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Freelance translator and/or interpreter, Verified member
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Services
Translation, Interpreting, Editing/proofreading, Software localization, Voiceover (dubbing), Training
English to Turkish: Copenhagen Communiqué General field: Science Detailed field: Environment & Ecology
Source text - English The companies call for emission reduction targets to be guided by science and offer support for the emerging consensus to limit global average temperature rise to less than 2 degrees Celsius compared to pre-industrial levels. In turn, they recognise that this will require global emissions to peak and begin to decline rapidly within the next decade and reduce by 50-85% by 2050.
The business leaders urge developed countries to take on “immediate and deep emission reduction commitments” and “demonstrate that low-carbon growth is both achievable and desirable” and provide the necessary financial and technological assistance to developing countries. They call on developing countries to draw up their own emission reduction plans, and call on advanced developing countries to adopt economy-wide commitments by 2020.
Translation - Turkish Şirketler, sera gazı salınım düşürme hedeflerine bilimin öncülük etmesi için çağrıda bulunarak endüstri öncesi seviyelerle karşılaştırıldığında ortalama küresel ısı artışını 2 derece selsiusdan az bir değerle sınırlama hedefini destekleyen yeni mutabakatı destekliyorlar. Buna karşılık, bu hedefin küresel salınımları azami seviyeye çıkararak gelecek on yıl içersinde hızla inmesi gerektiği anlamına geldiğini ve 2050’ye kadar %50-85 arası bir düşüş gerektireceğini kabul ediyorlar.
İş dünyasının önde gelenleri, gelişmiş ülkelerin “sera gazı salınım düşürme taahhütlerini en kısa zamanda ve köklü bir şekilde yerine getirmeleri” ve “düşük karbonlu gelişimin hem başarılabilir, hem de cazip bir amaç olduğunu göstermeleri” ve gelişmekte olan ülkelere gerekli finansal ve teknolojik yardımı sağlamaya teşvik etmektedirler. Ayrıca, gelişmekte olan ülkelerin kendi salınım düşürme planlarını hazırlamaları ve daha gelişmiş ülkelerin ekonomi çapında taahhütlerini 2020’ye kadar kabul etmeleri çağrısında bulunuyorlar.
French to English: www.sergebodart.com General field: Art/Literary Detailed field: Music
Source text - French Bienvenue sur sergebodart.com.
Pensez à allumer votre système d'écoute.
Visitez la page "samples" pour avoir un aperçu de mon travail. Les samples sont des extraits en Mp3. Si vous désirez les versions complètes avec une qualité audio CD n'hésitez pas à me contacter.
Dans la partie "downloads" vous pourrez télécharger des partitions de musiques de certains spectacles, des plans d'éclairage et d'autres choses encore suivant l'évolution des projets.
Ce site est en évolution constante, revenez donc de temps à autre.
Bonne visite.
Musique, lumières et images
En 1985, lorsque j'ai commencé à travailler pour l'Ecole de Cirque de Bruxelles, je me suis retrouvé presque par hasard à écrire et jouer toutes les musiques des spectacles de fin d'année. Depuis, mon engouement pour la musique de scène ou liée à l'image n'a cessé de croître. J'ai bien eu des expériences de groupes musicaux mais il me manquait toujours le complément visuel ainsi que la confrontation à d'autres techniques d'expression. Je compose et réalise des bandes son aujourd'hui essentiellement pour des pièces de théâtre, ballets ou films. La musique peut colorer de différentes manières l'image ainsi que l'inverse. J'aime beaucoup travailler "avec" l'image pour souligner son contenu ou "contre" pour lui faire dire autre chose et ainsi développer une profondeur et un second degré de lecture. Je compose souvent en parallèle de la création du spectacle. Je m'inspire bien sûr du scénario pour les intentions générales mais en assistant aux répétitions les apports musicaux peuvent influer sur l'orientation du travail. L'interprète se recale finalement sur la musique dont il à lui-même suivi l'évolution.
Je ne pense pas qu'il existe de méthodes miracles pour composer pour le spectacle. Il faut se préoccuper avant tout de respecter l'équilibre entre le propos, l'émotion, l'image et la musique. Si l'un de ces éléments venait à prendre le dessus, l'équilibre de l’œuvre dans son ensemble serait rompu. Certaines oeuvres plus que d'autres m'ont influencé et s'il devait exister une méthode, ce serait de les écouter et les réécouter: les films d' Emir Kusturica et les musiques de Goran Bregovic (Le Temps des Gitans, Underground), les films de Federico Fellini et les musiques de Nino Rota, les films de Werner Herzog et les musiques de Popol Vuh (Fitzcaraldo, Aguirre), les films d'Eisenstein et les musiques de Serge Prokofiev (Alexandre Nevsky, Ivan le Terrible), Pierre et le Loup de Serge Prokofiev, Passion de Peter Gabriel, West Side Story de Léonard Bernstein, Zorba de Mikis Theodorakis, Ascenceur pour Echafaud de Miles Davis. Je travaille égalemment avec de jeunes groupes musicaux sur l'interprétation de leurs morceaux et sur la mise en scène de leurs concerts, toujours dans l'esprit de renforcer l'émotion d'une musique par l'image, les éclairages ou la présence scénique des artistes. J'assimile beaucoup la notion de concert à celle de spectacle.
