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English to Dutch - Standard rate: 0.16 EUR per word / 50 EUR per hour Dutch to English - Standard rate: 0.16 EUR per word / 50 EUR per hour Italian to Dutch - Standard rate: 0.16 EUR per word / 50 EUR per hour Dutch to Italian - Standard rate: 0.16 EUR per word / 50 EUR per hour Italian to English - Standard rate: 0.16 EUR per word / 50 EUR per hour
Source text - Dutch In april 2003 heeft u een zeer gewaardeerde bijdrage geleverd aan het congres Urbs, concetti e realtà dello spazio pubblico, georganiseerde door het [xxx]. Met dit congres werd het in 2004 gevierde eeuwfeest van het Instituut ingeluid. Het was onze bedoeling bij de viering van dit eeuwfeest een feestbundel te presenteren met de bijdragen aan het congres Urbs. Met het oog daarop hebben wij de sprekers destijds gevraagd hun bijdragen op korte termijn in geschreven vorm bij ons in te leveren. Wij zijn u er zeer erkentelijk voor dat u aan dat verzoek gevolg heeft gegeven. Helaas hebben echter lang niet allen die tijdens het congres een lezing hebben gehouden, de strakke deadline weten te halen. Daardoor beschikten wij op het moment waarop de feestbundel in productie moest gaan, wilde deze tijdens de viering van het eeuwfeest in oktober 2004 kunnen worden gepresenteerd, niet over zoveel bijdragen dat een representatieve bundel kon worden samengesteld. Wij hebben daardoor toen moeten besluiten de publicatie van de congresbundel uit te stellen.
Translation - Italian In aprile 2003 Lei ha dato un contributo molto apprezzato al congresso Urbs, concetti e realtà dello spazio pubblico, organizzato dall’ [xxx]. Questo congresso fu il primo evento organizzato in occasione del Centenario dell’Istituto celebrato nell’anno 2004. Il nostro intento era quello di presentare una raccolta degli atti del congresso Urbs in occasione del Centenario. Per questo avevamo chiesto allora ai relatori di inviarci i loro contributi in forma scritta a breve termine. Le siamo molto grati d’aver dato ascolto a questa nostra richiesta. Purtroppo però molti dei relatori presenti al congresso non sono riusciti a rispettare la rigida data di scadenza. Di conseguenza, al momento previsto per andare in stampa, che ci avrebbe permesso di presentare la raccolta durante le celebrazioni del Centenario nel 2004, non avevamo ancora ricevuto un numero sufficiente di contributi da poter fare una raccolta rappresentativa. Per questo siamo stati costretti a rimandare la pubblicazione della raccolta degli atti del congresso.
Dutch to English: PHD Thesis on Land rights Detailed field: International Org/Dev/Coop
Source text - Dutch Sinds het ontstaan van het Proyecto Global (1987) hebben de verschillende opeenvolgende cabildos met betrekking tot de institutionele ontwikkeling van de (lokale) economie een beleidslijn gevolgd die gericht was op de verwerkelijking van het ‘ideaal van de communautaire resguardo-gemeenschap’ (Antonil 1978: 268). Beïnvloed (geïnspireerd) door de landhervormingsbeweging van de jaren 70, zette de regionale organisatie (CRIC) de Nasa (Páez) – en andere inheemse gemeenschappen – aan tot een voorzichtige toe-eigening van cooperativistische vormen van organisatie (cooperativist forms of organization), die werden gehermodelleerd op basis van bestaande inheemse instituties als het collectieve werkfeest (minga, cues-nmi), reciproque arbeidsuitwisseling (nmi-cambio) en voedselruilhandel (barter trade) – instituties waarbij oorspronkelijk de familie centraal stond (traditionally revolved around the nuclear family). Zo ontstond een model van economische organisatie waarbinnen werd getracht om marktgerichte activiteiten, i.e. de productie en vermarkting van marktgewassen (cash crops) en verwerkte producten (processed products), (zoveel mogelijk) te laten verlopen via associatieve instituties als de community enterprise (EC), de micro-enterprise (project) en de community shop, terwijl zelfvoorzieningsactiviteiten, i.e. de productie en uitwisseling van voedselgewassen, werden beschouwd als het productieve domein van (een zaak voor) individuele families (CRIC 1997; Rodríguez et al. 2005: 29 ff.). Dit model is ook in recentere jaren in grote lijnen gehandhaafd, ook na het Inheemse Congres van Jambaló in 2002, dat (ondermeer) tot doel had enkele gebreken (‘vacíos’) in de organisatie van de inheemse gemeenschappen aan de kaak te stellen.
