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Spanish to English: Excerpt of a semi-specialized academic/humanities journal article entitled “(Des)encuentros: Una tarea compartida: cineastas e intérpretes frente al trabajo actoral” dealing with film studies General field: Other Detailed field: Cinema, Film, TV, Drama
Source text - Spanish Cineastas
1. ¿Cuál es para usted la fase esencial en la que interviene como cineasta sobre el trabajo actoral en sus películas (el casting, la planificación previa, el rodaje o la posproducción)? ¿Cuáles son las principales decisiones y estrategias que adopta en esta etapa de su trabajo con los actores y actrices?
Mariano Barroso
Realmente las cuatro fases que indicáis son fundamentales, y además lo son en ese orden de importancia. Se puede decir que las decisiones sobre el casting marcan definitivamente la película. Un error de casting puede ser irreparable, un acierto puede ser la clave para un resultado memorable. Hay muchos ejemplos, desde Casablanca (Michael Curtiz, 1942) hasta cualquier película que haya marcado la vida de un actor. No es tanto una cuestión de calidad actoral (siempre hay que trabajar con actores excelentes), sino de que pueda haber errores en el tipo que da el actor; que se produzca un miscasting. ¿Qué habría sido de Los puentes de Madison (The Bridges of Madison County, Clint Eastwood, 1995) —acabo de revisar unas escenas— si, en lugar de interpretarla Clint Eastwood, la hubiera hecho Robert Redford, como estaba previsto? ¿O si la hubiera interpretado un actor de cuarenta y tantos, como decía el guion que debía tener el personaje? Sin duda habría sido una película muy diferente. Me divierte hacer este tipo de ejercicios, rehacer el casting de las películas que veo, algo que no me puedo permitir con las que hago (Kubrick, en cambio, sí se lo podía permitir, o a veces Woody Allen…).
Luego, en la fase de preparación previa al rodaje, no es tanto la planificación lo que afectaría al trabajo de los actores, sino más bien la puesta en escena, los movimientos, las acciones físicas… Ayudar a los actores a encontrar las acciones y los movimientos adecuados decide el resultado, la tensión de una escena.
Lo mismo ocurre con la fase del rodaje, que no deja de ser la culminación de la anterior. Y ya, finalmente, en la calma y en la semi-soledad de la edición, puedes replantearte una escena, apoyar más a un personaje, mandar a otro a un segundo término… Puedes incluso cambiar el punto de vista de la escena y, con ello, la identificación del espectador. Son muchos factores, decisiones difíciles pero apasionantes.
Celina Murga
La etapa de casting me resulta absolutamente esencial. En mi primera película, Ana y los otros (2003), lo hice yo sola y me llevó más de un año. Ahora los hago con una directora de casting en quien confío mucho y que conocí al hacer el de Una semana solos (2007), con la que comparto las mismas ideas sobre las formas de trabajo. Ya no estoy todo el tiempo, pero sí el máximo posible. Me parece clave conocer a los actores, suelo hacer varios encuentros con ellos antes de tomar la decisión final. Estos encuentros van tomando formas diferentes, no siempre son en el marco de un set de casting, sino que apuntan a conocer a la persona que hay detrás, más allá del profesionalismo del actor. Además, como muchas veces trabajo con actores no profesionales, me resulta central entender cuáles son los aspectos que pueden tener en común con el personaje. En ambos casos, con actores formados en la actuación o no, me resulta importante conocer tanto como sea posible su propia naturaleza, qué cuestiones le pueden servir a la hora de actuar, qué lo estimula a tal o cual cosa. Cada actor es un mundo y puede necesitar cosas diferentes para desarrollar al máximo su potencial.
La etapa de casting también me ayuda para seguir cuestionando el personaje y el guion. Creo en el cuestionamiento como método de trabajo creativo, me ayuda a generar el proceso que es necesario para avanzar creativamente. Hay una frase de Truffaut que me gusta mucho. Dice: «hay que filmar contra el guion y montar contra el rodaje». Me he apropiado de esta frase porque entiendo que en ella está el método para el avance: hacerse todo el tiempo preguntas y generar los ámbitos propicios para ellas. Cada etapa del trabajo viene de alguna manera a cuestionar la etapa anterior y, así, la enriquece, la hace crecer y la fortalece. Me gusta el desafío de expandir los límites del propio material, buscar qué cosas pueden enriquecerlo, aun si esto implica poner en juego cosas impensadas o improbables.
