Moving across page, stage, canvas: theatrical dance as a form of intermedial translation

This thesis examines two works of contemporary dance, Marie Chouinard’s Jérôme Bosch: Le Jardin des Délices (2016) and Mathieu Geffré’s choreography for the ESD company Froth on the Daydream (2018), as examples of intermedial translations into dance. In doing so, it proposes a conceptualization of translation through the lens of theatrical dance. In the last decade, the concepts of multimodality and intermediality have prompted a revision of inherited notions of text, language, and translation. This has led translation scholars to stretch their definition of translation so as to include text produced in and through other media, including dance. A number of articles and book chapters from the fields of Dance, Literary, Intermedial and Translation Studies have been published that make the case for the usefulness of the concept of translation for interpreting dance performances. Building on these works, this thesis reverses the question and asks how theatrical dance can help us understand intermedial translation. It does so by mapping the “implicative complex” (Tyulenev, 2010: 241-242) of dance, such as creativity, ephemerality, and the dramaturgy of bodies, onto the realm of translation. The theoretical framework is tested on two very different case studies: Chouinard’s choreography is based on Hieronymus Bosch’s painting The Garden of Earthly Delights, while Geffré’s on Boris Vian’s novel L’Écume de Jours. The methodology combines live attendance at the performances with footage analysis and ethnographic methods such as semi-structured interviews and participant observations. The first case-study focuses on issues of agency in translation, while the second looks at the way in which intermedial translations constitute “performative acts of memory” (Plate and Smelik, 2013: 2), comparing Geffré’s choreography with previous intermedial translations of Vian’s novel into film, opera, and graphic novel. Translation emerges as a creative and corporeal (and therefore political) practice deeply intertwined with issues of memory and struggles for representation. The analysis of the case-studies, together with the theoretical work that precedes it, contributes towards a redefinition of translation within the field of Translation Studies.Esta tese analisa duas obras de dança contemporânea como exemplos de traduções intermediais: Jérôme Bosch: Le Jardin des Délices (2016) de Marie Chouinard e a coreografia Froth on the Daydream (2018) de Mathieu Geffré para a companhia ESD. Propõe-se aqui uma conceptualização da tradução através das lentes da dança teatral. Na última década, os conceitos de multimodalidade e intermedialidade levaram a uma revisão das noções herdadas de texto, linguagem e tradução. Como consequência, várias investigadoras da área de tradução ampliaram a própria definição de “tradução”, incluindo textos produzidos por outras meios, como, por exemplo, a dança. Ao mesmo tempo, numerosos trabalhos foram publicados nas áreas dos Estudos de Dança, de Literatura, de Intermedialidade e de Tradução, apontando para a utilidade do conceito de tradução na interpretação de apresentações de dança. Baseando-se neste corpus teórico, a tese inverte a questão e pergunta como é que a dança teatral nos pode ajudar a entender a tradução intermedial. Isto é feito mapeando o “implicative complex” (Tyulenev, 2010: 241-242) da dança, como a criatividade, a efemeridade e a dramaturgia dos corpos, no domínio da tradução. O quadro teórico assim construído é testado em dois casos de estudo muito diferentes: a coreografia de Chouinard, baseada na pintura O Jardim das Delícias de Hieronymus Bosch e a coreografia de Geffré, criada a partir do romance de Boris Vian, A Espuma dos Dias. A metodologia combina a visão ao vivo das performances e a análise de filmagens com métodos etnográficos, entre os quais entrevistas semiestruturadas e observação de participantes. Se, por um lado, o primeiro caso de estudo se concentra em questões de agenciamento na tradução, por outro, o segundo examina como as traduções intermediais constituem "atos performativos de memória" (Plate e Smelik, 2013: 2, tradução minha), comparando a coreografia de Geffré com outras traduções intermediais do livro de Vian para cinema, ópera e romance gráfico. A tradução surge como uma prática criativa e corporal (e, portanto, política) profundamente entrelaçada com questões de memória e a luta pela representação. A análise dos casos de estudo, juntamente com o enquadramento teórico, contribui para uma redefinição da tradução no âmbito dos Estudos de Tradução

Boris Vian’s Other Voices – Interlingual and Intermedial Translations of L’Écume des Jours and its Reception in the United Kingdom