Translation - English Since the creation of the Proyecto Global (1987) the various successive cabildos have followed a policy line concerning the institutional development of the (local) economy that aimed to realize the ‘ideal of the communitarian resguardo-community’ (Antonil 1978: 268). Influenced (inspired) by the land reform movement of the 1970s the regional organization (CRIC) urged the Nasa (Páez) – and other indigenous communities – to a careful appropriation of cooperativist forms of organization, that were remodeled on the basis of existing indigenous institutions such as the collective labor party (minga, cues-nmi), reciprocal labor exchange (nmi-cambio) and barter trade – institutions traditionally revolved around the nuclear family. Thus a model of economic organization took shape which sought to conduct market-oriented activities, i.e. the production and sale of cash crops and processed products, (as much as possible) through associative institutions such as community enterprises (ECs), microenterprises (projects) and community shops, while self-sufficiency activities, i.e. the production and exchange of food crops, were considered the productive domain of (business of) individual families (CRIC 1997; Rodríguez et al. 2005: 29 ff.). In more recent years this model has been generally kept intact, even after the 2002 Indigenous Congress in Jambaló, organized to denounce (among other things) a number of deficiencies (‘vacíos’) in the organization of the indigenous communities.
Italian to Dutch: Instructions (floor tiles) Detailed field: Materials (Plastics, Ceramics, etc.)
Source text - Italian XXX Clip Tile® può essere posato da chiunque?
Per installare XXX Clip Tile® è sufficiente una minima attrezzatura (martello, cuneo, taglierina, sigillante XXX Clip Tile®) ed un minimo di manualità. In ogni caso, i piastrellisti possono installare correttamente XXX Clip Tile® a costi di circa 1/3 di quanto normalmente richiesto per la posa classica a colla.
Quali sono i tempi di montaggio?
XXX Clip Tile® riduce i tempi di installazione di 3-4 volte rispetto al classico montaggio a colla. Inoltre, essendo subito calpestabile, permette di evitare il trasloco ante montaggio, dal momento che è sufficiente spostare i mobili da un lato della stanza per poi riposizionarli non appena metà della stanza è rivestita.
É possibile sostituire dei pezzi nel pavimento già installato?
Assolutamente si. Si può procedere sia partendo dall’angolo più prossimo e smontare i pezzi sino a quello da sostituire, sia eliminando il pezzo in oggetto per poi sostituirlo previo taglio di due file di agganci ad incastro.
Le fughe preinstallate sono durevoli?
Le fughe in gomma TPE, permettono non solo la facile pulizia con acqua e normali detergenti, ma anche il mantenimento del colore originale a differenza dei giunti cementizi.
Translation - Dutch Kan XXX Clip Tile® door iedereen geplaatst worden?
Voor het plaatsen van XXX Clip Tile® is weinig gereedschap (hamer, wig, snijmachine, XXX Clip Tile® sealant) en een minimum aan handigheid nodig. Eventueel kunt u XXX Clip Tile® laten plaatsen door tegelleggers tegen ongeveer een derde van de kosten van het plaatsen van een traditionele gelijmde tegelvloer.
Wat is de montagetijd?
XXX Clip Tile® wordt 3 tot 4 keer zo snel geplaatst vergeleken met de plaatsing van een standaard vloer op basis van lijm. En omdat de vloer meteen beloopbaar is, hoeft de kamer niet leeggemaakt te worden voor de montage. De meubels kunnen eenvoudigweg aan de kant geschoven worden en weer teruggeplaatst worden als één helft van de kamer betegeld is.
Kunnen gelegde tegels ook vervangen worden?
Dat is mogelijk. Begin de tegels vanaf de dichtstbijzijnde hoek los te halen tot aan de te vervangen tegel. Of verwijder de betreffende tegel en vervang de tegel, na eerst twee rijen klemhaakjes weggesneden te hebben.