Este cuestionamiento del material no tiene una única respuesta y tampoco implica una racionalidad excesiva, muchas veces viene de la intuición y me ayuda a tomar decisiones, a avanzar. El casting es uno de esos ámbitos. ¿Qué podría aportarle este actor al personaje?, ¿qué tal otro actor? Si bien el personaje está escrito en el guion, cada persona que lo interprete puede llevar al personaje hacia un lado u otro, puede acentuar unas características más que otras. Por eso creo mucho en esta etapa.
También considero esencial la etapa de ensayos. Es el momento en el que vamos construyendo juntos esa corporeización del personaje. Más allá de las lecturas de guion, de los posibles análisis que de ahí derivan, creo mucho en el actor poniendo un cuerpo al personaje y a la historia en sí. Uno, como director, también tiene que ponerle cuerpo, y esto implica generar ese espacio de trabajo, esas condiciones para que el actor pruebe cosas y encuentre elementos, desde un lugar más intuitivo. Pienso que hay cosas que solo surgen desde el lugar de la intuición, lo considero muy valioso. Esto no significa improvisar en el rodaje, sino permitir que parte de la escritura de ese personaje surja del cuerpo del actor, de ponerlo en acción en una instancia previa.
Translation - English Filmmakers
1. For you, what is the essential stage in which you as a filmmaker intervene in the work of actors in your films (casting, prior planning, shooting, or post-production)? What are the main decisions you make and the main strategies you adopt at this stage of your work with the actors and actresses?
Mariano Barroso
Really all four stages that you mention are essential, and they’re also in that order of importance. You could say that casting decisions definitively mark a film. An error in casting can be irreparable, while the right choice can be the key to a memorable result. There are many examples, from Casablanca (Michael Curtiz, 1942) to any film that has marked the life of an actor. It’s not so much a question of the quality of the acting (you always have to work with great actors), but that there may be problems with the type of acting that an actor delivers, which can result in a miscasting. What would’ve become of The Bridges of Madison County (Clint Eastwood, 1995)—I’ve just reviewed a few scenes—if, instead of Clint Eastwood playing the lead role, Robert Redford had done it, as was planned? Or if an actor in his forties had played the role, as the character’s age should have been according to the script? Without question it would have been a completely different film. I really enjoy doing this kind of exercise, re-casting the films I watch, something that I can’t let myself do with the ones I make (Kubrick, on the other hand, did let himself do that, or sometimes Woody Allen…).
Later, in the preparation stage before shooting, it’s not so much the planning that would affect the work of the actors, but rather the staging, the movements, the physical actions… Helping the actors find the right actions and movements determines the result, the tension in a scene.
The same is true of the shooting stage, which is always the culmination of the previous one. And now, finally, in the calm and semi-solitude of the editing room, you can rethink a scene, give a character more prominence, push someone else into the background… You can even change the point of view of the scene, and in so doing, change how the audience identifies with it. There are many factors, decisions that are difficult but exciting.
Celina Murga
The casting stage is absolutely essential to me. In my first film, Ana y los otros (2003), I did it all myself, and it took me over a year. Now I do it with a casting director I really trust, whom I met while casting Una semana solos (2007), and with whom I share similar ideas about work methods. I’m not there all the time now, but I still try to be as involved as possible. I think it’s key to get to know the actors; I usually meet with them a number of times before making a final decision. These meetings take on different forms, not always on a casting call; rather, the aim is to get to know the person behind the actor, beyond their professionalism as an actor. Also, because I often work with non-professional actors, I feel it’s crucial to understand what qualities they may have in common with the character. In both cases, with trained and untrained actors, I feel it’s important to get to know their nature as much as possible, what issues might be useful to them when they’re acting, what will stimulate them to do this or that. Every actor is a world of their own, and may need different things to develop their potential to the maximum.
