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Services
Translation, Editing/proofreading, Website localization, Subtitling, AI + Human review (MT post-editing)
Expertise
Specializes in:
Poetry & Literature
Human Resources
Real Estate
Social Science, Sociology, Ethics, etc.
Media / Multimedia
Also works in:
Art, Arts & Crafts, Painting
Business/Commerce (general)
Cinema, Film, TV, Drama
Education / Pedagogy
General / Conversation / Greetings / Letters
History
Materials (Plastics, Ceramics, etc.)
Science (general)
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Textiles / Clothing / Fashion
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Rates
General rate: 0.12 USD per word / 40 USD per hour
Rates per language pair: English to Spanish - Standard rate: 0.12 USD per word / 40 USD per hour
English to Spanish: The First Ladies at the Smithsonian
Source text - English The First Ladies at the Smithsonian
Introduction
For decades, the first ladies exhibition has been one of the most popular attractions at the Smithsonian Institution. It is beloved by visitors who come to admire the famous collection of gowns and to learn about the contributions made by the women who wore them.
Over the years, the Museum has expanded the collection and updated the exhibition. The changes keep the collection engaging for visitors who appreciate the evolving examination of the role played by the country’s first ladies as well as the beautiful objects that belonged to them.
A New Exhibition
The first ladies exhibition began with a simple goal: obtaining a dress to represent the hostess of each presidential administration for a new display of historic clothing. It became an American icon and the highlight of many trips to the Smithsonian. The original Collection of Period Costumes exhibition included dresses worn by the wives of the presidents and the female relatives who sometimes served as the White House hostesses. It was the first Smithsonian collection focused on women and the first exhibition to feature them prominently. It paved the way for future collections and exhibitions about American women.
Translation - Spanish La exposición sobre las primeras damas ha constituido, durante décadas, una de las atracciones más populares de la Institución Smithsonian. Los visitantes acuden a ella con entusiasmo para admirar la famosa colección de atuendos y para enterarse, asimismo, en qué ha consistido la valiosa contribución de cada una de estas damas. A lo largo de los años, el museo ha ido aumentando y actualizando la colección. Estos cambios constantes logran que la muestra no pierda su atractivo para los visitantes, quienes valoran el esfuerzo de reevaluación permanente en torno a la actuación de las primeras damas de la nación y a los bellos objetos que les pertenecieron.
Una Nueva Exhibición
La colección de las primeras damas comenzó con un objetivo simple: la obtención de un traje por cada anfitriona que ocupó la casa de gobierno, a fin de montar una exposición de atuendos históricos. Esta iniciativa terminó convirtiéndose en un
símbolo nacional y, frecuentemente, en el evento destacado de muchas visitas al Smithsonian. La muestra original, Colección de Trajes de Época, incluía las vestimentas de las esposas de los presidentes, así como las de otras mujeres de la familia que se desempeñaban a menudo como anfitrionas de la Casa Blanca.
Constituyó la primera colección del Smithsonian en centrarse alrededor de la figura femenina y en exponerla de forma prominente, abriendo así el camino para futuras colecciones y muestras en torno a otras mujeres estadounidenses.
English to Spanish: Bittersweet Harvest: The Bracero Program 1942-1964 General field: Social Sciences
Source text - English The Bracero Program, 1942-1964
Dependence on Mexican labor has been a source of great opportunity as well as great conflict for Mexicans and Americans. In 1942, facing labor shortages caused by World War II, the United States initiated a series of agreements with Mexico to recruit Mexican men to work on U.S. farms and railroads. These agreements became known as the bracero program. (Bracero is a term used in Mexico for a manual laborer.)
Between 1942 and 1964, an estimated two million Mexican men came to the United States on short-term labor contracts. A little-known chapter of American and Mexican history, the bracero program touched the lives of countless men, women, families, and communities. Both bitter and sweet, the bracero experience tells a story of exploitation but also of opportunity.
Translation - Spanish Programa Bracero, 1942-1964
Tanto para mexicanos como para estadounidenses, la dependencia de la mano de obra mexicana ha constituido una fuente de grandes oportunidades y, a la vez, de grandes conflictos. En 1942, ante la escasez de trabajadores suscitada por la Segunda Guerra Mundial, Estados Unidos entabló una serie de acuerdos con México, conducentes a reclutar mano de obra mexicana para los campos y ferrocarriles estadounidenses. Estos acuerdos se conocieron con el nombre de programa bracero, término este último con el que en México se designa al trabajador manual.
Se estima que, entre 1942 y 1964, ingresaron a los Estados Unidos dos millones de mexicanos portando contratos laborales a corto plazo. El programa bracero, un capítulo de la historia de los Estados Unidos y de México poco conocido, ha afectado las vidas de innumerables hombres, mujeres, familias y comunidades. La experiencia de los braceros, a un tiempo amarga y dulce, alude a una historia de explotación, pero también de oportunidades.
