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English to Spanish - Rates: 0.07 - 0.09 EUR per word / 23 - 30 EUR per hour Spanish to English - Rates: 0.07 - 0.09 EUR per word / 23 - 30 EUR per hour Portuguese to Spanish - Rates: 0.06 - 0.09 EUR per word / 21 - 29 EUR per hour Portuguese to English - Rates: 0.07 - 0.09 EUR per word / 22 - 29 EUR per hour Italian to Spanish - Rates: 0.07 - 0.09 EUR per word / 21 - 29 EUR per hour
Italian to English - Rates: 0.07 - 0.10 EUR per word / 22 - 30 EUR per hour French to Spanish - Rates: 0.07 - 0.09 EUR per word French to English - Rates: 0.08 - 0.11 EUR per word German to Spanish - Rates: 0.07 - 0.10 EUR per word German to English - Rates: 0.08 - 0.11 EUR per word Japanese to Spanish - Rates: 0.17 - 0.21 EUR per character Japanese to English - Rates: 0.17 - 0.21 EUR per character
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Project History
4 projects entered 3 positive feedback from outsourcers
Project Details
Project Summary
Corroboration
Translation Volume: 372 words Completed: Dec 2020 Languages: Spanish to English
Two page translation of medical report
Medical (general)
positive Alba Pérez: translation done in the expected time and very efficient
Translation Volume: 1821 words Completed: Nov 2020 Languages: English to Spanish
TED conference
Pro bono translation publically available: https://www.ted.com/talks/kristin_jones_why_children_stay_silent_following_sexual_violence/transcript?language=es
Other
No comment.
Translation Volume: 3134 words Completed: Nov 2018 Languages: English to Spanish
12 page translation of software tutorial
Translation of a tutorial of a program (React, https://reactjs.org/tutorial/tutorial.html#setup-for-the-tutorial) for educational purposes.
Computers: Software
positive Diego Cerezo (South-Bridge): No comment.
Translation Volume: 3134 words Completed: Nov 2018 Languages: English to Spanish
14 page translation of software user's guide
Translation of part of the user guide of Ansible (https://docs.ansible.com/ansible/latest/user_guide/intro_getting_started.html).
Computers: Software
positive Fco Javier Soriano: No comment.
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Portfolio
Sample translations submitted: 1
Spanish to English: Steven Spielberg’s The Post
Source text - Spanish Spielberg convierte los hechos, que reflejan la sórdida realidad del imperio, en una fábula que inyecta confianza en los valores estadounidenses
La última película de Steven Spielberg nos sitúa ante un momento histórico trascendental, en el que la derrota en Vietnam truncó para siempre el camino ascendente de dominación que Estados Unidos perseguía después de su victoria en la Segunda Guerra Mundial.
En el actual clima del dominio estadounidense en declive, Spielberg, uno de los mayores talentos del Hollywood "liberal", dirige su mirada hacia la edad de oro del poder de los Estados Unidos.
Los archivos del Pentágono es tratado con un enfoque actual, con Spielberg usando la figura de Nixon y sus engaños, que le costaron el apodo de Dick el Tramposo, para lanzar un dardo contra el actual inquilino de la Casa Blanca, Donald Trump.
Sin embargo, la película presenta temas de mayor profundidad que los del debate político actual.
Una película sin protagonista
¿Es posible hacer una política ocultando al protagonista? Al igual que Hollywood ha hecho desde sus comienzos, continúa censurando a los verdaderos protagonistas en su cine de ficción histórica, como podemos ver en la última pieza de Vietnam de Spielberg.
Spielberg nos ubica ante la filtración de los llamados Documentos del Pentágono en 1971. Este es un voluminoso informe encargado por Robert McNamara, el Secretario de Defensa responsable de la escalada bélica en el sudeste asiático. Los documentos del Pentágono revelaron los aspectos más turbios de la intervención estadounidense e incluso divulgaron la implicación del asesinato de un presidente vietnamita. Se publicaron las mentiras que pretendían ocultar al público estadounidense la creciente presencia militar para tratar de detener el avance del Vietcong.
