Open Access Scientific Journals of the Department of Foreign Languages and Literatures of the University of Verona
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Transparency and Trust in the United States’ Response to and Attitudes about Climate Change
No full textThis article explores the concept of “climate transparency” in two related settings: in communication about climate change policy by US political elites and in public opinion among the US population. We consider the meaning of the term “transparency” and how climate transparency has risen to prominence in the worldwide effort to combat climate change. We then analyse two sides of transparency in the United States’ treatment of the climate crisis: what political leaders have said about climate transparency and how the public has perceived it. Our analysis combines two methodological approaches: linguistic corpus analysis and public opinion data analysis. The corpus, which includes speeches delivered by Barack Obama, Joe Biden, Kamala Harris, John Kerry and Al Gore at COP summits, illustrates how the United States has contributed to transparent approaches to fighting climate change. This analysis emphasises US political leaders’ usage of the terms “accountable,” “candid,” “honest,” and “transparent;” “fossil fuels” and “decarbonisation” (as transparency requires the problem to be named directly); and “science” and “scientists” (the source of information that needs to be shared transparently). Meanwhile, analysis of public opinion data from a large sample of Americans reveals that individuals who agree with the Biden administration on climate policy are especially inclined to view the administration as transparent and trustworthy, as are those who have confidence in scientists, liberals, and older, better educated, and non-white Americans. The corpus analysis speaks directly to the public opinion analysis, as we examine the circumstances under which leaders who prioritise climate protection are perceived as transparent and trustworthy
Designing Prospective Professional Identities: Multimodal Meaning-making in Video Curricula
No full textThis article explores multimodal meaning-making in a small corpus of 47 video curricula, recorded by undergraduate students in a Business English course at the University of Trento. The adopted methodology combines tools derived from genre analysis, multimodal analysis, and narrative analysis. The research question is the following: how do students select and integrate semiotic resources in a video curriculum to design their prospective professional identities? The results show that academic students as job applicants use a range of modes and modal resources (e.g., speech, eye contact, angle, icons, music) to design and communicate their future professional identities and to engage with their potential recruiter. A pervasive and noteworthy technique in the dataset is that of storytelling. Multimodally realized through speech, writing, gestures and other modes, storytelling is used to perform self-narration and to shape prospective professional identities. Hence, the examined multimodal texts show a tension between genre integrity and creativity, that is, between the adoption of standardised guidelines offered by tutorials and lectures, on the one hand, and more innovative and distinctive solutions, on the other hand. Prospective job applicants seem to pay particular attention to post-production elements such as keywords, icons, images, animations and less attention to mise-en-scène aspects including clothing style and setting.
The Hollywood Triangle: AIDS, Media, and Celebrity Culture
No full textThe AIDS epidemic has always been closely connected to media representation, particularly with regard to the identification of AIDS as a gay problem, which the press established from the beginning. This equivalence heavily affected how AIDS would be perceived in popular culture. This article analyzes the dynamics governing a less investigated aspect of this intersection between AIDS and popular culture, that is, the triangle of 1950s Hollywood stars at the center of the mainstream narrative of the AIDS epidemic: Ronald Reagan, who held office during the worst years of the crisis, Rock Hudson, whose death in 1985 caused a shift in the visibility of the disease, and Elizabeth Taylor, who rapidly became the world’s best-known AIDS activist. While queer artists and activists did most of the heavy lifting (and of the suffering) when it comes to AIDS, this triangle of Hollywood stars managed to frame most of the mainstream narrative reaching those not directly affected, as their fame fed America’s interest in the epidemic. The article focuses on the dynamics at work that allowed the different aspects of American popular culture, mainly 1950s themes and anxieties surrounding sexuality and the Cold War, to intersect with AIDS media representation. Investigating the Hollywood triangle Taylor-Hudson-Reagan, the article highlights the discrepancies between the mainstream narrative and the underground queer narratives of the time, revealing how this tension shaped AIDS as the first pop culture epidemic