Zijn de meegeleverde voegen duurzaam?
De voegen zijn gemaakt van thermoplastisch rubber (TPE) waardoor de vloer eenvoudig te reinigen is met water en normale schoonmaakmiddelen. Bovendien blijft de originele kleur bewaard. Dit in tegenstelling tot cementvoegen
Italian to English: Academic lecture Detailed field: History
Source text - Italian I Farnese e le immagini di Alessandro, duca e capitano
Educato alla corte spagnola, combattente a Lepanto, governatore generale e capitano dell’esercito di Filippo II nei Paesi Bassi, gonfaloniere della chiesa, duca di Parma e Piacenza a partire dal 1586, Alessandro Farnese moriva ad Arras nel dicembre del 1592 con una fama ormai consolidata di valoroso capitano e geniale stratega.
Le imprese del capitano rappresentavano per la famiglia un credito da riscuotere ed una garanzia delle virtù militari del nuovo duca Ranuccio, elementi entrambi indispensabili per rafforzare la propria posizione di servitori del sovrano. E tuttavia non fu facile per i Farnese gestire la memoria di Alessandro, dal momento che alla corte spagnola era cresciuta la diffidenza nei suoi confronti, al punto che prima della sua morte era già stata predisposta la sua sostituzione alla carica di governatore.
Questo intervento si concentra sull’esame di alcune testimonianze iconografiche destinate a consacrare le imprese di Alessandro per analizzare i moduli rappresentativi cui si faceva ricorso per celebrare la figura del capitano e, al tempo stesso, ponendo attenzione al contesto storico e politico in cui presero forma, per cogliere nelle immagini del Farnese gli elementi di un discorso politico attraverso il quale si esprimevano le ambizioni di un casato ed il ruolo che si attribuiva nell’ordinamento generale dei poteri.
Translation - English The Farneses and the images of Alessandro, duke and captain
Educated at the Spanish court, soldier in Lepanto, general governor and captain of Philip II’s army in the Netherlands, church gonfalonier, duke of Parma and Piacenza from 1586, Alessandro Farnese died in Arras in December 1592 with a well-consolidated reputation as a brave captain and ingenious strategist.
The captain’s exploits represented a token of credit for the family and a guarantee for the military virtues of the new duke Ranuccio, two elements that were both indispensable for strengthening their own position as servants of the sovereign. Yet, it was not easy for the Farneses to secure the memory of Alessandro, from the moment the Spanish court had started to look at him with increasing distrust, to the point where, before his death, his substitution as governor had already been predisposed.
This intervention focuses on the study of a number of iconographic testimonies, aimed at consecrating Alessandro’s exploits, to analyse the representative modules used to celebrate the captain’s figure while highlighting the historical and political context in which they took shape, in order to capture in the images of Alessandro Farnese the elements of a political discourse that was used to convey the ambitions of a family and the role attributed in the general order of powers.
English to Dutch: Code of Conduct Detailed field: Human Resources
Source text - English VI Computer, E-mail and Internet
The computers and the e-mail system that employees are provided with are the property of XXX and have been provided for use in conducting Company business. All communications and information transmitted by, received from created or stored in the computer system are company records and property of XXX. XXX has the right, but not the duty, for any reason and without the permission of the employee, to monitor any and all aspects of the computer system, including reviewing and deleting documents stored on the system. Employees should not have an expectation of privacy in this respect. XXX prohibits using the Company’s computer system to send or receive messages or files that are illegal, sexual explicit, abusive, offensive or profane.
VII Company Property, Information and Facilities
Employees are responsible for the proper use of XXX’s resources and property as well as its confidential information. Incidental private use of a Company telephone, computer or other equipment is permitted. Please note that you have no right of privacy on any data on Company computers or other equipment.
Employees engaging in or attempting theft of any property of XXX, including documents, equipment, intellectual property, personal property of other employees, cash or any other items of value, will be subject to immediate discharge and possible criminal proceedings.
It is XXX’s policy to fully comply with license agreements that govern the use of software. It is therefore not allowed to reproduce or install software without proper authorization.
