Member since Nov '13

Working languages:
Portuguese to English

Geoffrey Chan
Specialist in Art / Marketing / Tourism

Canada
Local time: 03:20 EST (GMT-5)

Native in: English (Variants: UK, US) Native in English
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Services Translation, Editing/proofreading, Subtitling, Transcription, Website localization, MT post-editing, Native speaker conversation
Expertise
Specializes in:
Art, Arts & Crafts, PaintingInternet, e-Commerce
Business/Commerce (general)Marketing / Market Research
Environment & EcologyInternational Org/Dev/Coop
Social Science, Sociology, Ethics, etc.Media / Multimedia
Sports / Fitness / RecreationTourism & Travel

Preferred currency USD
Blue Board entries made by this user  9 entries

Payment methods accepted Money order, Wire transfer, PayPal
Portfolio Sample translations submitted: 5
Portuguese to English: Acabou a gargalhada / The laughter has died
General field: Art/Literary
Detailed field: Journalism
Source text - Portuguese
O gesto mais marcante de Adam Sun era a gargalhada. Ele não sorria nem ria, gargalhava - gargalhava com a garganta, fazendo um baita barulho, distendendo a expressão do rosto, agitando os braços longos e finos, sacudindo o corpo todo, tentando tocar e, se desse, abraçar o interlocutor.

Adam Sun gargalhava, alto e demoradamente, a propósito de quase nada. Se alguém lhe repetisse, pela bilionésima vez, o infame trocadilho cartesiano Cogito adam sum, ele gargalhava como se estivesse ouvindo a gracinha pela primeira vez, como se a expressão nunca lhe tivesse passado pelo espírito. Não fazia isso por educação, e sim por pura alegria.

Como Adam gargalhava com freqüência, era impossível não percebê-lo. Além do mais, era um chinês irreverente e inquieto, que media quase 2 metros e falava com sotaque. Cabe o clichê: quando ele chegava, era uma barulheira, uma festa.

E, no entanto, Adam era discretíssimo em relação a si mesmo. Até quem o conhecia há mais de trinta anos pouco sabia dele. Quase não falava de si, não contava nada da sua vida e nunca foi visto se queixando do que quer que fosse. Em contrapartida, era um perguntador astuto: Como vão as coisas? Está difícil? E o que você vai fazer? Ele incentivava o outro a falar. Não porque fosse bisbilhoteiro. E sim porque se interessava pelos outros, intuía que as pessoas se sentiriam melhor ao falarem de si mesmas.

Os pais de Adam nasceram no norte da China e estudaram em Pequim. Em 1949, se mudaram para Taiwan, seguindo o governo nacionalista, derrotado pelo Exército Popular de Libertação de Mao Tse-tung. Lá tiveram três filhos. Adam, o caçula, nasceu em 1953. Quando ele tinha nove anos, a família emigrou. Desembarcaram no porto de Santos em 1962, subiram a serra e se estabeleceram no bairro paulistano da Saúde.

Adam só estudou em escolas públicas. Primeiro no grupo escolar Princesa Isabel, depois no Pedro II e por fim na Universidade de São Paulo. Sem fazer curso preparatório, prestou quatro vestibulares para a USP, em anos diferentes, e foi aprovado em todos. Cursou meses de engenharia e letras, não gostou, saiu, e formou-se em psicologia e jornalismo. Não que fosse de estudar muito. Lia sem parar, isso sim, e tinha uma enorme capacidade de armazenar dados de memória.

Na agitação política dos anos 70, Adam militou numa tendência estudantil influenciada pelo trotskismo. Mas, assim como conquistara sua independência para ser socialista numa família que escapara do PC da China, manteve-se independente em relação aos trotskistas.
Translation - English
Adam Sun’s most defining gesture was his guffaw. He didn’t smile or laugh. He guffawed. He guffawed with his throat, making a great racket and twisting his face. Shaking his long, thin arms, his whole body would convulse and he would try to touch or hug whomever he was speaking to.

Adam Sun laughed loudly and extendedly at the drop of a hat. If anyone repeated the infamous Cartesian pun "Cogito adam sun" for the billionth time, he’d laugh as if he’d heard the joke for the first time, as if he had never heard of the expression before. He did this, not out of politeness, but out of pure joy.

