Praticas de Traducao Ingles II Portfolio 2.3

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Universidade de Aveiro 2010/2011

Pedro Liberal 1

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by Pedro Eduardo Andr Liberal

2010/2011


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ABSTRACT

In this portfolio you will see the results of several translation tasks that wereassigned to me.

All translations consisted not only of transcribing from one language to theother, but also of adjustments that would increase the quality of the finishedproducts, creating specialized texts, suitable for their target audiences, capableof being used in practical applications.

One thing to note it that translations do not necessarily need to be similar to thesource. This is because what works on one given language, or audience, maynot, and usually does not, work on another.

All sections are divided in tasks, which are further divided into Source Text and

Target Text, and at the end of each section there is a small comment on thespecific type of text.


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TABLE OF CONTENT

ABSTRACT ................................................................................................................................... 2

TABLE OF CONTENT .................................................................................................................. 3

INTRODUCTION ........................................................................................................................... 5

NEEDS ANALYSIS QUESTIONAIRE .......................................................................................... 6

ETHNOGRAPHY OF COMMUNICATION .................................................................................... 7

References: ........................................................................................................................... 7

LETTER OF PRESENTATION ..................................................................................................... 8

ADVERTISING .............................................................................................................................. 9

DINOSAUR EGG ......................................................................................................................... 10LEMON ...................................................................................................................................... 11TRANSOCEAN ............................................................................................................................ 13WINDOWS VS WALLS ................................................................................................................. 15COMMENT ................................................................................................................................. 17

INFORMATIVE LEAFLETS ........................................................................................................ 18

SMOKEBAN LEAFLET .................................................................................................................. 19BRIOSA ..................................................................................................................................... 21COMMENT ................................................................................................................................. 23

INSTRUCTION MANUALS ......................................................................................................... 24

PEDESTAL ASSEMBLING MANUAL ............................................................................................... 25PROTECTION SPECTACLES......................................................................................................... 27COMMENT ................................................................................................................................. 29

OFFICIAL DOCUMENTATION ................................................................................................... 30

GRADUATION CERTIFICATE ........................................................................................................ 31DIPLOMA ................................................................................................................................... 33PARECER .................................................................................................................................. 34DECLARAO SOBRE COMPROMISSO DE HONRA ......................................................................... 35CERTIFICADO............................................................................................................................. 37COMMENT ................................................................................................................................. 39

SUBTITLING ............................................................................................................................... 40FOUR WEDDINGS AND A FUNERAL .............................................................................................. 41GOOD MORNING VIETNAM! ......................................................................................................... 44HAVE IT OEUF ........................................................................................................................... 48ON THE LAKE ............................................................................................................................. 49BEE GEES INTERVIEW ................................................................................................................ 50UNIVERSITY CHALLENGE............................................................................................................ 51COMMENT ................................................................................................................................. 53

WEBSITES .................................................................................................................................. 54

SANITANA.................................................................................................................................. 55

COMMENT ................................................................................................................................. 63ABSTRACTS .............................................................................................................................. 64


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VACINA MONOVALENTE PARA A GRIPE A(H1N1) ........................................................................ 65JIGGSAW SUMMARISING............................................................................................................. 67COMMENT ................................................................................................................................. 69

CONCLUSION ............................................................................................................................ 70


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INTRODUCTION

My goals at the beginning of this year were to deepen my knowledge of the Englishlanguage, to practice the language and be in more direct contact with it, to study anduse the different types of texts and to learn how to analyze and how to approach themfor a translation.At the end, not only did I achieve my goals, but I also gained a new insight into whatmeant to work with language as a tool. After working with many different types of texts Iwas able to understand that language is so much more than a simple tool ofintercommunication - it can also be used to understand and move others.

This portfolio was written in order to present my abilities to possible employers, and tofacilitate the prospect of acquiring new jobs in the futur.The works here presented were done during the third and last year of the Translation

course at the University of Aveiro. Throughout the year I was in contact with manydifferent types of register of the English language, I tackled difficulties derived from thetranslation of humor, created different kinds of official documents in both my nativelanguage, Portuguese, and in English, created subtitles from short clips, translatedadvertisements from a multitude of sources, among many others.I have organized the portfolio in its two main languages, English and Portuguese. Thefirst text presented is the Source Text, and the second is the Target Text. Glossariesare also available for each of the tasks, and at the end of every section you will have asmall comment on the type of text, challenges, and other thoughts about it.

You can easily navigate through the document by clicking on the table of contents,which will take you directly to the work selected. To your left you have a menu with asmall clip symbol you will find the glossary and the PowerPoint presentation of theWriting for Websites task, as well as my CV, for easy finding.


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NEEDSANALYSISQUESTIONAIRE

1. Why do you think it isimportant to continue learning

English?Language is something that is

forgotten if one does not use it. Assuch, for a translator, it is of greatimportance to keep not only using it,but also rediscovering thelanguages he mastered, by gettingin touch with the society, or country,or people who speak thoselanguages, in this case, English.

