282 research outputs found
Skiing Home at Dusk; The House Not Home; Solstice, Entering Capricorn
No full textJay Parini, who teaches at Middlebury College, is the author of several books including Anthracite Country (poems), and Theodore Roethke: An American Romantic
Functional equivalence and domestication strategies in film translation
No full textThe issue of equivalence has long been of crucial importance in translation theory, even though its definition and interpretation have often caused controversy among theorists within this field in the past fifty years. Undoubtedly, Eugene Nida is among the scholars who have approached the question from a functionalist perspective, proposing his well-known distinction between formal equivalence and dynamic equivalence. It is a fact that in his pursuit of naturalness Nida theorises a target oriented approach to translation, an approach aiming at domesticating the target text, where “the target text language should not show interference from the source language, and the ‘foreignness’ of the source text setting is minimised” (Nida 1964: 167-8, quoted in Munday 2008: 42). Considering these assertions, it is not surprising that Venuti holds “Nida’s concept of dynamic equivalence up as the epitome of domesticating translation” (Woodham 2002: 138). Moreover, Nida’s statements related to the necessity of adaptations of grammar, lexicon and cultural references have sometimes been interpreted as a licence to freely manipulate the text in the name of functional equivalence. The relationship between functional equivalence and domestication strategies is particularly evident within the field of audiovisual translation. This is especially the case of dubbing, rather than subtitling. It is the nature of the two different screen translation modes that makes the former more inclined towards domestication and the latter towards foreignization. A clear example of the relationship between the search for functional equivalence and the use of domesticating strategies in dubbing can be found in the Italian versions of Quentin Tarantino’s films. Among the elements that characterise Tarantino’s style it is worth mentioning the numerous references to films and directors that are found in all the films written by the author. The aim of this analysis is to investigate the approaches adopted by the various film adaptors who have translated his screenplays into Italian in the specific case of the direct references to films and directors cited in the dialogues. It is a fact that the films written by Quentin Tarantino have been translated into Italian by different people and This obviously accounts for the fact that the translation strategies adopted are by no means homogeneous. This lack in homogeneity of strategies is observable at various levels (Parini 2000), and the case of the references in question is no exception
Functional equivalence and domestication strategies in film translation
No full textOne of the charges made against Nida's theory of dynamic equivalence is that “if we follow his injunction to preserve the genius of the target language, it will mean suppressing the Otherness of the source language” (Fawcett 1997). As a matter of fact, achieving functional equivalence in a translated text quite often implies strategies of domestication (Venuti, 1995). Countless examples of domestication strategies aiming to achieve functional equivalence can be found in Italian dubbing. Italian dubbing professionals have often claimed that the ultimate aim of their profession is to make the translation invisible, in order to create an effect of suspension of disbelief in the spectators (Galassi, 1994). In other words, their purpose is to make the dialogues sound as natural as possible, so that the audience are not disturbed in their vision by destabilizing unfamiliar linguistic and cultural elements. Such a target oriented approach very often leads to justify extreme examples of adaptation of the source text, and sometimes one might even wonder whether we can still speak about a search for functional equivalence, rather than simply of manipulation. A clear example can be found in the various strategies adopted in the Italian versions of Questin Tarantino's films. For the purposes of this paper, the particular case of the references to film titles has been taken into consideration. Being Tarantino an expert cinephile, such references are definitely recurrent in the dialogues of his films. However, the Italian translators quite often appear to have adopted a functional approach limited to the level of the single line to be dubbed, and not to the level of the macrocontext made up of the whole filmography of the author. Sometimes they have adopted strategies of substitution, others of generalization, others of omission, and even in the cases where the translation turns out to be functional at the level of the microcontext of the lines, most of the time such equivalence is achieved at the expense of a more comprehensive macrocontext
Nutraceuticals and cholesterol-lowering action
No full textAbstractNutraceuticals play an important role in cardiovascular prevention in patients with dyslipidemia. Many scientific studies support the use of these substances alone or associated with other drugs in clinical practice. Specifically, monacolines, berberine, policosanol and gamma-oryzanol could significantly reduce cholesterolemia. However, there is still an insufficient number of studies demonstrating morbidity and mortality outcomes of nutraceuticals, nor are sufficient data regarding the use of nutraceuticals in different types of patients, on tolerability, safety, target population, modality and duration of use present in the literature