Casting also helps me to keep questioning the character and the script. I believe in questioning as a creative work method; it helps me to generate the process necessary to move forward artistically. There’s a quote from Truffaut that I really like. He says: “it is important to film against the script and edit against the shoot.” I’ve made this quote my own because I believe it contains the formula for moving forward: to constantly ask questions and create environments that are conducive to them. With each stage of the work you end up questioning the previous stage in some way, and this enriches it, makes it grow and strengthens it. I like the challenge of stretching the limits of the material, finding the things that can enrich it, even if that means risking unexpected or unlikely situations.
This questioning of the material doesn’t have only one answer, nor does it involve excessive rationalizing; often it comes from intuition and it helps me to make decisions, to move forward. Casting is one of those decisions. What could this actor bring to the character? What about another actor? Even though the character is written in the script, each person who plays the role can take that character in one direction or another, can accentuate certain traits over others. This is why I really believe in this stage.
I also consider the rehearsal stage to be essential. It’s the time when we start constructing the physical embodiment of the character together. Beyond the script readings, and the possible explorations that arise from them, I really believe in the actor giving a body to the character and to the story itself. And as a director, you also have to give it a body, and that means creating the work space, the conditions that allow the actor to try out things and find elements in a more intuitive way. I believe there are things that can only emerge from a place of intuition, which I consider very valuable. This doesn’t mean improvising on the shoot, but simply allowing part of the writing of that character to emerge from the actor’s body, to put it into action at an earlier moment.
Spanish to English: Excerpt of a specialized medical journal article entitled “Efecto protector de la raíz de Ruellia tuberosa L. sobre el daño renal inducido por la diabetes experimental” dealing with diabetes General field: Medical Detailed field: Medical (general)
Source text - Spanish La diabetes mellitus es uno de los problemas más grandes de la salud pública mundial,
en parte debido a su alta morbilidad y a su asociación con otros trastornos como la
obesidad, hipertensión arterial, insuficiencia cardiaca e insuficiencia renal1,2. La
nefropatía es considerada como una de las complicaciones más importante de esta
enfermedad, la condición diabética es la principal causa de insuficiencia renal terminal3,4.
El riñón, al igual que la mayoría de órganos afectados por la hiperglicemia, sufre un
daño celular mediado por diferentes moléculas, entre las que se encuentran: los polioles,
las hexosaminas, los productos de glicosilación avanzada (AGEs), el factor de
crecimiento transformante β (TGF-β), las proteínas kinasas activadas por mitógenos
(MAPKs, Ej.: las ERK), la angiotensina II (ANG II), la proteína kinasa C (PKC), el
diacilglicerol (DAG), las especies reactivas de oxígeno (EROs), las especies reactivas de
nitrógeno (ERN), el factor nuclear potenciador de las cadenas ligeras kappa de las células
B activadas (NF-κB), la janus kinasa (JAK), entre otros mediadores (5,6). La activación
de estas moléculas, trae como consecuencia la alteración de la expresión de algunas
proteínas que conducen al incremento de la matriz extracelular y al ensanchamiento de la
membrana basal glomerular. Esto se traduce en cambios de la estructura renal, fibrosis,
hiperfiltración, cambios hemodinámicos y proteinuria, las cuales son alteraciones
características de la nefropatía diabética6,7.
Los eventos intracelulares mediados por la vía DAG-PKC-ERK-NF-kB son el eje
central de la nefropatía diabética6,7,8. En general, la activación de esta vía conduce a la
disfunción renal por el incremento en la producción de las EROs, de las prostaglandinas,
de la expresión de TGF-β y de los componentes de la matriz extracelular (Ej.: el colágeno
I y IV, la fibronectina y la lamina), así como también por la disminución de la actividad
de la Na+, K+ ATPasa7,8,9. Las altas concentraciones de glucosa incrementan la
formación de las EROs, tanto en las células mesangiales como en las del epitelio tubular,
en donde ocurre una activación recíproca con otras cascadas de señalización, tales como:
la PKC, las MAPKs y las JAK10,11,12,13. De manera que aguas abajo se estimula la
expresión de algunas proteínas profibróticas por la acción de algunos factores de
transcripción, como por ejemplo, el NF-kB, la AP-1 y la Sp-112. Otro evento que
contribuye al establecimiento del estrés oxidativo radica en la disminución de las
defensas antioxidantes enzimáticas. En pacientes con nefropatía diabética se ha
observado una inhibición de la expresión de algunas de estas enzimas, tales como la
catalasa (CAT) y la superóxido dismutasa (SOD), favoreciéndose así el desbalance
oxidativo celular14. Asimismo, algunos modelos de animales diabéticos que
sobreexpresan la CAT o la SOD, presentan una significativa disminución del daño
renal15,16,17,18 y de la acumulación de proteínas de la matriz extracelular en las células
renales en cultivo15.
