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English to Hebrew: From a Marketing Brochure General field: Marketing Detailed field: IT (Information Technology)
Source text - English Finding an edge for your business is far from easy. Progress is often of the one-small-step variety, rather than the giant leap that companies need to put some distance between themselves and the competition. Itโs enough to make you wonderโis settling for less becoming the new normal?
Most companies have extraordinarily complex technology landscapes. Built over time to accommodate a wide range of needs (many of which have changed), organizational systems too often sit in silos, unable to talk to each other. The result is pockets of information, unnecessary rework, preventable errors, and, ultimately, severe limitations on the value delivered from your technology investments.
***
We have come to take for granted the technology in our personal lives. Itโs fun to use, intuitive, even life-changing. Why canโt these same principles apply to business software? At XXX, we believe they can and should.
With XXX, you get business software that is beautiful, familiar, easy to use, and in line with employee expectationsโan increasingly important component for attracting and retaining talent. Designed by top designers, our consumer- driven user interface gives you a seamless experience across all of your systems. Youโll reduce training time, increase productivity, and have employees who log in and say: โAt last.โ
English to Hebrew: Logistic Software General field: Tech/Engineering Detailed field: Computers: Software
Source text - English he:
'':
reject_path_or_user_not_found_po:
Confirmation_email_resent: Confirmation email resent
accept: Accept
account_locked: Company has been locked
account_out_of_order: Billing details are out of date. Please %{link} to update them.
account_unlocked: Company has been unlocked
activerecord:
attributes:
department:
name: Name
purchase_order_item:
budget: Budget
description: Description
quantity: Qty
total: Total
unit_price: Unit Price
add_another: Add another?
add_some_emails: Please add some some emails
add_suppliers: " Add Supplier"
additionally_they_cannot: Additionally they cannot
address: Address
af: Afrikaans
annual: Annual
approval_amount_acceeded: the approval amount acceed your approval limit
approval_limit: Approval limit
approved: Approved
approver: Approver
archive: Purchase order archived.
archive_department: Archive Department
archive_supplier: Archive supplier
archived: Archived
archived_budget_help: Archived Budget Help
attachment_deleted: Attachment deleted
b_import_guide: "Only Excel (Xls) and Comma Separated Variable (CSV) file types can be imported. \n\nColumns with the following expected headings will be uploaded:\n\nname, cost_code, cost_type and amount (An Approver column can be added if required.)\n\nTo assist, a ready made template will be downloaded on you device when you click on the Sample Import Template link.\n\nTo upload the file, click the โChoose Fileโ button and select the file that you prepared. Follow this by clicking on the โUploadโ button.\n"
billing: Billing
budget: Budget
budget_archived: Budget Archived
budget_created: Budget Created
budget_de_archived: Budget De-Archived
budget_deleted: Budget deleted
English to Hebrew: Product Description General field: Marketing Detailed field: Electronics / Elect Eng
Source text - English 5.1
The XXX product is a smart socket /switch that enables savings of 5-25% of home and commercial electrical energy, along with many other important functional and innovative Smart Home/Business features.
The XXX product is a microprocessor controlled electrical wall switch and socket. The product enables the auto-commissioning and auto-detection of devices connected to it with no user setup via unique YYY technology in development by XXX. For the first time ever, electrical devices (Home video/audio, appliances, bulbs and LEDโs, etc) can be identified by down to the make and model number simply by plugging them in to an XXX electrical socket. This enables smart power-down of all devices, including vampire, standby and always-on devices when the home is unoccupied. XXX has invented innovative algorithms for occupancy detection based on A/C power usage, automatic device identification based on A/C power usage, and automatic vampire-mode detection for a device. XXX will simultaneously enable full IoT control over any switch or socket installed, with a feature and analytical suite applicable to both home and business customers. Features such as frequency detection, and other commodity sensors (temperature, etc) enable wide applicability to a number of markets in addition to green energy, including utilities and insurance companies. In addition to the patentable IP in development, a database of electrical devices identified by their YYY profile will be generated by customer use over time, which would be quite valuable to utilities, regulators and other companies involved in the energy market. The incubation period will be used primarily for product development and additional research, filing of provisional patents, and the first two in-home trials of XXX socket and switch. In addition, the second year will provide for the commercial and marketing launch of the product.