Boris Vian was a French writer, translator, lyricist, playwright, and critic. Drawing on the model proposed by Andringa (2006), I look at the reception of Vian in the English polysystem. After giving reasons for his late success in France, I turn to the English context and analyse how his work was received by critics writing in British newspapers from 1940 to 1990, comparing his reception to that of related authors. This leads me to investigate the number of intermedial translations of his most famous novel, L’Écume des jours. While in her analysis Andringa does not consider the role played by intermedial translations or adaptations, I argue that a study of an author’s reception needs to go beyond the literary realm and pay attention to these other forms of dissemination, as they played a major role in the establishment of the novel in the English repertoire.Boris Vian fue un novelista, compositor, dramaturgo, traductor y crítico francés. A partir del modelo de Andringa (2006), estudio la recepción de Vian en el polisistema británico. Después de explicar los motivos de su éxito tardío en Francia, me dirijo al contexto inglés y analizo cómo los críticos hablaron de su trabajo en los periódicos británicos de 1940 a 1990, comparándolo con el de autores relacionados. Esto me lleva a una investigación sobre el número de traducciones intermediales de su novela más famosa, L’Écume des jours. Mientras en sus análisis Andringa no considera el papel desempeñado por las traducciones intermediales o adaptaciones, yo sostengo que el estudio de la recepción de un autor debe ir más allá de lo literario y abordar otras formas de diseminación, ya que desempeñaron un papel importante en el establecimiento de esta novela en el repertorio inglés

Translating paintings into dance: Marie Chouinard's The Garden of Earthly Delights and the challenges posed to a verbal-based concept of translation

This paper analyses the transposition of Bosch’s painting The Garden of Earthly Delights (1490-1500) into a contemporary dance performance as an instance of intermedial translation and reflects on the challenges posed by plurisemiotic practices to a verbal-based concept of translation. Situating itself on the breach opened by recent reflections on the need to go beyond Eurocentric conceptualisations in Translation Studies, this paper looks at previous attempts to enlarge the scope of translation theory to encompass non-verbal artefacts. It questions the implications of considering Translation Studies alongside intermediality, and how merging the tools offered by these two disciplines could help us better understand and analyse choreographies such as Marie Chouinard’s Jérôme Bosch: Le Jardin des Délices (2016), and conversely, how similar dance performances, understood as instances of intermedial translation, could help us understand translation as a situated, embodied, and creative practice.info:eu-repo/semantics/publishedVersio

Choreographing as doing historiography. The representation of 1980’s New York in Trisha Brown’s Set and Reset (1983)

In this paper, I offer an interpretation of Trisha Brown’s Set and Reset (1983) that focuses on the temporal structure of the choreography and unveils it as a representation of 1980’s New York. If, as Godfrey (2007) believes, the methodological freedom accorded to art permits it to find a language capable of representing reality in a way that differs from traditional historiography, then Set and Reset offers a perfect example of this alternative historiography and of dance as a means of accessing history in synchronic and synesthetic fashion.info:eu-repo/semantics/publishedVersio