As Adam laughed a lot, it was impossible not to notice him. What’s more, he was irreverent and restless, a Chinese man nearly 2 metres in height who spoke with an accent. It became a cliché: whenever he arrived, it was bedlam, it was a party.

When it was about him, however, Adam was extremely discreet. Even those who had known him for more than 30 years didn’t know much about him. He almost never talked about himself or his life, and no one ever saw him complaining about anything. In fact, he was great at asking questions: How are things? Are you having a tough time? What would you like to do? He encouraged others to talk, not because he liked to gossip, but because he was interested in other people. He knew intuitively that people would feel more relaxed if they talked about themselves.

Adam’s parents were born in northern China and studied in Beijing. In 1949, they moved to Taiwan, following the Nationalist government that had been defeated by Mao Tse Tung’s People’s Liberation Army. There, they raised three children. Adam, the youngest, was born in 1953. When he was 9, the family emigrated, landing at the port of Santos in 1962. They made it to the top of the hill and settled in the São Paulo neighbourhood of Saúde.

Adam studied exclusively in public schools. His first was Princesa Isabel, followed by Pedro II, before he ended up at the University of São Paulo. Without taking any preparatory courses, he sat in four entrance exams for USP in different years and got accepted in all of them. He studied engineering and languages for a few months, but didn’t like the subjects and left. He graduated in psychology and journalism. Though not the studious type, he read non-stop and had an enormous capacity for storing information in his brain.

During the politically turbulent 70s, Adam joined the student militants who were influenced by Trotskyism. However, having earned his independence as a socialist within his own family, whose parents themselves had fled from China’s Communists, he remained at arm’s length from the Trotskyites.
Portuguese to English: Paulo Szot: A Brazilian on Broadway
General field: Art/Literary
Detailed field: Journalism
Source text - Portuguese
Na tarde do dia 15, após sua apresentação no musical South Pacific, o paulista PAULO SZOT tomou um banho, vestiu seu terno cinza-escuro Calvin Klein e foi ao Radio City Music Hall, em Nova York. Duas horas mais tarde, ouviria uma esfuziante Liza Minnelli gritar seu nome do palco. Ele ganhara o Prêmio Tony, o Oscar do teatro americano, na categoria de melhor ator de musical.

Aos 38 anos, Szot figura agora ao lado de famosos como Richard Burton, Matthew Broderick e Hugh Jackman, que venceram na mesma categoria. Ele também marca a história do Tony como o primeiro brasileiro a colocar a mão na cobiçada estatueta. “Nunca achei que ia ganhar o prêmio”, disse Szot a ÉPOCA, dois dias após seu triunfo. “Um artista brasileiro nem sonha com isso, pois é algo completamente diferente de nossa realidade”.

Ao contrário de outras premiações do showbiz americano, como o Oscar e o Grammy, o Tony costuma ser elitista, privilegiando produções americanas ou inglesas e dando pouco espaço a artistas estrangeiros. Antes de Szot, somente um brasileiro causou alvoroço na Broadway. Em 1939, Carmen Miranda estreava no musical The Streets of Paris, ao lado da dupla de comediantes Abbott e Costello. Aparecendo em apenas dois números do espetáculo, Carmen recebeu críticas entusiasmadas e se tornou o “talk of the town” (o assunto da cidade) durante um mês.

Szot também virou o assunto da cidade. Desde que iniciou a temporada de South Pacific no começo de abril, o paulista é saudado pela crítica como o barítono que sabe atuar bem e deslumbrar as fãs (e os fãs) com seu porte de galã. Ben Brantley, o crítico teatral do New York Times apelidado de “açougueiro da Broadway”, por causa de seu poder de aniquilar ou alavancar espetáculos, chamou a produção de South Pacific de irrepreensível. Szot, por sua vez, foi considerado “seriously charming” (algo como “um sério encantador”). Tal recepção fez com que os 1.080 assentos do teatro Vivian Beaumont fossem todos ocupados, noite após noite. A temporada, que terminaria neste mês, foi estendida até o fim de novembro. Os ingressos estão esgotados até setembro.