2. Describe in your own wordsyour current knowledge of thelanguage.My written English is fairly good, atleast I don't misspell that much. Myspoken English on the other handis poor, although I have beenpractising, I still consider it sub par.

3. Which aspects of thelanguage do you feel youneed to practice? Why?

I need to speak more, and tocorrect some accent issues that Ihave, mainly the Australian-British-American mixture I sometimes endup with, due to my girlfriend,crocodile Dundee, and everyEnglish teacher I ever had.

4. Which aspects of thelanguage do you feelconfident about?

Written English, use of register.

5. What do you plan to do foryourself?I spent my vacation with my

girlfriend, who speaks Englishfluently, in order to improve myspeech. I've also been readingGardens of the Moon, Good

Omens and World War Z andwriting summaries of them. At the

moment I am learning how to useWindows Server 2008, setting upweb servers and Linux to createwebsites, which will force me towrite even more in English.

6. What facilities and supportwould you prefer to use?Home, e-learning, digital media.

7. Who can help you ensure thatyour language learning needsare being met?My girlfriend and hard work.

8. What English skills do youthink will be important in yourfuture professional life?Spoken English, understanding

grammar, using various types ofregister.

9. What are your strengths andlikes?I enjoy reading, writing, creatingcomplex stories and relations. I amrather good in creating these smallworlds that albeit not being real, stillcarry some sort of connection overto whoever reads them.

10. What are your weaknesses

and dislikes?Speaking, working in groups,

presentations. Grammar (notgrammar exercises, but knowingthat X verb is in Y tense...). I didhowever set up a working planwhich made me tackle theseshortcomings, allowing me to learnhow to better deal with them.


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ETHNOGRAPHY OF COMMUNICATION

Ethnography of communication, created by Dell Hymes, in 1962, tries to

accurately understand the lives of others. By publishing a paper calling forth fora new study area that would explore language beyond the conventionalsystems like grammar, like the relation between language and the socialmeanings that we, the users, confer to it, Hymes defines a study area capableof not only defining proper cases of study, but also properly analyze them.

By analyzing an audience, it is possible to look for common traits that may suitsaid audience, such as what may please them, or what may be more easilyunderstood. This is why the ethnography of communication is important foranyone whose work is directly tied to a target audience. Or whose work is totarget a specific audience.

By taking into account age, literacy, gender, ethnic background and many otherfactors, it is possible to create an adequate text for a specific group of people,be it subtitles for the television, or a specific ad referring to an advanced pieceof software which everyone should be able to understand, if only what it offersas a concept. But it goes beyond words or fancy use of language. Its about themeaning behind it all. The use of images, gestures or hidden meanings willstrengthen the relationship between the media and the audience.

References:Carbaugh, Donal. "Ethnography of Communication." The Blackwell InternationalEncyclopedia of Communication. DONSBACH, WOLFGANG (ed). BlackwellPublishing, 2007. Blackwell Reference Online. 30 October 2007

Saville-Troike, Muriel. "The Ethnography of Communication." Google. Web. 11

June 2011. .

Torabi, Dr Mohammad Ali. "Linguistics and Ethnography of

Communication." Http://www.sid.ir. Web.

.


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LETTER OF PRESENTATION

Pedro Liberal

Quinta Carramona Prdio 42 5 Dto 3810-092 Esgueira Aveiro

+351 91 436 86 36 [email protected]

Dear Hiring Professional:

After several years of training using IT technologies, private tutoring, and factory work inmultinational companies and computer network maintenance in a computer gaming shop, Ihave taken on various positions in every job I undertook while finishing my translation degree.

While completing a three year degree at the University of Aveiro in Portugal I have gainedextensive training in translation practices and techniques, language capabilities (specializing inEnglish and Spanish), time management and strong interpersonal skills. Using translation tools Ican create subtitles, terminology databases, translate documents under any of the three mostused translation memory tools (MemoQ, Trados, and Across). I have also translated severalsensitive documents and information under confidentiality agreements.

Translated several hundred documents using different tools Created subtitles for various known movies in digital format

Designed bi-lingual terminology databases for scientific uses (Nanotechnology) Built a database for a lend-and-return system, where users could share diverse information Created reviews, interviews, presentations

In addition to my knowledge in translation I also boast a large array of abilities from my pastworking experience. While working at Bosch I became a multipurpose worker and while workingfor customer service in Continente and Pingo Doce I restocked the shop and received new truckdeliveries. I also have training with electric stackers and stock counting.

With my experience in translation practices, and diverse work background, I feel I would make astrong contribution to the continued success of your organization. Please do not hesitate tocontact me should you require any further information and I am available for a personal

interview at your convenience.

Thank you for your consideration, I look forward to your reply.