Ecologies of dramaturgy in dance creation: a conversation

AW é Jamaicana, Preta, dançarina mulher cisgênero e dramaturga. Dois interesses paralelos emergiram gradualmente ao longo de sua carreira – a contribuição do performer ao processo criativo, e a dinâmica da operação necessariamente colaborativa que é a coreografia contemporânea. Esta entrevista com a artista-pesquisadora reporta sua experiência artística e o processo criativo da obra Confession Publique, ao qual ela ocupa a posição triádica de dramaturga, dançarina e pesquisadora auto-etnógrafa, compondo uma conversa dialógica entre artistas interdisciplinares e pesquisadores do projeto Dramaturgical Ecologies (sediado na Anonimo). Para além de uma entrevista, este projeto polivocal–centrado nos temas de agenciamento, dramaturgia, corporalização e movimento–migrou do físico para o virtual, respondendo a reconfiguração biopolítica causada pela pandemia do COVID-19. Esta transição ativou  tensões e ressonâncias no diálogo que se tornaram limitações facilitadoras, onde os corpos envolvidos na pesquisa se tornaram parte da co-composição dramatúrgica do processo de escrita deste texto. O resultado está distribuído nas páginas que seguem, tomando forma de uma escrita performativa dialógica-reflexiva, criada a partir de um processo de pensamento coletivo. Angelique Willkie é Jamaicana, Preta, dançarina mulher cisgênero e dramaturga. Dois interesses paralelos emergiram gradualmente ao longo de sua carreira – a contribuição do performer ao processo criativo, e a dinâmica da operação necessariamente colaborativa que é a coreografia contemporânea. Esta entrevista com a artista-pesquisadora reporta sua experiência artística e o processo criativo da obra Confession Publique, ao qual ela ocupa a posição triádica de dramaturga, dançarina e pesquisadora auto-etnógrafa, compondo uma conversa dialógica entre artistas interdisciplinares e pesquisadores do projeto Dramaturgical Ecologies (sediado na Concordia University, CA). Para além de uma entrevista, este projeto polivocal–centrado nos temas de agenciamento, dramaturgia, corporalização e movimento–migrou do físico para o virtual, respondendo a reconfiguração biopolítica causada pela pandemia do COVID-19. Esta transição ativou tensões e ressonâncias no diálogo que se tornaram limitações facilitadoras, onde os corpos envolvidos na pesquisa se tornaram parte da co-composição dramatúrgica do processo de escrita deste texto. O resultado está distribuído nas páginas que seguem, tomando forma de uma escrita performativa dialógica-reflexiva, criada a partir de um processo de pensamento coletivo.

Meu útero é uma bomba! Antologia zine de poesia e ecofeminismo

info:eu-repo/semantics/publishedVersio

Dietary intake and major food sources of polyphenols in people with type 2 diabetes: The TOSCA.IT Study

