Italian to English - Rates: 0.03 - 0.06 GBP per word / 8 - 12 GBP per hour English to Italian - Rates: 0.02 - 0.06 GBP per word / 8 - 12 GBP per hour French to English - Rates: 0.02 - 0.05 GBP per word / 8 - 12 GBP per hour
Sample translations submitted: 5
French to English: North Platte Journal; Espresso Oasis Halfway Between Yuck! and Foo!
Source text - French Java Junction is designed to resemble a train's caboose, a 12-foot by 20-foot rectangle painted bright yellow with a burgundy roof. Out front, authentic signal lights flash green by the wrought iron swings where passengers from the cross-country Greyhound nurse their caffeine. Ms. Corns orders rugelach and biscotti online to satisfy the big-city clientele passing through on the Interstate, but also stocks jars of chokecherry and blubarb jam made by her Aunt Ruthann.
The Corns, who met at a Pizza Hut, are coffeeholics who used to fill their cravings while traveling out of town (he drinks Americano, espresso with a little hot water; she takes straight brew, often decaf).
They bought an antique espresso machine for their home overlooking a lake about 20 miles from here, and began to convert their friends cup by cup. One day, they looked in their coffee mugs and saw self-employment.
They have sunk $53,000 into the business -- including a $7,500 espresso machine and a $2,300 smoothee blender -- and are planning to open a second outlet 48 miles down the Interstate in Cozad (Exit 22) in the spring.
Translation - English Une oasis de caféine, à mi-chemin entre Beuh! et Berck!
Java Junction (« gare du café ») était construite pour ressembler à un fourgon de chemin de fer – un rectangle mesurant quatre mètres de côté et six mètres de longueur dont les parois ont été peintes en jaune vif, avec un toit en bordeaux. Sur le terre-plein, d’authentiques feux de signalisation clignotent au vert à côté de la balançoire en fer forgé où les passagers descendus de l’autocar trans-continental des lignes « Greyhound » sirotaient leur café. Mme. Corn commande du ragelach et de biscotti sur Internet pour contenter les clients venus des grandes villes qui passent sur l’autoroute, mais elle s’approvisionne aussi de pots de confiture de cerises et de myrtilles et rhubarbes, préparés par sa tante RuthAnn.
Les Corn, qui se sont rencontrés dans un Pizza Hut, sont deux « dépendants du café » qui comblaient leur besoin lorsqu’ils voyageaient hors ville (il bois du café américain, et elle prend du café filtre – souvent décaféiné).
Ils achetèrent une vieille machine à café espresso pour leur maison située sur un lac à environ 30 kilomètres d’ici, et commencèrent à convertir leurs amis une tasse à la fois. Un jour, ils regardèrent au fond de leurs gobelets, et virent une opportunité commerciale. Ils ont versé $53 000 (33 000€) dans le projet – y comprise une machine à café espresso de $7 500 (4 700€), et un mixer de smoothies de $2 300 (1 400€) – et ils ont intention d’ouvrir une deuxième entreprise 70 kilomètres plus loin sur l’autoroute à Cozad (sortie n. 22) – ce printemps.
French to English: Le Bottier du Caire
Source text - French PDF available on request.
Translation - English Cairo’s Shoemaker
Imagine the tiniest of shops nestled on the corner between two gloomy streets, a melancholy shade of green with brown streaks on the wall, and a bare bulb clinging to the ceiling. Towards the back of the room, a skinny, ageless figure of a man sits waiting upon a stool, his enormous eyes framed by his spectacles’ thick lenses. Right next to the pavement, a minuscule display presents six pairs of shoes. All burdened with dust and a distinct dreariness. I stop, stare attentively, and ask him if it was he who made these shoes. Upon his assent I immediately order a pair from him. He struggles to lift himself up, and approaches me with a tailor’s tape measure, the lid of a shoebox, and a pencil. He wants my right foot. I seat myself upon a stool and let him take it. As he squats down in front of me, a great pain overwhelms and freezes him. He says nothing, and moves not a single inch, but everything tells of his suffering. He is completely petrified in his collapsed pose. I hold him by his shoulders and attempt to lift him back up. Martine pushes him in his back. He is as light as a feather, but completely rigid. We are finally able to make him pivot and seat him upon the stool. He remains tacit as tears flow from under his spectacles. He lowers the lid of the shoebox onto his knees and gestures for me to place my foot within it. With the help of his pencil, he traces my foot’s outline. He draws heavier lines around the widest points. Subsequently, he measures the ball of my foot, notes down the measure, then my instep, and again jots it down. He coughs and says: “That will be 175 pounds. Come back in a month.”
