMICALLY-DRIVEN APPROACH MAKES IT A RELATIVELY SIMPLE, ALBEIT LENGTHY TASK. AS A GROUP OF MEN AND WOMEN DEDICATED TO THE IMPROVEMENT OF THE HUMAN CONDITION, WE KNOW THAT THESE ARE THE REALISTIC MEANS BY WHICH OUR WORLD CAN BE IMPROVED, AND OUR FUTURE SECURED.


HELP US GROW OUR MOVEMENT AND SPREAD THE WORD!
Traducción - italiano
IN UN MONDO IN CUI SI SPENDONO CENTINAIA DI MILIARDI DI DOLLARI PER SVILUPPARE BOMBE, PRODURRE IL PROSSIMO DISPOSITIVO ELETTRONICO DA VENDERE E INVESTIRE IN CAMPAGNE PUBBLICITARIE INVASIVE, IMMAGINA COME SAREBBE IL MONDO SE TUTTI QUESTI SOLDI SI FOSSERO SPESI PER COSTRUIRE EDIFICI PIÙ FORTI, SCOPRIRE MODI PIÙ RINNOVABILI DI PRODURRE CIBO, CONSERVARE ECOSISTEMI, SCOPRIRE CURE CONTRO LE MALATTIE, LAVORARE PER LA PACE E LA PROSPERITÀ MONDIALE O SEMPLICEMENTE FORNIRE LE OPPORTUNITÀ EDUCATIVE E COMMERCIALI ALLA GENTE ECONOMICAMENTE SVANTAGGIATA.

È PROPRIO QUESTO L’OBIETTIVO DELLA FONDAZIONE TELLUS NOVA: CONTINUARE A SVILUPPARE UNA RETE D’IMPRESE I CUI PROFITTI SIANO DIRETTI AL MIGLIORAMENTO PRATICO DELLA CONDIZIONE UMANA. FINANZIANDO SOVVENZIONI, MICROPRESTITI E PROGETTI DI COSTRUZIONE PER AIUTARE I POVERI DI TUTTO IL MONDO A PAGARE LE TASSE SCOLASTICHE E AD AVVIARE NUOVE ATTIVITÀ, LAVORANDO NELLE COMUNITÀ PER MIGLIORARE L’INFRASTRUTTURA FISICA E UTILIZZANDO I MEZZI DI COMUNICAZIONE PUBBLICI PER GENERARE IL NOSTRO MOVIMENTO CULTURALE, LA NOSTRA MISSIONE CONTINUERÀ A PROGREDIRE.

NON CREDIAMO NELL’USO DELLA FORZA NÉ NELL’ATTESA DELLE AZIONI GIUSTE DAI GOVERNI O DALLE GRANDI IMPRESE. È PER QUESTO MIRIAMO A FARE DA SOLI, FACENDO CRESCERE LA NOSTRA RETE D’IMPRESE E LA NOSTRA BASE DEI DONATORI PER CONTINUARE A SOSTENERE FINANZIARIAMENTE I NOSTRI SFORZI. AIUTATI DAL NOSTRO MOVIMENTO PER CREARE UNA CULTURA MONDIALE D’IDENTITÀ INDIVIDUALE, RAZIONALISMO, E PENSIERO CRITICO, GLI INDIVIDUALI IN TUTTO IL MONDO POSSONO SVILUPPARE UNA CONNESSIONE PIÙ FORTE CON IL LORO IO INTERIORE, E ANCHE CON LE ALTRE PERSONE NEL LORO AMBIENTE. SIAMO SICURI CHE, IMPEGNANDOCI IN QUESTE ATTIVITÀ COMBINATE, AFFRONTANDO LE PREOCCUPAZIONI ECONOMICHE, SOCIALI E SCOLASTICHE DELLA GENTE NELLA REALTÀ E INCORAGGIANDO LE PERSONE AD ALLONTANARSI DAL TRIBALISMO, POTREMO AVVICINARCI ALLA PACE E IL BENESSERE MONDIALE.