Su publicación en el New York Times y el Washington Post fue el primer golpe contra la presidencia de Nixon, que finalmente terminó poco después del escándalo de Watergate. Mientras tanto, EE. UU. Tuvo que abandonar Vietnam apresuradamente, sufriendo una dolorosa derrota.
Esta es la historia que Hollywood nos ha contado una y otra vez, pero en la que el personaje más importante ha sido borrado: el pueblo vietnamita.
Hemos visto muchas películas sobre los efectos de la guerra en los soldados de EE. UU., Pero ninguna sobre las consecuencias en la población vietnamita, a pesar de los dos millones de muertos y los tres millones afectados por el napalm lanzado desde los aviones estadounidenses.
Pero especialmente Hollywood -y Spielberg lo hace de nuevo en Los archivos del Pentágono- nos da una visión distorsionada del resultado de la guerra, diciendo que perdieron a causa de las mentiras y el manejo inhumano de políticos mentirosos o que salieron de Vietnam gracias a la reacción de la sociedad americana que forzó el fin de la masacre.
Por supuesto, hubo un importante y creciente rechazo a la guerra en los Estados Unidos. Sin embargo, la superpotencia se vio obligada a retirarse porque el pueblo vietnamita la derrotó en el momento en que se creía que era invencible.
Este pequeño detalle es ignorado por las grandes producciones de Hollywood, escondiendo algo trascendente para nosotros: sí, los pueblos pueden vencer al imperio. Además, las victorias infligidas por la lucha de los pueblos están, desde su mismo origen en esos tumultuosos años setenta, detrás del retroceso global de Estados Unidos que Washington no pudo ni puede detener.
Una historia donde no hay buenos
Spielberg nos ofrece una historia política donde hay buenos y malos.
Nixon, entonces presidente, encarna el lado oscuro, al igual que sus predecesores en la Casa Blanca, desde Eisenhower hasta Johnson, y Kennedy, que mintieron para ocultar la magnitud de la intervención estadounidense en Vietnam.
Presentada en oposición a ellos, hay una prensa que revela la oscuridad maléfica del poder, poniendo límites a su acción y ayudando a restaurar la normalidad.
La realidad era más oscura. Los periódicos del Washington Post y de Nueva York, los periódicos que publicaron los documentos del Pentágono y luego colocaron el caso Watergate en primera plana, habían apoyado con firmeza la escalada militar en Vietnam.
Si se publicaban secretos oficiales importantes entonces, no era con la intención de obligar a retirarse de Vietnam, lo que ya era un hecho dada la inevitabilidad de la derrota estadounidense. La intención estaba más centrada en poner fin a la presidencia de Nixon, que se había vuelto incómodo para el complejo militar industrial al tomar un camino excesivamente autónomo que incluía el restablecimiento de las relaciones con China y la relajación con Moscú.
Terminar con Nixon a cualquier precio, incluso a costa de provocar una gran crisis política y pulverizar el prestigio de una institución clave como la presidencia, se convirtió en una obsesión para los verdaderos centros de poder de EE. UU.
El Washington Post, presentado por Spielberg como un campeón de la prensa libre que lidia con abusos de poder, fue el vehículo utilizado para ello. Fue el segundo al mando del FBI, uno de los principales centros del Estado estadounidense, la Garganta Profunda, quien brindó a los periodistas del Post el material para convertir el escándalo de Watergate en una fuerza para obligar a Nixon a renunciar.
Spielberg parte de los hechos históricos, pero no para profundizar en ellos y revelar toda la verdad que implican. En cambio, eligió construir un nuevo mito norteamericano sobre estos detalles.
La película usa una enorme habilidad narrativa. Spielberg relata un informe árido sobre un conflicto político con enorme dinamismo utilizando la gran actuación de Meryl Streep y un justamente igualado Tom Hanks para desarrollar la película en torno a una relación ambivalente entre dos personajes.