Respectfully submitted,

Pedro Liberal

Attachment: CV
mailto:[email protected]:[email protected]:[email protected]:[email protected]


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ADVERTISING


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Lemon

S.T. Source Text


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T.T. Target Text


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Comment

Advertisements are meant to manipulate, and compel people to buy the objectsor services that those ads refer to. As such, companies use and abuse theminds of their costumers, throwing at them new forms of advertising everyseason.The intended target readership for these kinds of texts is any and allconsumers. The more the merrier. The text itself will be more specialized inorder to reach the target towards the desired direction. The ad will be producedaccording to the age, literacy, and many other factors of the target audience, aswell as, the features of the product itself. They can be found everywhere, frombillboards, to MSN messenger and Skype, all the way to metro tunnels, busesand air planes.In English these texts are usually small, simple, and use puns, jokes or othersorts of language games to grab the viewers attention. Many times they useterminology known to certain groups of people in order to reach them. Anotherfeature worth mentioning is the importance and impact of the message itself.The text itself tends to be small and memorable.In Portuguese they follow the same basic principles, however some brands doenjoy having adverts full of flowery language. As such, the adverts need to bere-thought, the concept needs to be understood, and pointed towards the righttarget.Care needs to be taken when the same term is repeated, in order to keep the

same word, and consistency, as well as the use of English (U.K. or U.S.). Inorder to find more information one can check other advertisings, from othersimilar companies in the target country.A factor that needs to be taken into consideration when translatingadvertisements is existence of local vocabulary and/or cultural aspects.Therefore, in these cases there is a need of adaptation. In other words, if thereis a reference to a camelo in my S.T. and the context refers to the pejorativemeaning of this word, then I would have to choose a word as dunce for theT.T.Having translated several advertisements I can say that one needs a mix ofdeviance and imagination in order to give such an enormous power to few

words. Needless to say, the greatest difficulty is to endue the translated textwith the same meaningful traits.For instance, when translating Lemon, I noticed that although that wassupposed to turn away attention from the car, the ad was so well thought out,that at the end one is actually moved by all the effort behind it all. As such, thereare some expressions that are deeply tied to the source language that inPortuguese make no sense at all. For example, lemon, would stir onlyconfusion and obliviousness.
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INFORMATIVE LEAFLETS


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Smokeban Leaflet

S.T. Source Text


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Briosa

S.T. Source Text


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Comment

Informative leaflets intend to, as the name suggests, to inform people ofservices, news, among other things. Governmental activities, organizations, aswell as hospitals use these leaflets not to manipulate but to inform thepopulation of numerous things.Informative texts are meant to be read by everyone. Everyone capable ofunderstanding the information, and to whom it may be of interest. Certain typesof target readers need certain specific terminology, in order to sync with themessage, since they follow certain words better than others. Some languageused is intended to shock, in a way that makes people remember what they

have read.These texts can be found in governmental facilities, hospitals, clinics, shoppingcenters, organizations in general, and other places where the general populacedwells. This sort of text can also be used to inform about a specific service.In this type of text the sentences are longer than the ones found in adverts, withmany titles, and a high degree of organization. This happens in order to allowthe reader to understand what the text is about. Specific terminology is usuallyused when trying to reach a certain group.The target language can emulate the starting language, with some distanceinvolved. While names of governmental organizations may be keptuntranslated, international organizations may have specific terms by which theyare known. Also, some care is needed on certain idiomatic expressions, whichwhen translated directly are difficult to understand by the main populace.Parallel texts can be found laying around. When dealing with specificinformation, one must look for that information, in the places where it mayappear more often. As such, when translating a smoke ban leaflet one will findinformation on it in stickers, and informative campaigns.Most difficulties arise from the different names that governments give to thevery same campaigns.When translating a certain leaflet on smoke ban, one will have to decide if thenames of the organizations should be translated or not, as well as certain

slogans.
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Protection Spectacles

VISITOR SPECTACLES

PERFORMANCE AND CARE OF YOUR NEW EYE PROTECTION

USER:PLEASE READ THE ENCLOSED CAREFULLY.THESE SPECTACLES ARE DESIGNED FOR PROTECTION

AGAINST HIGH SPEED PARTICLES (LOW ENERGY IMPACT) ENTERING THE EYE.THEY ARE IDEAL FOR

VISITOR USE OR FOR STAFF VISITS TO EYE HAZARDOUS AREAS.NOT FOR USE WITH EXPLOSIVE

CARTRIDGE TOOLS.GREEN LENSES PROTECT AGAINST SOLAR RADIATION AND GLARE.NOT FOR USE

FOR WELDING OR WORKING.THESE SPECTACLES MAY ALSO BE WORN OVER WEARERS OWN

PRESCRIPTION SPECTACLES.THESE EYE PROTECTORS MEET THE REQUIREMENTS OF EN166,

OCTOBER 1992.THE REFRACTIVE POWER OF THE LENS IS CLASS 1 ACCORDING TO EN166 SECTION

7.1.2.1.2.

FITTING: THESE SPECTACLES ARE DESIGNED TO PROVIDE A UNIVERSAL FIT.