Translation - English Diabetes mellitus is one of the biggest problems in global public health, in part due to
its high morbidity rate and to its association with other medical conditions, such as
obesity, high blood pressure, heart failure, and kidney failure1,2. Nephropathy is
considered one of the most serious complications of this disorder; the diabetic condition
is the main cause of end-stage renal disease3,4.
The kidneys, as well as the majority of organs affected by hyperglycemia, suffer
cellular damage mediated by various molecules, including/among which include: polyols,
hexosamines, advanced glycation end products (AGEs), transforming growth factor-β
(TGF-β), mitogen-activated protein kinases (MAPKs; for example, ERKs), angiotensin II
(Ang II), protein kinase C (PKC), diacylglycerol (DAG), reactive oxygen species
(ROSs), reactive nitrogen species (RNSs), nuclear factor kappa-light-chain-enhancer of
activated B cells (NF-κB), Janus kinase (JAK), and other mediators5,6. The activation of
these molecules results in the altered expression of some/certain proteins that lead to the
growth of the extracellular matrix and the widening of the glomerular basement
membrane. This results in changes in renal structure, fibrosis, hyperfiltration,
hemodynamic changes, and proteinuria, which are (all) characteristic alternations of
diabetic nephropathy6,7.
Intracellular events mediated by the DAG-PKC-ERK-NF-κB pathway are the central
mechanism of diabetic nephropathy6,7,8. In general, the activation of this pathway leads to
renal dysfunction through an increase in the production of EROs, prostaglandins, the
expression of TGF-β, and the components of the extracellular matrix (e.g. collagen I and
IV, fibronectin, and laminin), as well as through a reduction in the activity of Na+-K+
ATPase7,8,9. The high concentrations of glucose increase the formation of EROs in both
mesangial cells and cells of the tubular epithelium, where/in which a reciprocal activation
occurs with other signalling cascades, such as PKC, MAPKs, and JAKs10,11,12,13.
Therefore, the expression of some/certain downstream profibrotic proteins is stimulated
by the action of some/several (*)/a number of/certain transcription factors, such as NF-
κB, AP-1, and Sp112. Another/An additional event that contributes to the creation (*)/that
creates of oxidative stress consists in a reduction of/decrease (*) in antioxidant enzymatic
defences (*)/the defences of antioxidant enzymes. In patients with diabetic nephropathy,
(the) inhibition of the expression of some of these enzymes, such as catalase (CAT) and
superoxide dismutase (SOD), has been observed, thus contributing to cellular oxidative
(*)/oxidative cellular imbalance14. Furthermore, some (*)/certain models of diabetic
animals (*)/diabetic animal models that overexpress CAT and SOD show a significant
decrease/reduction/attenuation (*) of renal damage/injury (*)15,16,17,18 and a reduction in
the accumulation of proteins of the extracellular matrix/extracellular matrix proteins (*)
in cultured renal cells15.
Spanish to English: Excerpt of a short story and a poem in its entirety General field: Art/Literary Detailed field: Poetry & Literature
Source text - Spanish El odio también envejece
Después de abandonar los intentos de adopción de un niño jordano, era la decisión más difícil
que había tomado en su vida.
Brigitte regresó destrozada del viaje a Amman. ¿Cómo podía la gente vivir de aquella
manera? De vuelta se fue al Caribe de vacaciones. Necesitaba descansar. Desde el hotel
telefoneó a su esposo y le dijo que no tendría hijos que no fueran suyos.
Brigitte era estéril. Lo sentía por Eliot.
Llegada a casa trajeron a Froda.
De eso hacía cinco años.
Eliot fue el primero en levantarse. Coló el café y se sentó en el comedor. Los tomates
comenzaban a madurar en los canteros del patio. Vio caer una manzana sobre la hierba húmeda y
el sol asomando por detrás del garaje.
