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Translation, Editing/proofreading, MT post-editing, Transcription, Language instruction
翻译文本 - English英语 Flaubert is a very cool-headed writer. His sentences are short and to the point without dragging in the slightest, cutting to the quick with penetrating depictions of people and places — straightforward prose that is seemingly effortless and yet painstakingly crafted. On the surface, this restrained writing technique contrasts starkly with the passionate emotions of Emma Bovary.
This is a book to be read once or twice at most, because you can never appreciate what is good about it. Not only does the plot never really ignite, even the characters themselves are actually a rather depressing bunch. Almost everyone has their own distinctive personality, but nothing to make you love or hate them. The novel somehow lacks romance, despite having all the ingredients of a romantic drama: the beautiful young heroine, the unhappy marriage, the cheating lover, and the destructive denouement. But in fact, there is none of the sentiment that one might expect. Emma's beauty, love, melancholy, hope and despair — and even her death — are all presented to the reader in a somewhat unsympathetic and unappreciative way. There is not enough warmth and sweetness in all this; the book doesn't attempt to make people dream, in fact, what I gained from it was more a hard dose of reality. I was blown away, therefore, overwhelmed by its brutal realism.
The novel depicts the gradual degeneration of a petit-bourgeois woman who is dissatisfied with her mediocre existence. In order to pursue a life of romance and grandeur, the protagonist, Emma, stoops to committing adultery. Ultimately, having mired herself in debt and ruined her reputation, she commits suicide by taking poison. Love affairs have always been a common feature of life and literature, but in writing about them the author touched on sensitive areas that his contemporaries were yet to explore. Emma's death is not only her own tragedy, but also a tragedy of that era. The author delicately sketches out the heroine's emotional decline while also striving to find the social roots of this tragedy.
It could be said that Emma spends her life in constant pursuit of her own happiness. And yet, unlike Faust, who believed in God but made a pact with the Devil, Emma is never quite satisfied with the happiness that she gains. During those brief moments of bliss when Emma is nestling in the bosom of her lovers, there is always something in Flaubert's descriptions that makes the reader uneasy.
Every day she repeatedly fantasizes about sipping coffee in the company of high society; about afternoon trysts with her sweetheart in some secluded garden, just like the heroines in the many novels she has read; and about stroking stately marble statues at the Louvre or seeing a show at the Paris Opera House. Imagination becomes another kind of ability that Emma begins to nurture from the age of thirteen, when her father sends her off to convent school. Far from inhibiting her, convent life feeds Emma's sentimental inclinations. Religion, doctrines, ceremonies and sisterhood combine to fabricate an unreal dream world in which she becomes hopelessly lost. This is due to her romantic disposition, but also due to the nature of life inside a convent far from home: the friendship of her fellow nuns, the lingering murmurs of the priest during confession, the analogies of "marriage" and "lovers" mentioned in sermons, the beautiful albums which Emma's fellow pupils smuggle in and pass around, as well as the old maid who visits the convent once a month to do needlework, singing old ballads and even handing out pulp fiction. Here, her life veers off-center and her discipline slackens. As a result, the convent becomes a place filled with tender emotions. Emma's sentimental personality feeds off these cramped confines, in which she develops an equally narrow outlook on life that is based on "joy, passion, intoxication". Later, her meaningful yet perpetually mundane life pales in comparison with these imagined conceptualizations, to the extent that Emma thinks it is all a mistake.
The deceit of a capitalist, the foolishness of her husband, the indifference of her lovers, the constraints of life, and of course her fantasizing and vanity drove her to her death. Often I cannot help thinking that even if she had married Léon, the trajectory of her life and the marks on her soul would still have been more or less the same as those described in the book. The passion and desire with which she approaches each relationship always fizzle out in the end, leaving behind cold ashes. She begins to feel bored, empty, and restless, tormented by recurring visions of perfection and idealism. All of this is only because Emma is an insatiable woman whose need for romance continually evolves and expands as her circumstances and surroundings change.
In some ways Emma is almost like Don Quixote. She reads heroic fiction and thus constantly imagines that she will find blissful love. Consequently, in real life she tries time and time again to pin her hopes on her lovers' shoulders. Could it be that Emma's lustful indulgence brings about her tragic downfall? Not necessarily. Emma shuns Léon at first, out of consideration for her responsibilities as a wife and mother. The second time they meet, she seeks succor in religious belief, but this last lifeline is dashed when she seeks guidance from an indifferent priest who believes that keeping warm and well-fed are the only things that matter in life. She seems to be continually preoccupied with passion — has her soul been conquered by desire rather than reason?