Italian to English: Bruno Zevi Speech - Metron Magazine, 1932
Source text - Italian Available in PDF on request.
Translation - English “Invitation to the history of modern architecture,” Metron 30
A prolusion of the course on the History of Modern Architecture, announced the 20th of January 1949 at the School of Perfezionamento di Storia dell’Arte at the faculty of Literature and Philosophy of the University of Rome.
Translated by James Hodson
The thank you that I extend to the Literature and Philosophy faculty at the University of Rome, and in particular to Prof. Lionello Venturi, for having given me the responsibility of running the course in modern architectural history, is two-fold. It is the expression of gratitude which I feel both as a student of architectural history, and as an architect.
The balance of interest in the current status of historical studies of architecture, leads us to a sad realisation: the history of architecture is alone, abandoned by most critics of art. And the balance that can be inferred from a general analysis of the cultural position of modern architecture (that is, from its integration into and utility in terms of, our civilization) is similar: modern architecture is alone, object of little interest from the great majority of art critics and architectural historians. These two phenomena are strictly interdependent.
I remember when I read, as a student, the “Storia della Critica d’Arte” (History of Art Criticism) in it’s first French edition, there was a phrase that struck me deeply, and that remained buried like a secret push, like the intimate motive of all the modest work that I have attempted. This phrase affirmed that it is always the conscience of contemporary art that determines our historical interpretation and therefore our aesthetic judgement. Without furthering a knowledge of the geneses and developments in modern art, without forming a qualified contemporary interest in architecture, an art critic not only refuses to enrich his culture and sensibility with one of the most active components of current civilization, but is also forced, in large part to give up on the history of past architecture; to see with modern eyes; to live and let live in a fecund manner, stimulating the ancient monuments with new artistic and living themes. The invite that I offer to the history of modern architecture is therefore, not simply in the name of the utility that any cultured person could gain from the knowledge of one of the most notable contemporary artistic phenomena, but also, and especially for it’s instrumental function in your historical studies, as a vehicle to better interpret, understand and characterise historical material.
It is noted that the study of architectural history finds itself in a much more primitive state than that of its sister, the figurative arts: it is only at the very beginning of a modern renewal. In the past, the majority of historical architectural studies were obfuscated by Philosophical and cultural errors, the most relevant of which is the classicist error, that is the error of an ideal, of a perfection, of an architectural paradigm that in Italy is especially associated with the Roman tradition, and in other countries now associated with the Hellenic 5th Century, now in Medieval narrative. In reality these errors were not of any particular importance until adopted in creatively fecund times: that Vasari claimed to admire the works of Brunelleschi, as they respected the forms of ancient buildings, rather than claiming that he appreciated Roman architecture, is exemplary of the fact that it answered to the elaborate tastes of the Renaissance; it was totally secondary in a time of strong creative tides...
Italian to English: La Deriva
Source text - Italian Available upon request in PDF.
Translation - English Drifting Away: Why Italy May Drown.
Gian Antonio Stella
Translated by James A. Hodson
Published in Italy by Rizzoli.
A nation of poets, saints, and dish attendants.
At the crossroads: turn or suffer the Argentine syndrome.
Once upon a time there were bead stringers who would go half blind pushing needles through minute holes, spinners who would spend their lives with their hands submerged in boiling water, and washers who would break their backs beating linen along the stream’s edge, sighing in the direction of the young miller. But at the dawn of the third millennium, in step with other nations as they produced electrical engineers and nuclear physicists, Italy finally created a new class of female professionals: dish attendants.