Terminó el café. Se sirvió un vaso de vino blanco. El pozuelo de la comida y la vasija del
agua de Froda estaban vacíos. Había pedido el día libre. El alumno asistente dictaría la
conferencia.
Subió la escalera y se asomó a la habitación de su mujer.
Brigitte seguía en la cama. Sabía que no dormía. Sus piernas y sus pies blancos estaban
destapados. Bebió contemplándola.
No se deseaban.
La mujer se dio vuelta, tenía los ojos enrojecidos. En la madrugada la había sentido sollozar.
Brigitte lo miró de arriba abajo.
Volvió a beber. El vino sabía mejor que la realidad, pero no importaba.
Cada uno supo cómo sería el aliento del otro en ese instante.
“¿Quieres café?”, preguntó Eliot.
Brigitte negó con la cabeza. Se sentó apoyando su espalda a la cabecera. Se echó hacia
adelante y rodeó sus rodillas con sus brazos. El pelo le llegó casi a los tobillos. Nuevos sollozos
hicieron que su espalda se moviera acompasada.
La tarde anterior el veterinario había llamado. Ellos prefirieron no discutirlo por teléfono.
Eliot estaba en casa y su mujer con su amante. Se encontraron en la clínica.
Froda era la sombra de Brigitte.
Las dos eran estériles.
Las dos se tendían enroscadas en el sofá frente a la televisión.
Las dos se movían por la casa en silencio.
El veterinario les mostró los resultados de las pruebas en la pantalla del ordenador.
Froda agonizaba en la otra habitación.
_____
Abandonar la casa
Abandonar la casa,
sus oquedades íntimas,
sus vacíos de tiempo
densos y numerosos.
Vuelvo la mirada
para no perder la marca
de mi desasimiento
-hoy son otros los terrores-.
Dejar la casa,
renegar de su cadencia,
ese páramo de gestos
aprendidos y sin embargo
tan insólitos al amparo
de cada floración.
Translation - English Hate Also Ages You
After giving up attempts to adopt a child from Jordan, it was the hardest decision that
she had ever made in her life.
Brigitte returned devastated from her trip to Amman. How could people live like that?
Once back, she went to the Caribbean for vacation. She needed to take a break. From the
hotel she phoned her husband and told him that she wouldn’t have any kids if they
weren’t his.
Brigitte was sterile. She felt sorry for Eliot.
When she got back, they brought Froda home.
That was five years ago.
Eliot was the first to get up. He made coffee and sat in the dining room. The tomatoes
growing on the patio were beginning to ripen. He saw an apple fall on the wet grass and
the sun appeared from behind the garage.
He finished his coffee. He poured himself a glass of white wine. Froda’s food bowl
and water dish were empty. He had asked for the day off. The student assistant would
dictate the lecture.
He went down the stairs and into his wife’s room.
Brigitte was still in bed. He knew she wasn’t asleep. Her pale legs and feet were
exposed. He drank while gazing at her.
There was no attraction left between them.
She turned over, her eyes bloodshot. In the early hours of the morning, he had heard
her sobbing. Brigitte looked at him from head to toe.
He started drinking again. Wine tasted better than reality, but that that didn’t matter.
They both knew what the other’s mood would be at that moment.
“Want some coffee?” Eliot asked.
Brigitte shook her head. She sat up, resting her back on the headboard. She pushed
herself forward and wrapped her arms around her knees. Her hair almost reached her
ankles. Fresh sobs caused her back to move at regular intervals.
The previous afternoon the vet had called. They preferred not to discuss it over the
phone.
Eliot was at home and his wife with her lover. They met at the clinic.
Froda and Brigitte were two peas in a pod.
Both were sterile.
Both would lie down on the couch curled up in front of the television.
Both would wander about the house silently.
The vet showed them the results of the tests on the computer screen.
Froda was dying in the other room.
_____
Leaving the House behind
Leaving the house behind,
its intimate cavities,
its vacuums of time,
dense and numerous.
I’m looking back
so as not to lose the remains
of my detachment
—today there are other terrors—.
Leaving the house behind,
renouncing its rhythmic beat,
that wasteland of gestures
learned and nevertheless
so unbelievable in the refuge
of each efflorescence.
