تر جمه -- Translation 2

[JEFF_HARDY]

با سلام

لطفا یکی از دوستان زحمت ترجمه این جملات را بکشند البته خط دوم بیشتر مد نظر می باشد.

And then,one day she(mom) quietly died ,and everything you never
Did came crashing down like tunder on you,r heart
متشکرم

و ناگهان، یک روز مادر به آرامی جان داد، و هر کاری که تاحالا برایش نکرده بودی، مانند صاعقه به قلبت اصابت کرد...

[Naser_helboy]

معنی کلمات زیر رو به انگلیسی می خواستم

فرو کردن ( مثلا یک شی تیز به گوش )
تیز
کشیدن ( مثلا گوش )

[vahid0801]

فرو کردن ( مثلا یک شی تیز به گوش )

میشه گفت:thrust که بعدش از through استفاده بشه.؟مثل:thrust the sword through enemy's body

کشیدن ( مثلا گوش )

هم میشه گفت to draw هم to protract که دومی خیلی رسمی تره و به مثالت نمیاد.

[Kurosh]

سلام ، معنی roll off در جمله ی زیر چیه؟

If the spectrum is rolled off at high frequencies so that it contains equal power, the the result is "pink noise"

ضمنا" عبارت reference power رو در متون تخصصی با چه معادلی بیان کردن؟ همون نیروی رفرانس؟ (مربوط به مهندسی صدا و فیزیک میشه)
مرسی...

[irancity]

با سلام

بي مقدمه به اصل مطلب مي پردازم.استادمون يه متن انگليسي بهمون داده و ازمون خواسته كه ترجمه اش كنيم.متاسفانه اين متن يه ذره سخت هستش (يا شايد هم واسه من خيلي سخته) و من نتونستم ترجمه اش كنم.استادمون هم فردا مي خوادش.دوستان آشنا به زبان انگليسي اگه كمك كنن اين متن ترجمه شه يك دنيا ازشون ممنون مي شم.وقتم هم كمه يعني تا آخر امروز مي خوامش.

متن اينه:

In what follows, I want to shift the terms of the debate in which postmodernism is usually engaged, especially by its more recent critics. In doing so, I want to argue that postmodernism as a site of "conflicting forces and divergent tendencies" (Patton 89) becomes useful pedagogically when it provides elements of an oppositional discourse for understanding and responding to the changing cultural and educational shift affecting youth in North America. A resistant or political postmodernism seems invaluable to me in helping educators and others address the changing conditions of knowledge production in the context of emerging mass electronic media and the role these new technologies are playing as critical socializing agencies in redefining both the locations and the meaning of pedagogy.
My concern with expanding the way in which educators and other cultural workers understand the political reach and power of pedagogy as it positions youth within a postmodern culture suggests that postmodernism is to be neither romanticized nor casually dismissed. On the contrary, I believe that it is a fundamentally important discourse that needs to be mined critically in order to help educators to understand the modernist nature of public schooling in North America.3 It is also useful for educators to comprehend the changing conditions of identity formation within electronically mediated cultures and how they are producing a new generation of youths who exist between the borders of a modernist world of certainty and order, informed by the culture of the West and its technology of print, and a postmodern world of hybridized identities, electronic technologies, local cultural practices, and pluralized public spaces. But before I develop the critical relationship between postmodern discourse and the promise of pedagogy and its relationship to border youth, I want to comment further on the recent backlash against postmodernism and why I believe it reproduces rather than constructively addresses some of the pedagogical and political problems affecting contemporary schools and youth.
Welcome to the Postmodern Backlash
While conservatives such a Daniel Bell and his cohorts may see in postmodernism the worst expression of the radical legacy of the 1960s, an increasing number of radical critics view postmodernism as the cause of a wide range of theoretical excesses and political injustices. For example, recent criticism from British cultural critic John Clarke argues that the hyper-reality of postmodernism wrongly celebrates and depoliticizes the new informational technologies and encourages metropolitan intellectuals to proclaim the end of everything in order to commit themselves to nothing (especially the materialist problems of the masses).4 Dean MacCannell goes further and argues that "postmodern writing [is] an expression of soft fascism" (187). Feminist theorist Susan Bordo dismisses postmodernism as just another form of "stylish nihilism" and castigates its supporters for constructing a "world in which language swallows up everything" (291). The backlash has become so prevalent in North America that the status of popular criticism and reporting seems to necessitate proclaiming that postmodernism is "dead." Hence, comments in forums ranging from the editorial pages of the NEW YORK TIMES to popular texts such as 13THGEN to popular academic magazines such as the CHRONICLE OF HIGHER EDUCATION alert the general public in no uncertain terms that it is no longer fashionable to utter the "p" word.
Of course, more serious critiques have appeared from the likes of J*rgen Habermas, Perry Anderson, David Harvey, and Terry Eagleton, but the current backlash has a different intellectual quality to it, a kind of reductionism that is both disturbing and irresponsible in its refusal to engage postmodernism in any kind of dialogical, theoretical debate.5 Many of these left critics often assume the moral high ground and muster their theoretical machinery within binary divisions that create postmodern fictions, on the one side, and politically correct, materialist freedom fighters on the other. One consequence is that any attempt to engage the value and importance of postmodern discourses critically is sacrificed to the cold winter winds of orthodoxy and intellectual parochialism. I am not suggesting that all critics of postmodernism fall prey to such a position, nor am I suggesting that concerns about the relationship between modernity and postmodernity, the status of ethics, the crisis of representation and subjectivity, or the political relevance of postmodern discourses should not be problematized. But viewing postmodernism as a terrain to be contested suggests theoretical caution rather than reckless abandonment or casual dismissal.
What is often missing from these contentious critiques is the recognition that since postmodernism does not operate under any absolute sign, it might be more productive to reject any arguments that position postmodernism within an essentialized politics, an either/or set of strategies. A more productive encounter would attempt, instead, to understand how postmodernism's more central insights illuminate how power is produced and circulated through cultural practices that mobilize multiple relations of subordination. Rather than proclaiming the end of reason, postmodernism can be critically analyzed for how successfully it interrogates the limits of the project of modernist rationality and its universal claims to progress, happiness, and freedom. Instead of assuming that postmodernism has vacated the terrain of values, it seems more useful to address how it accounts for how values are constructed historically and relationally, and how they might be addressed as the basis or "precondition of a politically engaged critique" (Butler 6-7). In a similar fashion, instead of claiming that postmodernism's critique of the essentialist subject denies a theory of subjectivity, it seems more productive to examine how its claims about the contingent character of identity, constructed in a multiplicity of social relations and discourses, redefines the notion of agency. One example of this type of inquiry comes from Judith Butler, who argues that acknowledging that "the subject is constituted is not [the same as claiming] that it is determined; on the contrary, the constituted character of the subject is the very precondition of its agency" ("Contingent Foundations" 13). The now familiar argument that postmodernism substitutes representations for reality indicates less an insight than a reductionism that refuses to engage critically how postmodern theories of representation work to give meaning to reality.
A postmodern politics of representation might be better served through an attempt to understand how power is mobilized in cultural terms, how images are used on a national and local scale to create a representational politics that is reorienting traditional notions of space and time. A postmodern discourse could also be evaluated through the pedagogical consequences of its call to expand the meaning of literacy by broadening "the range of texts we read, and . . . the ways in which we read them" (B?rub? 75). The fact of the matter is that the mass media plays a decisive role in the lives of young people, and the issue is not whether such media perpetuate dominant power relations but how youth and others experience the culture of the media differently (Tomlinson 40). Postmodernism pluralizes the meaning of culture, while modernism firmly situates it theoretically in apparatuses of power. It is precisely in this dialectical interplay between difference and power that postmodernism and modernism inform each other rather than cancel each other out. The dialectical nature of the relationship that postmodernism has to modernism warrants a theoretical moratorium on critiques that affirm or negate postmodernism on the basis of whether it represents a break from modernism. The value of postmodernism lies elsewhere.
Acknowledging both the reactionary and progressive moments in postmodernism, anti-essentialist cultural work might take up the challenge of "writing the political back into the postmodern," while simultaneously radicalizing the political legacy of modernism in order to promote a new vision of radical democracy in a postmodern world (Ebert 291).

