• ベストアンサー

翻訳をお願いいたします。

スポンジケーキの説明書ですが、翻訳サービスなどでも的確なものが得られませんでした。よろしくお願いいたします。 A new cake... steamed to perfection Now fro‐m Nagasaki, long the home of innovative cake creation, an original treat full of the rich‐ness of eggs masterfully prepared to tantalize your tastebuds 長崎の土産菓子です。

質問者が選んだベストアンサー

  • ベストアンサー
  • norikunny
  • ベストアンサー率21% (256/1168)
回答No.3

意訳します。 『新しいタイプのケーキ...  創作的なケーキのふるさとの長崎より、今完璧なまでに蒸されて登場です。 卵をふんだんに使用した独創的で巧みな味わいは、どなた様にもきっとご満足頂けます。』

koutarou1234
質問者

お礼

すっと受入られる感じがします。 とても完成度の高いと思う翻訳をしていただき ありがとうございました。 たすかりました。

全文を見る
すると、全ての回答が全文表示されます。

その他の回答 (3)

noname#20378
noname#20378
回答No.4

どうも、#2です。お礼を読ませてもらいました。ポイントはNo.3さんの方がいいと思います。私も辞書を引いてsteamが「蒸発させる」というところまでは調べたのですが、そこから勝手に「爆発的に完成まで近づく」と妄想して訳したものですから(汗

koutarou1234
質問者

お礼

ありがとうございました。 人から夜遅くに頼まれ困っていましたが これで解決いたしました。重ねて御礼申し上げます。

全文を見る
すると、全ての回答が全文表示されます。
noname#20378
noname#20378
回答No.2

「新しいケーキ...それは、卵を贅沢にふんだんに使い、あなたの舌を見事に唸らせます。長い間革新的なケーキ作りの本拠地であった長崎で一気に完成されました。」かな? 文法的に思いっきり崩しているがとりあえず自分なりに訳してみた。多分意味はこんな感じ。文法解説してくれる人いないかな(笑)

koutarou1234
質問者

お礼

うーん とてもいい翻訳をありがとうございました。 No3の方とどちらに20pをと迷ったのですが・・・ himajin2009様のもとても分かりやすくたいへん参考になりました。朝早くからありがとうございました。

全文を見る
すると、全ての回答が全文表示されます。
  • koike627
  • ベストアンサー率25% (190/754)
回答No.1

新しいケーキ…は、向こうへ[fro‐m]長崎(革新的なケーキ作成(あなたのtastebudsをじらすために見事に準備された卵のrich‐nessでいっぱいのオリジナルの楽しみ)の長い間家)を完璧さに今や蒸した。 自分の翻訳ソフトで翻訳したら上記のような翻訳になりました。的外れでしたらすみません。

koutarou1234
質問者

お礼

早々と回答いただきましてありがとうございました。 翻訳ソフトでも なんとかイメージはつかめますね。 ありがとうございました。

全文を見る
すると、全ての回答が全文表示されます。

関連するQ&A

  • 和訳で困っています。

    デザインの本を和訳しているのですが、 英語が苦手で和訳に苦戦しています。 そこで、和訳をお願いしたいのです。 こちらがその英文です。 Perhaps the view that a form of rich composition, in which text did not reign supreme, existed before Moholy-Nagy’s   experiments in typography, was what led to the creation of this book and may explain why TANAKA often looked to the work of HON’AMI Koetsu and the other art of the Edo period to incorporate in his own work.  どうぞ、よろしくお願いします。

  • ブログに書かれたコメントを翻訳して下さい。

    ブログにここ最近続けて英語のコメントがついています。全て違うホスト からの書き込みのようです。 翻訳で調べてみたのですが、全く意味が分かりません。 とても長いですが、どなたか翻訳して下さい。宜しくお願いします。 (1)In the end she laughed heartily at his attentive companion in a pine. (2)Even while speaking in English. (3)But you've got the spot that Deerslayer could have saved the life of a repentant child. (4)The insult that had been left in a rich soil. (5)You are honest; when, happening to turn out to be conscious that the enemy, did the ch'ice actually lie afore you? (6)Father and mother's graves are in the grass; all the consideration he claimed. (7)I was prepared to appear, respectable, if the truth, the Dawn, a very embarrassed state; but, the Wilkeses, the gentleman named Drewett, said some one from the solicitations of the whole party around me. (8) am certain, and had button holes worked in gold thread.

  • かなり長文なんですが誰か翻訳をお願いできませんか?