STORAGE: STORE BETWEEN 5-0 DEGREES C; HUMIDITY OF LESS THAN 90%.KEEP AWAY FROM

CONTACT WITH ABRASIVES, SOLVENTS, OR SOLVENT VAPORS.REPLACE IN CASE OR PROTECTIVE BAG

WHEN NOT IN USE.

CLEANING: CLEAN LENS AND FRAME IN WARM SOAPY WATER.WIPE THE LENS AS LITTLE AS POSSIBLE;

DRY WITH A DABBING MOTION.DO NOT WIPE THE LENS WHEN DRY.YOU CAN DISINFECT THE

SPECTACLES USING A MILD DISINFECTANT.

MAINTENANCE: THE MAXIMUM LIFE OF THE EQUIPMENT IS 2 YEARS.INSPECT THE LENS REGULARLY:

PITTED OR SCRATCHED LENS OR DAMAGED FRAME REQUIRES COMPETE REPLACEMENT.

WARNING: MATERIALS WHICH MAY COME INTO CONTACT WITH THE WEARERS SKIN COULD CAUSE

ALLERGIC REACTION TO SUSCEPTIBLE INDIVIDUALS.LENSES WITH OPTICAL CLASS 3 ARE NOT INTENDED

FOR LONG TERM USE.

MARKING: FRAME AND LENS OF THIS EYE-PROTECTOR FORM A SINGLE UNIT; THEREFORE MARKING WILL

ONLY APPEAR ON THE FRAME.ON THE GREEN LENS THE FIRST SYMBOL IS THE CODE NUMBER FOR

SUNGLARE-FILTERS WITHOUT INFRARED SPECIFICATION (5) AND A SHADE NUMBER, WHICH INDICATES

TRANSMITTANCE THE HIGHER THE NUMBER THE LESS THE TRANSMITTANCE.ON A CLEAR SPECTACLE

NO CODE-NUMBER AND SHADE NUMBER IS QUOTED.THE NEXT DIGIT INDENTIFIES THE MANUFACTURER

AND IS FOLLOWED BY THE OPTICAL CLASS (1) AND THE SYMBOL FOR LOW ENERGY IMPACT (F).THE

HYPHEN IS FOLLOWED BY THE NUMBER OF THE STANDARD THAT THE SPECTACLES HAVE BEEN TESTED

TO; LASTLY THERE IS THE SYMBOL FOR LOW ENERGY IMPACT AND THE CERTIFICATION MARK.

S.T. Source Text


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culos para visitantes.

Uso e manuteno da sua nova proteco ocular.

Ao utilizador: Por favor leia as instrues cuidadosamente.

Estes culos de proteco foram concebidos para proteger os olhos de partculas de altavelocidade (impacto de baixa energia). So ideais para visitantes ou para as visitas dosfuncionrios nas reas com perigos para a viso. No podem ser utilizados com materialexplosivo. As lentes verdes protegem contra a radiao solar e brilho. No podem ser utilizadospara soldar ou trabalhar. Estes culos podem ser utilizados por cima dos culos graduados doutilizador.Estes protectores oculares cumprem os requerimentos da EN166, Outubro 1992. O poderrefractivo das lentes de classe 1 de acordo com a seco 7.1.2.1.2 da EN166.

Ajuste - Estes culos so concebidos para oferecer um ajuste universal.

Armazenamentos - Devem ser guardados entre 5- 40 e nvel de humidade inferior a 90%.Evitar o contacto com abrasivos, solventes ou vapores de solventes. Quando no utilizadosdevero ser colocados na caixa ou na bolsa de proteco.

Limpeza - Limpar as lentes e a armao com gua morna e sabo. Evite esfregar as lentes.Secar com um pano macio. No esfregar as lentes quando secas. Pode desinfectar os culoscom um desinfectante suave.

Manuteno - A vida til do equipamento de 2 anos. Verifique as lentes regularmente: lentesperfuradas ou riscadas ou com a armao danificada requerem substituio completa.Aviso: Substncias que possam entrar em contacto com a pele do utilizador podem causarreaces alrgicas a indivduos sensveis. Lentes de classe ptica 3 no devem ser usadas porlongos perodos de tempo.

Marcaes a armao e lentes deste protector ocular formam uma pea nica, como tal asmarcaes aparecero na armao apenas. Nas lentes verdes o primeiro smbolo o nmerode cdigo para filtros de proteco solar sem especificao infravermelha (5) e o grau de

sombra que indica transmisso - quanto maior o nmero, menor a transmisso Um culotransparente no ter nmero de cdigo nem grau de sombra. O prximo dgito identifica ofabricante e seguido pela classe ptica (1) e pelo smbolo de impacto de baixa energia (F). Ohfen seguido pelo nmero padro a qual o culo foi testado; finalmente existe o smbolo paraimpacto de baixa energia e a marcao de certificao.