French to English: Excerpt of a specialized legal contract General field: Law/Patents Detailed field: Law: Contract(s)
Source text - French IL EST EXPOSE CE QUI SUIT :
Vu la convention d'aide à la recherche et développement conclue en application de l'arrêté ministériel du 04 juin 2018 octroyant une avance récupérable d'un montant maximal de 605.000 euros à charge de !'article 81.01. de la division organique 18, programme 32, titre II du budget des dépenses de la Région wallonne pour l'année budgétaire 2018.
Ci-après dénommée la CONVENTION,
IL EST CONVENU CE QUI SUIT :
Article 1 : Modification de la durée de la PHASE DE RECHERCHE
La première phrase de !'article 24 de la CONVENTION est remplacée par la suivante : « La PHASE DE RECHERCHE commence le 1er janvier 2018 et se termine le 30 juin 2020. »
Article 2 : Sous-traitance
L'article 26 de la CONVENTION est modifié comme suit.
Le tableau ci-dessous précise les travaux relevant de la recherche confies par l'ENTREPRISE à un sous-traitant.
Pour les sous-traitances marquées d'un astérisque, les articles 4.2. et 11.1. de la CONVENTION sont d'application.
Nature des travaux Identification du sous-traitant Budget (€)
Modifications nucléosomiques par spectrométrie de masse (tache 4) EpiQMAx (Allemagne) 84 800
Développement d'anticorps monoclonaux (tache 6) (*) à identifier 437 608
Échantillons pour étude prospective (*) à identifier 60 000
TOTAL 582 408
Article 3 : Scénario d'issue favorable
Le présent article remplace l'article 31 de la CONVENTION.
3.1.1. Remboursements annuels indépendants du CHIFFRE D'AFFAIRES
Si les MONTANTS LIQUIDES sont inférieurs aux MONTANTS ENGAGES, un coefficient est applique aux remboursements, lequel correspond à la quote-part des MONTANTS LIQUIDES par rapport aux MONTANTS ENGAGES.
3.1.2.
Remboursements relatifs aux prototypes ou installations pilotes
Toute cession, concession ou utilisation à des fins industrielles d'un prototype ou d'une installation pilote nécessite l'accord préalable de la DIRECTION GENERALE. Les modalités de cet accord porteront, notamment sur les montants minimums en cas de cession, concession ou utilisation industrielle. Si nécessaire, un avenant à la convention sera conclu afin d'adapter les remboursements annuels dépendants et indépendants du CHIFFRE D'AFFAIRES.
3.2.
Montants des remboursements annuels dépendants du CHIFFRE D'AFFAIRES
L'ENTREPRISE paie à la REGION une redevance sur le CHIFFRE D'AFFAIRES. Celle-ci s'élève à 3,53 % du CHIFFRE D'AFFAIRES de la période concernée, portant sur la vente du PRODUIT, la vente de licence d'exploitation sur le PRODUIT et du SERVICE.
Si les MONTANTS LIQUIDES sont inférieurs aux MONTANTS ENGAGES, un coefficient est appliqué aux remboursements annuels dépendants du CHIFFRE D'AFFAIRES, lequel correspond à la quote-part des MONTANTS LIQUIDES par rapport aux MONTANTS ENGAGES.
3.3. Issue favorable
Le CHIFFRE D'AFFAIRES prévisionnel cumulé réalisé pendant la PHASE D'EXPLOITATION s'élève à 12 .000.000,00 euros.
Fait à Jambes, le 13 FEV. 2019, en 3 exemplaires, chaque partie reconnaissant en avoir retiré au moins un.
Translation - English THE PARTIES RECITE AS FOLLOWS:
Having regard to the agreement with the support of research and development signed in accordance with ministerial decree on June 4, 2018 granting a recoverable advance of a maximum amount of 605 000 euros under Article 81.01. of the organic division 18, schedule 32, title II of the expense budget of the Walloon Region for fiscal year 2018.
Hereinafter referred to as the CONVENTION,
THE PARTIES AGREE AS FOLLOWS:
Article 1: Change to the duration of the RESEARCH PHASE
The first sentence of Article 24 of the AGREEMENT is replaced by the following: “The RESEARCH PHASE begins January 1, 2018 and ends June 30, 2020. “
Article 2: Subcontracting
Article 26 of the AGREEMENT is changed as follows.