POTREBBE SEMBRARE UN’AMBIZIONE UN PO’ GRANDE, MA CON IL TUO SOSTEGNO SAPPIAMO BENE CHE È ASSOLUTAMENTE RAGGIUNGIBILE E CHE RENDE IL COMPITO RELATIVAMENTE SEMPLICE (SEBBENE CI VORRÀ UN PO’) CON IL NOSTRO APPROCCIO CONCRETO E SOCIOECONOMICO. E COME UN GRUPPO DI UOMINI E DONNE IMPEGNATI NEL MIGLIORAMENTO DELLA CONDIZIONE UMANA, NOI SAPPIAMO CHE QUESTI SONO I MEZZI REALISTICI CON CUI SI PUÒ MIGLIORARE IL NOSTRO MONDO E GARANTIRE IL NOSTRO FUTURO.

AIUTACI A FAR CRESCERE IL NOSTRO MOVIMENTO E DIFFONDERE LA PAROLA!

inglés a español: Cytomegalovirus Retinitis / La retinitis por citomegalovirus
General field: Medicina
Detailed field: Medicina (general)
Texto de origen - inglés
Methods


Patients

Patients with AIDS and newly diagnosed, active cytomegalovirus retinitis were enrolled at 18 clinical sites in the United States. Eligible patients had to be at least 18 years old, and their best corrected visual acuity had to be 20/200 or better in at least one affected eye. Exclusion criteria included opacities that would prevent visualization of the fundus, contraindications to intraocular surgery or to therapy with intravenous ganciclovir, the presence of overt signs or symptoms of extraocular cytomegalovirus infection, an absolute neutrophil count below 500 cells per cubic millimeter, a platelet count below 25,000 cells per cubic millimeter, a serum creatinine concentration above 1.5 mg per deciliter (133 µmol per liter), and a Karnofsky score below 60. Informed consent was obtained from all patients.





Base-Line Evaluation and Randomization

Before randomization, patients underwent a complete base-line examination, which included nine-field fundus photography. The randomization was stratified so as to distribute patients with unilateral and bilateral cytomegalovirus retinitis equally among the three treatment groups, and blocking was used to assign patients equally to the treatment groups over time.




Treatment and Follow-Up

Eligible patients were assigned with equal probability to receive one of three treatments: an intraocular implant (Vitrasert, Chiron Vision, Irvine, Calif.) with a release rate of 1 µg of ganciclovir (Cytovene, Roche Laboratories, Nutley, N.J.) per hour, an intraocular implant with a release rate of 2 µg of ganciclovir per hour, or intravenous ganciclovir. A 2-µg-per-hour implant was included to determine whether a release rate higher than that used in a previous study37 (1 µg per hour) would have greater efficacy. Investigators and patients were unaware of the release rate of the ganciclovir implant. The surgical procedure to insert the implant has been described elsewhere.35,36 Patients assigned to receive intravenous ganciclovir received an induction dose of 5 mg per kilogram of body weight twice daily (total daily dose, 10 mg per kilogram) for at least 14 days, followed by maintenance therapy at a dose of 5 mg per kilogram once daily.





For patients in the implant groups, ophthalmic examinations were performed on postoperative days 1, 3, 4, 5, and 7. Patients in all three groups were examined at weeks 2, 4, 6, and 8 and then monthly until there had been eight months of progression-free follow-up or until progression of cytomegalovirus retinitis, death, or another event specified as leading to the termination of follow-up occurred. At follow-up visits from week 2 on, a complete ophthalmic examination was conducted, including measurement of visual acuity with modified Bailey–Lovie charts,44 slit-lamp examination, indirect ophthalmoscopy with the eyes dilated, and bilateral, nine-field photography of the fundus.
Traducción - español
Los métodos


Los pacientes

Los pacientes con SIDA que se acababan de diagnosticar con la retinitis por citomegalovirus activa se inscribieron en 18 sitios clínicos en los Estados Unidos. Para ser elegibles, los pacientes debieron tener al menos 18 años de edad, y su mejor agudeza visual corregida tenía que ser 20/200 o mejor en al menos un ojo afectado. Los criterios de exclusión incluyeron opacidades que impidieran la visualización del fondo de ojo, contraindicaciones de la cirugía intraocular o de la terapia con ganciclovir intravenoso, la presencia de señales o síntomas manifiestos de una infección por citomegalovirus extraocular, un recuento de neutrófilos absoluto inferior a 500 células por milímetro cúbico, un recuento de plaquetas inferior a 25 mil células por milímetro cúbico, una concentración de creatinina sérica superior a 1,5 mg por decilitro (133 µmol por litro), y una puntuación de Karnofsky inferior a 60. Se obtuvo el consentimiento informado de todos los pacientes.