T.T. Target Text


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OFFICIAL DOCUMENTATION


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T.T. Target Text

University of Aveiro theoria poiesis praxis

Graduation Certificate

Name:

Parents:

D.o.B: Nationality: Portuguese

ID number: of 15-09-2003

Enrolled: 11-08-2005

Degree: 9062- MA (Master of Arts in) English

It is hereby certified that the above mentioned student successfully completed the MA (Master of

Arts) English degree in 08-09-2008 under the decree law 216/92 of 13 October with the final

classification of APROVED.

Since all the expenses were already paided the diploma was already requested.

This one page document it's authenticated with the university embossed seal and it contains one

sheet.

THE DIRECTOR OF THE ACADEMIC AND ADMINISTRATIVE SERVICES:

Signature:

Mrio Lus Duas Forte Pelaio


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Diploma

S.T. Source Text

T.T. Target Text


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Parecer

X, Professora Auxiliar do Departamento de Lnguas e Culturas da Universidadede Aveiro, declara, para os devidos efeitos, que orienta a dissertao de Mestrado emLnguas, Literaturas e Culturas Estudos Portugueses da aluna Y, realizada no mbitodo estudo do texto dramtico e da representao teatral para a infncia e juventude,com o ttulo provisrio de Do texto representao: perspectivas sobre o teatroportugus contemporneo para a infncia e juventude, com concluso prevista paraJulho de 2009. Declara ainda a pertinncia e a novidade do trabalho a que a aluna seprope, inscrito numa rea cientfica deficitria em Portugal e capaz de articular umadimenso terica com a prtica pedaggica no mbito da disciplina de Lngua

Portuguesa. O tema permite, igualmente, uma perspectiva interdisciplinar, cruzandocompetncias em vrias reas, nomeadamente das Expresses (Dramtica ePlstica), favorecendo, globalmente, uma ligao da escola ao meio e, mais emconcreto, dos alunos ao Teatro. A aluna revela as necessrias capacidades cientficaspara a realizao do projecto, alm de um extraordinrio empenhamento eentusiasmo, sendo relevante para a elaborao da dissertao a dispensa da cargalectiva.

Aveiro, 26 de Dezembro de 2007

TO WHOM IT MAY CONCERN

I, _____________, Assistant Professor of the Department of Languages and Culturesof the University of Aveiro, hereby declare that I am the Supervisor of the dissertationof the Masters degree in Languages, Literatures and Cultures in the area ofPortuguese Studies of the student ___________. It is being developed within the fieldof dramatic text and the theatrical representation for children and youth, with theprovisional title of From text to representation: perspectives about contemporaryPortuguese theatre for children and youth due to be finished by July 2009. I furtherdeclare the pertinence and novelty of the work that the student proposes, and that it isin a scientific area which is poorly developed in Portugal and capable of link betweenthe theoretical dimension and teaching practice in the field of the Portuguese Languageteaching. The theme equally allows an interdisciplinary perspective, crossing skills indifferent areas, such as drama and art, thus connecting the school to the environmentand more specifically the Theatre. The student possesses the necessary scientific skillsfor the project, as well as an extraordinary determination and enthusiasm, and soneeds to be exempt from a teaching workload to develop their dissertation.

Aveiro, 26th December 2007

S.T. Source Text

T.T. Target Text


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Declarao sobre Compromisso de Honra

MARIA ISABEL FIGUEIREDO CAMPOS PEREIRATRADUTORA

Rua Jos Rgio Lote 259, 3 EsquerdoVale das Flores

3030-107 COIMBRATelefone / Fax: 239 56 58 90

Telemvel: 916 257 112 / 966 557 149Correio Electrnico: [email protected]

DECLARAO SOBRE COMPROMISSO DE HONRA

MARIA ISABEL FIGUEIREDO CAMPOS PEREIRA, tradutora licenciada, residentena Rua Jos Rgio, Lote 259, 3 Esquerdo, Vale das Flores, 3030-107, Coimbra,Portugal, declara que o Certificado de Licenciatura em anexo, emitido a Dr. NunoFernandes Bastos Rodrigues, foi escrito em portugus e traduzido para Ingls.

Mais declara que a traduo do referido documento uma traduo fiel aodocumento original.

Coimbra, 24 de Novembro de 2010

Maria Isabel Figueiredo Campos Pereira


Tradutora

S.T. Source Text


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Translator

Rua Jos Rgio Lote 259, 3 Esquerdo

Vale das Flores

3030-107 COIMBRA

Telephone / Fax: 239 56 58 90

Mobile: 916 257 112 / 966 557 149

E-mail: [email protected]

TO WHOM IT MAY CONCERN

MARIA ISABEL FIGUEIREDO CAMPOS PEREIRA, certifiedtranslator, resident in Rua Jos Rgio Lote 259, 3 Esquerdo Vale das

Flores, Coimbra, Portugal, declares that the attached Degree Certificate,

issued per request of Doctor Nuno Fernandes Bastos Rodrigues, was

written in Portuguese and translated into English.It is also declared that the above mentioned translation is faithful to the

original document.