none200nononeVitale, M.; Masulli, M.; Rivellese, A.A.; Bonora, E.; Cappellini, F.; Nicolucci, A.; Squatrito, S.; Antenucci, D.; Barrea, A.; Bianchi, C.; Bianchini, F.; Fontana, L.; Fornengo, P.; Giorgino, F.; Gnasso, A.; Mannucci, E.; Mazzotti, A.; Nappo, R.; Palena, A.P.; Pata, P.; Perriello, G.; Potenziani, S.; Radin, R.; Ricci, L.; Romeo, F.; Santini, C.; Scarponi, M.; Serra, R.; Timi, A.; Turco, A.A.; Vedovato, M.; Zavaroni, D.; Grioni, S.; Riccardi, G.; Vaccaro, O; Rivellese, Angela Albarosa; Cocozza, Sara; Auciello, Stefania; Turco, Anna Amelia; Bonora, Enzo; Cigolini, Massimo; Pichiri, Isabella; Brangani, Corinna; Tomasetto, Elena; Perriello, Gabriele; Timi, Alessia; Squatrito, Sebastiano; Sinagra, Tiziana; Longhitano, Sara; Tropea, Vanessa; Ballardini, Giorgio; Babini, Anna Carla; Ripani, Raffaella; Gregori, Giovanna; Dolci, Maria; Bruselli, Laura; Salutini, Isabella; Mori, Mary; Baccetti, Fabio; Lapolla, Annunziata; Sartore, Giovanni; Burlina, Silvia; Chilelli, Nino Cristiano; Buzzetti, Raffaella; Venditti, Chiara; Potenziani, Stella; Carlone, Angela; Galluzzo†, Aldo; Giordano, Carla; Torregrossa, Vittoria; Corsi, Laura; Cuneo, Giacomo; Corsi, Simona; Tizio, Biagio; Clemente, Gennaro; Citro, Giuseppe; Natale, Maria; Salvatore, Vita; Di Cianni, Graziano; Lacaria, Emilia; Russo, Laura; Iannarelli, Rossella; de Gregorio, Antonella; Sciarretta, Filomena; D’Andrea, Settimio; Montani, Valeria; Cannarsa, Emanuela; Dolcetti, Katia; Cordera, Renzo; Bonabello, Laura Affinito; Mazzucchelli, Chiara; Giorda, Carlo Bruno; Romeo, Francesco; Bonetto, Caterina; Antenucci, Daniela; Baldassarre, Maria Pompea Antonia; Iovine, Ciro; Nappo, Rossella; Ciano, Ornella; Dall’Aglio, Elisabetta; Mancastroppa, Giovanni; Grimaldi, Franco; Tonutti, Laura; Boemi, Massimo; D’Angelo, Federica; Leotta, Sergio; Fontana, Lucia; Lauro, Davide; Rinaldi, Maria Elena; Cignarelli, Mauro; la Macchia, Olga; Fariello, Stefania; Tomasi, Franco; Zamboni, Chiara; Dozio, Nicoletta; Trevisan, Roberto; Scaranna, Cristiana; Del Prato, Stefano; Miccoli, Roberto; Bianchi, Cristina; Garofolo, Monia; Pugliese, Giuseppe; Salvi, Laura; Rangel, Graziela; Vitale, Martina; Anichini, Roberto; Tedeschi, Anna; Corsini, Elisa; Cucinotta, Domenico; Di Benedetto, Antonino; Giunta, Loretta; Ruffo, Maria Concetta; Bossi, Antonio Carlo; Carpinter, Rita; Dotta, Francesco; Ceccarelli, Elena; Bartolo, Paolo Di; Caselli, Chiara; Luberto, Alessandra; Santini, Costanza; Mazzotti, Arianna; Calbucci, Giovanni; Consoli, Agostino; Ginestra, Federica; Calabrese, Maria; Zogheri, Alessia; Ricci, Lucia; Giorgino, Francesco; Laviola, Luigi; Ippolito, Claudia; Tarantino, Lucia; Avogaro, Angelo; Vedovato, Monica; Gnasso, Agostino; Carallo, Claudio; Scicchitano, Caterina; Zavaroni, Donatella; Livraga, Stefania; Perin, Paolo Cavallo; Forrnengo, Paolo; Prinzis, Tania; de Cosmo, Salvatore; Palena, Antonio Pio; Bacci, Simonetta; Mannucci, Edoardo; Lamanna, Caterina; Pata, Pietro; Lettina, Gabriele; Aiello, Antimo; Barrea, Angelina; Lalli, Carlo; Scarponi, Maura; Franzetti, Ivano; Radin, Raffaella; Serra, Rosalia; Petrachi, Francesca; Asprino, Vincenzo; Capra, Claudio; Cigolini, Massimo; Forte, Elisa; Potenziani, Stella; Reggiani, Giulio Marchesini; Forlani, Gabriele; Montesi, Luca; Mazzella, Natalia; Piatti, Pier Marco; Monti, Lucilla; Stuccillo, Michela; Auletta, Pasquale; Petraroli, Ettore; Capobianco, Giuseppe; Romano, Geremia; Cutolo, Michele; de Simone, Giosetta; Caiazzo, Gennaro; Nunziata, Peppe; Sorrentino, Susy; Amelia, Umberto; Calatola, Pasqualino; Capuano, GelsominaVitale, M.; Masulli, M.; Rivellese, A. A.; Bonora, Enzo; Cappellini, F.; Nicolucci, A.; Squatrito, S.; Antenucci, D.; Barrea, A.; Bianchi, C.; Bianchini, FRANCESCA