Open Access Scientific Journals of the Department of Foreign Languages and Literatures of the University of Verona
Not a member yet
1385 research outputs found
Sort by
A vueltas con los libros VII y VIII de Amadís en la tradición inglesa
No full textRecientemente Ortiz-Salamovich (2020) ha propuesto incorporar al canon inglés el Lisuarte de Grecia de Juan Díaz (1526), cuya traducción inglesa fue publicada en Londres con el título de Don Flores of Greece (1664). Pese a preceder al libro VII en prácticamente tres décadas, Ortiz-Salamovich describe esta obra como el libro VIII, si bien Pardo García ha sugerido que la serie inglesa no se publicó desordenadamente, a pesar de que «la numeración dada a los libros ingleses por los especialistas» (2021, 221) pueda invitar al error. El presente artículo reflexiona sobre la cronología, orden de publicación y características bibliográficas de las dos últimas partes del ciclo amadisiano en lengua inglesa.Recentemente Ortiz-Salamovich (2020) ha proposto di incorporare nel canone inglese Lisuarte de Grecia (1526) di Juan Díaz, la cui traduzione inglese è stata pubblicata a Londra con il titolo Don Flores of Greece (1664). Nonostante abbia preceduto il libro VII di quasi tre decenni, Ortiz-Salamovich descrive quest\u27opera come libro VIII, sebbene Pardo García abbia suggerito che la serie inglese non sia stata pubblicata fuori ordine, nonostante il fatto che "la numerazione data ai libri inglesi da specialisti" (2021, 221) potrebbe invitare all\u27errore. Questo articolo riflette sulla cronologia, l\u27ordine di pubblicazione e le caratteristiche bibliografiche delle ultime due parti del ciclo amadisiano in inglese.Recientemente Ortiz-Salamovich (2020) ha propuesto incorporar al canon inglés el Lisuarte de Grecia de Juan Díaz (1526), cuya traducción inglesa fue publicada en Londres con el título de Don Flores of Greece (1664). Pese a preceder al libro VII en prácticamente tres décadas, Ortiz-Salamovich describe esta obra como el libro VIII, si bien Pardo García ha sugerido que la serie inglesa no se publicó desordenadamente, a pesar de que «la numeración dada a los libros ingleses por los especialistas» (2021, 221) pueda invitar al error. El presente artículo reflexiona sobre la cronología, orden de publicación y características bibliográficas de las dos últimas partes del ciclo amadisiano en lengua inglesa.Ortiz-Salamovich (2020) has recently suggested that Juan Díaz’s Lisuarte de Grecia should be added to the English canon of Iberian romances, since it served as the ultimate source for the work titled Don Flores of Greece, printed in London in 1664. Despite preceding Book VII by almost three decades, Ortiz-Salamovich designates Don Flores as Book VIII of the Amadis cycle, whilst Pardo García has argued that the English series was published in chronological order, even though «the numbering given to the English books by specialists» (2021, 221) suggests otherwise. This article discusses the chronology, order of publication and bibliographical features of the last two parts of the English Amadis cycl
Linguistic Issues of Transparency in the Fashion Transparency Index
No full textThe Fashion Transparency Index (FTI) is a very sophisticated operationalisation of the notion of transparency in the field of fashion: since 2016 the Index has scored annually the degree of transparency of the world’s largest brands in their sustainability-related efforts. Like previous work on transparency, the Index also contains occasional remarks on the language used by brands. Given the key role played by language in transparent, i.e., honest, open and clear, communication, it is surprising that such remarks have not been systematically investigated.
The present study aims to fill, albeit partially, this research gap. First, a diachronic content analysis was conducted on the FTI (2016-2023) to identify the issues regarding the language used by brands when disclosing their sustainability-related efforts, as seen from the perspective of the non-linguistic community of the compilers of the Index as well as from a linguistic perspective. Second, a frame analysis was conducted on the use of encourage and suggest – which the Index associates with lack of transparency when used by brands in their disclosure of supply chain policies – to ascertain whether these verbs, along with other conceptually related ones, may hinder transparency.
