"Facci Lei!": Subtitling Humour in 'Fantozzi' (1975)

<p>Subtitling provides scholars and translators alike with the challenge of negotiating meaning across languages and cultures in an extremely limited space. The subtitler faces many restrictions than can severely affect a translation. However, subtitles are central to making films more widely and easily accessible. These difficulties are challenging at the best of times and are compounded by the specific difficulties of translating comedy. Humour is both universal and at the same time culturally specific. Anthropologists, sociologists, literary theorists and scholars have amply demonstrated how deeply intertwined humour, culture, and language are. It is for this reason that the current project will expand on the literature of subtitling humour, applying the relevant theories associated with both subtitling and translating humour to the Italian film classic Fantozzi (1975). The character Ugo Fantozzi has been a cult figure in Italian culture and society since his appearance in Italian cinema and literature in the late 1960s and early 1970s. In the films in particular he has come to represent the average Italian of the post-economic miracle, whose life does not quite match the dreams of wealth and prosperity emphasized by the media. Fantozzi epitomises the average, and while his character has received little academic attention to date more credible academic studies are emerging since the death of his creator, Paolo Villaggio, in 2017. Fantozzi, therefore, provides the perfect cultural product for a discussion of what it means to translate Italian culture and humour, combining this with considerations about the emerging field of translation studies of subtitling. By providing a complete translation of Fantozzi in English, accompanied by a critical commentary, in this thesis I attempt to show how, despite all the restrictions imposed by the field of subtitling, as well as the difficulties of translating humour, a subtitler can still produce well thought out and reliable subtitles that convey the cultural and comedic aspects of film, and more specifically of this beloved Italian icon.</p>

"Facci Lei!": Subtitling Humour in 'Fantozzi' (1975)

<p>Subtitling provides scholars and translators alike with the challenge of negotiating meaning across languages and cultures in an extremely limited space. The subtitler faces many restrictions than can severely affect a translation. However, subtitles are central to making films more widely and easily accessible. These difficulties are challenging at the best of times and are compounded by the specific difficulties of translating comedy. Humour is both universal and at the same time culturally specific. Anthropologists, sociologists, literary theorists and scholars have amply demonstrated how deeply intertwined humour, culture, and language are. It is for this reason that the current project will expand on the literature of subtitling humour, applying the relevant theories associated with both subtitling and translating humour to the Italian film classic Fantozzi (1975). The character Ugo Fantozzi has been a cult figure in Italian culture and society since his appearance in Italian cinema and literature in the late 1960s and early 1970s. In the films in particular he has come to represent the average Italian of the post-economic miracle, whose life does not quite match the dreams of wealth and prosperity emphasized by the media. Fantozzi epitomises the average, and while his character has received little academic attention to date more credible academic studies are emerging since the death of his creator, Paolo Villaggio, in 2017. Fantozzi, therefore, provides the perfect cultural product for a discussion of what it means to translate Italian culture and humour, combining this with considerations about the emerging field of translation studies of subtitling. By providing a complete translation of Fantozzi in English, accompanied by a critical commentary, in this thesis I attempt to show how, despite all the restrictions imposed by the field of subtitling, as well as the difficulties of translating humour, a subtitler can still produce well thought out and reliable subtitles that convey the cultural and comedic aspects of film, and more specifically of this beloved Italian icon.</p>

Whose Past and Whose Future: Free Love and Love Marriage among “Kafirs” of the Hindukush in an Early Nineteenth-Century Persian Ethnography

This paper deals with some practices and conceptions relating to love and marriage in a now-extinct pre-Islamic culture of the Hindukush, as described in an extremely precious, yet very little-known, Persian ethnographical source (ca. 1840). Written by a munshī from Peshawar under instructions from the French general Claude-Auguste Court, who was then in the service of Maharaja Ranjit Singh, this is probably the single most important pre-Robertson source about the “Kafir” cultures of Nuristan. While a complete translation and thorough study of the unpublished document, by Stefano Pellò and Alberto Cacopardo, is now forthcoming, in these brief notes we show how free love and love marriage, often perceived as “modern” concepts in many parts of Asia, were envisioned by Tak and Shamlar, two elders from pre-Islamic Kamdesh.