The table below outlines the work pertaining to the research entrusted to a subcontractor by the COMPANY.
For subcontracting marked with an asterisk, Articles 4.2 and 11.1 of the AGREEMENT apply.
Nature of the work Identification of the subcontractor Budget (€)
Nucleosomal changes by mass spectrometry (spot 4) EpiQMAx (Germany) 84800
Development of monoclonal antibodies (spot 6) (*) to be determined 437608
Samples for prospective study (*) to be determined 60000
TOTAL 582408
Article 3: Favourable outcome scenario
Article 31 of the AGREEMENT is replaced by the following article.
3.1.3. Annual repayments independent of REVENUE
• 2021 calendar year: €12100
• 2022 calendar year: €12100
• 2023 calendar year: €12100
• 2024 calendar year: €18150
• 2025 calendar year: €18150
• 2026 calendar year: €24200
• 2027 calendar year: €18150
• 2028 calendar year: €18150
• 2029 calendar year: €12100
• 2030 calendar year: €12100
• 2031 calendar year: €12100
• 2032 calendar year: €12100
The sum of these repayments corresponds to 30% of the total of the ADVANCE defined in Article 27.
If the CASH TOTALS are lower than the COMMITTED TOTALS, a coefficient is to be applied to the repayments, which corresponds to the share of the CASH TOTALS in comparison with the COMMITTED TOTALS.
3.1.4.
Repayments concerning prototypes or pilot facilities
Any transfer, concession or use of a prototype or pilot facility for industrial purposes requires the prior approval of SENIOR MANAGEMENT. The terms and conditions of this agreement will apply particularly to minimum totals in the event of industrial transfer, concession or use. If need arises, an amendment to this agreement will be signed in order to adjust annual repayments, dependent and independent of REVENUE.
3.4.
Annual repayment totals dependant on REVENUE
The COMPANY will pay a license fee on REVENUE to the REGION. The company will increase REVENUE by 3.53% for the relevant period on the sale of the PRODUCT, the sale of the business license on the PRODUCT and SERVICE.
If the CASH TOTALS are lower than the COMMITTED TOTALS, a coefficient is to be applied to the annual repayments dependant on REVENUE, which corresponds to the share of the CASH TOTALS in comparison with the COMMITTED TOTALS.
3.5. Favourable outcome
Projected REVENUE accumulated during the OPERATING PHASE will increase to 12,000,000,00 euros.
Created in Jambes on Feb. 13. 2019, 3 copies in total, each party acknowledging having obtained at least one.
French to English: Excerpt of a specialized business newsletter General field: Bus/Financial Detailed field: Business/Commerce (general)
Source text - French L’INFOLETTRE DU GNV - JANVIER 2019
CAS-TÉMOIGNAGE
Premier départ au GNV pour RCI Environnement
En ouvrant sa station de GNC sur le Chemin-du-Lac à Longueuil, RCI Environnement rejoint le club des transporteurs visionnaires qui favorisent l’adoption du gaz naturel comme carburant alternatif. Et elle ne compte pas s’arrêter là.
Acquise en 2013 par Waste Management, leader nord-américain de la gestion des matières résiduelles, RCI Environnement fait le saut au GNV dans le cadre d’une transition du modèle d’affaires de l’entreprise à travers le continent. En effet, Waste Management cherche à réduire son empreinte écologique pour faire sa part contre les changements climatiques.
« Depuis plusieurs années, nous cherchons à maximiser la valeur de nos ressources tout en minimisant notre impact sur l’environnement », résume Martin Dussault, son directeur des affaires publiques au Québec.
À cette fin, Waste Management s’est donnée une série d’objectifs pour 2020, dont une réduction de 15 % de l’empreinte carbone de ses véhicules par rapport au niveau de 2007. Elle y est parvenue dès 2011 grâce à l’adoption croissante du GNV, si bien que depuis lors, chaque nouveau véhicule au gaz naturel lui permet de surpasser d’autant plus cet objectif.
Objectif 100 % GNV
Déjà, Waste Management opère 110 stations de GNV qui alimentent 7000 de ses véhicules à travers l’Amérique du Nord. Il faudra maintenant y ajouter les 14 nouveaux camions-bennes de Longueuil. Un « premier départ », selon M. Dussault.