Univers musical
J'attache beaucoup d'importance au son, aux silences et aux tensions dans une musique. Je privilégie les brassages de textures sonores en mélangeant des instruments acoustiques et des percussions modernes, en utilisant la chaleur de certaines musiques folkloriques et la rugosité rythmique et sonore d'autres musiques plus occidentales, en ajoutant des bruitages à des mélodies, en travaillant dans l'idée du paysage sonore et du cadre blanc pour exprimer un fond noir.( ex .Afrocelts, Michaël Brook et Nusrat Fateh Ali Khan, Björk...d'autres liens dans la partie musical links)
Il m'est difficile de résumer mes influences musicales en quelques lignes. De manière générale, la musique classique et folklorique traditionnelle constituent l'univers musical dans lequel j'ai étudié; bien d'autres influences se sont greffées sur cette base. Néanmoins il existe trois pôles qui symbolisent l'évolution musicale dans laquelle je tente de m'inscrire. […]
Translation - English Welcome to sergebodart.com
Please turn on your speakers.
In the introduction, use the yellow squares to open the corresponding pages and the red squares to open the sub-menus. Sub-menus must be closed in order to open other sub-menus.
Visit the samples page to gain an overview of my work. All samples are extracts in Mp3. If you would like the complete versions with CD audio quality, don't hesitate to contact me.
In the downloads section you may download musical scores, lighting plans and who knows what else as projects evolve!
This site is in constant evolution, so come back from time to time.
Enjoy your visit.
Serge
Music, lights and images
In 1985, when I began to work for the Circus School of Brussels, it could be said that it was through sheer coincidence that I composed and played all the music for all end of year performances. Since then, my passion for performance music or music linked to imagery has only increased. I have worked with music groups but I always felt that the visual complement and the interaction with other techniques of expression were missing. Today, I compose and produce soundtracks essentially for the theatre, ballet and movies.
Music can influence image as much as images influence music. I can choose to work with images to underline their content, or else I can choose to oppose them and make them express something else and thus develop deepness and subtext. I often compose in parallel with the creation of a performance. I am naturally inspired by the scenario for the general feeling of what I compose, but often my musical contribution influences the orientation of the performance as well.
I don't believe in miracle methods to compose for performances. The most important is to respect the balance between meaning, emotion, image and music. If any one of these elements overrides the others, the balance of the work in its whole will be broken. Some works have influenced me more than others. If there has to be a method, I would say that it would be to listen to the music that has influenced me more than others, again and again: Emir Kusterica's movies accompanied by Goran Bregovic's music (The Time of the Gypsies, Underground), Federico Fellini's movies with Nino Rota's music, Werner Herzog's movies and Popol Vuh's music (Fitzcaraldo, Aguirre), the movies by Eisenstein accompanied by Serge Prokofiev's music (Alexander Nevsky, Ivan the Terrible), Serge Prokofiev's Peter and the Wolf, Peter Gabriel's Passion, Leonard Bernstein's West Side Story, Mikis Theodorakis' Zorba, Miles Davis' Elevator to the Gallows…
I also work with young musical groups on the interpretation of their songs and on the mise-en-scene of their concerts. This is always done with the purpose of strengthening musical emotion through the use of imagery, lighting or the presence of artists.
Musical Universe
Sound, silence, and tension within a musical piece are very important. I favor the blending of musical textures through the mixture of acoustical instruments and modern percussions, by using the warmth of certain folkloric music, the rythmic and sonorous asperity of other, more western music, by adding sound effects to melodies, by working within the idea of a landscape of sound and the white frame to express a black canvas (for ex., Afrocelts, Michaël Brook and Nusrat Fateh Ali Khan, Björk… other examples can be found in musical links)
It is difficult to summarize my musical influences in a few lines. Generally speaking, classical and traditional folkloric music form the musical universe in which I have studied, and other influences attached themselves to this basis. However, three standards symbolise the musical evolution in which I try to place myself […]
French to English: Book summaries General field: Art/Literary Detailed field: Advertising / Public Relations
Source text - French 1. L'auteur propose ici un parcours didactique commenté afin de permettre aux utilisateurs d'exploiter au mieux les ressources de sa gigantesque anthologie (16 volumes d'anthologie des origines de la littérature à nos jours 1 volume d'index). Maniable et pratique, cet ouvrage permet de (re)découvrir les richesses du patrimoine littéraire européen.