English to Hebrew: From an Art Exhibition's Catalogue General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - English The collection of Jewish-themed decorative glassware, intended for use in synagogues and at home, that is presented in this album, is an important and interesting part of the legacy of decorative art, one which highlights the diversity and originality of Jewish culture. Formed over a long period, this collection is unique because all the items featured here are made of glass โ a material which, unlike metal (copper, brass, bronze, and silver), was not very popular among Jewish artisans. These items were produced at the turn of the 20th century by glassmakers from the island of Murano, and the history of their creation was undoubtedly related to the distinctive features involved in their commission.
Traditionally clients for such commissions preferred Jewish artisans, who were more knowledgeable about the specifics of Jewish culture and able to expertly apply a relevant inscription in Hebrew to the item. However, in the countries of Europe, especially in major cities, where Jews, on account of their position in society, were barred from joining craftsmenโs guilds, clients often placed their commissions with highly qualified non-Jewish local artisans: thus, the household objects were produced by Gentile craftsmen. As a result, an interesting pattern emerged, one typical for Jewish culture as a whole. When an object, produced strictly to the clientโs specifications and initially destined as a plate or a decorative object for non-religious use, had an inscription in Hebrew or a religious symbol or image applied to it, it became a โculticโ object, a characteristic item of Judaica. This interaction between two such โcomponentsโ โ the Jewish and the non-Jewish โ in art is a salient feature of every item featured here.
The collection presented in this publication comprises about 300 items, including traditional Jewish cultic objects of diverse forms, colours and ornamental patterns โ twin Sabbath candle holders and glasses, Kiddush cups, Passover plates, and the like โ as well as ordinary household objects, such as paperweights, whose forms and ornamentation have distinctly Jewish features. Items of great artistic value, they were made of transparent stained glass and richly decorated with enamel, gold and platinum painting, and are modelled after Venetian glassware of the 15th-16th centuries: they are marked by their diversity of forms, colour and decorative techniques, which is typical for the historicist style of that period. But the character and symbolism of ornamentation attests to the fact that these objects are part of Jewish cultural heritage: produced to the customersโ specifications, they carry an imprint of Jewish tradition and, therefore, cannot be used in a different environment.
All this makes this collection of Jewish cultic glassware, created in the late 19th-early 20th centuries by the Venetian glassmakers whose artwork has been historically regarded as a single artistic endeavour, highly significant and effectively unique.
English to Hebrew: Software Descriptions General field: Tech/Engineering Detailed field: Computers: Software
Source text - English New easy-to-use AV entertainment features
VAIO B55G offers various AV entertainment choices. Simply launch VAIO Zone for convenient enjoyment of AV content. Simple operation of the arrow keys within one interface accesses various media including music, photos, videos, CDs and DVDs. Or, if your VAIO B55G is on your home network, you will have a broader range of AV entertainment to choose from. With VAIO Media, the music, photo, and video files stored on your VAIO B55G can be played from other VAIO models* or PCs*. Select your choice of media and places to satisfy your AV entertainment urges.
* The VAIO models or PCs must be installed with VAIO Media installer to work as AV content recipients.
Dolby virtual surround technology and Dolby Pro Logic II
For your mobile DVD entertainment, VAIO B55G features Dolby Virtual Speaker* and Dolby Headphone* technology that virtually reproduce 5.1 surround sound through the built-in speakers, other connected stereo speakers, or headphones of your choice. Dolby Pro logic II transforms audio from stereo to 5.1 surround sound. Combined with Bass Boost (Mega Bass), a technology that enhances music through impressive reproduction of low frequencies, and SonicStage Mastering Studio Audio Filter, which offers sound effector modules, manual settings, and easy-to-use presets like "cinema", can offer theatre-like DVD movie entertainment anytime, anywhere.