To translate or not to translate dialects in subtitling? The case of Pif’s "La mafia uccide solo d’estate"
No full textThe difficulty of translating dialects has been extensively studied over the years, firstly by scholars who focused on the (un)translatability of dialects in literature, and more recently by an increasing number of academics who have been investigating the issue within the field of audiovisual translation, both in dubbing and in subtitling. This study aims to analyse the strategies used in subtitling to translate into English the Sicilian dialect spoken in the Italian film La mafia uccide solo d’estate, directed by Pif in 2013. In this film, the use of dialect is not simply a tool to indicate the geographical origins of the characters, but it is exploited to construe their identity. Indeed, language variation is a device used purposefully to distinguish the ‘good’ characters from the ‘bad’ ones, and, as such, it is a means of identification. The results of the analysis will also be compared to those of previous studies conducted in this research area. Finally, the paper will attempt to provide some potential solutions that might be adopted in the subtitling of similar products, based on previous studies performed by the author on the original dialogues of some Hollywood films
Il budget di progetto
No full textL'autrice si confronta con il tema del budget di progetto che costituisce una parte integrante del progetto di vita, indispensabile per garantirne l’attuazione (D.Lgs. 3 maggio 2024, n. 62, art. 28, comma 6°) e rappresenta l’«insieme
delle risorse umane, professionali, tecnologiche, strumentali ed economiche, pubbliche e private, attivabili anche in seno alla comunità territoriale e al sistema dei supporti informali, da destinare al Progetto di vita» (art. 2, comma 1°, lettera p, e
art. 28, comma 1°)
The character of the nobleman in Il Giorno by Giuseppe Parini
No full textThe subject of this thesis focuses on the character of a nobleman in Giuseppe Parini's most famous work Il Giorno (The Day). Despite his lower-class background, Parini was in contact with aristocratic society throughout his life. And he also used this experience in the writing of his work. Therefore, to analyze his work it is necessary to focus on the social and historical background of the 18th century Enlightenment era. The second part of the thesis is focused on the individual parts of the work entitled The Day, which the author wrote during his life (The Morning (Il Mattino), The Midday (Il Mezzogiorno), The Evening (Il Vespro) and The Night (La Notte) and their interpretation. And at last the thesis analyzes the character of the young nobleman, which is the main character that runs through the whole work. Key words nobleman, Giuseppe parini, settecento, Il Girono, the Da
The character of the nobleman in Il Giorno by Giuseppe Parini
No full textThe subject of this thesis focuses on the character of a nobleman in Giuseppe Parini's most famous work Il Giorno (The Day). Despite his lower-class background, Parini was in contact with aristocratic society throughout his life. And he also used this experience in the writing of his work. Therefore, to analyze his work it is necessary to focus on the social and historical background of the 18th century Enlightenment era. The second part of the thesis is focused on the individual parts of the work entitled The Day, which the author wrote during his life (The Morning (Il Mattino), The Midday (Il Mezzogiorno), The Evening (Il Vespro) and The Night (La Notte) and their interpretation. And at last the thesis analyzes the character of the young nobleman, which is the main character that runs through the whole work. Key words nobleman, Giuseppe parini, settecento, Il Girono, the DayTato práce se zaměřuje na postavu šlechtice v díle Il Giorno (Den) Giuseppe Pariniho. Přestože Parini pocházel z nižší vrstvy, byl v průběhu svého života v kontaktu se šlechtickou společností. A také této zkušenosti využil při psaní svého nejslavnějšího díla. Právě proto je při jeho analýze nejprve nutné soustředit se na sociální a historický kontext osvícenské doby 18. století v Itálii. V druhé části se pak práce zaměřuje na jednotlivé části díla Den, které autor psal v průběhu svého života (Ráno (Il Mattino), Poledne (Il Mezzogiorno), Večer (Il Vespro) a Noc (La Notte) a jejich interpretaci. V neposlední řadě se tato práce věnuje analýze postavy mladého šlechtice, který je hlavním charakterem provázejícím celé dílo. Klíčová slova šlechtic, Giuseppe Parini, settecento, Il Giorno, DenInstitute of Romance StudiesÚstav románských studiíFaculty of ArtsFilozofická fakult
Subjective effects of a combined lipid-lowering nutraceutical or ezetimibe on well-being and sexual performance in patients with perceived worsening of erectile function during statin treatment: a randomised clinical trial
No full textBackground
Beyond clinical trial evidence, the perceived association of statin use and impotence in general practice is not infrequent and the most common associated consequence is the discontinuation of the statin treatment.