متن وردش هم تو اين آدرسه:

برای مشاهده محتوا ، لطفا وارد شوید یا ثبت نام کنید

با تشكر

هیچکی نیست کمک کنه؟؟؟؟

[Ship Storm]

دوستان یه متن تخصصی هست ممنون مشم کمک کنید برای ترجمش
===

Macromedia did not significantly update FreeHand for Studio MX 2004 and did not include it at all in Studio 8. Many believe this is because Fireworks is intended for web development while FreeHand was not intended for the Web. Others believe that because most of FreeHand's vector imaging features were integrated into Macromedia Fireworks, there was no need for both programs (however, Macromedia had continued promotion of FreeHand after Studio 8 was released would seem to suggest otherwise). Fireworks' inability to make vector-oriented .eps or .pdf files suitable for print should confirm this.
Adobe's acquisition of Macromedia also cast doubt on the future of FreeHand, primarily because of Adobe's competing Illustrator product. Adobe initially announced in May 2006 that it planned to continue to support FreeHand and develop it "based on [their] customers' needs". However, one year later on May 15, 2007, Adobe declared that it would, in fact, discontinue development and support of the program.
As of Adobe Creative Suite 3 collection, FreeHand files can be directly opened with Adobe Illustrator CS3 and then saved as Illustrator files. However, not all features from Freehand will be imported.While some users of the program were voicing their concerns, hoping to see Adobe continue to support and develop the package, the company decided to provide tools and support to ease the transition to Illustrator instead.
These concerns from users are mostly based on some perceived feature differences between FreeHand and Illustrator, such as flexible multipage management (where pages can be resized and rearranged over a virtual table when drawing over them), and window list of styles and colours.
Even though Adobe has stated that Macromedia FreeHand does not support Windows Vista, FreeHand has been reported to run under Vista without much trouble.

پیشاپیش ممنون

[baran_1000]

لطفاً این جمله را ترجمه کنید

so the obvious story of educational leadership in the first decade of th 21st century is very much about mastering the ecternal.

یه متن هست در مورد spirituality in educational leadership...این عنوان رو چی معنی می کنید؟

ممنون

[Mohammad]

سلام ...
بهتر نیست خودتون شروع به ترجمه کنید و هر جا که مشکل داشتید بپرسید تا اینکه منتظر بشید یه نفر وقت بذاره تماما براتون ترجمه کنه ؟!!

[roohi_rsh]

سلام من یه جمله و یک متن رو میخواستم برام به انگلیسی تبدیل کنید زیاد هم سخت نیست منتهی بایستی خیلی انگلیسیتون خوب باشه چون تقریبا شعر مانند

1=زندگی جاریست
2=زندگی جاریست در این گنبد دوار که میچرخد هم اکنون

نکته =اینکه میخوام مثل همین باشه یعنی کسی که انگلیسی شو میخونه عین همین بخونه

راستی دوار(davvar) تشدید داره
منظور از گنبد زمین هست
دوار هم یعنی گرد
بازم میگم میخوام مثل همین عامیانه باشه شعر گونه

خیلی ممنون میشم اگه زودتر جواب بدید

[denzelmovie]

سلام
اگه امکان داره این چند جمله رو ترجمه کنید
خیلی خیلی ممنون

there's always a front-runner

it's time for your last-minute floss

I'll just bring you a turd

Being a big Tonya Harding fan

Joy wanted me to Nancy Kerrigan
the cat so it couldn't compete

and it's humming that weird
I-like-you sound even though I hate it

Sebastian's eyes must have been prettier
than Nancy Kerrigan's

where he'd be welcome

With Sebastian out of the picture

He's been jumpy ever since
I waxed his eyebrows

I got to give those contacts back to my neighbor Latisha
before she goes on Date Night

To be honest, I was kind of hoping after
all these years of not having her cat

Judy would have moved on

This art doesn't have a flusher

he gets edgy and
turns everything back on you

I'm facing my third strike and could
spend the rest of my life in prison

And a pitcher of margaritas

Tip him good, too

We're saving up
for the kid's braces Or a trampoline

Look, buddy, lash back