« Nous avons fait des investissements importants et adapté notre garage et nos installations connexes en conséquence. Mais ça ne s’arrêtera pas là. Notre but est de convertir graduellement une partie importante de notre flotte de véhicules de collecte au Québec. »
Entreprise intégrée dans la gestion des matières résiduelles, de la collecte au traitement et à la revalorisation, Waste Management et sa filiale RCI Environnement possèdent des divisions de transport en Montérégie, dans les Laurentides, en Outaouais, en Mauricie, au Saguenay et en Estrie.
Des avantages démontrés par l’expérience
Waste Management n’a pas besoin d’être convaincue des avantages du GNV dans les transports : ses propres chiffres les lui ont démontrés de longue date.
« Dans notre expérience nord-américaine, chaque véhicule converti au GNV permet d’économiser 30 000 litres de diesel, soient 14 tonnes de gaz à effet de serre par année. Cela revient à éliminer 15 % d’émissions polluantes par camion. C’est sans compter les réductions de coûts en carburant », dit Martin Dussault.
Soucieux de ne pas dévoiler de montants précis pour des raisons concurrentielles, il affirme cependant que « le GNV performe en termes économiques. »
La station de Longueuil est branchée au réseau d’Énergir, qui a accompagné RCI dans sa mise en œuvre, précise M. Dussault.
« Nous avons eu beaucoup de rencontres avec les gens d’Énergir qui ont agi comme facilitateurs même si nous avions déjà une expertise à l’interne. On peut se réjouir d’avoir un partenaire comme Énergir qui est très actif dans le développement du réseau de stations au Québec et qui nous accompagne dans la transformation de notre flotte. »
Translation - English NGV NEWSLETTER - JANUARY 2019
TESTIMONIAL
First Step toward NGV for RCI Environnement
Upon the opening of its CNG station on Chemin-du-Lac in Longueuil, RCI Environnement joins the club of visionary haulers that support the adoption of natural gas as a fuel alternative. But it’s not stopping there.
Acquired in 2013 by Waste Management-the leading North American waste management company-RCI Environnement is making the leap toward NGV within a transitional framework of the company’s business model throughout the continent. Waste Management is looking to reduce its environmental footprint in order to do its part to fight climate change.
“For a number of years we’ve sought to maximize the value of our resources, while minimizing our impact on the environment,” says Martin Dussault, WM’s Public Affairs Director in Quebec.
For that purpose, Waste Management has set a series of goals for 2020, including a 15% reduction of its vehicles’ carbon footprint compared with the level in 2007. This goal was reached in 2011, due to the increasing adoption of NGV, so much so that since then every new natural gas vehicle will allow the company to surpass this goal ever more quickly.
100% NGV GOAL
Waste Management already operates 110 NGV stations that provide fuel to 7000 of its vehicles across North America. All it has to do now is to add the 14 new dump trucks in Longueuil, which, according to Dussault, is “a first step.”
“We’ve made significant investments and have upgraded our garage and connected facility as a result. But we’re not stopping there. Our goal is to gradually transform an important part of our collection vehicle fleet in Quebec.”
As a company integrated in the management of waste, from collection to treatment and revaluation, Waste Management and its affiliate RCI Environnement own transportation divisions in Montérégie (in the Laurentides), Outaouais, Mauricie, Saguenay, and Estrie.
Benefits Shown by Experience
There’s no need to convince Waste Management of the benefits of NGV in transportation: its own figures have shown them for quite some time.
“In our experience in North America, every NGV-converted vehicle enables us to save 30000 litres of diesel, including 14 tons of greenhouse gases annually. That means eliminating 15% of harmful emissions per truck. And that’s not even counting the savings in fuel,” says Martin Dussault.
Anxious not to divulge the exact numbers for competitive reasons, he nevertheless asserts that “NGV is economically viable.”
The Longueuil station is connected to the Énergir network, which supported RCI during its implementation, Dussault adds.
“We’ve had a lot of meetings with the people at Énergir who’ve acted as facilitators, even though we have our own in-house experts. We’re glad to have a partner like Énergir, which is very active in developing the network of stations in Quebec, and is supporting us while we transform our fleet.”
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