Results show that linguistic remarks in the FTI are often unsubstantiated and, overall, reveal a lack of generic and contextual awareness. While this is unsurprising, since the compilers of the FTI are not linguists, the findings clearly point to a need for cooperation between the non-linguistic community of the FTI authors’ and linguists, if the Index aims, as it claims, “to closely scrutinise the language used” by brands (FTI 2020, 5) and design guidelines which brands can use
Americani di seconda. classe La dialettica del Melting Pot in Louis Adamic, Carlos Bulosan e John Fante. Enrico Mariani
No full textRecensione de Americani di Seconda Classe. La dialettica del Melting Pot in Louis Adamic, Carlos Bulosan e John Fante di Enrico Mariani.Recensione de Americani di Seconda Classe. La dialettica del Melting Pot in Louis Adamic, Carlos Bulosan e John Fante di Enrico Mariani
An Interview with Ivy Wilson: On the Current State of Higher Education in the United States
No full textThis contribution provides an overview of the recent events that affected the Department of Education as well as higher education in the United States since the beginning of President Trump’s second term. The second part of the article presents an interview with Ivy Wilson, Board of Visitors Professor at Northwestern University.
Relazioni di lungo corso: musicisti italiani tra Verona e la Russia
No full textRiassunto: Questo contributo prende in considerazione la rete di relazioni tra artisti creatasi al Congresso di Verona, che in una certa misura offre dettagli essenziali per la comprensione di fenomeni di mobilità musicale che si svolsero in tempi e luoghi lontani dalla Verona di fine 1822, eppure a questi legati: il tentativo di assumere Rossini alla corte di Pietroburgo e i legami personali tra nobiluomini italiani e russi (in particolare Giovanni Battista Perucchini e Matvej Grigor’evič Viel’gorskij), che facilitarono l’organizzazione di eventi musicali, in particolare i concerti del soprano Giuditta Pasta in Russia nel 1840.
Abstract: This paper is devoted to the network of music performers that was created at the Congress of Verona. Its study offers details that are essential to the understanding of two particular cases of mobility, geographically and chronologically distant from the Congress itself, but originated from this event: the attempt at hiring Rossini for the court of St Petersburg and the personal connections established between Italian and Russian noblemen Giovanni Battista Perucchini and Matvey Viel’gorsky, which facilitated the organization of the concerts the soprano Giuditta Pasta gave in Russia in 1840.
Parole chiave: Congresso di Verona, mobilità musicale, Giovanni Battista Perucchini, Giuditta Pasta, Matvej Viel’gorskij
Key words: Congress of Verona, Music Mobility, Giovanni Battista Perucchini, Giuditta Pasta, Matvey Viel’gorsky
Inherited Hybridity: The Case of So-Called “Intranger” Class Transfuges
No full textL\u27articolo si concentra su alcuni casi di transfuges de classe francofoni contemporanei che potremmo descrivere come intrangers, un neologismo coniato da Benmiloud (2003) e trasposto sul piano critico da Vitali (2011). Si tratta di figli di genitori immigrati che vorrebbero integrarsi nel paese in cui sono cresciuti senza rinunciare alle proprie origini. I transfuges intrangers sono creature doppiamente ibride: oltre che essere divisi tra il contesto popolare da cui provengono e quello intellettuale di cui fanno parte, oscillano tra i valori d’origine e quelli del paese in cui vivono. Tramite un confronto tra gli enunciati di transfuges non intrangers (Didier Eribon, Annie Ernaux et Édouard Louis) con quelli di tre transfuges intrangers (Omar Benlaâla, Faïza Guène e Nesrine Slaoui), questo contributo mette in evidenza nei transfuges intrangers la volontà e il bisogno di non perdere la cultura d’origine, integrandola perciò nel contesto d’arrivo.The article focuses on several cases of contemporary Francophone class transfuges who may be described as intrangers, a neologism coined by Benmiloud (2003) and later developed on a critical level by Vitali (2011). These are children of immigrant parents who seek to integrate into the country where they were raised without renouncing their origins. Intranger transfuges are doubly hybrid: in addition to being divided between the popular context from which they come and the intellectual milieu they have now entered, they also oscillate between the values of their culture of origin and those of the country in which they live. By comparing the statements of non-intranger transfuges (Didier Eribon, Annie Ernaux, and Édouard Louis) with those of three intranger transfuges (Omar Benlaâla, Faïza Guène, and Nesrine Slaoui), the article highlights in the latter group both the desire and the need to preserve their original culture by integrating it into the context of arrival
Tongues with no Mother. Lost and Found Belongings in the “New” Languages of Storytelling