La evaluación de línea base y aleatorización

Antes de la aleatorización, los pacientes se sometieron a una evaluación completa de línea base, la cual incluyó fotografía de nueve campos del fondo de ojo. Se estratificó la aleatorización para distribuir uniformemente los pacientes con retinitis por citomegalovirus unilateral y bilateral entre tres grupos de tratamiento, y se utilizó un diseño de bloques para asignar de igual duración los pacientes a los tres grupos de tratamiento a lo largo del tiempo.


El tratamiento y seguimiento

Los pacientes elegibles fueron destinados a recibir de igual probabilidad uno de tres tratamientos: un implante intraocular (Vitrasert, Chiron Vision, Irvine, California) con una velocidad de liberación de 1 µg de ganciclovir cada hora (Cytovene, Roche Laboratories, Nutley, New Jersey), un implante intraocular con una velocidad de liberación de 2 µg de ganciclovir cada hora o ganciclovir intravenoso. Se incluyó un implante que liberó 2 µg cada hora para determinar si una velocidad de liberación más alta que ella utilizada en un estudio anterior37 (1 µg cada hora) habría resultado en una mayor eficacia. Los investigadores y los pacientes no sabían de la velocidad de liberación del implante de ganciclovir. Se describió en otra parte la procedimiento quirúrgico para inserir el implante.35,36 Los pacientes destinados a recibir el ganciclovir intravenoso recibieron dos veces diariamente una dosis de inducción de 5 mg por kilogramo del peso corporal (la dosis diaria total, 10 mg por kilogramo) durante al menos 14 días, seguido por una terapia de mantenimiento de una dosis una vez diariamente de 5 mg por kilogramo.

Se realizaron exámenes oftálmicos de los pacientes en los grupos de implante los días postoperatorios 1, 3, 4, 5 y 7. Se examinaron los pacientes de todos los tres grupos en las semanas 2, 4, 6 y 8 y después mensualmente hasta que se terminaran ocho meses de seguimiento sin síntomas de progresión o hasta que ocurriese la progresión de la retinitis por citomegalovirus, la muerte u otro acontecimiento especificado que resultara en la terminación de seguimiento. En las visitas de seguimiento de la segunda semana en adelante, se realizó un examen oftálmico completo, incluso la medición de la agudeza visual con tablas de Bailey-Lovie modificadas, exámenes con lámpara de hendidura, oftalmoscopia indirecta con los ojos dilatados y fotografía bilateral de nueve campos del fondo de ojo.
inglés a español: Voltage Wiring Instructions / Guía de instalación eléctrica y configuración del voltaje
General field: Técnico/Ingeniería
Detailed field: Mecánica / Ing. mecánica
Texto de origen - inglés
VOLTAGE WIRING INSTRUCTIONS
The pump is pre-wired at the factory for 230V service (Figure 1). To change the pump to a 115V application, move the brown wire to terminal B and the white wire to L2 (Figure 2).



APPLICATION
This pump is suitable for installations where the vertical distance from the pump to the water level does not exceed 25 feet. In all installations, friction losses in the suction pipe must be taken into consideration.


INSTALLATION
LOCATION: Install the pump in a clean, dry, and ventilated location that provides adequate drainage, room for servicing, and protection from freezing temperatures. Bolt the pump evenly on a good foundation, preferably concrete, to prevent the development of unnecessary stress. Locate the pump as close as possible to the water source to reduce friction losses in the suction pipe and provide for maximum capacities.


SUCTION PIPE: For best results, use only new, clean pipe or hose the same size as the pump suction tapping. If installing the pump any appreciable distance from the water source, increase the suction pipe by one size. To avoid air pockets in the line, ensure that the suction pipe slopes upward from the water source to the pump.
In cases where the pump has to be re-primed often and heavy water flow is not required, use a 90° or 45° elbow on the suction line. This enables the pump to prime sooner and prevents kinking of the hose.
To ensure easier priming, install a check valve.
In cases where heavy water flow is required over a prolonged period, install the suction line almost horizontally to the pump.
Use non-toxic thread compound on all pipe joints and tighten all connections thoroughly.
Connect a strainer to the bottom of the suction pipe and ensure that it will be well-submerged at all times.







WARNING - RISK OF ELECTRICAL SHOCK
Wiring: Ensure that the voltage and frequency of the power supply match that stamped on the motor nameplate. If in doubt, contact your power company.