Quite the opposite, in fact. Some people think that the novel reveals the fundamental conflict between perfect ideals and mediocre reality. But in fact it was not so much all-consuming desire that drove Emma to her downfall, but a lack of desire. The blissful love that she learned about in sentimental novels became the vehicle for an immense, insurmountable desire: in front of this barrier which she had no way of crossing, Emma identified her own personal needs all along. This is where Emma and Don Quixote stand in sharp contrast to each other. For the former, lovers in real life could give her the perfect love of the sort she read about in books; for the latter, battling windmills was about ‘practicing the chivalry popularized in literature’. Zizek said something wonderful when he paraphrased Hegel's quote about “recognizing reason as the rose in the cross of the present”. Living a utopian existence doesn't have to be about choosing between theory or reality, it's not so black-and-white. Emma cannot be like Don Quixote. In reality she seeks the affirmation of desire because she has no genuine desire herself; she repeatedly asks her lovers to tell her that they love her, thereby conversely revealing her lack of desire. In A Lover's Discourse, Roland Barthes points out that 'I love you" is not a declaration, but a repetition: one which Emma constantly needs to supplement with words and actions. Even the experienced lothario Rodolphe feels that she goes too far, while Léon is also taken aback by her conduct, wondering: “Where could she have learnt it?” Because if desire can find its own form, then a soul that is empty and devoid of desire is left with the need for form.
The book contains dramatic tension and hints of romance, but there is also authentic reality. Flaubert portrays the tedium and narrow-mindedness of mid-19th century French society with a well-crafted writing style; he analyses human psychology using subtle observation and description; and he shows us the mediocrity and ugliness of the world through natural, elegant prose. In this sense, his novel is not a romance; but it is also less a work of realism than one of anti-romanticism. Perhaps in saying that he himself is Emma, Flaubert was alluding to his anti-romantic ethos?
Italian意大利语译成English英语: Automotive history General field: 市场开发 Detailed field: 汽车制造/轿车与卡车
原文文本 - Italian意大利语 La presentazione ufficiale della Lancia Lambda avviene nell’ottobre del 1922 al Salone di Parigi, ma la genesi della vettura - considerata il grande capolavoro di Vincenzo Lancia – ha inizio dopo il termine della Grande Guerra. È il 7 dicembre 1918, quando viene depositata la richiesta per il brevetto di un’autovettura innovativa: il brevetto Lancia n° 171922 viene ufficialmente registrato il 28 marzo 1919.
Il disegno che lo accompagna raffigura una vettura bassa e affusolata, priva del convenzionale telaio a longheroni e traverse ed equipaggiata con un compatto motore anteriore, in cui l’asse di trasmissione verso le ruote posteriori è ospitato in un tunnel che attraversa longitudinalmente l’abitacolo. Le tradizionali panche disposte su due file vengono divise in coppie di sedili singoli leggermente sfalsati. La vettura così disegnata ha un aspetto sportivo e porta il baricentro molto in basso sia per l’assenza del telaio sia per il pianale condiviso tra sedili e tunnel di trasmissione collocati alla stessa altezza.
Per la prima volta un’automobile è priva del telaio convenzionale ed è la stessa carrozzeria a svolgere il ruolo portante della vettura, richiamando non più la consueta struttura ereditata ancora delle carrozze trainate da cavalli ma quella di una nave. Anche l’allora emergente carrozziere Pinin Farina racconterà successivamente che Vincenzo Lancia prende ispirazione dal robusto scafo delle navi con le quali spesso si reca negli Stati Uniti.
