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Spanish to English: Christian Altars in Beylical Tunisia General field: Social Sciences Detailed field: Religion
Source text - Spanish A principios del siglo XVIII, en la medina de Túnez, un musulmán y un cristiano, ya fuera éste libre o cautivo, recorren las mismas calles pero no perciben la misma ciudad. La tradición y el tiempo acabarán por consagrar una toponimia cristiana que suple algunos nombres árabes en el barrio franco, en la medida en que la pequeña comunidad cristiana introduce referencias propias en la topografía islámica de la ciudad. Evidentemente no se trata más que de un código interno, imperceptible al exterior, pero en cierta manera la comunidad cristiana hace suyo el espacio urbano al superponer al Túnez otomano una geografía católica - digo bien católica pues tanto los libres como los cautivos de otros credos cristianos carecen en ese momento de templos, misiones o redentores en la Regencia. De tanto en tanto, surgen aquí altares, se erigen allí capillas, lo que supone un gran consuelo para los cautivos y un triunfo para la misión apostólica. Si bien los cristianos libres profesan su religión en privado, toda manifestación religiosa en público está prohibida y conlleva grandes riesgos. En este sentido, cuando en 1707 se funda en la localidad de Bizerta la capilla de la Inmaculada Concepción para servir a los agentes franceses de la Compagnie Royale d’Afrique , el tratado concertado entre la Regencia de Túnez y el Reino de Francia contiene la expresa prohibición «de tañer las campanas y de cantar de forma que sean escuchados por los transeúntes» . El mismo artículo se incluirá en el tratado de 1781, lo cual pone de relieve la importancia de restringir las manifestaciones del culto cristiano. En consecuencia, todas las capillas están edificadas en el interior de los consulados, o de los baños o prisiones; con todo, el culto no es regular y sólo se celebrará discretamente en épocas de paz.
Translation - English At the outset of the eighteenth century, in the medina of Tunis, a Muslim and a Christian (whether captive or free) walked the same streets but perceived different cities. Tradition would with the course of time establish a set of Christian place names to replace some of the Arabic names in the European quarter, as the small Christian community began to add its own references to the city’s Islamic topography. This was of course an internal code, invisible to the outside, and yet it was a means for the Christian community to appropriate the urban space by superimposing a Catholic geography upon Ottoman Tunis. And I say Catholic on purpose, since Christians belonging to other branches of Christianity, whether free or captive, had no churches, missions or ransomers within the Regency. One by one, altars and chapels were built here and there, which was a great relief for the captives, and a victory for the apostolic mission. Although the free Christians professed their faith in private, all manifestations of their religion in public were forbidden and could put them in serious danger. For example, when the Chapel of the Immaculate Conception was founded in the town of Bizerte in 1707 to serve the French agents of the Compagnie Royale d’Afrique, the treaty signed between the Regency of Tunis and the Kingdom of France expressly forbade “ringing bells and singing in such a way that it might be heard by passersby.” The same article was included in the treaty of 1781, which indicates the importance of restricting all manifestations of Christian worship. As a consequence, all of the chapels were built inside consulates, bagnos or prisons, and even so services were not regular, and were at most celebrated discreetly during peace-time.
Spanish to English: Study of the gamma spectrum of 16N with a BGO detector, for the purpose of calibration and of determining the fluorine grade of mineral samples General field: Tech/Engineering Detailed field: Mining & Minerals / Gems
Source text - Spanish El estudio del espectro gamma del 16N tiene dos utilidades principales: la calibración de detectores gamma en el rango de energías elevado, y la determinación del contenido en flúor de muestras de minerales de fluorita. En este artículo se estudia y se compara el espectro de radiación gamma del 16N registrado por un detector del tipo BGO (Bi4GeO12), se analiza la resolución de este detector en energías elevadas y la relación señal – fondo de un equipo experimental de laboratorio de activación cíclica. El 16N es el producto de la reacción 9-F-19(n,α)7-N-16 que tiene lugar durante la activación neutrónica de muestras minerales de espato flúor, y su producción depende, entre otros, del contenido de fluorita (CaF2). La técnica de activación neutrónica empleada es cíclica con registro de los rayos gamma diferidos (CAA). La fuente de neutrones empleada es de Americio Berilio de 1Ci de actividad. Se establece la correlación entre el área bajo el pico del 16N del espectro gamma emitido por la muestra, y la ley en fluorita de la muestra.