Claramente, Spielberg persigue un objetivo; tratar de devolver a la superpotencia estadounidense parte de su confianza perdida.
La escena en la que el Tribunal Supremo impide que la administración Nixon detenga la publicación de los documentos del Pentágono es la culminación de la fábula. Spielberg hace un llamamiento a los padres fundadores de los Estados Unidos y a su voluntad de que la prensa libre actúe como fiscal.
Al final de la historia, en la batalla contra el gobierno canalla de Nixon, la libertad y la democracia ganan. Spielberg nos dice que incluso en los momentos más oscuros (contra un Nixon, un Bush, o ahora un Trump), los valores estadounidenses terminan triunfando. El rostro de los Estados Unidos presentado por Spielberg no es el de un imperio criminal, sino el de una nación que continúa conservando su inocencia original.
La historia es una inyección de confianza en la dominación norteamericana en un momento en el que se enfrenta a un retroceso para el que no parece haber encontrado una respuesta.
Sin embargo, a pesar de todos sus esfuerzos y talento, no importa cuánto lo intente, Spielberg no puede ser Frank Capra. Demasiado ha sucedido desde que Capra idealizó la democracia estadounidense en la década de 1950. Spielberg no puede ocultar el verdadero rostro del imperio y las consecuencias de su poder en invasiones, golpes de Estado, genocidios ... Y el imperio entonces invicto ahora ha probado varias veces el amargo sabor de la derrota.
Una realidad que todas las fábulas americanas no pueden ocultar.
Translation - English Spielberg changes the facts, which reflect the sordid reality of the empire, into a fable that injects confidence in American values
Steven Spielberg's latest film places us before a momentous historic time, in which the defeat in Vietnam forever truncated the ascending path of domination the United States was pursuing after its victory in World War II.
In today's current climate of declining U.S. domination, Spielberg, one of the greatest talents of "liberal" Hollywood, turns his gaze to the golden age of U.S. power.
The Post is being treated with a present-day approach, with Spielberg using the Nixon figure and his deceit -which cost him the nickname of Tricky Dick- to throw a javelin at current White House tenant Donald Trump.
However, the film presents subjects of greater depth than those of today’s political debate.
A movie without a main character
Is it possible to make a movie while hiding the main character? Like Hollywood has done since its conception, it continues to censor the true leading players in its historical fiction cinema as we can see in Spielberg's latest Vietnam piece.
Spielberg places us before the leak of the so-called Pentagon Papers in 1971. This is a voluminous report commissioned by Robert McNamara, the Secretary of Defense responsible for the escalation of war in Southeast Asia. The Pentagon papers revealed the most murky aspects of the American intervention, and even divulge the implication of the murder of a Vietnamese president. The lies intended to conceal from the American public the increasing military presence to try to stop the advance of the Vietcong were made public.
Its publication by the New York Times and the Washington Post was the first blow against the Nixon presidency, which eventually ended shortly after the Watergate scandal. Meanwhile, the US had to leave Vietnam in haste, suffering a painful defeat.
This is a story that Hollywood has told us time and again, but in which the greatest character has been erased: the Vietnamese people.
We have seen many films about the effects of the war on U.S. soldiers, but none of the consequences on the Vietnamese population, despite the two million dead and three million affected by napalm dropped from American airplanes.
But especially Hollywood - and Spielberg does it again in The Post - gives us a distorted view of the outcome of the war, saying that they lost because of the lies and inhumane management of cheating politicians or that they left Vietnam thanks to the reaction of the American society that forced an end to the massacre.
Of course, there was an important and growing rejection of the war in the United States. However, the superpower was forced to withdraw because the Vietnamese people defeated it at the moment where it was thought to be invincible.