Entre la castidad y la espada: de la virgo bellatrix a la egregia bellatrix en la ficción caballeresca tardomedieval y el Cristalián de España
No full textEl motivo de la mujer guerrera, de larga tradición en las letras universales, gozó de éxito y presencia en la literatura caballeresca. El presente artículo analiza la evolución del arquetipo de la virgo bellatrix a la egregia bellatrix en La Poncella de Francia, narrativa caballeresca breve de finales del siglo XV, y el Cristalián de España, libro de caballerías de mediados del siglo XVI. Tomando como punto de partida los personajes de la Poncella de Francia y Minerva, se estudia la hibridación entre la amazona clásica y la doncella guerrera desde el modelo primigenio de la primera hasta la consolidación de la segunda, subrayando cómo estas figuras combinan virtudes heroicas y femeninas sin romper del todo con el orden patriarcal, pero integrándose plenamente en los códigos caballerescos.Il motivo della donna guerriera, di lunga tradizione nella letteratura universale, gode di grande successo nella letteratura cavalleresca. Il presente articolo analizza l’evoluzione dell’archetipo della virgo bellatrix verso la egregia bellatrix in La Poncella de Francia, narrativa cavalleresca breve della fine del XV secolo, e nel Cristalián de España, romanzo cavalleresco della metà del XVI secolo. Prendendo come punto di partenza i personaggi della Poncella de Francia e di Minerva, si studia l’ibridazione tra l’amazzone classica e la donzella guerriera, dal modello primigenio della prima fino alla consolidazione della seconda, sottolineando come queste figure combinino virtù eroiche e femminili senza rompere del tutto con l’ordine patriarcale, ma integrandosi pienamente nei codici cavallereschi.The warrior maiden motif, deeply rooted in world literature, found significant success and resonance in chivalric fiction. This paper examines the evolution of the female warrior archetype from the virgo bellatrix to the egregia bellatrix in the Poncella de Francia and Cristalián de España. Focusing on the characters of the Poncella de Francia and Minerva, it explores the hybridization of the classical Amazon and the warrior maiden, showing how these figures embody both heroic and feminine virtues while integrating fully into chivalric codes without fully challenging patriarchal structures.El motivo de la mujer guerrera, de larga tradición en las letras universales, gozó de éxito y presencia en la literatura caballeresca. El presente artículo analiza la evolución del arquetipo del a virgo bellatrix a la egregia bellatrix desde la ficción caballeresca hispánica tardomedieval hasta los libros de caballerías. Tomando como punto de partida los personajes de la Poncella de Francia y Minerva del Cristalián de España, se estudia la hibridación entre la amazona clásica y la doncella guerrera, subrayando cómo estas figuras combinan virtudes heroicas y femeninas sin romper del todo con el orden patriarcal, pero integrándose plenamente en los códigos caballerescos
Ares Alexandrou: The Balancing Act of Translating Dostoevsky into Greek
No full textAres Alexandrou (1922-1978) is the central figure in more than a century of Fyodor Dostoevsky’s translation history in Greece. Since their publication in the 1950s, Alexandrou’s Crime and Punishment, Demons, The Idiot, and The Brothers Karamazov have been the authoritative editions of Dostoevsky in Greek, achieving the status of “classic texts” in Modern Greek translated literature. The aim of this article is to provide an argument for translation as a lens through which one can examine Fyodor Dostoevsky’s reception within a foreign culture, by stressing the role of individual agents in this process. In the case study presented here, my focus is on Ares Alexandrou due to his lifelong intellectual engagement with the Russian author’s work and his centrality in Dostoevsky’s translation history in Greece. First, I examine the publishing house Editions Govostes and the entrepreneurial publisher Kostas Govostes (1904-1958), who employed Alexandrou and commissioned the translations. I then turn to Alexandrou’s biography focusing on the way Dostoevsky was tied in the Greek translator’s memory with crucial moments of his own biography. Next, I discuss Alexandrou’s translational credo and idiolect, first, by examining his monograph The Dramatist Dostoevsky where Alexandrou lays out his understanding of Dostoevsky’s poetics and how it determined his discursive translation style; and finally, by analysing his translation strategies in his Greek versions of Dostoevsky.