Translation - English The study of 16N's gamma spectrum has two main uses: calibrating gamma detectors in a high energy range, and determining the fluorine grade of mineral samples of fluorite. This article examines and compares the gamma ray spectrum of 16N as recorded by a BGO (Bi4GeO12) detector, as well as the resolution of this detector at high energy levels, and the signal-background relationship of an experimental laboratory cyclic activation unit. 16N is the product of the reaction 9-F-19(n,α)7-N-16, which takes place during the neutron activation of mineral samples of fluorspar, and its production depends, among other factors, upon the grade of fluorite (CaF2). The technique used in this study is cyclic-type neutron activation for recording delayed gamma rays (CAA), carried out with an americium-beryllium neutron source with an activity of 1 Ci. Lastly, a correlation is established between the area below the peak amount of 16N emitted by the sample, and the sample's fluorite grade.
Spanish to English: Gijón's Art Scene General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - Spanish Gijón es una ciudad del norte de España, situada al borde del Cantábrico, un mar bronco y de luz cambiante. Gijón es una ciudad habitable, crítica y proactiva que modula sus días con la lentitud y la calma de las ciudades de provincia. En ella viven 275.000 personas y forma parte de una región, Asturias, con un millón de habitantes. Desde el siglo XIX ha sido una ciudad con un fuerte carácter industrial y comercial, que hoy ha tenido que diversificar su economía, atenta a cuanto sucede en su entorno y especialmente permeable a iniciativas y tendencias venidas de otros lugares. Gijón ha sido y es tierra de artistas comprometidos con su tiempo.
Hasta los años treinta del pasado siglo las actividades artísticas estuvieron ligadas a las sedes sociales del Club de Regatas, lugar de encuentro de la burguesía local y del Ateneo Obrero, lugar de aprendizaje y ocio de la clase obrera e industrial. Durante la Guerra Civil española del año de 1936-39, se mantuvo la actividad artística en las cárceles y en 1937, los artistas vinculados al franquismo realizaron su primera exposición de obras enmarcadas dentro del arte propagandístico y militante de su época sujeta a los postulados conservadores que dictaban los nuevos tiempos. En el marco de la dictadura continuó el intento por dinamizar la encorsetada vida cultural y se iniciaron tímidos programas de apoyo a los artistas, la apertura de algunas galerías que ocuparon el centro comercial de la ciudad (llegaron a existir seis espacios destinados a dar a conocer el trabajo de artistas locales) y la incipiente utilización de espacios públicos, como el Real instituto de Jovellanos, que acogieron exposiciones de artistas locales, regionales y nacionales y presentaciones colectivas como los Salones de Navidad, salones de invierno, certámenes de artistas noveles, en los que convivían artistas consagrados y artistas noveles. Gijón se convirtió en el centro de la actividad artística de la posguerra en Asturias.
Translation - English Gijón is a city in the north of Spain, on the coast of the Bay of Biscay, a rough sea with ever-changing light. Gijón is a liveable city, one which is critical and proactive, but whose days are softened by provincial cities' calmer, slower pace. It has 275,000 inhabitants and is located in a region (Asturias) that has a total of 1,000,000 inhabitants. Since the 19th century it has been characterised by industry and commerce, though in recent times it has had to diversify its economy. It is a city that is aware of the world around it, and is particularly open to initiatives and trends coming from elsewhere. Gijón has been and continues to be home to artists who are committed to the issues of their time.
Up until the 1930s the city's artistic activity was tied to two cultural associations: the Club de Regatas (Yachting Club), which was the meeting place of the local bourgeoisie, and the Ateneo Obrero (Workers' Atheneum), which was the working and industrial class's centre for learning and leisure. During the Spanish Civil War, from 1936-39, artists continued to be active in the jails, and in 1937 artists with connections to the Franco movement held their first exhibition. The work reflected the period's wider trends in propagandistic and political art, and was subject to the conservative beliefs called for by the new period. During the dictatorship people continued to do what they could to invigorate the city's restricted cultural life. Some modest artists' grant schemes were put into place, galleries opened in the city centre (six spaces for the display of local artists' work would open during the period), and various public buildings began to be used to this end. These institutions, such as the Real Instituto de Jovellanos, held exhibitions of art by local, regional and national artists, along with contests for new artists and collective shows like the Christmas Salon and the Winter Salon, in which the work of artists old and new was displayed side by side. In the post-war years, Gijón became the centre of artistic activity in Asturias.
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Bachelor's degree - Reed College
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Years of experience: 15. Registered at ProZ.com: Apr 2009.
My name is Nicholas. I studied Linguistics at Reed College, in Portland, Oregon (USA). For the most part I work with academic translations: articles, papers, books... Besides translating, one of my specialties is revising texts written in English by non-native speakers. Let me know how I can help!
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