This small detail is ignored by great productions of Hollywood, hiding something transcendent to us: yes, the peoples can defeat the empire. Moreover, the victories inflicted by the peoples' struggle are, from their very origin in those tumultuous seventies, behind the U.S. global retreat that Washington couldn’t and cannot stop.
A story where there are no good guys
Spielberg offers us a political story where there are good guys and bad guys.
Nixon, then president, embodies the dark side, as well as his predecessors in the White House, from Eisenhower to Johnson, and Kennedy, who lied to hide the magnitude of the US intervention in Vietnam.
Presented in opposition to them is a press that reveals the wayward darkness of power, putting limits to its action and helping restore the normality.
The reality was murkier. The Washington Post and New York Times, the newspapers that published the Pentagon papers and later put the Watergate case on the front page, had previously backed the military escalation in Vietnam strongly.
If important official secrets were published then, it was not with the intention of forcing a withdrawal from Vietnam that was already a fact given the inevitability of the American defeat. The intention was more focused on ending the presidency of Nixon who had become uncomfortable for the industrial military complex by taking an excessively autonomous path that included the reestablishment of relations with China and relaxation with Moscow.
Ending Nixon at any price, even at the cost of provoking a huge political crisis and pulverizing the prestige of a key institution such as the presidency, became an obsession for the real US centers of power.
The Washington Post, presented by Spielberg as a free press champion coping with abuses of power, was the vehicle used for it. It was the FBI’s second-in-command, one of the major centers of the American State, the Deep Throat that provided the reporters of the Post with the material to turn the Watergate scandal into a force to make Nixon to resign.
Spielberg starts from the historical facts, but does not to delve deeper into them and reveal all the truth that they imply. Instead he chose to build a new North American myth on these details.
The film uses an enormous narrative ability. Spielberg recounts an arid report about a political conflict with enormous dynamism by using the great acting of Meryl Streep and fairly matched Tom Hanks to develop the film around an ambivalent relationship between two characters.
Clearly Spielberg pursues an objective; to try and give back to the American superpower some of its lost confidence.
The scene where the Supreme Court prevents the Nixon administration from stopping the publication of the Pentagon papers is the culmination of the fable. Spielberg appeals to the founding fathers of the United States and to their will that a free press should act as public prosecutor.
At the end of the story, in the battle against Nixon’s rogue government, freedom and democracy win. Spielberg tells us that even in the darkest moments (against a Nixon, a Bush, or now a Trump) American values end up triumphing. The face of the United States presented by Spielberg is not that of a criminal empire, but that of a nation that continues to retain its original innocence.
The story tale is an injection of confidence for North American domination at a time when it is facing a retreat for which it does not seem to have found an answer.
However, despite all his efforts and talent, no matter how hard he tries, Spielberg cannot be Frank Capra. Too much has happened since Capra idealized American democracy in the 1950s. Spielberg cannot hide the true face of the empire and the consequences of its power in invasions, coups, genocides... And the then undefeated empire has now tasted several times the bitter taste of defeat.
A reality that all American fables cannot hide.
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Years of experience: 15. Registered at ProZ.com: Oct 2008.
Adobe Acrobat, CafeTran Espresso, Google Translator Toolkit, Microsoft Excel, Microsoft Word, OmegaT, Powerpoint, ProZ.com Translation Center, Subtitle Edit
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Bio
I'm Francisco Alemán. I'm a self-taught polyglot!
I worked as a full-time Spanish>English technical translator for almost two years and as a part-time assistant project manager for a translation agency for 7 months. I've been translating for my students throughout my 12 years as an English teacher. Currently I intend to get as many freelance works as I can!
I decided to become a language professional when I realized that this was my true passion, something I dedicated thousands of hours just for the sake of it.
I studied psychology at the University, I've worked in IT, I'm crazy about linguistic correctness in Spanish and English, and I read a lot of history, economics, politics, anthropology and anything related to social sciences as a hobby!
Keywords: Programming, neural networks, Python, deep learning, machine learning, artificial intelligence, data science
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Project History
3 positive feedback from outsourcers