What do they do? They serve food. And that’s it? That’s it. This modern and precarious function was created to fill a void. That is, the void left by the caretakers who, according to Section 4, Article 8, of the law of the 3rd of May 1999 (#124), are absolutely not responsible for the serving of food to children in nursery school. As they say in Rome: “Nun je spetta” (it’s not our duty).
As is written in the officially ratified agreement. They are not responsible for the following: a) receiving meals from the kitchens; b) preparation of the refectory; c) setting of the tables; d) serving and distribution of meals; e) cleaning and tidying of tables following the meals; f) washing and tidying of dishes and tableware. They are responsible for sweeping the floor – if that stingy didactic Principle hasn’t contracted an external cleaning agency. But certainly not serving food.
Italian to English: Poets of Space; Poeti dello Spazio
Source text - Italian Mies Van Der Rohe, an essay on the state of modern architecture, published in 1937.
PDF available on request.
Translation - English [Translated by James A Hodson]
Mies van der Rohe and Frank Ll. Wright – Poets of space
“Mies and I get along really well. He has had me around for all of his architectural life. I believe him to be a sincere man and authentic architect. He asked me to talk at a banquet in his honour at Palmer House. I sat myself down near the centre of the table, where there were various architects and notable figures. My turn came, after having listened to Emerson and other professional orators that read notes regurgitate a stream of nuisances that glorified the “German talent”, now their guest that held the Coat of Arms of the Chicago Institute of Armour… that effectively said nothing. It was all just superficial chitchat, a complicated process of endearment. When I got up, I put an arm around Mies shoulders, and said simply: Ladies and Gentlemen, I give you Mies Vander Rohe. Without me, there would be no Mies. I admire him as an architect, I respect and love him as a person. Armour Institute, I give you Mies Van der Rohe. Treat him well, and love him as I love him. And with that, I descended from the platform, and left” (F.Ll. Wright: An Autobiography, Faber & Faber, p/372).
“We architects find ourselves in a sorry internal conflict. We were ready to sacrifice ourselves for an idea, but the vital potential of the architectural ideal of the time was lost. This was the situation around 1910. In this critical moment for us, the exposition of the works of Frank Lloyd Wright reached Berlin. This comprehensive exposition, and the exhaustive publication that followed it, allowed us to really enter into contact with the achievements of this architect. Such a meeting had to have a great meaning in the European development. The more we were absorbed by the study of his creations, the larger our admiration for this incomparable genius, for the courage of his concepts, and the independence of his ideas and actions. The dynamic impulse emanating from his work invigorated an entire generation. His influence was felt strongly even when he wasn’t visible” (Mies Van der Rohe: Frank Lloyd Wright, 1940. Published in the volume by Philip Johnson about Mies, p.195).
These two citations highlight the relationship between Mies and Wright: an intimate, deep and substantial relationship, therefore inaccessible to those who search for mechanical imitations of figurative motives. Mies apartments in the Promontory of Chicago, and Wright’s shop don’t offer any formal common ground. But such is the influence exercised by Wright on Mies’ poetry that it seems appropriate to seize the occasion to publish the two final masterpieces of the most lyrical spirit of European Rationalism, and of the American genius...
Years of translation experience: 14. Registered at ProZ.com: Jul 2008.
A freelance translator, native speaker of Italian and English. Also fluent to the point of publishing translations from French into English, and vice versa.
Extracts from my work in all languages listed are available upon request, and span a variety of genres - including but not limited to architecture, children's stories, novels, and political commentaries.
I am comfortable in all of the languages listed, and have an acute sense of the required tone for different translations. I can offer complete translations retaining form, tone, and structure; or a re-writing of the piece, a gist translation, key-word summaries etc.
It is not possible for me to post my translations online, as they are published works. However, I can make excerpts available upon request.
Non ho il diritto di pubblicare le mie traduzioni su questo sito a causa delle leggi che circondano la pubblicazione di libri in stampa. Nonostante, potro provvedere alcune pagine estratte se richieste direttamente.
Malheureusement je n'ai pas le droit de publier mes traduction sur ce site-ci a cause des lois qui circondent la publication des livres. Malgre cela, je pourrai fournir des exemples sur demande.