* Dolby Virtual Speaker and Dolby Headphone functions are only available when WinDVD 5 for VAIO or VAIO Zone is used.
English to Hebrew: Academic Text General field: Social Sciences Detailed field: Psychology
Source text - English Review of Charismatic and Transformational leadership Research
Charismatic Leadership
The first scholar to discuss charismatic leadership was Max Weber. In particular, he discussed three types of authority as forms of control that people will accept: traditional, legal/rational, and charismatic. Weber (1947, pp.358-359) defined charisma as being "set apart from ordinary people and treated as endowed with supernatural, superhuman, or at least specifically exceptional powers or qualities... regarded as of divine origin or as exemplary, and on the basis of them the individual concerned is treated as a leader." Despite the important influence of Weber's work on researchers' thinking about organizations, his work on charisma lay dormant until the mid 1970's.
Robert House (1977) further developed Weber's concept in articulating a theory of charismatic leadership that, at its core, argued that followers use an attributional process regarding their leaders. Based on certain behaviors displayed by leaders, followers attribute extraordinary or heroic leadership abilities to those leaders. Based on House's theory, researchers then began to uncover and identify key characteristics of charismatic leadership. A widely accepted framework is that of Conger and Kanungo (1998), who explain that charismatic leadership is typified by four key characteristics: possessing and articulating a vision, willing to take risks to achieve the vision, exhibiting sensitivity to follower needs, and demonstrating novel behavior.
Three interesting conceptual issues are worthy of discussion here. First, much of the work on charismatic leadership has eschewed the Weberian perspective that charismatic leaders are rare or extraordinary.
English to Hebrew: Fiction Sample General field: Art/Literary Detailed field: Poetry & Literature
Source text - English "The boy, Thorgrin of the Western Kingdom of the Southern Province of the clan McLeodโknown to all he liked simply as Thorโthe youngest of four boys, the least favorite of his father, had stayed awake all night in anticipation of this day. He had tossed and turned, bleary-eyed, waiting, willing the first sun to rise. For a day like this arrived only once every several years, and if he missed it, he would be stuck in this village, doomed to tend his fatherโs flock the rest of his days. That was a thought he could not bear.
Conscription Day. It was the one day the Kingโs Army canvassed the provinces and hand-picked volunteers for the Kingโs Legion. As long as he had lived, Thor had dreamt of nothing else. For him, life meant one thing: joining the Silver, the Kingโs elite force of knights, bedecked in the finest armor and the choicest arms anywhere in the two kingdoms. And one could not enter the Silver without first joining the Legion, the company of squires ranging from fourteen to nineteen years of age. And if one was not the son of a noble, or of a famed warrior, there was no other way to join the Legion.
Conscription Day was the only exception, that rare event every few years when the Legion ran low and the Kingโs men scoured the land in search of new recruits. Everyone knew that few commoners were chosenโand that even fewer would actually make the Legion.
Thor studied the horizon intently, looking for any sign of motion. The Silver, he knew, would have to take this, the only road into his village, and he wanted to be the first to spot them. His flock of sheep protested all around him, rising up in a chorus of annoying grunts and urging him to bring them back down the mountain, where the grazing was choicer. He tried to block out the noise, and the stench. He had to concentrate.
What had made all of this bearable, all these years of tending flocks, of being his fatherโs lackey, his older brothersโ lackey, the one cared for least and burdened most, was the idea that one day he would leave this place. One day, when the Silver came, he would surprise all those who had underestimated him and be selected. In one swift motion, he would ascend their carriage and say goodbye to all of this.
