Reading dialect varieties in the literary macrotext

Film and television adaptations of the classics frequently portray the regional and social dialects that supposedly belong to their characters even when in the original novels these same characters speak in standard dialogue or are characterised by way of a few impressionistic – linguistically speaking – brushstrokes. In novel adaptations, television programmes have proven to be even more realistic than cinema. In contemporary film and literature, on the other hand, we can count illustrious examples of how the scale of realism has tipped decidedly towards the portrayal of dialects in literature, rather than in their audiovisual counterparts: novels can be more extreme in their depiction of non-standard varieties than their relative adaptations for the screen. The interplay between literature and its adaptations for cinema and TV screens can shed light on the multifarious function of dialects in fictional dialogues and mirror the changing attitude of readers and viewers towards this socially loaded featur

“Danes do it melancholy”: allusions to Shakespeare in films and TV

The focus of this article is not adaptations of Shakespearean plays per se, but source-text allusions to Shakespeare and to Shakespeare’s plays, which in either an overt or covert form are contained in dramatic dialogues and in visual elements in US-produced films and television shows, a form of intertextuality in which references to Shakespeare in audiovisual texts have multiplied

“You're Talking Like the Computer in the Movie”. Allusions in Audiovisual Translation

This article explores allusions as specific cultural references, contained either explicitly or implicitly in dramatic dialogues and images of television shows. Moreover, it looks particularly at the problem of their translation, as it has been discussed in Translation Studies and in Audiovisual Translation. A quantitative and qualitative analysis of these elements has been carried out on the basis of a substantial corpus of television programmes selected and categorized by means of a Descriptive Translations Studies paradigm.Questo articolo tratta delle allusioni, intese come riferimenti culturali specifici che, in forma esplicita o implicita, sono contenuti nei dialoghi e nelle immagini di serie televisive di vario genere. Si illustra il modo in cui la traduzione di questi elementi è stata discussa negli studi traduttivi e in quelli relativi alla traduzione audiovisiva in particolare. L'analisi quantitativa e qualitativa è stata condotta sulla base di un sostanzioso corpus di programmi televisivi selezionati seguendo un metodo descrittivo

The translation of cultural references in the Italian dubbing of television series

This research describes the strategies adopted by dubbing professionals (mainly translators) in their translations for dubbing of television series, from English into Italian. More specifically, it means to account for the norms governing the work of the translators in this field. In order to draw substantial conclusions, the analysis is conducted on a corpus of television fiction shows, which is not only sufficiently large but also varied in terms of genre, content, language use, and target audiences. The main focus of the analysis is the translation of culture specific references; a subject that has widely been recognised by scholars as being one of the most problematic translation issues, not only in the case of translation for dubbing but also in other areas such as literary and drama translation. One of the hypotheses presented is that the social and historical context in which dubbing originally came to be in Italy had an impact on its subsequent evolution and can still be relevant when dealing with issues of censorship and manipulation of contents. The methodological foundations of this research rest on Toury’s (1980, 1995) notion of norms in translation. Toury (1980: 51) considers norms to be central to the act and the event of translating. The ultimate aim of this study is, therefore, to map out the strategies activated by translators in response to the cultural environment in which they operate, and to detect the norms that are prevalent in the case of dubbing television series into Italian. The analysis is carried out on a corpus of over 95 hours of television programmes, whole episodes of three fiction series belonging to different genres: Friends (sitcom, USA); Life on Mars (science fiction/police procedural drama, UK); Six Feet Under (drama, USA). All the culture specific elements present in the corpus have been detected and their adaptation into Italian analysed from a quantitative and qualitative point of view in order to highlight the prevalent translational behaviours.Open Acces

Scaffold functionalization to support a tissue biocompatibility

The aim of this chapter is to illustrate the most applied methods for covalent and non-covalent functionalization of scaffold surface with biomimetic molecules, including bioactive proteins, peptides, and polysaccharides to improve scaffold biocompatibility. Additionally, the main techniques for surface physicochemical characterization are presented together with the commonly used approaches for in vitro testing of biocompatibility. Finally, new perspectives in scaffold surface functionalization and application of functionalized scaffolds are discussed in the conclusions

Reassessing Dubbing: Historical Approaches and Current Trends

Despite a long tradition of scholarship and the vast amount of dubbed audiovisual products available on the global market, dubbing is still relatively underrepresented in audiovisual research. The aim of this volume is to give dubbing research its due by showing that, far from being a doomed or somewhat declining form of AVT, it is being exploited globally in the most diverse and fruitful ways. The contributions to this collection take up the diverse strands that make up the field, to offer a multi-faceted assessment of dubbing on the move, embracing its important historical past as well as present and future developments, thus proving that dubbing has really come a long way and has not been less ready than other AVT modes to respond to the mood of the times. The volume will be of interest for scholars and students of translation studies, audiovisual translation, linguistics, film, television and game studies

Tom Stoppard contaminatore ossessivo. Il drammaturgo, lo sceneggiatore, il traduttore

Tom Stoppard è forse il più importante drammaturgo britannico vivente e uno dei più prolifici. Fin dalla commedia che lo rese, giovanissimo, famoso in tutto il mondo, Rosencrantz and Guilderstern Are Dead (1967), le sue opere hanno goduto di costante successo di pubblico e di critica. Alla scrittura di opere teatrali Stoppard ha affiancato il lavoro, più trascurato dalla ricerca internazionale, di sceneggiatore e di traduttore/adattatore. Se l’autore non “crede nell’ipotesi di una vera traduzione”, come ama dire, è però anche vero che il tema della traduzione e quello della comunicazione tra diversi mondi linguistici e culturali ricorre in molte delle sue opere, in due delle quali (Dogg’s Hamlet e Cahoot’s Macbeth, 1979) i drammi di Shakespeare sono tradotti dall’inglese in una lingua di pura invenzione. Nei tre ruoli di drammaturgo, sceneggiatore e traduttore Stoppard si è dimostrato un autore che sfuma i confini tra cultura “alta” e cultura “popolare”, rendendo adatte a un grande pubblico, grazie al suo senso dello spettacolo, opere profondamente intellettuali come Arcadia (1993) e infarcendo di dettagli colti e cerebrali film “leggeri” come Shakespeare in Love (1999)

De Monfort

traduzione di alcuni atti dell'opera teatrale di Joanna Bailli