A nova montagem de South Pacific é o primeiro revival do texto dos compositores Richard Rodgers e Oscar Hammerstein montado na Broadway desde 1949. No musical, que se passa numa ilha do Pacífico durante a Segunda Guerra Mundial, uma enfermeira americana se apaixona por um latifundiário francês. O romance entra em crise quando a moça descobre que o francês é pai de duas crianças com uma polinésia e seu preconceito vem à tona. “É bacana estrear na Broadway com um espetáculo que não tem apenas músicas bonitas, mas que explora temas como o racismo”, diz Szot.
Translation - English
On the afternoon of the 15th, following a performance in the musical South Pacific, the São Paulo native Paulo Szot showered, put on a dark grey Calvin Klein suit and headed out to Radio City Music Hall in New York. Two hours later, he would hear an elated Liza Minnelli shout his name from the stage. He would be named winner of the Tony Award, considered the Oscar of American theatre, for best actor in a musical.

At 38, Szot joins the ranks of such famous actors as Richard Burton, Matthew Broderick and Hugh Jackman, all of whom have won in the same category. He also scores a first in the history of the Tonies, becoming the first Brazilian to place a hand on the coveted statue. “I never thought that I’d ever win”, Szot said in an interview with EPOCA two days after winning. “A Brazilian artist doesn’t even dream of this because it’s something totally outside of our reality.”

In contrast to other American showbiz awards like the Oscar and the Grammy, the Tony is a stuffier affair that tends to favour American and English productions, leaving little room for foreign theatrical artists. Before Szot came along, only one other Brazilian had made a big impact on Broadway. In 1939, Carmen Miranda debuted in the musical Streets of Paris, alongside the comedic duo Abbott and Costello. Appearing in only two numbers, Carmen won over critics and became the “talk of the town” for the next month.

Szot has also become the talk of the town. Since South Pacific opened in the beginning of April, the São Paulo native has been lauded by critics as a baritone who knows how to act as well as win over fans with his movie-star looks. The influential New York Times theatre critic Ben Brantley, nicknamed the Butcher of Broadway because of his ability to make or break a production, called South Pacific beyond reproach. Szot himself was considered “seriously charming”. Such was the acclaim that the Vivian Beaumont Theatre’s 1080 seats have been filled night after night. Originally set to end this month, the musical’s run has been extended until the end of November. All shows until September have been sold out.

The new production of South Pacific is the first re-staging of the Rogers and Hammerstein musical on Broadway since 1949. In the musical, which takes place on a Pacific island during the Second World War, an American nurse falls in love with a French landowner. Their love affair enters into peril when the young woman shows her prejudice upon discovering that the Frenchman is the father of two children with a Polynesian woman. “It’s great to debut on Broadway in a musical that not only features beautiful songs but also explores themes like racism”, says Szot.
Portuguese to English: Bridges of Culture
General field: Marketing
Detailed field: Music
Source text - Portuguese
As pontes servem para atravessar de um lugar para outro, passagem de ligação que une lugares, pessoas e culturas. Pontes Culturais procura estabelecer ligações entre Recife (Brasil) e Boston (EUA), não somente pelas semelhanças que as duas cidades têm com seus rios e pontes, mas principalmente pela proposta de abertura da comunicação através da cultura. A música será a ponte de ligação para essas duas cidades se conhecerem melhor e os artistas serão os agentes desse diálogo intercultural.

Pontes Culturais começa a primeira edição com a participação da Orquestra Popular da Bomba do Hemetério (OPBH), do Recife-Brasil. O grupo tem a interação como uma das diretrizes do seu trabalho, que mistura o frevo, samba, maracatu, com o jazz, blue, rock e outras manifestações musicais do mundo. Desde que foi criada pelo Maestro Forró em 2002, a OPBH ultrapassa as características sonoras de um grupo musical. Em cena, o regente que desburocratiza, desmistifica e desconstrói a figura sisuda de grande parte dos maestros, ganha cada vez mais espaço e reconhecimento na nova cena da música brasileira. No palco, Francisco Amâncio da Silva vive o personagem Maestro Forró. Transforma-se em batuta de corpo inteiro. Estímulo e experiência teatral que comandam os músicos da partitura aos pés. A Orquestra faz arte apurada para os ouvidos e também para os olhos.
Translation - English
Bridges enable us to cross over from one point to another, connecting and uniting people, places and cultures. The project Bridges of Culture aims to open up connections between Recife (Brazil) and Boston (USA), not only through the relationship both cities share with its rivers and bridges, but also through the use of culture as a channel of communication. Music will be the connector through which these two cities will get to know each other better, and the musicians, its ambassadors in this cultural dialogue.