Thorโs father, of course, had never considered him seriously as a candidate for the Legionโin fact, he had never considered him as a candidate for anything. Instead, his father devoted his love and attention to Thorโs three older brothers. The oldest was nineteen and the others but a year behind each other, leaving Thor a good three years younger than any of them. Perhaps because they were closer in age, or perhaps because they looked alike and looked nothing like Thor, the three of them stuck together, barely acknowledging Thorโs existence."
Translation - English The subject of this dissertation is women's art in the fields of installation and performance which makes use of the practices of confession as an artistic expression tool. These works of art expose a traumatic experience and transform it into a work of art that's presented before an audience in the public sphere. While there's an extensive literature about the practices of confession in their Christian and psychoanalytic context, the confession in art haven't been systematically researched yet, and until now an artistic stream that answer the definition "confession art" hasn't been distinguished. This research examines the confession for its aesthetic context, to say, the conversion of the confession from a personal and discreet practice into a public work of art. The research also examine the confession as an art genre with distinct characteristics in order to suggest a preliminary formulation for the artistic confession genre as it finds expression in contemporary women's art. Shifting the focus to the artistic context enable to expose aesthetical and political-genderic characteristics of the practice of confession which are absent from the researches in the fields of literature criticism and culture and philosophy criticism that are dealing with confession.
There are two main questions guiding this research. The first, how does the practice of confession shape the nature of the work of art? The insertion of the confession into the artistic sphere undermining the conventions concerning the canonical separation between personal and public in the artistic sphere and challenging the conventions of what is a "suitable" subject for a work of art, the artist myth, and the role of the observer. The subjects which are used as a foundation for a work of art are mostly universal, abstract and transcendent, rationalistic and representative subjects, which are worthy of being included in the artistic corpus as representatives of the cultural memory. The artist is usually a sterile, distant and mysterious character who carries a hidden knowledge, whereas the observer is a passive spectator. The works of art this research is analyzing are dealing with feminine, personal-domestic, functional and prosaic themes which considered to be marginal in the terms of the dominant discourse. The use of these negligible topics as a foundation for a work of art, to say, the insertion of "low" contents into high culture acts against the suppression and silencing of memory contents which the hegemony marks as forbidden and unworthy for remembrance. In addition, the presentment of the artist as a daily, accessible, earthly and often vulgar and boring figure, and the integration of the observer as an active participant in fulfillment of the artistic confession, both cause the work of art to exceed the limits of the conventional artistic definition and ascribe to it a genderic role: the formation of The Feminine Narration.
The second, how does putting the confession in the artistic context influence the cultural effect of the confession's mechanism? It's common to think about the confession as a discreet discourse which displays the participant in negative light. The confession is considered as a practice that weakening its subject since it presents the subject as weak and victimized figure who needs the help of an external factor in order to be cleaned of his sins and to be healed. According to Foucault, a confession โ in any context: religious, psychoanalytic, medical or legal โ is a technology of power relations and therefore it's a form of dominion over the subject. The artistic sphere set a challenge for this conception of the confession as a supervision and self-regulation tool. The confession in art exist in an open and exposed space, in front of an audience. Since the confession is actually a planned work of art, it's delivered out of awareness and reflexiveness, hence, it marks its subject as one who has control over the exposed image. That's why I'll check the way in which the confession transforms from a practice of control into a practice of resistance. My argument is that the use of the confession's mechanism in a work of art is in-fact establishing the practice of confession as a genderic-subversive act.
For the examination of the unique nature and role of the artistic confession I used four works of art by different women from different mediums:
1. The installation Exquisite Pain (2003) by the French artist Sophie Calle (b.1953).
2. Varied works of art from the exhibition Every Part of Me's Bleeding (1997) by Tracey Emin (b.1963), from the field of art installation, video and monoprint.