Translation - Dutch VI Computers, E-mail en Internet
Het computer- en e-mailsysteem dat aan de werknemers ter beschikking wordt gesteld is eigendom van XXX en is bestemd voor werkdoeleinden. Alle communicaties en informatie die wordt verzonden, ontvangen, gecreëerd of opgeslagen in het computersysteem zijn bedrijfsbestanden en eigendom van XXX. XXX heeft het recht, maar niet de verplichting, om voor wat voor een reden dan ook en zonder toestemming van de werknemer, willekeurig welke en alle aspecten van het computer systeem te monitoren, inclusief het reviewen en wissen van documenten die in het systeem staan opgeslagen. Werknemers kunnen hierbij geen aanspraak maken op privacy. XXX verbiedt het gebruik van het computersysteem van het bedrijf voor het verzenden of ontvangen van berichten of bestanden die illegaal, seksueel expliciet, beledigend, aanstootgevend of profaan zijn.
VII Bedrijfseigendom, Informatie en Faciliteiten
De werknemers zijn verantwoordelijk voor een correct gebruik van de faciliteiten, eigendommen en vertrouwelijke informatie van XXX. Het incidentele gebruik van de telefoon, computer of andere kantoormachines voor privé-doeleinden wordt toegestaan. Let erop dat u geen recht heeft op privacy op gegevens die in de computers van het bedrijf staan of in andere kantoormachines.
Werknemers die eigendommen van XXX (proberen te) stelen, inclusief documenten, kantoormachines, intellectuele eigendommen, persoonlijke eigendommen van andere werknemers, cash of andere waardevolle eigendommen, worden op staande voet ontslagen en mogelijk vervolgd.
Het is XXXs beleid om officiële licenties aan te schaffen voor het gebruik van software. Het is daarom niet toegestaan om zonder toestemming software te kopiëren of te installeren.
Italian to English: Online Film Journal Detailed field: Cinema, Film, TV, Drama
Source text - Italian Nei panorami futuribili del cinema contemporaneo il progresso tecnologico costituisce un fattore condizionante centrale; la causa dei mali dell’umanità è spesso connessa al ruolo di preminenza che i dispositivi artificiali e i sistemi di gestione sofisticati occupano nell’organizzazione della vita collettiva. Di norma la presenza delle macchine viene vista in questo genere di film come elemento imposto e preordinato: la loro azione e la loro stessa esistenza sembrano prescindere dalla volontà del mondo che le subisce e che tuttavia ne ha determinato la supremazia. Paradossalmente lo sviluppo scientifico-tecnologico a cui viene comunemente attribuito un valore positivo, e a cui tende l’umanità dell’avvenire, assume le sembianze di una condizione sconveniente e intollerabile, in grado di generare un senso di profonda frustrazione interiore. Il rapporto del singolo con il sistema d’appartenenza si risolve nella maggioranza dei casi in uno scontro aperto, in cui l’uomo è obbligato a riconsiderare gli effetti dell’iperfunzionalità tecnologica e, al contempo, a ridefinire se stesso. Film come Minority Report (Steven Spielberg, 2002), Paycheck (John Woo, 2003), A.I. Intelligenza artificiale (Steven Spielberg, 2001) sviluppano il tema della crisi d’identità di fronte al condizionamento smisurato cui è sottoposto l’uomo o, più in generale, l’umanità nella sua accezione più ampia.
Translation - English Future settings in contemporary cinema rely heavily on technological progress which plays a dominating role in it; the cause of all evils of humanity is often put in connection with the important role artificial elements and sophisticated IT-systems play in the organisation of our collective life.
In general the presence of machines is considered, at least in this film genre, as a preordinated and imposed element: their actions and their mere existence seem to be defaulted by the will of the world, which is bearing the grunt, but which has also helped to create and implement its supremacy. Paradoxically, scientific and technological progress, generally perceived as something positive, something pursued by humanity, is being presented as an intolerable and inconvenient position, as something that can generate a sense of profound interior frustration. In most stories the relationship between the individual and the system results in a full-on clash, in which man is forced to reconsider the effects of technological hyper functionality and, also, to redefine himself. Films such as Minority Report (Steven Spielberg, 2002), Paycheck (John Woo, 2003) A.I. Artificial Intelligence (Steven Spielberg, 2001) all use the identity crisis theme in relation to the pervasive conditioning to which man or rather, humanity as a whole, is subjected.