Bridges of Culture will launch its first edition with the participation of Orquestra Popular da Bomba do Hemetério (OPBH), from Recife, Brazil. Mixing the rhythms of frevo, samba and maracatu with jazz, blues, rock and other musical styles from around the world, this exciting group views interaction as one of its guiding principles. Founded by Maestro Forró in 2002, OPBH has a sound that goes beyond what you might expect of a musical group. Its conductor, who demystifies and deconstructs the stereotype of the sober maestro, has garnered increasing attention and acclaim on Brazil’s new music scene. On stage, Francisco Amâncio da Silva is transformed into the character Maestro Forró. Employing his entire body as if it were a baton, he spurs on his musicians to join in the theatrical experience and bring the music to life, from the head right down to the toes. This orchestra makes refined art for the ears as well as the eyes.
Portuguese to English: Infrastructure in Emerging Markets: Theory and Practice
General field: Social Sciences
Detailed field: Economics
Source text - Portuguese
As reformas do aparelho administrativo do Estado representam uma preocupação quase geral nos países da América Latina na década de 80 e, sobretudo, na década de 902. Essas mudanças do Estado ocorrem em razão da inoperância e impossibilidade de alcançar seus fins com os recursos disponíveis. Nesse senti- do, as grandes modificações ocorridas foram o enxugamento da máquina estatal, a introdução de métodos gerenciais mais modernos na administração pública, a implementação de programas de contabilidade e auditoria mais modernos (privilegiando a participação popular) e a divulgação de informações. Nesse sentido, o caso brasileiro é interessante de ser analisado.

As mudanças na administração pública, buscando padrões de eficiência, diminuindo o desperdício e propiciando a diminuição do tamanho da máquina estatal, passaram a ser consideradas como elementos fundamentais e condicionantes da mudança de programas de ajuste fiscal. Assim, a inovação no padrão de gestão do Estado é um elemento complementar dos modelos de ajuste fiscal. No Brasil, a partir de 1995, o Plano Diretor da Reforma do Estado elabora um diagnóstico da necessidade de compartilhamento da gestão do espaço público com setores da iniciativa privada, dividindo o aparelho do Estado em quatro setores:

a) NÚCLEO ESTRATÉGICO – corresponde aos Poderes Legislativo e Judiciário, ao Ministério Público e ao Poder Executivo. É nesse núcleo estratégico que se dá a formulação de políticas públicas;

b) ATIVIDADES EXCLUSIVAS – setor no qual são prestados serviços que só o Estado pode realizar, como, por exemplo, serviços de fiscalização e controle, regulamentação. Nesse setor, encontram-se as agências reguladoras, as agências executivas e diversos órgãos governamentais responsáveis pelo fomento em diversas áreas;

c) SERVIÇOS NÃO EXCLUSIVOS – corresponde ao setor onde o Estado atua simultaneamente com outras organizações públicas não estatais e privadas. Esse é o grande ponto desse novo “perfil” da atuação do Estado brasileiro. A ideia é que, diante da incapacidade do Estado de cumprir com as suas funções precípuas, sobretudo na oferta de serviços públicos de qualidade, deverá agora esse Estado incentivar, atrair, fomentar as organizações da so- ciedade, sem fins lucrativos, para que atuem nessa área. Trata-se também do fortalecimento de uma esfera pública não estatal que decerto incentivará aspectos ligados à cidadania e participação popular. São exemplos desse setor as universidades, os hospitais, os centros de pesquisa e os museus;

d) PRODUÇÃO DE BENS E SERVIÇOS PARA O MERCADO – corresponde à área de atuação das empresas estatais do segmento produtivo ou do mercado financeiro. É o setor empresarial do Esta- do, voltado para o lucro e sobretudo se desenvolve nos setores de infraestrutura.