3. The performance Drawing on a Mother's Experience (1990) by the British artist Bobby Baker (b. 1950).
4. The performance Mitchell's Death (1978) by the American artist Linda Montano (b. 1942).
The characterization of the confession in women's art is conducted from a genderic perspective. This way of examination is trying to reveal the meaning of the connection between the confession and the work of art in the field of gender power relations, and so it expands the boundaries of both the meaning of confession and the work of art while not only contributing to define the confession as an artistic genre but also ascribe to the confession a role that has never been ascribe to it before. In all the works of art (mentioned above), there's a woman who expose her life as a work of art while confessing her deepest feelings and emotions. Despite that the declared intentions of the artists in these works are to process the personal traumatic experience, a political-public effect also accompanies the process resulting from the public nature of the art medium, from the identity of the artist as a woman, from the contents of the works of art, and from the attitude of the artists. My argument is that the deflection of the confession from the private sphere into the public sphere, as well as from the trivial level to the high-cultural level, transform the confession and ascribe to it characteristics that can be defined by the term 'testimony'. The conversion of the confession in women's art into a public distribution mechanism of a feminine traumatic experience, shapes the practice of confession as a political act: the exposure of the traumatic-feminine experience as a subversive work of art doesn't serve only a personal-private need, but also contribute to the formation of an alternative social discourse concerning feminine identity in general and particularly in Art โ the confession in women's art construct a strong feminine identity which expands the boundaries of the feminine image in the existing discourse.
The artists Sophie Calle, Tracey Emin, Bobby Baker and Linda Montano use the confession's mechanism as a therapeutic tool. Personal sensations of tragedy and conflict drive these artists to search for a way of representation that will allow them to process the traumatic events in their past from the perspective of the present. Through the work of art the artists expose for all to see the moments of weakness in their lives, the intimate sides and the most latent emotions concerning motherhood, femininity, broken-heartedness, depression, loneliness and loss. When they transform, through the confession's mechanism, their traumatic experiences into a work of art some sort of an effect of "artistic correction" is received. The use of the practice of confession is a means to try and get closer to purification in the personal level. Since the work of art is mostly a product of a planned and controlled action, my argument in this research is that the artistic confession, as opposed to the confession in other fields, allows the possibility of self-control and awareness, and therefore improve the confessant. The artists turn the personal-private sphere into a foreign sphere, into "a different sphere", throughout its transformation into a work of art. While the fact that artists are being betrayed, deserted and hurt symbolize their "differentness", the ability to confess about the their suffering and to use it as a raw material for a work of art gives them back the control.
In another level, the art of the confession gives a political meaning to the suffering of the artist. As I showed in this research, most of the writing about the confession in fact emphasizes the dividing, disrupting and distorting potential of the confession, and less its political role as a tool for creating an identity. However, a confession as a declaration of pain can express more than just a search for a shelter or refuge. Since it's well planned and public, the artistic confession transform into a form of self-discovery which benefits from a public and political value. It is not a religious command which is done out of necessity and fear, or a therapeutic session which put the responsibility with the therapist as Sigmund Freud and Josef Breuer believe, nor is it a sophisticated tool for policing and supervision as Michel Foucault claims. As opposed to all these perceptions of the confession which identify the confessant as passive and controlled, the artistic confession appears as a self- aware strategic action that helps the confessant to create her identity in the public sphere. The artistic confession doesn't label its subjects as victims, but as owners of a unique voice and as role models that challenge the conventional frameworks of expression which enslave them to a certain feminine image. A confession without the sense of victimization is a strategy which allows the artists to express themselves from a position of strength, also if they are looking back on their voicelessly former selves. This how the confessants wish to be freed from the catch that lies within the confession genre and to create for themselves an independent sphere where they could live their lives as part of the critical-aesthetic act.
