757 research outputs found
Giuseppe Parini
No full textGli scrittori dell’Ottocento, da Vincenzo Monti a Ippolito Nievo, presentarono Giuseppe Parini (scomparso nel 1799) come icona del letterato povero ma di forte tempra morale, sdegnoso di ogni compromesso, maestro di virtù e modello di dedizione agli studi e alle istituzioni. Ad accrescere la fama e il magistero postumi di Parini aveva già del resto contribuito la tempestiva pubblicazione in sei tomi delle sue "Opere" (1801-04), per cura dell’allievo Francesco Reina. Sulla scorta di una consolidata tradizione di studi e delle più recenti edizioni, il presente volume intende ricostruire il percorso poetico pariniano, dalla prima raccolta del 1752 alle odi di ispirazione neoclassica, passando per le stagioni dell’impegno civile (in cui si colloca la stesura del "Mattino" e del "Mezzogiorno") e della prolungata elaborazione del "Giorno" ("opus magnum" mai giunto a compimento). La selezionata antologia di prose concorre a illustrare la varietà dei temi, delle forme e dei registri sperimentati da Parini (proposto anche nelle vesti di giornalista e di epistolografo), offrendo un’immagine il più possibile completa dell’autore
Pseudoscopelus parini
No full textPseudoscopelus parini: LACM 44391-1, 1 (82.9).Published as part of Marcelo R. S. Melo, H. J. Walker, Jr. & Cynthia Klepadlo, 2007, Two new species of Pseudoscopelus (Teleostei: Chiasmodontidae), with a new diagnosis for the genus., pp. 33-46 in Zootaxa 1605 on page 4
Un legislatore artistico nella comunità degli uomini. Note sull'estetica e la pedagogia di Parini
No full textIl saggio affronta la natura dell'impegno educativo di Giuseppe Parini tra letteratura, arte retorica, filosofia e arti figurative, evidenziandone alcune peculiarità connaturate alla sua personalità intellettuale e creativa, e al contempo esplorando gli intensi rapporti da lui intrattenuti da un lato con l'estetica, dall'altro con le teorie pedagogiche del XVIII secolo
A Designer A Day (ADAD) 2014
No full textIn mostra un’inedita riflessione sull’attuale binomio cibo-design: sette progetti per una nuova definizione dell’universo mela e lo sviluppo di uno stile di vita sostenibile e consapevole. Il famoso detto “una mela al giorno ...” si trasforma in “un designer/progetto al giorno”, da cui il titolo dell’iniziativa AdesignerAday.
Da lunedì 7 a lunedì 21 aprile i vincitori (rigorosamente under 35), selezionati da un’apposita giuria, coordinata da Venanzio Arquilla e Barbara Parini Politecnico di Milano, esporranno il proprio lavoro diventando protagonisti dello spazio AdesignerAday, un’area espositiva preallestita e personalizzabile interamente dedicata ai loro progetti, nell’ambito dell’evento organizzato da INTERNI negli storici chiostri dell’Università degli Studi di Milano.
La riflessione cibo/design il tema di questa nuova edizione del concorso: i giovani partecipanti hanno dovuto presentare progetti in grado di interpretare i diversi modi di concepire ed esprimere la cultura del cibo nelle differenti tradizioni, stili di vita e paesi del mondo attraverso esperienze della quotidianità.
Una rosa di progetti composta da un’ampia tipologia di prodotti: dai più tradizionali a proposte ancora poco appartenenti agli scenari domestici abituali.
“Durante la fase della selezione – aggiunge Venanzio Arquilla, coordinatore di DesignHub – l’obiettivo è stato quello di valorizzare il lavoro di quei designer che meglio hanno interpretato l’oggetto del bando: il cibo oggi è, sempre più, lo specchio di noi stessi, un modo d’essere e il design ad esso applicato amplifica questo messaggio e può facilitarne in momenti di utilizzo e consumo”.
Sette i progetti selezionati:
Al mercato / Eugenio Roncoroni
L’Adamisme / Romain Mouscadet
An Apple A Day / Bogdán Viktória
Melacolta / Foroofficina
Supa / R. Moretti, F. Molteni, M. Setti
Mela Pianto Io / Federica Corinto
Don’t Worry Be Apple / Giuseppe Amato
Più un progetto speciale realizzato in collaborazione con lo chef Eugenio Roncoroni - Appleburger / Al Mercato per ADA
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
Domesticating or foreignizing texts? Case study : Niccolò Ammaniti's "Ti prendo e ti porto via" translated into English
No full textDomesticating or foreignizing texts? Leaving the reader alone as much as possible and moving the writer toward the reader or leaving the writer alone as much as possible and moving the reader toward the writer? Is such a dichotomy always so definitely strict and rigid, and does one necessarily exclude the other? Translators do not always seem to be so rigorous in their choice. Steal You Away, the translation by Jonathan Hunt of Niccolò Ammaniti’s Ti prendo e ti porto via, is an example. On the one hand, the translator seems prone to foreignization in his choice not to transpose into English many of the cultural references present in the text which help the reader be virtually transported in the Italian (invented) village of Ischiano Scalo, where the story is set. Therefore, names of public places, of singers, of magazines, of TV shows, of food products are left unaltered in the translation. On the other hand, the translator often seems to be more willing to domesticate the text. This happens through the use of different translation strategies. References to the Italian culture are sometimes translated into English, sometimes they are simply generalized, sometimes they are substituted with a cultural reference which is more recognizable by the English reader, some other times they are simply omitted. Other translation strategies aimed at domesticating the text are also found at lexical and syntactic levels. Therefore, Steal You Away is a clear example of a fluent translation, which, however, seems to reflect the tendency of many translators not to follow a definite line of thought, and is consequently not easily definable either as a foreignized, or as a domesticated text
- …