    WARHOL: Am I really doing anything new? BOURDON: You are doing something new in making exclusive use of second-hand images. In transliterating newspaper or magazine ads to canvas, and in employing silk screens of photographs, you have consistently used preconceived images. W: I thought you were about to say I was stealing from somebody and I was about to terminate the interview. B: Of course you have found a new use for the preconceived image. Different artists could use the same preconceived images in many different ways. W: I just like to see things used and re-used. It appeals to my American sense of thrift. B: A few years ago, Meyer Schapiro wrote that paintings and sculptures are the last handmade, personal objects within our culture. Everything else is being mass-produced. He said the object of art, more than ever, was the occasion of spontaneity or intense feeling. It seems to me that your objective is entirely opposite. There is very little that is either personal or spontaneous in your work, hardly anything in fact that testifies to your being present at the creation of your paintings. You appear to be a one-man Rubens-workshop, turning out single-handedly the work of a dozen apprentices. W: But why should I be original? Why can't I be non-original? B: It was often said of your early work that you were utilizing the techniques and vision of commercial art, that you were a copyist of ads. This did seem to be true of your paintings of Campbell's Soup and Coca-Cola. Your paintings did not depict the objects themselves, but the illustrations of them. You were still exercising the techniques of art in your selection of subject, in your layout, and in your rendering. This was especially true of your big black Coke painting, and in your Fox-Trot floor-painting, both about six feet in height, where the enormous scale did not leave enough room for the entire image. In Coca-Cola the trademark ran off the right side of the canvas, and in Fox-Trot, step number seven occurred off the canvas. In these works, you were taking what you wanted stylistically from commercial art, elaborating and commenting on a technique and vision that was second-hand to begin with. I believe you are a Social Realist in reverse, because you are satirizing the methods of commercial art as well as the American Scene. W: You sound like that man on the Times who considers my paintings to be sociological commentary. I just happen to like ordinary things. When I paint them, I don't try to make them extraordinary. I just try to paint them ordinary-ordinary. Sociological critics are waste makers. B: But for all your copying, the paintings come out differently than the model, because you have changed the shape, size and color. W: But I haven't tried to change a thing! You must mean my unfinished paint-by-number paintings. (The only reason I didn't finish them is that they bored me; I knew how they were going to come out.) Whoever buys them can fill in the rest themselves. I've copied the numbers exactly. B: You don't mean to say that otherwise you have copied the picture exactly. It's so identifiable as your work. The flower stems in your still-life have an awkward grace that is typical of your work. W: I haven't changed a thing. It's an exact copy. B: (Then your hand has slipped.) It's impossible to make an exact copy of any painting, even one of your own. The copyist can't help but contribute a new element, or a new emphasis, either manual or psychological. W: That's why I've had to resort to silk screens, stencils and other kinds of automatic reproduction. And still the human element creeps in! A smudge here, a bad silk screening there, an unintended crop because I've run out of canvas-and suddenly someone accusing me of arty lay-out! I'm anti-smudge. It's too human. I'm for mechanical art. When I took up silk screening, it was to more fully exploit the preconceived image through the commercial techniques of multiple reproduction.

  • 和訳お願い致します。

    The question of the meaning of the word bara,'create,'has been previously touched upon;it has been acknowledged by good critics that it doesn't of itself necessarily imply 'to make out of nothing upon the simple ground that it is found [to be]uesd in cases where such a meaning would be inapplicable . But the difficultly of giving to it the interpretation contended for by Dr Buckland and of uniting with this the assumption of a six days' creation, such as that described in Genesis, at a comparatively recent period, lies in this,that the heaven itself is distinctly said to have been formed by the division of the waters on the second day. Consequently , until. The first Mosaic day of creation, there was no sky, no local habitation for the sun,moon and stars, even supposing those bodies to have been included in the original material. Dr Buckland doesn't touch this obvious difficulty, without which his argument that the sun and moon might have been contemplated as pre-existing , although they aren't stated to have been set in the heaven until the forth day, is of no value at all.

  • 「put A into practice」を自動詞で?@中大経済2009

    A: How did you find the discussion in your group? B: Frankly, a bit disappointing. Most of the opinions presented were far from being original of innovative. A: But don't you think that for that reason they might be a lot easier to put into practice? B: Well, that's a positive way of looking at it, isn't it? Aの2回目の発言で「put into practice」を目的語なしで使用しています。しらべてもこのイディオムには必ず目的語が付いており、出題ミスではとさえ疑ってしまいます。みなさんのご意見を伺いたく質問させていただきました。自動詞の用法が存在するのならソースを提示していただけると助かります。または口語体なのでくずしているという解釈もアリでしょうか?

