323,120 research outputs found
Più inglese che altro: il portfolio linguistico dell’italiano medio alla luce del pastiche comico della Sora Cesira
No full textI testi della cantautrice romana conosciuta con lo pseudonimo di Sora Cesira, diffusi in rete a partire da inizio 2011, parodizzano video musicali famosi instaurando un complesso gioco di commistione fra italo-romanzo (italiano comune, romanesco, elementi di dialetti meridionali, specie napoletano) e altre lingue (inglese, francese, spagnolo, portoghese, cui recentemente s’è aggiunto il latino). Tali testi sono qui fatti oggetto d’indagine dal punto di vista delle indicazioni che offrono circa le conoscenze linguistiche da presupporre nel destinatario in essi inscritto. Perché i testi sortiscano il loro effetto comico, infatti, è necessario che siano compresi; dal che deriva che chi li compone lo fa in base ad una percezione – in larga misura irriflessa – del portfolio linguistico del proprio allocutario ideale. Dall’analisi risulta, non sorprendentemente, una radicale sproporzione fra l’inglese e tutto il resto: unicamente dell’inglese, si mostrerà, si impiegano parole e costruzioni non decodificabili in assenza di conoscenze specifiche. Ovvero: per ridere dell’anglo-italiano di Sora Cesira, un po’ d’inglese bisogna pur masticarlo, mentre il requisito cade per tutte le altre lingue, ivi incluso – a riprova di un radicale mutamento dei tempi – il francese.The texts composed by the Roman singer-song writer hiding behind the pseudonym Sora Cesira, posted on the world wide web since early in 2011, are parodies of famous musical videoclips which capitalise on a mix of Italo-Romance (mostly standard Italian and Romanesco, but with a pinch of further dialects like Neapolitan) and other languages (English, French, Spanish, Portuguese, to which more recently also Latin has been added). These texts are analysed here from the viewpoint of the clues they provide as to the linguistic knowledge to be assumed for their ideal addressee to decode them effectively. Infact, in order for them to achieve their intended comic effect, the texts must be understood: therefore, their author(s) must work based on a (probably largely unspoken) hypothesis about the language portfolio of the addressee. As it turns out, there is, quite unsurprisingly, an imbalance between English and all the rest: English, it will be shown, is the only language from which the texts employ words and constructions that are not decodable in the absence of punctual knowledge. In other words, in order to laugh, while listening to Sora Cesira’s Anglo-Italian, some elementary command of English is needed, while this is hardly required for any other of the languages involved, French included (in spite of its having been, until recently, the first foreign language taught in Italian school)
La lettera E del Vocabolario del romanesco contemporaneo
No full textThis article presents the entries of the letter E from the Vocabolario del romanesco contemporaneo (VRC), conceived by P. D’Achille and C. Giovanardi in the early 2000’s and then enriched with an extensive etymological section, edited by V.