WARNING - ELECTRICAL PRECAUTIONS
All wiring, electrical connections, and system grounding must comply with the National Electrical Code (NEC) and with any local codes and ordinances. Employ a licensed electrician.

Determine incoming voltage to motor. Where possible, use 230V.
Connect wiring to terminal board located inside motor end cover. Be sure voltage connections agree with wiring diagram on motor nameplate.




WARNING - RISK OF ELECTRICAL SHOCK
Grounding the motor: Wiring to this pump must be installed and maintained in accordance with the National Electrical Code or your local electric code. If more information is needed, call a local licensed electrician or your power company.
Make a permanent ground connection to the unit using a conductor of appropriate size from a metal underground water pipe or a grounded lead in the service panel. Do not ground to a gas supply line. Do not connect to the electric power supply until the unit is permanently grounded. Connect the ground wire to the approved ground and then connect to the terminal provided.
Traducción - español
GUÍA DE INSTALACIÓN ELÉCTRICA Y CONFIGURACIÓN DEL VOLTAJE
Esta bomba viene precableada de la fábrica para servicio de 230 V (Figura 1). Para ajustar el voltaje a 115 V, coloque el cable marrón en el terminal B y el cable blanco en L2 (Figura 2).


APLICACIÓN
La bomba viene adecuada para instalaciones en que la distancia vertical desde la bomba al nivel del agua no exceda 7,62 m (25 pies). En todas las instalaciones, se debe tener en cuenta las pérdidas de carga por fricción en el tubo de aspiración.

INSTALACIÓN
UBICACIÓN: instale la bomba en una ubicación limpia, seca y ventilada que tenga drenaje adecuado, espacio para mantenimiento ordinario y protección de temperaturas de congelación. Sujete la bomba con pernos de manera uniforme en unos cimientos fiables, preferiblemente de hormigón, para prevenir el desarrollo de estrés innecesario. Coloque la bomba lo más cerca posible a la fuente de agua para reducir las pérdidas de carga por fricción en el tubo de aspiración y para permitir la máxima capacidad.

TUBO DE ASPIRACIÓN: para obtener los mejores resultados, solo utilice tubo o manguera nuevo y limpio y del mismo tamaño que las tomas de aspiración de la bomba. Si se instala la bomba a una distancia considerable de la fuente de agua, aumente el tubo de aspiración al siguiente tamaño. Para evitar la ocurrencia de burbujas de aire en la línea, asegúrese de que el tubo de aspiración se incline hacia arriba desde la fuente de agua a la bomba.
En los casos en que frecuentemente se tenga que volver a cebar la bomba y que no sea necesario un flujo de agua de gran cantidad, utilice un tubo acodado de 90 o 45 grados en la línea de aspiración. Esto permite que la bomba se cebe más rápido y también evita que la manguera se doble.
Para asegurarse de que la bomba se cebe más fácilmente, instale una válvula de retención.
En los casos en que se requiera un flujo de agua de gran cantidad durante un periodo prolongado, instale la línea de aspiración casi horizontalmente a la bomba.
Utilice un compuesto de hilos atóxico en todos los acoplamientos de tubos y apriete completamente todas las conexiones.
Conecte un colador al fondo del tubo de aspiración y asegúrese de que siempre esté bien sumergido.

AVISO – RIESGO DE DESCARGA ELÉCTRICA
El cableado: asegúrese de que el voltaje y la frecuencia de la fuente de energía correspondan a los que se han imprimido en la placa de información del motor. Si tiene dudas, póngase en contacto con su proveedor de energía.

AVISO – PRECAUCIONES EN LAS INTALACIONES ELÉCTRICAS
Todo el cableado, las conexiones eléctricas y el sistema de puesta a tierra deben cumplir las normas del Código Eléctrico Nacional de EE.UU. (NEC) y con todos los códigos locales y reglamentos. Contrate a un electricista autorizado.
Determine el voltaje entrante al motor. Cuando sea posible, utilice el de 230 V.
Conecte el cableado al tablero de bornes que se ubica dentro de la tapa de la extremidad del motor. Asegúrese de que las conexiones de voltaje se pongan de acuerdo con el diagrama de cableado ubicado en la placa de información del motor.