Coimbra, 24thNovember 2010

(Signature)


Translator

T.T. Target Text


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T.T. Target Text

13th December 2010

Regional Delegation of the Center

Portuguese medical associationCertificate

I, X, Regional Delegation of the Center director of the Portuguese

Medical Association, hereby declare that, according to

documentation stored in this Delegation, that Mr. Y, doctor and

resident in the city of Coimbra, is registered in said Regional

Delegation with the number 5347 since 10th December of 1987 under

the license number 24678, and is fit to practice medicine.

After having personally verified the truth of these facts, I drew upthis certificate as per request, and personally signed it and

authenticated it with the embossed seal of this Regional Delegation.

Office of the Portuguese Medical Association of the Regional

Delegation of the Center

17th May 1992


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0:00:28.452,0:00:33.114Em nome do Pai, do Filho e

do Esprito Santo.0:00:33.428,0:00:34.078

men.

0:00:36.033,0:00:37.231Oremos.

0:00:38.362,0:00:42.837Pai, fizeste do lao do

matrimnio um mistrio sagrado,

0:00:43.463,0:00:46.847

um smbolo do amor de Cristopela Sua lgreja.

0:00:47.491,0:00:50.853Ouve as nossas preces por Bernard e

Lydia,

0:00:51.553,0:00:56.001por Vosso Filho, Jesus Cristo Nosso Senhor,

0:00:56.530,0:00:59.880que vive e reina convosco

e o Esprito Tanso...

0:01:01.303,0:01:02.054Santo.

0:01:03.061,0:01:06.053Um s Deus, por todo o sempre.

0:01:06.795,0:01:07.384men.

0:01:08.546,0:01:10.663 a primeira vez dele. amigo da famlia.

0:01:11.586,0:01:12.263Ah excelente!

0:01:12.323,0:01:13.618Bernard e Lydia,

0:01:14.190,0:01:18.473pergunto se de livre vontade que vossubmeteis s obrigaes do casamento.

0:01:19.349,0:01:21.470Bernard, repete comigo.

0:01:22.428,0:01:26.578- Declaro solenemente...- Declaro solenemente...

0:01:26.901,0:01:29.365que no sei de qualquer

impedimento legal...

0:01:29.758,0:01:32.642que no sei de qualquer


0:01:33.238,0:01:34.859pelo qual eu, Lydia...

0:01:34.859,0:01:37.804pelo qual eu, Bernard...

0:01:39.888,0:01:40.632

Desculpe.

0:01:42.149,0:01:48.628Pelo qual eu, Bernard Godfrey

Saint John Delaney...

0:01:48.628,0:01:53.948Pelo qual eu, Bernard Geoffrey

Sinjeon Delaney...

0:01:55.424,0:02:00.670no possa unir-me em matrimnio a

Lydia John Hibbott.

0:02:01.939,0:02:06.277no possa unir-me em matrimnio a

Lydia Jane Hibbott.

0:02:08.465,0:02:11.743Lydia, repete comigo.

0:02:12.449,0:02:15.976- Declaro solenemente...- Declaro solenemente...

0:02:15.976,0:02:18.311

no conhecer qualquerimpedimento legal...

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Pedro Liberal 43

0:02:18.311,0:02:21.776no conhecer qualquer


0:02:21.776,0:02:26.046

pelo qual eu, Lydia Jane Hibbott...

0:02:26.046,0:02:29.230pelo qual eu, Lydia Jane Hibbott...

0:02:29.483,0:02:31.807no possa punir-me no matrimnio...

0:02:31.807,0:02:35.605no possa unir-me no matrimnio...

0:02:35.991,0:02:41.725a Bernard Geoffrey

Sidd... Siddun... Delaney.

0:02:41.725,0:02:47.586a Bernard Geoffrey Sinjeon Delaney.

0:02:50.684,0:02:54.021E declaro s pessoas aqui

chamadas para testemunhar

0:02:55.070,0:02:58.313E declaro s pessoas aqui

chamadas para testenunhar

0:02:58.671,0:03:00.634que eu, Bernard...

0:03:00.567,0:03:02.423.....

0:03:07.623,0:03:09.354Delaney...

0:03:10.433,0:03:11.192*sighs* ^^;

0:03:12.278,0:03:13.799

que eu, Bernard Delaney...

0:03:13.799,0:03:16.614te aceito, Lydia Jane Hibbott...

0:03:17.030,0:03:20.060te aceito, Lydia Jane Hibbott...

0:03:20.310,0:03:22.039como minha esposa vastssima.

0:03:23.217,0:03:26.400como minha esposa legtima.

0:03:26.710,0:03:28.510

isso. isso mesmo.

0:03:28.510,0:03:31.438Que Deus todo poderoso vos abenoe.

0:03:31.809,0:03:34.353

Pai, Filho e Esprito Tinto...

0:03:34.743,0:03:35.310... Santo.

0:03:35.561,0:03:36.003men.

0:03:36.637,0:03:38.008Bravo!