Trata-se de uma mudança de paradigmas do Estado e da admi- nistração pública. Quanto ao Estado, deixa de ser prioritariamente intervencionista para tornar-se regulador. Abandona a missão de produtor de bens e serviços e passa a ser regulador do processo de mercado. Claro que essa transição não é fácil, pois a montagem de uma estrutura de regulação é tarefa complexa que envolve pro- blemas de assimetria de informações, necessidade de instrumentos de controle eficientes e participação da sociedade civil na im- plantação do novo modelo.

Do ponto de vista da administração, o paradigma a ser superado é o chamado modelo burocrático, de inspiração no mode- lo prussiano, que foi adotado nos países europeus no final do século XIX e nos Estados Unidos no começo do século XX. No Brasil, o início do modelo burocrático, substituindo o antigo modelo patrimonialista (que entendia o Estado como patrimônio do rei), se deu nos anos 30, com a reforma administrativa promovida por Maurício Nabuco e Luiz Simões Lopes.

Esse modelo burocrático teve a função importante de comba- ter a corrupção e o nepotismo advindos do modelo patrimonialista. Dessa forma, os princípios básicos do modelo burocrático eram a profissionalização, a ideia de carreira, a hierarquia funcional, a impessoalidade, enfim, o formalismo excessivo. Esse modelo burocrático começa a se tornar ineficiente na condução dos novos desafios do Estado moderno, e, aos poucos, passa a ser um fim em si mesmo, sem qualquer compromisso com o cidadão.
Translation - English
In the 1980s, and especially in the 1990s, reforming the State’s administrative apparatus was an almost universal concern among Latin American countries. These changes were as a result of the ineffectiveness of governments and the impossibility of having their objectives achieved with the resources available. The great changes that occurred included the drying up of the State, the introduction of more modern management methods, the implementation of more modern book-keeping and auditing programmes (with an emphasis on popular participation) and information sharing. The Brazilian case is an interesting one to analyze.

Changes to public administration, in which standards of efficiency were sought, waste was cut down and the size of the State was reduced, came to be seen as fundamental and contingent elements of reforms to fiscal adjustment programs. As such, innovations in standards for managing the State are a complementary aspect of fiscal adjustment models. In Brazil, the Master Plan for State Reform, created in 1995, emphasizes the need to share the management of the public realm with the private sector. It divides the state apparatus into four sectors:

a) STRATEGIC CENTRE – the Legislative and Judicial Branches, the Office of the Public Prosecutor, and the Executive Branch, where policy creation resides;

b) EXCLUSIVE ACTIVITIES – this sector offers services that only the State can provide, such as inspection, oversight and regulation. Regulatory agencies and various government bodies responsible for promotion in various areas reside here;

c) NON-EXCLUSIVE SERVICES – the sector where the State acts simultaneously with other non state-owned public organizations, as well as private organizations. This is the key aspect of the Brazilian State’s new “profile”, the idea being that because of the State’s incapacity to perform its functions, especially in offering good quality public services, it should encourage, attract and nurture civil society organizations to carry out these functions. This sector is also concerned with strengthening the private sphere so as to encourage citizenship and popular participation. Examples of this include universities, hospitals, research centres and museums;

d) PRODUCTION OF GOODS AND SERVICES FOR THE MARKET – refers to the involvement of state-owned companies in production or financial markets. This is the State’s business sector, which is for-profit and focuses on infrastructure development.

This is a paradigm shift for the State and for public administration. The State ceases to be primarily interventionist, and instead, adopts the role of regulator. It abandons the mission of being a provider of goods and services, and instead becomes a regulator of the market. This transition is, of course, anything but smooth, since the creation of a regulatory structure is a complex task involving information asymmetries, the need for efficient oversight mechanisms and the participation of civil society to implement the new model.

From the viewpoint of administration, the paradigm to be overturned is the so-called bureaucratic model, inspired by the Prussian model that was adopted by European countries at the end of the 19th century and by the United States at the beginning of the 20th century. Replacing the old paternalistic model that regarded the State as a mere extension of the King, the bureaucratic model was introduced in Brazil in the 1930s through the administrative reforms pushed by Maurício Nabuco and Luiz Simões Lopes.

