1,721,036 research outputs found
Gian Luigi De Rosa, Francesca Bianchi, Antonella De Laurentiis, and Elisa Perego (eds.). 2014. Translating humor in audiovisual texts
Full text linkreview of Gian Luigi De Rosa, Francesca Bianchi, Antonella De Laurentiis, and Elisa
Perego (eds.). 2014. Translating humor in audiovisual text
Accessible communication: A cross-country journey
Full text linkEasy-to-Understand (E2U) text practices enable and facilitate accessible communication. E2U refers both to Plain and to Easy Language. These two powerful methods of language and content comprehension enhancement are illustrated through several examples in English, starting from the seminal role of the Anglophone world in promoting plain and lucid style. Originally implemented in written texts, today the employment of these simplified language varieties cannot be limited to the written mode, but should infiltrate new communication services that are more complex and multifaceted. Thanks to the EASIT project the integration of E2U strategies into a selection of audiovisual services is being successfully researched.
After advancing simplification proposals in the area of subtitling and audio description, Elisa Perego reports on the results of a cross-country survey conducted during the initial stages of the EASIT project: She pinpoints the background, activity, and training experience of those who currently work in the sector of E2U in Europe, and identifies the skills and the competences of, as well as a training path and materials for, future hybrid professionals such as the E2U subtitler, the E2U audio describer and the E2U journalist
Collard, David, Jim Morris and Elisa Perego (eds). Food and drink in archaeology 3: University of Nottingham Postgraduate Conference 2009. Totnes: Prospect Books, 2012.
No full textCollard, David, Jim Morris and Elisa Perego (eds). Food and drink in archaeology 3: University of Nottingham Postgraduate Conference 2009. Totnes: Prospect Books, 2012.This is a collection of articles selected from the presentations and posters at a postgraduateand early career researcher conference held at the University of Nottingham in 2009. Itincludes twelve short articles which, according to the preface, constitute half of theconference papers, as well as four shorter contributions resulting from conference posters.There is no evident organisation of these articles. Because of their number I will not examine each article individually but rather discuss them according to their apparent approaches. </div
Il comico verbale della Canção de Lisboa (1933): traducibilità e reivenzione
No full textAnalisi delle strategie del comico nella Cançao de Lisboa e dei sottotitoli in inglese e francese
Laugh and the world laughs with you: tickling people’s (transcultural) fancy
No full textThis preface presents an overview of the role of audiovisual humour in the 21st century especially on the WWW
Panel 3. Training new professional profiles: strategic partnerships explained
Full text linkCoordinated by: Elisa Perego (University of Trieste
TRANSLATING HUMOUR IN AUDIOVISUAL TEXTS
No full textHumour found in audiovisual products is, of course, performative in nature. If we consider instances of humour – any droll moment occurring in today’s fare of mixed-genre products as a composite of cognition, emotion, interaction and expression – we see that the verbal code becomes just one component of four equally significant elements. And, as ‘expression’ is not limited to verbal output alone, humour may of course be created in absence of a verbal code. Translating humour for audiovisuals is not too different from translating verbal humour tout court. What makes humour occurring within audiovisual texts more problematic is the fact that it may be visually anchored; in other words a gag or a joke may pivot on verbal content directed at a specific element that is present within the graphic system of the same text. As the term itself suggests, audiovisuals contain two overlying structures: a visual and an auditory channel each of which contain a series of both verbal and non-verbal elements which inextricably cross-cut one another. The contributors in this collection of essays present a series of case studies from films and video-games exemplifying problems and solutions to audiovisual humour in the dubs and subs in a variety of language combinations
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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