METHODS ANALYSIS FOR ASSESSING THE ASSETS OF ENTERPRISES IN CHINA

The socio-economic development of China differs from the Western European states and Russia. And the standard of living of the population, the level of production, GDP growth, the development of modern technologies, scientific and technical potential show continuous stable growth. In this connection, there is a scientific interest in considering the «Chinese economic miracle», and in particular, what methods are used to evaluate the main economic indicators of Chinese enterprises.

"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>

Development of Transport as a Factor of the Economic Miracle (Wirtschaftswunder) of West Germany

The post-war economic policy of West Germany (FRG) is largely associated with the so-called economic miracle (German: Wirtschaftswunder) and therefore its causes are the subject of many different analyzes. They include the correlation between the rate of economic growth in Germany and the development and transport potential of transport, including rail and road-car transport. This position prompted the author to try to search for long-term interdependencies and thus verify the thesis using the analysis of time series (1950–1989) available for West Germany and using original econometric methods in this field, e.g. unit root test to determine the stationarity and the Engle-Granger cointegration test. In addition to the introduction, the article consists of three parts and conclusions. The broadest one includes the description of the assumptions and stages of the research procedure and its results, both on the empirical and methodological level. It is based on synthetic theoretical foundations presented on the basis of a review of international literature on the subject and review of the essence of the German economic miracle and the main trends in changes in the field of economic growth and transport development in Germany after World War II. The research presented in this way fits into the principles of the new economic history paradigm, which is still not very popular in Europe.

China’s “Economic Miracle” and the Universal Modernization Model

Neoclassical economics relies on highly formalized deductive logic to create an overly simplified picture of economic practices. Its universalized model of modernization assumes that the relationship between state and market is antagonistic. This presumption reduces China’s “economic miracle” to a simple transformation into a market economy and underestimates the role played by the government, making it impossible to construct a theory that considers China’s subjectivity. Studies on China’s economy should focus on its practices, which may appear to be paradoxical if seen only from the perspective of Western neoclassical economics, in order to construct an accurate depiction of the foundations of China’s development experience. Only through such an endeavor will it be possible to incorporate into any new theory of economic modernization the distinctive features of China’s development.

Designing a Financial Mechanism for a “Technological Breakthrough”. How to “Format” Own Ecosystems so That Other People's Digital Devices and Financiers Should Not “Format” Us

Acceleration of technological and institutional development results in reduced lags between innovations and their installation in the economy and society, which modifies long-wave patterns (but doesn't cancel them). In this regard, the question arises on the possibility of a "Russian economic miracle" on a new financial and digital basis. This is a question about ecosystems (digital platforms — a relatively recent complex financial and production innovation), the prototypes of which, however, have already been in history. Historical studies of protoecosystems and modern ecosystems, addressed by the author, allow us to answer the question: “ecosystem” (convergent) technologies are a factor undermining macroeconomic stability in the interests of a narrow circle of global and local players and (or) a mechanism for changing technological and institutional patterns (?!).