2. Cet ouvrage, conçu pour les élèves auxiliaires de puériculture, est l'outil qui vous permettra de maîtriser toute la pratique AP.
En conformité avec le programme des études, les 65 fiches présentent les principales actions que l'AP mène auprès du nourrisson et de l'enfant.
Classées par modules, elles donnent à l'élève AP un support de formation simple et rigoureux.
De nombreuses illustrations, une présentation claire et synthétique facilitent la lecture, la compréhension et la mémorisation des gestes professionnels à maîtriser.
Translation - English 1. The author presents a didactic, annotated survey which allows the user to fully exploit the resources of his gigantic anthology (a 16-volume anthology on the origins of literature to the present day index volume). This easy to use and practical work makes it possible to (re)discover the wealth of European literary heritage.
2. Students in pediatric assistance will master the whole of PA thanks to this work conceived especially for them.
In accordance with the curriculum, the 65 note cards present the principal duties a pediatric assistant fulfils toward the infant and the child.
Divided into modules, the files provide the PA student with a simple and rigorous training base.
Numerous illustrations, a clear and synthetic layout facilitate reading, comprehension and the memorization of professional gestures that need to be acquired.
Turkish to French: Droit criminel turc, PROCEDES INTERDITS LORS DE LA PRISE DE DEPOSITION ET D’INTERROGATOIRE General field: Law/Patents Detailed field: Law (general)
Source text - Turkish Madde 148 (1) Şüphelinin ve sanığın beyanı özgür iradesine dayanamalıdır. Bunu engelleyici nitelikte kötü davranma, işkence, ilaç verme, yorma, aldatma, cebir veya tehditte bulunma, bazı araçları kullanım gibi bedensel veya ruhsal müdahaleler yapılamaz.
(2) Kanuna aykırı bir yarar vaat edilemez.
(3) Yasak usullerle elde edilen ifadeler rıza ile verilmiş olsa da delil olarak değerlendirilemez.
(4) Müdafii hazır bulunmaksızın kollukça alınan ifade, hakim veya mahkeme huzurunda şüpheli veya sanık tarafından doğrulanmadıkça hükme esas alınamaz.
(5) Şüphelinin aynı olayla ilgili olarak yeniden ifadesenin alınması ihtiyacı ortaya çıktığında bu işlem ancak Cumhuriyet Savcısı tarafından yapılabilir.
Translation - French ARTICLE 148 (1) : La déclaration du suspect ou de l’accusé doit être basée sur le libre arbitre. On ne peut pas forcer le libre arbitre par interventions corporelles ou spirituelles telles que la brutalité, la torture, la prise forcée de médicaments, l’épuisement, la tromperie, l’utilisation de force ou de menaces, l’utilisation de certains instruments.
(2) On ne peut promettre des avantages illégaux.
(3) Des déclarations obtenues par voies illégales ne peuvent être utilisées comme preuve, même si elles ont été donné librement.
(4) La déclaration prise par les forces de l’ordre sans la présence d’un conseil ne peut être utilisée comme preuve sans que le suspect ou l’accusé le confirme devant le juge ou en cour de justice.
(5) Il n’y a que le Procureur de la République qui peut reprendre la déposition du suspect par rapport aux mêmes faits.
French to Turkish: Ottoman textiles General field: Art/Literary Detailed field: Textiles / Clothing / Fashion
Source text - French Soieries à dominante de fils métalliques, les seraser furent produits à Istanbul à partir du milieu du XVIe siècle. Des fils de soie colorée (corail, bleu-gris ou pistache) pouvaient servir pour les contours des motifs. Les fils métalliques couvrent de larges surfaces et sont doublés par le passage de fils de soie ivoire ou jaune qui accentuent leur reflet. Comme les lampas et les velours brochés, ils étaient tissés sur des métiers à la tire manipulés conjointement par un tisserand et un tireur. Le tireur levait une certaine combinaison de fils, répétée autant de fois que le motif sur le lé de tissu. Le tisserand passait les fils de trame entre les fils de chaînes soulevés par le tireur. La structure complexe de ces textiles appartient à la catégorie dite taqueté (cf. schéma).