Faraoni and M. Loporcaro. The VRC, of which two sample volumes have so far been published, containing the entries from the letters I, J (2016) and B (2018), aims to collect and scientifically analyse the lexicon of the dialect and regional Italian
of Rome from the second half of the 20th century onwards, adopting the synchronic perspective that previous Romanesco lexicography, mainly of an amateur bent, has neglected and which instead proves to be useful both in filling various gaps and above all in grasping the vitality of present-day Romanesco, also in terms of vocabular
Etimologia, fonetica storica e fonosimbolismo: rom. ciufolà(re) (e it. zufolare)
No full textThis paper deals with the etymology of Romanesco ciufolà(re) ‘to whistle; to malign; to blab’ (Old Romanesco cifolàre), also occurring elsewhere in the dialects of Italia mediana, and its Tuscan and Italian counterpart zufolare. In fact, while both variants of this word undoubtedly derive from dialectal variants of Latin SIBILARE (such as *SUFOLARE), some details still need further clarification, first and foremost the change S- > [ʦ]-, whose origin is debated, with two contrasting views, the former having it that the change is to be traced back to (spoken) Latin, possibly due to substrate influence, the latter that the change only arose in Romance. Conversely, the change S- > [ʧ]-, documented in Romanesco and the area mediana, has received little attention in research. I will propose that this change took place due to the influence of ideophones containing an affricate such as ciù and ci
Averaging inhomogeneities in scalar-tensor cosmology
No full textThe backreaction of inhomogeneities on the cosmic dynamics is studied in the context of scalar-tensor gravity. Due to terms of indefinite sign in the non-canonical effective energy tensor of the Brans-Dicke-like scalar field, extra contributions to the cosmic acceleration can arise. Brans-Dicke and metric f(R) gravity are presented as specific examples. Certain representation problems of the formalism peculiar to these theories are pointed out
Brand personality alignment and consumer engagement to define competitive positioning in online fashion communities: An interdisciplinary methodology
No full textNew communication challenges for companies that use social media are: 1) the knowledge and control of the degree of alignment between communicated and perceived brand personality in order to measure the effectiveness of competitive positioning, and 2) the measurement of engagement among consumers who share comments about brands in online communities. Our research proposes research tools that can help fashion companies meet these challenges. In particular, we present an innovative methodological approach that combines netnography and text-mining to extract and analyze data from online communities of fashion brands
Theory of gravitation theories: A No-progress report
No full textAlready in the 1970s there where attempts to present a set of ground rules, sometimes referred to as a theory of gravitation theories, which theories of gravity should satisfy in order to be considered viable in principle and, therefore, interesting enough to deserve further investigation. From this perspective, an alternative title of this paper could be "Why Are We Still Unable to Write a Guide on How to Propose Viable Alternatives to General Relativity?". Attempting to answer this question, it is argued here that earlier efforts to turn qualitative statements, such as the Einstein equivalence principle, into quantitative ones, such as the metric postulates, stand on rather shaky ground probably contrary to popular belief - as they appear to depend strongly on particular representations of the theory. This includes ambiguities in the identification of matter and gravitational fields, dependence of frequently used definitions ( such as those of the stress - energy tensor or classical vacuum) on the choice of variables, etc. Various examples are discussed and possible approaches to this problem are pointed out. In the course of this study, several common misconceptions related to the various forms of the equivalence principle, the use of conformal frames and equivalence between theories are clarified
How to measure alignment in perceptions of brand personality within online communities: interdisciplinary insights
No full textConsiderable research has been done on brand personality as a key factor in brand management, focusing mainly on how it is perceived by consumers, but without much attention to the managerial perspective. However, the latter is crucially important to ensure that the brand personality consumers perceive actually corresponds to what a company intends to communicate. This study offers an innovative methodology to achieve this dual-perspective objective, integrating notions of marketing and linguistics to investigate brand personality alignment as it emerges from authentic and spontaneous digital environments. Textual data were collected from both company and consumer web communications across a sample of 100+ fashion brands, and then processed with software to extract sets of adjectives as the expression of brand personality. The adjectives were interrelated to calculate ratios that measure (a) the degree of alignment between company-defined vs. consumer-perceived brand personality, (b) similarity in personality between brands and (c) consumer perception of similarity in personality between brands. Varying degrees of alignment were identified, suggesting differences in how effectively the companies communicate their brand personality. The combination of the ratios derived from this research process can be utilized to evaluate the strength of brand differentiation and to redefine brand communication strategies
Brand personality nelle comunità online
No full textIl paper propone un approccio metodologico che analizza la corrispondenza tra la personalità di marca comunicata dall’impresa e quella percepita dal consumatore. Applicato alle comunità online, esso si basa su tecniche di analisi linguistiche i cui risultati trovano la loro sintesi in due indicatori di match. Il primo è il CPBA (Consumer Brand Personality Alignment) ed il secondo è il CBPC (Consumer Brand Personality Coverage). La metodologia è utilizzata su 42 brand moda appartenenti al segmento premium apparel
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