Former child language brokers: preliminary observations on practice, attitudes and relational aspects

The present paper sets out to report on the preliminary results of a section of the project InMedioPueri carried out at the Department of Interdiscilinary Studies in Translation, Languages and Cultures of the University of Bologna and having as its general aim the mapping of Child Language Brokering (CLB) as a crucially important but yet not explored phenomenon in Italy (Antonini forthcoming). Specifically, this part of the study aims at outlining the impact of CLB on the development of the children who performed it on an emotional and relational level. In order to systematically explore these aspects, which have been only partially touched upon in the literature (Tse & McQuillan 1996; Buriel et al 1998; Weisskirch & Alva 2002), a significant part of the project is devoted to collecting data concerning the linguistic and cultural mediation activity as perceived by former child language brokers, i.e. by bilingual adolescents and young adults who acted or, in some cases, still act as mediators for their families or other members of the same minority immigrant community who are not fluent in Italian

Dark Humour as a Culture Specific Phenomenon. A Study in Audiovisual Translation

An increased tolerance for humour addressing sensitive issues (e.g. death, disease and disability) seems to be observed in Anglo-American culture with respect to Italian culture. This begs the question of how this traditionally unsettling, and perhaps more sophisticated, kind of humour travels to a country like Italy, in which contemporary, mainstream comedy privileges feel- good/family-oriented entertainment or, alternatively, the erotic comedy genre, and in which the very mention of death might still trigger superstitious reactions. The present study takes into consideration the processes involved in dubbing dark humour from English into Italian as observed in the English and Italian-language versions of ten British and American dark comedies from the 1940s to the 2000s. The analysis was also concerned with the translation strategies adopted and with possible effects of alteration of the dark humour content as a result of translation. Given its linguistic and cultural take on the subject, the study will be of particular interest to audiovisual translation students and scholars as well as researchers in cultural and humour studies

Humour and Other Catastrophes: Dealing with the Translation of Mixed-Genre TV Series

Starting from a trend observed in the Italian dubbing of US series Six Feet Under involving the deletion or toning down of most instances of potentially disturbing elements, this paper takes into consideration examples from English-language TV series dubbed into Italian and presenting a mixture of drama and comedy, in an attempt to analyze the degree of manipulation or adaptation that they underwent in terms of the linguistic representation of clashing genres. Particular attention will be devoted to the rendering of humorous comments produced in unexpected context

Manipulation and Creativity in the Adaptation of Humour: The Case of Will & Grace

Based on a case study on the popular US TV series Will & Grace and its Italian dubbed version, this paper will comment on the strategies used in the translation of the countless examples of verbally expressed and referential humour present in the series. Particular attention will be also focused on the presence of massive, probably network-originated intervention on the series\u2019 more explicit lines and dialogues, which forces the translator/adaptor to operate between the text manipulation imposed on them and the verbal creativity necessary to cope with similar audiovisual texts

La liberazione dei Calibani. Interpretazioni di Antropofagia e della poetica della transcreazione di Haroldo de Campos

Traduzione del saggio "Liberating Calibans. Readings of Antropofagia and Haroldo de Campos' poetics of transcreation" di E.R.P. Vieira (1999

Humour and Other Catastrophes: Dealing with the Translation of Mixed-Genre TV Series

Starting from a trend observed in the Italian dubbing of US series Six Feet Under involving the deletion or toning down of most instances of potentially disturbing elements, this paper takes into consideration examples from English-language TV series dubbed into Italian and presenting a mixture of drama and comedy, in an attempt to analyze the degree of manipulation or adaptation that they underwent in terms of the linguistic representation of clashing genres. Particular attention will be devoted to the rendering of humorous comments produced in unexpected context

Reactions to Audiovisual Adaptation on Social Media: The Case of How To Get Away With Murder

This chapter intends to start investigating the ways in which Twitter users express feelings as well as affiliation/disaffiliation with the rest of the virtual community on the issue of audiovisual adaptation on the TV series "How to Get Away With Murder" by applying the appraisal theory devised by Martin and White (2005)

Manuale di studi sulla traduzione

Traduzione del volume con nota del traduttor

Film posters as conveyors of dark humour: an English-Italian case study

This paper considers some of the posters and taglines used for a specific subgenre of film comedies, i.e. dark comedy, by looking at two of the most recent examples from the UK \u2013 which is considered by many as one of the contexts in which dark humour has flourished \u2013 namely Keeping Mum and Death at a Funeral. An analysis of the adaptation of the English-language posters of these comedies for the Italian audience is potentially interesting because of the differences in the tolerance for dark humour in Anglophone countries such as the UK and the US, and Italy, with Italy displaying lesser acceptance for humour directed at death and religion

The Perception of Humour in Dubbing vs. Subtitling: The Case of Six Feet Under

The present study sets out to investigate the effects that different modes of audiovisual translation might have on the way the same audiovisual text is perceived by viewers. In order to do this, the author analysed the dubbed and subtitled versions of one episode of the American TV series Six Feet Under, which depicts the lives of a family of undertakers with a peculiar mixture of dramatic elements, black humour, and surreal events. This study hypothesizes that, partly due to the different audiences targeted by the two versions, the dubbed version of the same episode results in a different product, with noticeably reduced use of swearwords and efficacy of the humorous elements, which are however present in the subtitled version. It is hypothesized that these differences between the dubbed and the subtitled versions are reflected in the way viewers perceive the show according to which version they watch. In order to support this hypothesis, excerpts from a dubbed episode of Six Feet Under were shown to a sample of Italian viewers, while a second sample watched the subtitled versions of the same excerpts. Viewers from both samples were then asked to fill out a purpose-built questionnaire aimed at assessing their appreciation of the scenes they watched. The study helped collect empirical evidence on the possible differences perceived in the two versions, with particular attention to cases in which these differences seem to be brought about by translational choices