Oltre alla scocca portante c’è un’altra innovazione che Lancia introduce sulla nuova vettura: le sospensioni anteriori a ruote indipendenti. In questo caso la testimonianza ci giunge dallo stesso progettista Battista Falchetto, l’uomo di fiducia di Vincenzo Lancia, capace di riportare le geniali intuizioni dell’imprenditore prima su carta e poi in pratica. Le notevoli asperità delle strade di allora causano la rottura di una balestra dell’asse anteriore di una Lancia Kappa condotta dallo stesso Vincenzo Lancia, pilota esperto e di lungo corso, mentre stava andando a far visita a sua madre in Valsesia. Memore di quell’incidente, Lancia chiede a Falchetto di progettare per la nuova vettura delle sospensioni anteriori in grado di assorbire le asperità del terreno meglio di quanto non faccia un ponte rigido che, a ogni oscillazione verticale di una ruota, fa corrispondere un movimento in senso opposto dell’altra. Falchetto, prontamente, gli sottopone ben quattordici soluzioni differenti per sviluppare le sospensioni a ruote indipendenti.
Per migliorare ulteriormente il comportamento dinamico della vettura occorre poi rendere più corta possibile la parte meccanica anteriore, composta da motore, frizione e cambio. La scelta cade su un compatto quattro cilindri a V stretto che permette di ottenere maggior potenza senza intaccare l’affidabilità. La prima versione del V4 da 2,1 litri di cilindrata eroga 49 CV a 3.250 giri/minuto.
翻译文本 - English英语 The official presentation of the Lancia Lambda took place in October 1922 at the Paris Motor Show, but the genesis of the car that is widely regarded as Vincenzo Lancia’s greatest masterpiece dates back to the end of the First World War. On 7 December 1918, a patent application was filed for an innovative car, leading to the official registration of Lancia patent number 171922 on 28 March 1919.
The accompanying drawing depicted a low, streamlined automobile, devoid of the conventional ladder frame with side members and cross members. It was equipped with a compact, front-mounted engine that connected to the rear wheels via a driveshaft housed in a tunnel that ran along the floor of the passenger compartment. The two traditional bench seats were divided into pairs of slightly offset single seats. The car’s sporty appearance and significantly lowered centre of gravity were due partly to the absence of the ladder frame and partly to the transmission tunnel being located beside the seats, rather than under them.
It was the first car built without the conventional rigid chassis evolved directly from horse-drawn carriages; instead the car’s weight and load were borne by a body shell inspired by ship designs. Pinin Farina, who in those years was an up-and-coming coachbuilder, subsequently recounted that Vincenzo Lancia's inspiration for this new structural concept came from the robust hull of the ships on which he often travelled to the United States.
In addition to the load-bearing body, another innovation that Lancia introduced on the new car was independent front suspension. This breakthrough is splendidly evidenced by the drawings of Vincenzo Lancia's trusted lead engineer, Battista Falchetto, who was able to put the entrepreneur's brilliant concepts down on paper and then into practice. The extremely rough Italian roads of the time had previously caused a leaf spring to break on the front axle of the Lancia Kappa driven by Vincenzo Lancia himself, who was an accomplished and experienced racing driver, en route to visiting his mother in Valsesia. With that incident in mind, Lancia asked Falchetto to design the new car with front suspension that could absorb impacts from bumpy terrain better than a rigid axle, by allowing each wheel to rise and fall on their own without affecting the opposite wheel. Falchetto promptly submitted a sketch of 14 alternative designs for independent wheel suspension.
To further improve the car's dynamic behaviour, it was necessary to make the front mechanical section, consisting of the engine, clutch and gearbox, as short as possible. Accordingly, Lancia opted for a compact, narrow-angle four-cylinder engine in a V configuration that allowed for more power without affecting reliability. The first version of the 2.1-litre V4 delivered 49 HP at 3,250 rpm.
Chinese汉语译成English英语: Journalism - football General field: 艺术/文学 Detailed field: 新闻学
翻译文本 - English英语 Qingdao Jonoon kicked off the match three points behind Liaoning and still with a theoretical chance of qualifying for the AFC Champions League. Buoyed by this albeit slim hope of qualification, the Sea Bulls displayed a strong desire to win right from the start, despite being the away side. The breakthrough came as early as the tenth minute from a corner kick. As the ball was sent into the penalty area, a Shaanxi forward scuffed his back-headed clearance right into the path of Qingdao centre-forward Zhu Jianrong, who seized the chance to lash home a bouncing shot that put the visitors 1-0 ahead.
I have been a full-time translator since since 2005, specialising in Chinese to English and Italian to English translation since 2011, and am an Associate Member of the Chartered Institute of Linguists.
I have a BA degree in Modern Languages (French and Italian) and spent five years living and working in China.
My greatest professional assets are punctuality, reliability and a meticulous attitude to research.
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