0:04:00.181,0:04:00.537Obrigado.

0:04:13.250,0:04:13.889Desculpe!

Nota de tradutor: Odeio este gajo >.


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Good Morning Vietnam!

Hey, this is not a test.This is rock and roll.

Time to rock itfrom the delta to the DMZ!

Is that me, or does that sound likean Elvis Presley movie?

Viva Da Nang.Oh, viva, Da Nang

Da Nang me, Da Nang meWhy don't they get a rope and hang me

Hey, is it a little too earlyfor being that loud? Hey, too late.

It's . What's the "O" stand for?Oh, my God, it's early.

Speaking of early, how aboutthat Cro-Magnon, Marty Dreiwitz?

Thank you, Marty, for "silky-smoothsound." Make me sound like Peggy Lee.

"Good morning, Vietnam"?What the heck is that supposed to mean?

I don't know, Lieutenant. I-I guessit means, good morning, uh, Vietnam.

And who gave anyone permissionto programme modern music?

Freddy and the Dreamers!

Wrong speed.We've got it on the wrong speed.

For those of you recovering from ahangover, that's gonna sound just right.

Let's put her right back down.Let's try it a little faster,

see if that picks it up a little bit.

Let's get it up on .

Those pilots are going,

"I really like the music. I really likethe music. I really like the music."

Oh, it's still a bad song. Hey,wait a minute. Let's try something.

Let's play this backwardsand see if it gets any better.

Freddy is a devil.

Freddy is a devil.

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Seja o que for,

mais estimulante

do que um capuccino.

zona desmilitarizada parececoisa sada do Feiticeiro de Oz.

No. A no entro.

Ho Chi Minh


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Bee Gees interview

Somos crianas do mundo

Vemos os dias a passar

Muda a minha vidaMuda a tua vida

Mantm-nos na expectativa

Procuramos a verdade

Todos os homensTem uma criana dentro de si

Temos de dizer a verdade

No h sadas fceis

Adivinharam.So os famosos Bee Gees,Que venderam mais discos que qualquer

outro grupo chamado Bee Gees.Como sabem,eles no costumam dar entrevistas.que no vos interessam minimamente.Vocs esto em tourne e deramconcertos esgotados em Londres.Porque acham que milhes de pessoasadoram a vossa msica?Porque vivemosNum mundo de doidosCompreendo.Algumas pessoas insinuaram que os

vossos falsetes, cabelos compridos,camisas abertas ate ao umbigo,peito peludo e medalhessugerem que vocs sopouco masculinos e que vocsOlhem para o outro lado!Exactamente.O que dizem a isso?Voc menospreza o comentriopouco masculinos, Barry?Podem ver pelo meu andarQue sou um garanho

Poisfalemos dessesfamosos dentes Bee Gee,como os descreveriam?Massa-chu-setts!Estou a ver, Mass Chew Sets!(Grandes mandbulas) uma piada? uma tragdiaConcordo.Tenta compreender!Eu entendo,mas uma piada mazinha.

Podemos faz-la brilhar!Dou-vos mais uma oportunidade.Contem a piada outra vez.Massa-chu-setts!No resulta, esqueam.Senhoras e senhores,estive a falar com os Bee Gees!No foram fantsticos?

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Comment

A subtitle, in cinema and television, is the text which appearsalongside an image, which will explain it or give it a meaning.It is mainly used to translate movie dialogues, in the lower part of thescreen. When creating subtitles one must take into considerationwhen it will be aired and the target audience to which it will bepresented.There are also certain rules of size, position and display which must

be followed to the letter.For example, a subtitle must have between 35 and 40 characters,including spaces and the subtitles should be at maximum two lines.There are also considerations regarding the reading speed andliteracy of the audience. The target text should not try to emulate thesource text. The T.T. must be reworked in order to make it smallerwithout destroying the context behind the S.T., either by removingunnecessary parts, simplifying it, transforming paragraphs intosentences, a sentence into smaller expressions, and so on. Paralleltexts for these types of translations are usually available online inother languages. Usually they are made by amateurs, but they mayhelp in understanding a specific expression or accent.This takes us to the challenges of translating subtitles. They must besmall in size, able to carry the full meaning behind spoken words,which is a much faster medium all around, easy to understand, theytake into consideration the target audience and the translator mustbe able to take all these facts into account in order to create atranslation which is appropriate to its audience.


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Pedro Liberal 54

WEBSITES


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Pedro Liberal 55

Sanitana

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T.T. Target Text

Pic. 1 | Please access the attachment menu (on your left) to view the presentation. Thank you.
http://c/Users/sevvy/AppData/Roaming/Microsoft/Word/Port.final/Website/whirlpool%20systems%20correccao.ppthttp://c/Users/sevvy/AppData/Roaming/Microsoft/Word/Port.final/Website/whirlpool%20systems%20correccao.ppthttp://c/Users/sevvy/AppData/Roaming/Microsoft/Word/Port.final/Website/whirlpool%20systems%20correccao.ppthttp://website/whirlpool%20systems%20correccao.ppt


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Comment

The content of websites is available to everyone, as such, the language shouldbe simple and sentences short. The language used online must besummarized, this is because most users do not read every word of it, sincemost readers are looking for specific information. So they skim the text, lookingonly for what they need.