No full textIl titolo di questo contributo sviluppa un concetto tratto da Motherless Tongues (2016) di Vicente Rafael ed esamina il modo in cui, in relazione alla dislocazione forzata e alla migrazione, la lingua tende a diventare la pietra angolare dell’identità personale e collettiva. Esuli, richiedenti asilo o soggetti nomadi si trovano spesso a muoversi in uno spazio liminale tra diverse appartenenze. Nella maggior parte dei casi, a queste persone è negata persino la possibilità di riconoscere la propria lingua madre come segno identitario. Quando si rivolgono all’arte, tendono a creare testi che mostrano fratture e discontinuità, e a utilizzare la traduzione come un’operazione che va ben oltre il semplice passaggio da una lingua all’altra. Il sentimento di essere “divisi tra più vie” (torn between ways, Gloria Anzaldúa 1987) diventa una risorsa artistica e uno strumento politico volto a riconoscere (e accettare) la mancanza di purezza come forma di forza. Si prendono in considerazione alcuni casi di studio, tutti riconducibili all’ultima generazione di artisti che operano in ambiti creativi normalmente considerati marginali. Analizzando la produzione artistica di Saint Levant, Shirin Neshat, Giacomo Sferlazzo e Mounira al Sohl, si intende mostrare come la musica pop, la fotografia, il film documentario e la performance teatrale possano dare vita a nuove grammatiche e codici per un mondo sempre più ibridato.The title develops a concept drawn from Vicente Rafael’s Motherless Tongues (2016) and examines how, in the context of forced dislocation and migration, language tends to become the cornerstone of personal and collective identity. Exiles, asylum seekers, or nomadic subjects often find themselves navigating a liminal space between different forms of belonging. In most cases, they are denied even the possibility of identifying their own mother tongues as markers of identity. When resorting to art, they tend to create texts that display fractures and breaks, and use translation as an operation that goes far beyond the simple switching from one language to another. The feeling of being “torn between ways” (Gloria Anzaldúa 1987) sometimes becomes both an artistic resource and a political tool aimed at acknowledging (and accepting) the lack of purity as a form of power. The article considers several case studies, all produced by a new generation of artists working in creative fields that are often dismissed as marginal. Focusing on the artistic production of Saint Levant, Shirin Neshat, Giacomo Sferlazzo, and Mounira al Sohl, it shows how pop music, photography, documentary film, and theatrical performance can create new grammars and codes for an increasingly hybridized world
Apresentação
No full textPresentación de Historias Fingidas 13 (2025).Presentazione di Historias Fingidas 13 (2025).Presentation of Historias Fingidas 13 (2025).Apresentação de Historias Fingidas 13 (2025)
Social Transparency in the Fashion World: Fashion Brands vs. Fashion Media
No full textAs a major player in the world economy, the fashion industry has a wide-reaching impact on the lives of people around the world and is also intertwined with a number of pressing environmental and social themes including climate change, working conditions, diversity, inclusion, human rights, and animal welfare. For this reason, fashion brands are keen to highlight their actions to address such concerns, while seeking to enhance perceptions of transparency, convey an image of trustworthiness, and distinguish themselves from competitors.
This paper investigates how fashion brands communicate social transparency in relation to key environmental and social themes trending in the fashion world. It aims to identify which themes are the most prominent and how these may differ from those promoted by the fashion media that have a crucial role in driving awareness of and ongoing interest in them. A corpus consisting of the sustainability reports of fashion brands was compared to a complementary dataset of textual material relating to social transparency extracted from the website communications of a global fashion media company. Both the fashion brand corpus and the fashion media dataset were submitted to semantic and lexical analysis with corpus software, using both quantitative and qualitative methods. The results indicate that the fashion brands placed considerably more emphasis on the environmental aspects of social transparency linked to manufacturing processes, while the fashion media company provided much greater visibility to social issues such as diversity, inclusion, and human rights. The findings can be applied in instructional settings in the areas of business communication and fashion writing to help learners acquire skills useful for producing texts that promote social transparency
English Language Teaching at the University of Milan: The Case of Esther Menascè, Academic and Textbook Author
No full textLanguage teaching in Italian universities traditionally played second fiddle to the teaching of literature until the end of the 20th century. However, a number of English language and literature academics in different Italian universities were also authors of English language textbooks aimed at university and secondary school students, adults, and teachers. At the University of Milan, between the 1960s and 1980s, Esther Menascè combined her interest in literary research with the development of English language teaching materials addressed to different types of learners: university students, self-study learners, and secondary school students. This paper aims to investigate how Menascè’s interest in linguistics and foreign language teaching methodology led her to design innovative materials to respond to the needs of Italian learners and teachers at a time of reform and change at all educational levels. The content analysis of the teaching materials sampled shows Menascè’s interest in conducting applied research into English language teaching. This is reflected in the scientific description of English, especially as regards phonetics and phonology, as well as in her principled adoption first of techniques belonging to an aural-oral approach in her books published in the 1960s and 1970s, and then to communicative language teaching in the 1980s. These are innovative aspects in Menascè’s materials production which make her stand out as an academic and a textbook author in the Italian context of her time