ANTONIA; Fontana, L.; Fornengo, P.; Giorgino, FRANCESCO LIBERO; Gnasso, A.; Mannucci, E.; Mazzotti, Alfredo; Nappo, R.; Palena, A. P.; Pata, P.; Perriello, G.; Potenziani, S.; Radin, R.; Ricci, Laura; Romeo, Francesco; Santini, C.; Scarponi, M.; Serra, Roberto; Timi, A.; Turco, A. A.; Vedovato, M.; Zavaroni, D.; Grioni, S.; Riccardi, Giovanna; Vaccaro, O; Rivellese, Angela Albarosa; Cocozza, Sara; Auciello, Stefania; Turco, Anna Amelia; Bonora, Enzo; Cigolini, Massimo; Pichiri, Isabella; Brangani, Corinna; Tomasetto, Elena; Perriello, Gabriele; Timi, Alessia; Squatrito, Sebastiano; Sinagra, Tiziana; Longhitano, Sara; Tropea, Vanessa; Ballardini, Giorgio; Babini, Anna Carla; Ripani, Raffaella; Gregori, Giovanna; Dolci, Maria; Bruselli, Laura; Salutini, Isabella; Mori, Mary; Baccetti, Fabio; Lapolla, Annunziata; Sartore, Giovanni; Burlina, Silvia; Chilelli, NINO CRISTIANO; Buzzetti, Raffaella; Venditti, Chiara; Potenziani, Stella; Carlone, Angela; Galluzzo†, Aldo; Giordano, Carla; Torregrossa, Vittoria; Corsi, Laura; Cuneo, Giacomo; Corsi, Simona; Tizio, Biagio; Clemente, Gennaro; Citro, Giuseppe; Natale, Maria; Salvatore, Vita; Di Cianni, Graziano; Lacaria, Emilia; Russo, Laura; Iannarelli, Rossella; de Gregorio, Antonella; Sciarretta, Filomena; D’Andrea, Settimio; Montani, Valeria; Cannarsa, Emanuela; Dolcetti, Katia; Cordera, Renzo; Bonabello, Laura Affinito; Mazzucchelli, Chiara; Giorda, Carlo Bruno; Romeo, Francesco; Bonetto, Caterina; Antenucci, Daniela; Baldassarre, Maria Pompea Antonia; Iovine, Ciro; Nappo, Rossella; Ciano, Ornella; Dall’Aglio, Elisabetta; Mancastroppa, Giovanni; Grimaldi, Franco; Tonutti, Laura; Boemi, Massimo; D’Angelo, Federica; Leotta, Sergio; Fontana, Lucia; Lauro, Davide; Rinaldi, Maria Elena; Cignarelli, Mauro; la Macchia, Olga; Fariello, Stefania; Tomasi, Franco; Zamboni, Chiara; Dozio, Nicoletta; Trevisan, Roberto; Scaranna, Cristiana; Del Prato, Stefano; Miccoli, Roberto; Bianchi, Cristina; Garofolo, Monia; Pugliese, Giuseppe; Salvi, Laura; Rangel, Graziela; Vitale, Martina; Anichini, Roberto; Tedeschi, Anna; Corsini, Elisa; Cucinotta, Domenico; Di Benedetto, Antonino; Giunta, Loretta; Ruffo, Maria Concetta; Bossi, Antonio Carlo; Carpinter, Rita; Dotta, Francesco; Ceccarelli, Elena; Bartolo, Paolo Di; Caselli, Chiara; Luberto, Alessandra; Santini, Costanza; Mazzotti, Arianna; Calbucci, Giovanni; Consoli, Agostino; Ginestra, Federica; Calabrese, Maria; Zogheri, Alessia; Ricci, Lucia; Giorgino, FRANCESCO LIBERO; Laviola, Luigi; Ippolito, Claudia; Tarantino, Lucia; Avogaro, Angelo; Vedovato, Monica; Gnasso, Agostino; Carallo, Claudio; Scicchitano, Caterina; Zavaroni, Donatella; Livraga, Stefania; Perin, Paolo Cavallo; Forrnengo, Paolo; Prinzis, Tania; de Cosmo, Salvatore; Palena, Antonio Pio; Bacci, Simonetta; Mannucci, Edoardo; Lamanna, Caterina; Pata, Pietro; Lettina, Gabriele; Aiello, Antimo; Barrea, Angelina; Lalli, Carlo; Scarponi, Maura; Franzetti, Ivano; Radin, Raffaella; Serra, Rosalia; Petrachi, Francesca; Asprino, Vincenzo; Capra, Claudio; Cigolini, Massimo; Forte, Elisa; Potenziani, Stella; Reggiani, Giulio Marchesini; Forlani, Gabriele; Montesi, Luca; Mazzella, Natalia; Piatti, Pier Marco; Monti, Lucilla; Stuccillo, Michela; Auletta, Pasquale; Petraroli, Ettore; Capobianco, Giuseppe; Romano, Geremia; Cutolo, Michele; de Simone, Giosetta; Caiazzo, Gennaro; Nunziata, Peppe; Sorrentino, Susy; Amelia, Umberto; Calatola, Pasqualino; Capuano, Gelsomin