  • 和訳お願い致します。

    The foregoing explanation many have now adopted. It is sufficient for my purpose, if it be a possible explanation, and if it meet the difficulties of the case. That it is possible in itself, is plain from the fact above established, that the Scriptures wisely speak on natural things according to their appearances rather than their physical realities. It meets the difficulties of the case, because all the difficulties hitherto started against this chapter on scientific grounds proceeded on the principle that it is a cosmogony; which this explanation repudiates, and thus disposes of the difficulties. It is therefore an explanation satisfactory to my own mind. I may be tempted to regret that I eau gain no certain scientific information from Genesis regarding the process of the original creation; but I resist the temptation, remembering the great object for which the Scripture was given -- to tell man of his origin and fall, and to draw his mind to his Creator and Redeemer. Scripture was not designed to teach us natural philosophy, and it is vain to attempt to make a cosmogony out of its statements. The Almighty declares himself the originator of all things, but he condescends not to describe the process or the laws by which he worked. All this he leaves for reason to decipher from the phenomena which his world displays. This exploration, however, I do not wish to impose on Scripture; and am fully prepared to surrender it, should further scientific discovery suggest another better fitted to meet all the requirements of the case.'

  • 英語に自信のある方 和訳お願いします。

    ' Accrding to thsi explanation , the first chapter og Genesis does not pretend (as has been generally assumed) to be a cosmogony or an account of the original creation of the material universe. The only cosmogony which it contains,in that sense at least, is confined to be sublime decraration of the first verse, "In the begnning God created the heavens and the earth." The inspired record ,thus stepping over an interval of indefinite ages with which man has no direct concern, proceeds at once to narrate the events preparatory to the introduction of man on the scean; employing phraseology strictly faithful to the appearances(斜字) which would have met the eye of man, could he have been a spectator on the earth of whta passed during those six days. Allthis has been commonly supposed to be more detailed account of the general truth announced in the five verse, in short, a cosmogony: such was the idea of Josephus[37-100]; such probably was the idea of our translators;for their version "without form and void," points to the primeval chaos, out of which all things were then supposed to emerge; and these words, standing in limine, have tended, perhaps more than anything else, to foster the idea of a cosmogony in the minds of general readers to this very day.'

  • 英字新聞の和訳と解説をお願いします。

    英字新聞はhttp://www.japantimes.co.jp/text/nn20120516f1.htmlです。 1、But 40 years onから始まる段落がありますが、この冒頭の40 years onはどういう意味でしょうか?大体推測できるのですが文法的に知りたいです。 2、Ogawa said. "The Japanese archipelago is the only power-projection platform for the U.S." という文がありますが、このpower-projection platform とはどういう意味でしょうか? 3、downsize the U.S. Marine presence in Okinawa は沖縄に駐在しているアメリカ海軍の人員削減という意味でいいでしょうか?この場合のpresenceは軍人という意味ですか?それとも存在という意味でしょうか? 4、文中(lessen casualties)などととカッコつきで表記してあるところがありますが、これは強調しているのでしょうか?英字紙特有の表現でしょうか? 5、次の文を和訳してください。 The original 2006 agreement had grouped the relocation of the Futenma base, the move of the thousands of marines out of the prefecture and the return of the base land as a package. But Tokyo and Washington decided to treat each component separately as it became obvious the Futenma replacement base won't be built anytime soon amid the strong local opposition. 一番初めのコンマは同格でしょうか?またtreat component separatelyの部分もいまいち意味をつかめずじまいでした。

  • 一文一文が長く困っています。

    生姜についての文なのですが、一文一文が長く翻訳に困っています。 文法に疎いので翻訳お願いします。 By the thirteenth century ginger and gingerbread were well known and appreciated in England. In the fourteenth century Chaucer, who seems to have been food-conscious,records: “They sette hym Roiall spicerye and Gyngerbreed.” Throughout the sixteenth,seventeenth,and eighteenth centuries gingerbread grew ever more elaborate. Queen Elizabeth I of England, never one to deny a sweet tooth,knew that her guests were fond of gingerbread, especially if the cake was molded in the image of the guest to whom it was offered. A gingerbread likeness proved to be so successful a conversation piece,Elizabeth I hired a special artist-baker, whose sole work was the creation of gingerbread lords and ladies to amuse and flatter her courtiers. 

  • 和訳お願い致します。

    Our earth then is but one of the lesser pendants of a body[a body=the sun]which is itself only an inconsiderable unit in the vast creation.And now if we withdraw our thoughts for the immensities of space and look into the construction of man's obscure home,the first question is whether it has ever been in any other condition than that in which we now see it,and if so,what are the stages through which it has passed,and what was its first traceable state. Here geology steps in and successfully carriers back the history of earth's crust to a very remote period,until it arrives at a region of uncertainty,where philosophy is reduced to mere guesses and possibilities and pronounces nothing definite. To this region belong the speculation which have been ventured upon as to the original conccretion of the earth and planets our of nebular matter of which the sun may have been the nucles.