Translation - Turkish Seraser, klaptanın baskın olarak kullanıldığı, İstanbul’da XVI. yüzyılın ortasından itibaren üretilmeye başlanan bir kumaş çeşididir. Motiflerinin kenarları renkli (mercan, mavi-gri ya da fistik yeşili) ipekten işlenirdi. Geniş bir yüzey, madeni tellerle (klaptan) kaplanır ve tellerin parlaklığını vurgulayan fildişi ya da sarı ipekle astarlanırdı. Kemha ve çatma gibi, seraser de çekmeli tezgahta dokunur, ancak bu tezgah hem bir dokumacı, hem de bir çırak tarafından işletilirdi. Çırak, kumaş eninde olduğu kadar motifte de tekrarlanan belirli bir iplik karışımını çeker, dokumacı ise çırağın çektiği çözgü ipliklerin arasından atkı ipliklerini geçirirdi. Bu kumaşların karışık yapısı, taqueté denilen dokuma türüne aittir (bkz. şema).
English to Turkish: Research in Socio-economic Sciences and Humanities General field: Social Sciences Detailed field: International Org/Dev/Coop
Source text - English The Directorate for "Science, Economy and Society" in the Research Directorate-General of the European Commission currently manages over 210 projects funded under the Socio-Economic Sciences and Humanities Programme. The projects involve several thousands of researchers from more than 1500 organisations (Universities, Research Organisations, Stakeholders, Research Funders, etc.) in over 70 countries which makes the programme the largest SSH targeted programme in the world. However, efforts need to be continued to exploit the full potential of these research cooperation activities.
Translation - Turkish Avrupa Komisyonu Araştırma Genel Müdürlüğü “Bilim, Ekonomi ve Toplum” Direktörlüğü halihazırda Sosyo-ekonomik ve Beşeri Bilimler tarafından finanse edilen 210’dan fazla projenin yönetimini üstlenmiştir. Projeler, 70’i aşkın ülkede 1500’den fazla kurum (üniversiteler, araştırma kuruluşları, ilgili taraflar, araştırmaya fon sağlayanlar vs.) binlerce araştırmacıyı kapsamaktadır. Program böylece dünyanın en geniş SSH odaklı programı haline gelmiştir. Ancak, bu araştırma işbirliği faaliyetlerinin tam potansiyelinden faydalanabilmek için çalışmalara devam etmek gerekmektedir.
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Experience
Years of experience: 21. Registered at ProZ.com: Dec 2007. Became a member: Jan 2008.
Turkish to French (Belgian Courts) Turkish to English (Cambridge University (ESOL Examinations)) French to English (Cambridge University (ESOL Examinations)) French to Turkish (Belgian Courts) English to Turkish (Cambridge University (ESOL Examinations))
Memberships
N/A
Software
Adobe Acrobat, Adobe Illustrator, Adobe Photoshop, Frontpage, Microsoft Excel, Microsoft Word, Powerpoint, Trados Studio
I am a Turkish - English - French translator and interpreter.
Turkish is my native language. My English is native-level and my French is excellent.
I have been working as a professional translator and interpreter since 2007.
My work:
MARKETING
+ 200.000 words for one of the world's leading tire companies (website, services, videos, tire information, in-house training, questionnaires, apps, website articles...)
+100.000 words for a world-famous French fashion house (in-house training on how to sell, package, fit clothes; cream and perfume information)
+100.000 words for a well-known French sports brand (branding, posters, product information, videos, questionnaires)
+50.000 words for a well-known American Opticals company (website, brochures for clients and for sellers)
Transcreation of advertisements for a Swiss watch, a Turkish airline company, American shampoo, an international pharmaceuticals company, French water
TECHNICAL
+100K words: Manuals for cranes, a smart thermometer, smart scales, smart watches, work clothes, safety equipment, printers, laser marking equipment, instructions For Use of cancellous bone screws, hip systems, knee systems, device designed to combat sleep apnea, Study Synopses, device designed to treat Intracranial Aneurysm.
INTERPRETATION
I interpret from French & English to Turkish and from Turkish to French & English. I have a clear American accent (native-level English) and my French accent is ever so slightly tinged with English. Here are some assignments I have worked on:
- High-level official meetings (Meetings between the Turkish President & Belgian Prime Minister, Ministers of Foreign Affairs, Internal Affairs, Economy; Members of Parliament, Social Security negotiation rounds...)
- Euronews (interview of Christine Lagarde, debate between candidates for the presidency of the European Commission, Turkish elections...)
- Literature, poetry, music, art: for the Yunus Emre Cultural Centre in Brussels (since 2012); during a 5-day seminar for the Brussels Museum of Lace and Costumes, Bozar conferences...
Member since Jan '08
Expertise 