English to Spanish: Lowriding General field: Art/Literary
Source text - English Lowcura
An introspective virtual cruise through an American sub-cultural tradition
Levi Romero
“… nostalgia gleams with the dull brilliance
of a chrome airplane on the rusted hood
of a ‘56 Chevy
...daydream's of walking bare foot
on the soft grass
down by the river
where dragonflies buzzed all day
have now decayed
like the fallen cottonwoods
along the gnarled paths
of the Rio Embudo
where free form poetry
mixed with cheap beer
on warm nights by the riverbanks
and stories of lowered ’49 Fleetlines
with flame jobs and spinners
were cast into the dark wind…”
Hearts and Arrows
Years later, I would hear stories
I remember it this way, Magdalena. As a small child I would accompany my grandmother on her walks to or from my mother’s house, which was about a mile and a half away. We would follow a walking path along the Rio Embudo, a small stream weaving along the northern edge of the village where I grew up. There was a certain place along this walk that we always looked forward in coming to. It was there, just off the sand and gravel trail under the shade of the towering cottonwoods and heavy scent of river willow and summer heat where we would stop for a short respite. It was at this section along the river where some of the villagers' discarded automobiles sat in abandonment, a sort of village car cemetery. One car in particular attracted our attention, a faded pink 1949 Chevrolet Fleetline flipped over on its back and succumbing to the rust and ruin of cars that meet such a fate. Grandma would walk over to it and we would stand there momentarily, our hands caressing the fat-fendered Chevy. “Este era el carro del Levi," "she would say. We would silently pay our respects and then move on. Years later, I would hear stories about my cousin Levi and his lowered Fleetline, and learn that he had been one of the first low riders in northern New Mexico, the region around Española that in time became regarded affectionately as the "low rider capital of the World."
Translation - Spanish Lowcura
Una vuelta virtual introspectiva alrededor de una tradición subcultural americana
Levi Romero
“… reluce la nostalgia sobre el pálido brillo
de un aeroplano cromado en el capó oxidado
de un Chevy ‘56
...la fantasía de caminar descalzo
sobre la hierba suave
allá abajo en el río
al zumbido tenaz de los alguaciles
se ha derrumbado
al igual que los álamos
caídos a la vera sinuosa
del Río Embudo
donde poesía libre y cerveza barata
se mezclaban en la rivera
de las noches tibias
y lúgubres vientos se llevaban consigo
historias de carritos Fleetlines ’49
decorados de llamas
y llantas con spinners…”
Hearts and Arrows
Años más tarde, escucharía historias
Yo lo recuerdo así, Magdalena. Cuando era pequeño acompañaba a mi abuela de ida y vuelta caminando entre su casa y la de mi madre, la cual estaba a una milla o milla y media. Tomábamos un sendero que bordeaba el Río Embudo, un pequeño riachuelo que corría serpenteando a lo largo de la orilla norte del pueblo donde crecí. Había un lugar del camino al que siempre estábamos ansiosos por llegar. Allí, al costado de la senda de arena y grava, bajo la sombra de los altísimos álamos y envueltos en el aroma intenso de los sauces y el calor del verano, nos deteníamos un rato a descansar. Este era el lugar a la vera del río donde yacían abandonados algunos de los coches descartados por los lugareños, una suerte de cementerio de carros. Había un coche en particular que nos llamaba la atención, un Chevrolet Fleetline 1949 de un rosa descolorido tumbado sobre sus espaldas y sucumbiendo al óxido y la ruina de los autos enfrentados a tal destino. La abuela caminaba hasta él y nos quedábamos parados por un momento acariciando con la mano al Chevy de enormes guardabarros. “Este era el carro del Levi," decía. Presentábamos nuestros respetos en silencio y luego seguíamos nuestro camino. Años más tarde escucharía historias acerca de mi primo Levi y su carrito Fleetline y cómo había sido uno de los primeros lowriders de Nuevo Méjico, la región alrededor de Española a la que luego se referirían afectuosamente como “la capital mundial del lowrider".
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Translation education
Master's degree - George Mason University
Experience
Years of experience: 17. Registered at ProZ.com: Feb 2007.
I love my job! I'm a language artist, and enjoy perfecting every text in all its aspects, from content to sound.
The combination of native Spanish with years of residence in the States, supported by my university training, both in Spanish and English, have resulted in my superior abilities to translate from one language to the other with absolute proficiency.
You won't be disappointed!
Keywords: museum, education, literature, poetry, social sciences, real estate
Expertise