This bureaucratic model had an important role in combating the corruption and nepotism that had resulted from the paternalistic model. The basic principles of the new model were professionalism, the concept of a career, a functional hierarchy and impersonalism. It was, to put it another way, excessive formalism. However, this model started to become inefficient when the modern State encountered new challenges and over time, it became an end in itself, devoid of accountability from the citizenry.
Portuguese to English: Semiotic Levels and Visual Factors in Dynamic Images
General field: Art/Literary
Detailed field: Art, Arts & Crafts, Painting
Source text - Portuguese
Numa dinâmica constante e numa crescente comunicação gráfica, e especialmente pictórica, as imagens dinâmicas (ilustrações com representação de ações e movimentos) são participantes importantes no processo comunicativo.

O papel instrucional e comunicativo das imagens é destacado por muitos estudiosos. Dondis [Dondis99] afirma que “procuramos um reforço de informações visuais de nossos conhecimentos e percepções, principalmente por causa de sua maior proximidade com o real, da materialização das idéias, mesmo que esta seja simbólica” [Dondis99, 5-6]. As imagens dinâmicas são um grande exemplo desta participação. Contam histórias, narram fatos (importância educacional e histórica), apresentam como os objetos funcionam (importância instrucional e econômica), demonstram as ações preventivas e cuidados médicos (importância social), entre outros.

Como comentado por Wanderley [Wanderley06], entretanto, a expressão pictórica de ações é complexa, pois esse tema, devido a sua dinamicidade, temporalidade e com mudanças constantes, não possui uma forma pictórica definida e parecer ter características teoricamente conflitantes como o meio gráfico pictórico (estático, atemporal), embora esse conflito seja minimizado na prática.

Alguns modelos já foram desenvolvidos cujo objeto de estudo são ilustrações. O modelo de Ashwin [Ashwin79] ‘Os ingredientes de estilo em ilustrações contemporâneas’ caracteriza alguns aspectos com suas variações a serem decidido na elaboração de ilustrações. O modelo de Twyman [Twyman79] ‘Um esquema para o estudo da linguagem gráfica’ demonstra algumas possibilidades de configurações e de simbolização, relacionando-os entre si, para a construção de mensagens. Já o modelo “Compreensibilidade de Ilustrações” de Goldsmith [Goldsmith99] tem função analítica, trabalhando ilustrações de suporte observando sua capacidade informativa por si só e com o tento no qual representa.

Diante da complexidade representacional de ações e da importância das imagens dinâmicas, essa pesquisa buscou desenvolver uma abordagem que analisasse essas imagens, discutindo seu nível de compreensão e identificando seus principais problemas conceituais, gráficos e de adequação ao perfil do leitor. Esta abordagem é o resultado final das abordagens de Wanderley [Wanderley06] e de Wanderley [Wanderley07], no qual são investigados e aplicados alguns elementos conceituais e gráficos e efeito do leitor para a representação de ação e para a análise de ilustrações. Assim, neste artigo é apresentado uma Abordagem Analítica para Imagens Dinâmicas.
Translation - English
Dynamic images (illustrations that represent actions and movements), especially pictorial, are important participants in the communicative process, as they exist in a constant dynamic and in an ever expanding world of graphic communication.

Many scholars have highlighted the instructional and communicative role of images. Dondis [Dondis99] states that, “we look for ways to reinforce our knowledge and perceptions with visual information, mainly because of its closer proximity to the Real and to the materialization of ideas, even if it is symbolic” [Dondis99, 5-6]. Dynamic images are a prime example of this participation. They tell stories, narrate facts (of educational and historical importance), show how objects function (of instructional and economic importance), and demonstrate preventive medical action and care (of social importance), among others.

As Wanderley [Wanderley06] has noted, however, the pictorial representation of action is complex. Due to its dynamic nature, temporality and constant change, it lacks a defined pictorial form and appears to possess characteristics that are, in theory, incompatible with the pictorial graphic medium (which is static and atemporal). In practice, however, this conflict is not as apparent.

Several models have already been developed to study illustrations. Ashwin’s [Ashwin79] `The ingredients of style in contemporary illustrations’ characterizes some aspects with variations that should be determined when preparing illustrations. Twyman’s [Twyman79] `A schema for the study of graphic language’ shows several possibilities for configuration and symbolization, and the relation between the two, in the creation of messages. Goldsmith’s “Comprehensibility of Illustration” [Goldsmith99] analyzes illustrative aids, noting their innate capacity to inform and the attention that they represent.