AVISO – RIESGO DE DESCARGA ELÉCTRICA
Conectar el motor a tierra: se debe instalar y mantener el cableado de esta bomba de acuerdo con el Código Eléctrico Nacional de EE.UU. (NEC) o su código eléctrico local. Si se necesita más información, llame a un electricista autorizado o su proveedor de energía.
Haga una conexión a tierra permanente a la unidad utilizando un conductor de tamaño adecuado desde un tubo metálico de agua subterráneo o un tubo de plomo puesto a tierra en el panel de servicio. No lo conecte a tierra a una línea de distribución de gas. No lo conecte a la fuente de energía eléctrica hasta que la unidad esté permanentemente puesta a tierra. Conecte el cable a tierra a la tierra aprobada y proceda entonces a conectarlo al terminal provisto.

Formación en el ámbito de la traducción Other - Adelphi University
Experiencia Años de experiencia: 4 Registrado en ProZ.com: Nov 2018 Miembro desde Dec 2018
Credenciales italiano a inglés (Adelphi University)
español a inglés (Adelphi University)
Miembro de ATA, Translators Without Borders, Women in Localization, NYCT
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Traduzco de italiano a inglés y de español a inglés. Me especializo en el campo de la medicina.


He traducido varios documentos, incluyendo (pero no limitado a):

  • Historias clínicas
  • Consentimiento informado
  • Información sobre los medicamentos
  • Cartas de alta del hospital
  • Ensayos clínicos
  • Entrevistas con pacientes/observadores
  • Informes de SAE (efectos secundarios graves)
  • Informes de diagnóstico
  • Traducción inversa

...en varias disciplinas, incluyendo (pero no limitado a):

  • Cardiología 
  • Odontología 
  • Dermatología
  • Endocrinología 
  • ENT 
  • Gastroenterología
  • Hematología 
  • Inmunología
  • Medicina interna 
  • Nefrología
  • Neurología 
  • Oncología 
  • Oftalmología 
  • Optometría 
  • Ortopedia
  • Pediatría 
  • Farmacología
  • Pulmonología 
  • Reumatología 
  • Toxicología 
  • Urología
Este miembro obtuvo puntos KudoZ al ayudar a otros traductores a traducir términos de nivel PRO. Haga clic en total(es) de puntos para ver los términos traducidos.

Total de ptos. obtenidos: 16
(Todos de nivel PRO)


Idiomas con más puntos (PRO)
italiano a inglés12
español a inglés4
Campos generales con más puntos (PRO)
Medicina8
Técnico/Ingeniería8
Campos específicos con más puntos (PRO)
Medicina (general)4
Arquitectura4
Medicina: Farmacia4
Varios4

Ver todos los puntos obtenidos >

This user has reported completing projects in the following job categories, language pairs, and fields.

Project History Summary
Total projects9
With client feedback0
Corroborated0
0 positive (0 entries)
positive0
neutral0
negative0

Job type
Translation9
Language pairs
italiano a inglés7
español a inglés2
Specialty fields
Org./Desarr./Coop. Internacional5
Ciencias sociales, sociología, ética, etc.2
Publicidad / Relaciones públicas2
Gobierno / Política1
Automóviles / Camiones1
Construcción / Ingeniería civil1
Certificados, diplomas, títulos, CV1
Manufactura1
Energía / Producción energética1
Other fields
Palabras clave: Translate, Translations, Translator, English, Spanish, Italian, Economics, Financial, Journalism, Articles, Informational, Brochures, Advertising, Government, Politics, Travel, Hospitality, Tourism, Music, Critique, Review, Arts, Beer, Beverage, Food, Restaurant, Gastronomy, Marketing, Online, Web, Digital, Social Media, Blog, Documents, Analysis traducir, traducción, traducciones, español, inglés, finanzas, documentos, viaje, viajes, económico, cinema, media, arte, música, texto, libros, periodismo, artículos, información, folletos, publicidad, gobierno, política, turismo, música, crítica, reseñas, arte, cerveza, bebidas, alimentos, restaurantes, gastronomía, en línea, documentos, análisis tradurre, traduzioni, traduzione, traduttore, inglese, spagnolo, italiano, economia, finanza, giornalismo, articoli, informazione, opuscoli, pubblicità, governo, politica, viaggi, ospitalità, turismo, musica, critica, analisi, birra, bevande, ristoranti, gastronomia, documenti


Última actualización del perfil
Mar 26



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