“Cantos” by Ezra Pound in Russian

The paper provides a review of the complete translation of one of the key works in the history of world literature, the poem “Cantos” by Ezra Pound, published for the first time in Russian. The translation was done by Andrey Bronnikov, who also prepared a commentary on it and wrote an introductory article. The review shows that Pound's epic is a synthesis of all possible forms of epic — archaic, heroic and lyrical, it is a poem that tells about the eternal confrontation between the beautiful and the high, personified by historical and mythological heroes of different eras in the history of world culture, and the vulgar and ugly, personified a faceless symbol called Uzura (Consumer) by the poet. The key characteristic, thanks to which the poem can be attributed to the genre of the epic, is, in addition to the plot associated with the problem of the eternal originality of this opposition, also the language, filled with facts, quotes and clichés, edited by the epic poet in the same style. English version of the article is available on pp. 96-100 at URL: https://panor.ru/articles/the-cantos-by-ezra-pound-in-russian/66431.html

Meaningful Translation and Transliteration for Marathi Language

Meaningful translation and transliteration is NP problem in case of languages like Marathi language as there are so many word disambiguation and multiple use and meaning of single word in different context is available. That is why identifying correct informational need and translating text into meaningful information is a tedious and error prone task. Google translate works on machine neuron network and WorldNet is an online reference system works on psycholinguistic theory of human memory. Both approaches are promising tools for language translation. Complete translation of Marathi text to English or English to Marathi also having problem of more complicated meaningless or tedious translation. Proposed algorithm is taking into consideration meaningful translation or transliteration as per user’s informational need. This novel approach consider machine neuron network for meaningful formation of translated sentence and morphological structure for correct translation of word based on ontological analysis of word.

„Aufgeblähte Zeit“ in narrativer Lyrik – Yakamochis Einleitungssequenz zum neunzehnten Man’yōshū-Band

Some of Ōtomo no Yakamochi’s best-known poems are included among the fifteen poems that introduce the Man’yōshū Book 19. While research sees the common themes of these poems, it does not understand them as a cohesive group or “work” (sakuhin 作品). This essay takes a narratological approach and subjects the poems to a reinterpretation based on the two dimensions of “space” and “time.” This reading reveals the fifteen poems as a narrative sequence. For comparison and at the same time for a better understanding, a sequence from Book 17 is consulted, which shows similar narrative features. While the spatial aspects are in the foreground there, the sequence from the Book 19 deals with the theme of time. Both sequences are framed, and their middle section can be compared to the enlargement technique of photography (blow-up). In both sequences, the traditional banquet poetry to the 3rd day in the 3rd month plays a central role. The essay contains a complete translation of the fifteen poems from the Book 19.

“COLLECTION OF ADATS OF THE KARABUDAKHKENT COMMUNITY”: GENERAL CHARACTERISTICS AND COMPARATIVE ANALYSIS

The article is devoted to the study of the collection of adats of the large community of Karabudakhkent. This legal code differs from other monuments of law of Plain Daghestan mainly by the Arabic language, it was created in, without influence of external factors. Moreover, it is a kind of union of several social agreements concluded in different chronological periods. The author of the article carried out a complete translation of the code under study and conducted its comparative analysis. The analysis showed that “Adat Jamaat Karabudakhkent” is a valuable source for studying various aspects of the socio-political life of the region under study. It clearly demonstrates the desire of the Karabudakhkent community to regulate the relationships of different classes and preserve its political autonomy. In addition, the analysis of the articles of the code under study indicates significant flexibility and transformation of the adat prescriptions, which adapted to certain socio-political conditions.

A brief overview of the reception of “The Tale of Igor's Campaign”

The subject of this research is the process of reception of &ldquo;The Tale of Igor's Campaign&rdquo; in mainland China. The analysis of China&rsquo;s historical conditions and comparison of the statistics at different periods indicate changes in the process of reception of Russian literature as a whole, and the Old Russian literary landmark in particular in the course of historical development of Celestial Empire. The novelty of this research is defines by insufficient coverage of the process of reception of &ldquo;The Tale of Igor's Campaign&rdquo; in China as a special cultural phenomenon, inseparable from the overall process of cultural and literary development of the country. Reception of the Russian literature is viewed in the socio-historical system, in which it organically interacts with the national culture and literature. The article employs descriptive, conceptual, and comparative-historical methods for solving the scientific task; determines the key stages in the general process of reception of &ldquo;The Tale of Igor's Campaign&rdquo; in China; and reveals the peculiarities of each stage with description of the major achievements. The author concludes that for almost two centuries, the Old Russian literary landmark has undergone a propaedeutic reception in China, which gradually intensified after the May Fourth Movement. It experienced stagnation after the first complete translation of the &ldquo;Tale&rdquo; into Chinese language, and a breakthrough in the image of this work in modern Chinese science, which currently interprets &ldquo;The Tale of Igor's Campaign&rdquo; as a literary-historical text.