Dutch to Italian: Descrizione progetto d'arte
Source text - Dutch Viaggio Meridionale, een voettocht naar Rome
De reis als beeldhouwwerk
Evenals bij de ontwikkeling van mijn beelden en landschapsprojecten is er allereerst een ongearticuleerd verlangen, een onberedeneerde impuls, die zich vastzet in de geest.
Dat voor het geestesoog zwevende, woordenloze beeld is -mits het zich definitief genesteld heeft in m'n hoofd¬ voldoende aanleiding om op een bepaald moment over te gaan tot materialisering, tot uitvoering. Er is dus niet eerst sprake van een tekstuele verantwoording vooraf, die doorslaggevend is voor het al-of-niet tot uitvoering brengen van het idee. Het verlangen volstaat, en dat verlangen heeft altijd een duidelijk fysieke kant: het letterlijk tastbaar maken van een idee.
In opdrachtsituaties is er meestal het tussenstation van het schetsontwerp. Bij de presentatie van zo'n schetsont¬werp vind ik het wèl noodzakelijk de opdrachtgever in¬zicht te verschaffen omtrent mijn motieven. Dat betekent dat ik in dat geval achteraf probeer mijn motieven te reconstrueren en te verwoorden. Een voor mijn werk niet¬noodzakelijke, maar wel plezierige vorm van zelfonderzoek.
Translation - Italian Viaggio Meridionale, un viaggio a piedi verso Roma
Il viaggio come scultura
Così come nello sviluppo delle mie sculture e progetti paesaggistici vi è in primo luogo un desiderio inarticolato, un impulso irrazionale, che si fissa nella mente.
Quell’immagine muta e sospesa nella mente fornisce – purché depositatasi definitivamente nella mia testa – lo spunto per procedere, ad un certo punto, alla sua materializzazione ed esecuzione. Quindi non vi è prima una giustificazione testuale premeditata che determina se l’idea verrà realizzata o meno. Basta il desiderio, e quel desiderio ha sempre un forte elemento fisico: rendere un’idea letteralmente tangibile.
Opere su commissione comportano di solito una fase intermedia che è lo schizzo. Nel presentare uno schizzo ci tengo invece ad illustrare i miei motivi al committente. Ciò significa che in quel caso cerco di ricostruire ed esporre i miei motivi a posteriori. Per il mio lavoro è una forma d’autoricerca piacevole, sebbene non essenziale.
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Translation education
Master's degree - University Utrecht
Experience
Years of experience: 26. Registered at ProZ.com: Jan 2003. Became a member: Mar 2003.
- Web editor at Nuffic since August 2009
- Court-certified translator (Italian-Dutch) since November 1997
- Legal documents such as contracts, court papers articles of association etc. (Only into Dutch)
- International Development publications (NGOs)
- Film reviews
- Press releases and reviews of contemporary art exhibitions
- Manuals
- Company and Product information and presentations
- Journalism
- Comic books
A selection of my professional experience:
- I have worked as Trade Analyst (Technical Dept.) at the Italian Trade Commission in Amsterdam
- I have worked as coordinator and interpreter at a number of international trade shows in Amsterdam: leisure marine industry show METS , international cleaning and maintenance industry show Interclean
- Between 2002-2005 I have worked as central coordinator and inhouse translator for Italy Online , a special service by Italy's second-largest news agency AGI on behalf of the Italian Prime Minister's Office
- I was the central coordinator of the cultural activities organised on the occasion of the first Centenary of the Royal Dutch Institute KNIR in Rome. This also entailed translation and interpreting work (i.e. correspondence, opening speeches , English text panels Nell'occhio di Escher exhibition in the Capitoline Museums in Rome and WonderHolland contemporary art exhibition in Trajan's Markets
- English version of Gazzetta dello Sport website
- English version of independent film journal Cinemascope
- I translate press releases for a number of art galleries - Extensive and varied 20-year working experience (see resume below)
- I have lived and worked in the UK for 3 years
- I have lived and worked in Italy for a total period of more than 5 years
- Native Dutch speaker
- Near native in Italian and English (Cambridge Certificate of Proficiency in English, Grade: A)
Starting rate (for short translations): 40 euros
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Member since Mar '03
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