Keywords: Dostoevsky\u27s Reception in Greece, Traductology, Ares Alexandrou, Govostes Publishing House, The Dramatist Dostoevsky
Mujeres y aventuras en las novelas de caballerías de Mambrino Roseo: una comparación con el ciclo español de los Palmerines
No full textL’articolo propone un confronto tra le figure femminili presenti nei Palmerini di Mambrino Roseo e quelle del ciclo spagnolo. L’analisi mette in luce una tensione ideologica tra il docere e il delectare nelle opere italiane, in cui le donne sembrano rispondere a paradigmi più rinascimentali e meno medievali rispetto alle loro controparti spagnole. Questa tendenza modernizzante, propria della produzione letteraria di Roseo, si spiega sia con la crescente presenza di lettrici tra il pubblico dell’epoca, sia con l’intenzione pedagogica dell’autore.This article offers a comparison between the female figures in Mambrino Roseo’s Palmerini and those of the Spanish cycle. The analysis reveals an ideological tension between the aims of docere and delectare in the Italian works, where women seem to conform to more modern and less medieval paradigms than their Spanish counterparts. This modernizing tendency, characteristic of Roseo’s literary production, can be attributed both to the growing presence of female readers at the time and to the author’s pedagogical intent.El artículo propone una comparación entre las figuras femeninas presentes en los Palmerini de Mambrino Roseo y las del ciclo español. El análisis pone de relieve una tensión ideológica entre los propósitos del docere y del delectare en las obras italianas, en las cuales las mujeres parecen responder a paradigmas más renacentistas y menos medievales en comparación con sus contrapartes españolas. Esta tendencia modernizadora, propia de la producción literaria de Roseo, se explica tanto por la creciente presencia de lectoras entre el público de la época, como por la intención pedagógica del autor.El artículo propone una comparación entre las figuras femeninas presentes en los Palmerini de Mambrino Roseo y las del ciclo español. El análisis pone de relieve una tensión ideológica entre los propósitos del docere y del delectare en las obras italianas, en las cuales las mujeres parecen responder a paradigmas más renacentistas y menos medievales en comparación con sus contrapartes españolas. Esta tendencia modernizadora, propia de la producción literaria de Roseo, se explica tanto por la creciente presencia de lectoras entre el público de la época, como por la intención pedagógica del autor
Del «encantamiento» al «desencantamiento» del mundo: Metamorfosis del motivo de la aventure en las reescrituras modernas de materia caballeresca
No full textIn light of the notion of «disenchantment of the world», developed by the philosopher Max Weber at the beginning of the 20th century, the motif of adventure in the modern rewritings of the Books of Chivalry is reviewed, using the corpus compiled on the platform AmadissigloXXA la luz de la noción de «desencantamiento del mundo» elaborada por el filósofo Max Weber a principios del siglo XX, se pasa revista al motivo de la aventure en las reescrituras modernas de los libros de caballerías, utilizando el corpus recopilado en la plataforma AmadissigloXX.A la luz de la noción de «desencantamiento del mundo» elaborada por el filósofo Max Weber a principios del siglo XX, se pasa revista al motivo de la aventure en las reescrituras modernas de los libros de caballerías, utilizando el corpus recopilado en la plataforma AmadissigloXX.Alla luce della nozione di «disincanto del mondo» elaborata dal filosofo Max Weber all\u27inizio del XX secolo, viene riletto il motivo della aventure nelle riscritture moderne dei libros de caballerías, utilizzando il corpus compilato sulla piattaforma AmadissigloXX
Estudio de la representación del ermitaño en los libros de caballerías
No full textFicha de la tesis de doctorado (en curso). Description of the PhD thesis (in progress). Scheda della tesi di dottorato (in corso).Ficha de la tesis de doctorado (en curso).