Dietary intake and major food sources of polyphenols in people with type 2 diabetes: The TOSCA.IT Study

Purpose: Proper evaluation of polyphenols intake at the population level is a necessary step in order to establish possible associations with health outcomes. Available data are limited, and so far no study has been performed in people with diabetes. The aim of this work was to document the intake of polyphenols and their major food sources in a cohort of people with type 2 diabetes and in socio-demographic subgroups. Methods: We studied 2573 men and women aged 50â\u80\u9375 years. Among others, anthropometry was measured by standard protocol and dietary habits were investigated by food frequency questionnaire (EPIC). The intake of polyphenols was evaluated using US Department of Agriculture and Phenol-Explorer databases. Results: The mean total polyphenol intake was 683.3 ± 5.8 mg/day. Non-alcoholic beverages represented the main food source of dietary polyphenols and provided 35.5% of total polyphenol intake, followed by fruits (23.0%), alcoholic beverages (14.0%), vegetables (12.4%), cereal products and tubers (4.6%), legumes (3.7%) and oils (2.1%); chocolate, cakes and nuts are negligible sources of polyphenols in this cohort. The two most important polyphenol classes contributing to the total intake were flavonoids (47.5%) and phenolic acids (47.4%). Polyphenol intake increased with age and education level and decreased with BMI; furthermore, in the northern regions of Italy, the polyphenol intake was slightly, but significantly higher than in the central or southern regions. Conclusions: The study documents for the first time the intake of polyphenols and their main food sources in people with diabetes using validated and complete databases of the polyphenol content of food. Compared with published data, collected in people without diabetes, these results suggest a lower intake and a different pattern of intake in people with diabetes

Effects on the incidence of cardiovascular events of the addition of pioglitazone versus sulfonylureas in patients with type 2 diabetes inadequately controlled with metformin (TOSCA.IT): a randomised, multicentre trial

Background The best treatment option for patients with type 2 diabetes in whom treatment with metformin alone fails to achieve adequate glycaemic control is debated. We aimed to compare the long-term effects of pioglitazone versus sulfonylureas, given in addition to metformin, on cardiovascular events in patients with type 2 diabetes. Methods TOSCA.IT was a multicentre, randomised, pragmatic clinical trial, in which patients aged 50\ue2\u80\u9375 years with type 2 diabetes inadequately controlled with metformin monotherapy (2\ue2\u80\u933 g per day) were recruited from 57 diabetes clinics in Italy. Patients were randomly assigned (1:1), by permuted blocks randomisation (block size 10), stratified by site and previous cardiovascular events, to add-on pioglitazone (15\ue2\u80\u9345 mg) or a sulfonylurea (5\ue2\u80\u9315 mg glibenclamide, 2\ue2\u80\u936 mg glimepiride, or 30\ue2\u80\u93120 mg gliclazide, in accordance with local practice). The trial was unblinded, but event adjudicators were unaware of treatment assignment. The primary outcome, assessed with a Cox proportional-hazards model, was a composite of first occurrence of all-cause death, non-fatal myocardial infarction, non-fatal stroke, or urgent coronary revascularisation, assessed in the modified intention-to-treat population (all randomly assigned participants with baseline data available and without any protocol violations in relation to inclusion or exclusion criteria). This study is registered with ClinicalTrials.gov, number NCT00700856. Findings Between Sept 18, 2008, and Jan 15, 2014, 3028 patients were randomly assigned and included in the analyses. 1535 were assigned to pioglitazone and 1493 to sulfonylureas (glibenclamide 24 [2%], glimepiride 723 [48%], gliclazide 745 [50%]). At baseline, 335 (11%) participants had a previous cardiovascular event. The study was stopped early on the basis of a futility analysis after a median follow-up of 57\uc2\ub73 months. The primary outcome occurred in 105 patients (1\uc2\ub75 per 100 person-years) who were given pioglitazone and 108 (1\uc2\ub75 per 100 person-years) who were given sulfonylureas (hazard ratio 0\uc2\ub796, 95% CI 0\uc2\ub774\ue2\u80\u931\uc2\ub726, p=0\uc2\ub779). Fewer patients had hypoglycaemias in the pioglitazone group than in the sulfonylureas group (148 [10%] vs 508 [34%], p<0\uc2\ub70001). Moderate weight gain (less than 2 kg, on average) occurred in both groups. Rates of heart failure, bladder cancer, and fractures were not significantly different between treatment groups. Interpretation In this long-term, pragmatic trial, incidence of cardiovascular events was similar with sulfonylureas (mostly glimepiride and gliclazide) and pioglitazone as add-on treatments to metformin. Both of these widely available and affordable treatments are suitable options with respect to efficacy and adverse events, although pioglitazone was associated with fewer hypoglycaemia events. Funding Italian Medicines Agency, Diabete Ricerca, and Italian Diabetes Society