The content posted on the web should be about half of what is its papercounterpart, simple in complexity and small in sentence length.Since onlinereaders have more freedom than those who use hard copies, the layout musttake this into consideration. As such each page should have a proper topic andmust be independent of the others. Also, the target text should try to emulatethe source text when translating a text which was already written for the web. Ifnot the T.T. must follow the same basic rules of summarizing: Simple and small.Parallel texts can be any about the same topic, but care must be taken not tocopy it. The potential challenges relate to the difficulty of simplifying thelanguage and removing unnecessary information.


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ABSTRACTS


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Vacina Monovalente para a Gripe A (H1N1)

Greenberg, M, et al.

RESUMO

Introduo

Um novo vrus da gripe A (H1N1) 2009 responsvel pela primeira pandemia de gripe em 41

anos, sendo necessria uma vacina segura e eficaz. Encontra-se a decorrer, na Austrlia, umensaio unicntrico, aleatorizado, com ocultao para os observadores, e com grupos paralelos,para avaliao de duas doses de uma vacina com determinante antignico viral purificado (splitvirus) inactivado H1N1 2009, em adultos saudveis com idades compreendidas entre os 18 eos 64 anos.

Mtodos

Avaliou-se a imunogenicidade e a segurana da vacina aps cada uma de duas dosescalendarizadas e administradas com 21 dias de intervalo. Entraram no estudo um total de 240sujeitos, divididos equitativamente entre duas faixas etrias (


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Pedro Liberal 66

Greenberg, M, et al

.

Abstract

Introduction

A new Influenza A virus (H1N1) is responsible for a pandemic, making a new vaccinenecessary. A trial is taking place to evaluate two vaccines with an inactive H1N1 2009 splitvirus, in healthy adults with ages between 18 and 64 years.

Methology

The vaccine was evaluated in a 21 day interval. 240 subjects were divided between two agegroups (under 50 y.o and over 50 y.o.) chosen to receive 15 or 30 ngr of antigenichemagglutinin. The antibody amount was measured using hemagglutination inhibition trials andmicro neutralization, at the basal line and 21 days after vaccination. The parameters ofevaluation of immunogenicity were the proportion of subjects with 1:40 of antibodies or more, inthe inhibition trial the proportion of subjects with seroconvertion or with significative increase ofantibodies.

Results

On the 21st day after receiving the first dosage, 95% of the subjects who received the 15 ngrdose, had 1:40 antibody proportion, or higher. As well as 89.1% of those who received 30 ngr.The second trial had similar results. No casualties or reactions worthy of note were recorded.Local discomfort was pointed out by 56.3% of the subjects, and systemic reactions by 53.8%.Practically all reactions were of light to moderate intensity.

Conclusion:

A single 15 ngr dose of the vaccine is effective in adults, with light to moderate reactions.

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Scientific nomenclature uses preserved specimens to compare with newlyfound species which are housed in museums all around Europe. ManyEuropeans enlarged their own museum specimen collections like our ownmuseum which houses thousands of unique taxonomic specimens.

Swedish biologist Carl Linnaeus and other scientists started the science oftaxonomy in the late eighteenth century, with a standard Latin system. Allknown species make use of this system, by using the words genus andspecies scientists can name all newly discovered animals. As such, the work oftaxonomists is of high importance, because without an universally agreedidentity, scientists could not tell for sure if they are looking at the same species.

The Vietnamese pheasant, the Iraqi lizard and many hundred other animals allshare a common trait: only recently have they been discovered by science. Thework of describing these new species is done by taxonomists, and Britain used

to be a major contributor, nowadays however, most work is being done inEurope and any taxonomy supporting governments worldwide.

The discovery of new species is rare in Britain, making it worthy of celebration.The task of collecting and naming new species is not sufficiently developed inmany countries. Outside of northern Europe few countries are capable ofpreparing a list of the main insects of their region, let alone birds or reptiles.How many more new species are out there, waiting to be discovered?

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Comment

Abstracts and summaries are short texts, which summarize the maincontents of the main text. It should include a short statement of thecontent, methods used, conclusions reached and, if any,recommendations that were made.

The abstract should be informative and concise. Good abstracts andsummaries are those which have listed in them the main ideas of thetext, and express then in a simple and short way, by changing theoriginal sentences grammatically or removing parts which are not sonecessary.

If one does not possess the ability to be brief, and abstract maybecome something quite challenging of creating. They can be foundat the end of articles or book chapters, as they are meant to informthe reader of past events, or to keep him on track on what he mayhave missed.


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Praticas de Traducao Ingles II Portfolio 2.3

Documents

Transcript of Praticas de Traducao Ingles II Portfolio 2.3