Bearing in mind the representational complexity of action and the importance of dynamic images, this study sought to develop an approach for analyzing these images, discuss their level of comprehension and identify their main conceptual and graphic problems, including how suitable they are to the reader’s profile. This approach is the culmination of Wanderley´s previous approaches [Wanderley06] and [Wanderley07], in which several conceptual and graphic elements were investigated and applied, as well as the influence of the reader on the representation of action and the analysis of illustration. As such, this article presents an Approach for Analyzing Dynamic Images.

Glossaries Business, Cinema, Culinary, Economics, Fine Art, General, Printmaking, Textiles
Experience Years of experience: 9. Registered at ProZ.com: Feb 2009. Became a member: Nov 2013.
ProZ.com Certified PRO certificate(s) N/A
Credentials N/A
Memberships N/A
Software Adobe Acrobat, Frontpage, MemSource Cloud, Microsoft Excel, Microsoft Word, Powerpoint, SDL TRADOS
CV/Resume CV available upon request
Events and training
Professional practices Geoffrey Chan endorses ProZ.com's Professional Guidelines.
Bio

Who am I?

A Canadian citizen and native English speaker, I came to translation after 10 years in the media and communications field and 5 years of experience as a CELTA-certified ESL teacher in Brazil.

Those years gave me a love of the written word and of encounters with other cultures and languages, where I could indulge my curiosity about worlds beyond my own borders.

This led me to the art and craft of translation, which I have been practicing professionally for more than 8 years as a Portuguese-to-English (EUR & BR) translator.

What is my university education?

I graduated in 1997 with a Bachelor of Arts Degree in Cultural Studies and Environmental Studies from Trent University, Canada.

What are my specialties?

My expertise lies in the following fields:

- Art and Culture 

- Marketing, Business, eCommerce

- Tourism & Hospitality

- Social Sciences and the Humanities

In general, in order to preserve the quality and integrity of my work, I tend not to translate documents that require a high degree of specialized knowledge outside my fields of expertise (i.e. law, engineering or medical sciences).

However, I do have experience translating in a variety of other fields such as the Environment, Human Resources, Education, International Development and Human Rights, so I will take on these types of documents.

CVs, academic transcripts and certificates are also welcome.

Where have my translations been featured?

Many of my translations in the Art and Culture sector have been used by leading cultural institutions in Portugal, including the Gulbenkian
Museum, EGEAC, MNAC-Museu do Chiado and Centro Cultural de Belem.

What you can expect from me

I bring curiosity about the world, passion for culture and the written
word, unerring professionalism and dedication to detail to
every project I take on.

Every text you entrust to me is translated and proofread to the highest native English standard, tailor-made for the local context to which it pertains. This means you will never get a word-for-word translation. You will get a translation that flows with style and ease.

I also adhere to the highest professional standards on confidentiality.

I look forward to hearing from you!


This user has earned KudoZ points by helping other translators with PRO-level terms. Click point total(s) to see term translations provided.

Total pts earned: 67
(All PRO level)


Language (PRO)
Portuguese to English67
Top general fields (PRO)
Art/Literary28
Bus/Financial16
Social Sciences8
Tech/Engineering7
Science4
Pts in 1 more fld >
Top specific fields (PRO)
Other16
History8
Business/Commerce (general)5
General / Conversation / Greetings / Letters4
Human Resources4
Law (general)4
Architecture4
Pts in 6 more flds >

See all points earned >
Keywords: portuguese to english translator, canadian translator, brazilian translation, portuguese translator, tourism translation, environment translation, environmental translation, green translations, ecotourism, renewable energy, biomass, solar power, wind power, wind farm, ecological translation, agriculture, international development, non governmental organization, conservation, sustainable, forestry, organic, waste management, recycling, green policy, climate change, global warming, wildlife, nature, brazilian portuguese, native english, proofreader, proofreading, reviser, revision, editing, editor, arts, arts and crafts, culture, business/commerce, marketing, market research, business translation, music translation, sports translation, advertising,


Profile last updated
Mar 5



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