The confession in women's art undermining the conventional perception of the confession and the boundaries of the work of art. The artistic confession breaks through the spherical, configurational and functional boundaries of the confession: it goes out of the confessional or the clinic into the artistic sphere, appears in many forms (as a silent image or a speech performance) and different spaces (gallery, museum, performance stage) in front of a big crowed other than a single confessor, while its purpose isn't moral but therapeutic and political. Those context changes and displacements crack the conservative structure of the confession which is characterized with intimacy, restraint and victimization. In contrast to the Christian, psychoanalytic or the literary confession, the artistic confession is reflexive. The artist are aware of the characteristics of the structure of the confession and so they use them for their own purposes: through parody and irony, through fictional strategies and the use of repetitions, they challenge the conventional definitions of the confession. The artistic confession is not characterized with minimalism or discreetness, nor is it a one off thing. On the contrary, it's a repeatedly, well-planned exhibitionistic show of emotions, senses and fantasies which doesn't settled only with words but is also assisted with images and gestures in order to communicate the traumatic experience.
The result of this is a different model for the work of art as well as for the artist. The contents of those works of art are exceeding the conventional contents for a work of art. The use of personal and feminine-emotional subjects โ which usually considered as lacking of public interest โ as materials for a public work of art expands the boundaries of the artistic and cultural discourse. The language which characterizes the artistic confession undermined the traditional- patriarchal language. It's in fact a circular repetitive language that leans on the image and the action, a dialogue language of plurality. It's also a language that borrows from other known feminine spheres which are unfamiliar to the traditional art, for example: Calle embroiders texts into her works of art, Baker assembles her plate from food and drinks products while using kitchenware as paintbrushes, Emin exposes residues of waste and body fluids through an artistic installation, and Montano pierce her face with acupuncture needles as part of her art. The observer also gains a unique role. Since the observer is supposed to be the "confessor" who gives the meaning to the confession, he or she transform from a passive character into an active character.
The character of the confessant artist is characterized with suspiciousness, skepticism and reflexiveness which distinguish her from the naive "authenticity" ascribed to confessants. The artists present an identity of a non-particular woman, a reflexive woman who's in a process of research and contemplation and can maneuver between her identities. This character outlines a different model for a confessant as well as a different model for a woman and an artist. The confession of Sophie Calle, Tracey Emin, Bobby Baker and Linda Montano touches the way a feminine identity is being shaped by a language, an object and a narrative. These artists opposed to the principle of nakedness which stands in the center of the practice of confession as a way for showing that the feminine identity is for itself a role, hence, not final or obligating. To their opinions, more than the confession reveals the truth it is allowing them to control their public image. With this tactic the artists deflect the attentions to the great power available for the artist in order to shape her identity, to choose between different identities or to embody a different identity. The artists who are exposed though their works of art turns to heroes and used as a feminine role-model because of the fact they aren't afraid to be exposed in their weakness. The fact that these artists allow a revealing glance to their harsh, painful and embarrassing feelings โ although common in women's lives โ gives legitimization to get to know those feelings and to expose them, also for women other than themselves. These four artists suggest a non-singular feminine model: a model of a woman who exposes her weaknesses, who give space to her feelings and emotions, and yet controls her self-image and the way it's perceived in the public sphere.
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Years of experience: 16. Registered at ProZ.com: Oct 2010.
Full-time freelance English to Hebrew translator, editor and proofreader, fluent in both Hebrew and English, with over 12 years of experienced in the
localization field: subtitling (Netflix, Amazon, WB, Disney), IT, apps
and software - I'm part of the Hebrew team localizing Google products.
My experience in translation combined with many years of Hebrew creative
writing is what distinguishes my professional language skills from
others' and enables me to provide high quality translations/texts for my
clients.
Beyond that, I'm hard working, trustworthy, efficient, thorough and always deliver quality work before deadline. I always conduct a research for technical phraseology to ensure the correct translation is used.ย
Since language is my passion, I do enjoy my translation work and would do my best to provide you with the best quality translation.ย
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Keywords: Hebrew, marketing, localization, translation, proofreading, editing, academic text, articles, apps, IT. See more.Hebrew, marketing, localization, translation, proofreading, editing, academic text, articles, apps, IT, Subtitles. See less.
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