«J’ai fait l’histoire et je pouvais l’écrire». Le Congrès de Vérone de Chateaubriand
No full textRésumé : Cette phrase célèbre de la préface testamentaire des Mémoires d’outre-tombe, si elle manifeste une évidente fierté, n’élimine pas les difficultés qu’il y a à écrire l’histoire que l’on a faite. Chateaubriand qui, Ministre, a eu un rôle important dans le Congrès de Vérone (1822) et dans la guerre d’Espagne qui en est l’aboutissement, évoque très rapidement et avec un certain détachement le Congrès dans les Mémoires d’outretombe ; à la différence de son autobiographie qui ne devait paraître que posthume, il publie de son vivant le Congrès de Vérone, quitte à laisser un curieux vide dans les Mémoires. Dès l’« Avertissement » du Congrès, il recommande de sentir la différence des registres : « On paraît avoir mal à propos confondu avec les Mémoires qui ne doivent paraître qu’après ma mort, ce récit du Congrès de Vérone et de la guerre d’Espagne ; je ne dis aujourd’hui que ce que je puis dire de mon vivant : à la tombe le reste». Au lecteur d’aujourd’hui le Congrès peut fournir l’occasion d’une réflexion sur des genres littéraires spécifiques, mais dont les frontières sont poreuses : histoire, polémique, autobiographie.
Abstract: «I made history and I was able to write it»: this famous phrase from the testamentary preface of Mémoires d’outre-tombe exhibits an undeniable pride, but also the difficulty to write history when one also made it. Chateaubriand who, as a minister, had an important role in the Congress of Verona (1822) and in the consequent Spanish war, evoked very rapidly, and with a certain distance, the Congress in the Mémoires d’outre-tombe. But differently from his autobiography, which had to be published after his death, he published during his life the Congrès de Vérone, even if this meant to leave a strange void in the Mémoires. Already in the «Avertissement» of the Congrès, he recommended to perceive the difference of the literary registers: « On paraît avoir mal à propos confondu avec les Mémoires qui ne doivent paraître qu’après ma mort, ce récit du Congrès de Vérone et de la guerre d’Espagne ; je ne dis aujourd’hui que ce que je puis dire de mon vivant : à la tombe le reste » [It seems that there has been a confusion between the Mémoires, to be published after my death, and this account of the Congrès de Vérone and of the consequent Spanish War; I write here what I can say in my lifetime; the rest to the tomb»]. To today’s readers the Congrès can offer an opportunity to consider the different literary genres: history, polemic writing, autobiography.
Mots clés : Chateaubriand, Congrès de Vérone, Mémoires d’outre-tombe, histoire, autobiographie, politique, Guerre d’Espagne
Key words: Chateaubriand, Congrès de Vérone, Mémoires d’outre-tombe, History, Autobiography, Politics, Spanish Wa
Goya e la restaurazione borbonica in Spagna dopo il Congresso di Verona
No full textRiassunto: In base all’accordo tra i regnanti riuniti nel Congresso di Verona, all’inizio di aprile del 1823 un esercito francese invase la penisola iberica con lo scopo di destituire il governo costituzionale, in carica da tre anni, e restaurare il potere assoluto del re Ferdinando VII. Il successo dell’operazione ebbe come conseguenza una dura repressione da parte del re nei confronti di chiunque professasse idee liberali. Molti di costoro, per evitare la morte o il carcere, scelsero l’esilio. Tra essi anche il grande pittore Francisco Goya, che passò gli ultimi quattro anni di vita a Bordeaux, dove morì nel 1828. Questo lavoro si prefigge di chiarire le circostanze in cui è maturata la decisione dell’artista.
Abstract: According to the agreement between the rulers gathered in the Congress of Verona, at the beginning of April 1823 a French army invaded the Iberian Peninsula with the aim of dismissing the constitutional government, which had been in office for three years, and restoring the absolute power of King Ferdinand VII. The success of the operation resulted in harsh repression by the king against anyone who professed liberal ideas. Many of them, to avoid death or prison, chose exile. Among them also the great painter Francisco Goya who spent the last four years of his life in Bordeaux, where he died in 1828. This work aims to clarify the circumstances under which the artist’s decision has matured.
Parole chiave: Francisco de Goya, Congresso di Verona, Centomila figli di San Luigi, Triennio Liberale
Key words: Francisco de Goya, Congress of Verona, One Hundred Thousand Sons of St. Louis, Liberal Triennium