Aim of the study
To carry out a randomised clinical trial on Caucasian men refusing to continue statin therapy because of perceived worsening of erectile function in order to test the tolerability of alternative lipid-lowering strategies.
Methods
This is a single-blind, randomised clinical trial carried out on 50 moderately hypercholesterolaemic subjects (mean age: 54±6 years old) who voluntarily interrupted statin treatment because of self-reported erectile dysfunction (ED) during statin treatment, randomised to treatment with ezetimibe 10 mg or a combined lipid-lowering nutraceutical containing red yeast rice and berberine (3 mg monacolins and 500 mg per dose, respectively), to be taken as one dose per evening for 12 weeks. The effects of both treatments on ED and subjective well-being was tested by administrating, before and after 12 weeks of treatment, the International Index of Erectile Function (IIEF-5) and the Satisfaction Profile (SAT-P), and comparing the baseline hormonal level with the final one.
Results
After 12 weeks of treatment, both ezetimibe- and nutraceutical-treated patients experienced a significant improvement in low-density lipoprotein cholesterolaemia and triglyceridaemia (both p<0.05) and a significant increase in IIEF-5 score (p<0.05 for both). However, patients taking the nutraceutical experienced a more significant increase than the group taking ezetimibe (1.2±0.7 vs. 0.7±0.3, p=0.04). Both ezetimibe- and nutraceutical-treated subjects experienced a significant improvement in psychological performance-related SAT-P score, but the nutraceutical-treated group’s improvement was larger than that of the ezetimibe-treated group (+8±4 vs. +6±3, p<0.05). Moreover, only the nutraceutical-treated patients experienced a significant improvement in physical and social performance related SAT-P score compared to the baseline (+7±5 and 6±3, both p<0.05).
Conclusion
Our data support the use of alternative lipid-lowering strategies in patients refusing to continue statin consumption because of perceived worsening of erectile function
Offers That Can’t Be Refused and People Sleeping with Fishes: The Linguistic Legacy of The Godfather
No full textThe Godfather is a crime novel written by American author Mario Puzo in 1969. It tells the story of a fictional Mafia family in New York City (and Long Island), headed by Don Vito Corleone, the Godfather. The novel covers the years 1945 to 1955 and includes the back story of Vito Corleone from early childhood (in Sicily) to
adulthood. The novel was turned into a film directed by Francis Ford Coppola in 1972. As far as the Corleones are concerned, as well as the people who belong to their crew, it is a fact that their representation is different from the stereotyped representation of Italian American gangsters usually portrayed in Hollywood productions. First of all, they always refer to themselves as businessmen, rather than gangsters, and throughout the dialogues of the film they continuously mention their “business” (some examples: “It’s good business”; “I’m a business
man”; “This is business, not personal!”; “Even the shooting of your father was business, not personal”; “This is business, and this man is taking it very very personal”; “It’s not personal, it’s strictly business”). Don Vito Corleone stresses the fact that he does not consider himself and his family as criminals at the very beginning of the film. In the initial scene of the film, Bonasera (a mortician by trade whose daughter is the goddaughter of Don Vito’s wife) goes to Don Vito on his daughter Connie’s wedding day, pleading for revenge and asking him to kill the young American men who tried to dishonour his own daughter and then brutally beat her when she resisted. Don Vito abruptly refuses, and later comments with Tom Hagen: “We’re not murderers, in spite of what this undertaker thinks”. The differences in the depiction of the characters are also reflected on the language variety that they speak, as will be seen in the paper
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