"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>

Diaspora as Nation

This chapter traces the evolution of the so-called “Eastern” Sephardic diaspora in its Mediterranean context from 1492 to the late twentieth century. It looks at the way in which these exiles and their descendants forged a new diasporic identity characterized by sprawling mercantile networks that linked Jews and Conversos, new forms of Judeo-Spanish, and a nostalgia for medieval Spain. At first, the mutual sense of estrangement between the refugees and the native Jews among whom they came to settle reinforced communal solidarity among the Sephardim. From the eighteenth to the twentieth centuries, the Mediterranean Sephardim adopted aspects of Ottoman, North African, and Italian culture, but succeeded in maintaining a distinct communal character amid a shifting set of political contexts and associations. During the twentieth century, the mass migration of Mediterranean Sephardim to the State of Israel helped recast them as “Eastern” Jews, or Mizrahim.

La ausencia de mujeres como referentes culturales en los manuales de italiano L2/LS=The absence of women as cultural references in the Italian L2 / LS manuals

<p align="left"><strong>Resumen</strong></p><p>Varias investigaciones han encontrado rasgos sexistas en relación con la escasa presencia de mujeres como referentes culturales en los manuales escolares. Con el objetivo de estudiar esta tendencia en los libros de texto de italiano como L2/LS se han analizado nueve manuales actualmente en uso y se han identificado categorías específicas que dan cuenta de la presencia de mujeres ilustres y del impacto global de estas en los textos. Los resultados demuestran que las figuras femeninas están generalmente infrarrepresentadas, llegando a ser poco más que el 15 % del total. La ausencia de mujeres ilustres indica que en los manuales para alumnado extranjero la cultura italiana se representa de forma segada y poco rigurosa.</p><p align="left"><strong>Abstract</strong></p><p>Several research studies have shown sexist traits in relation to the scarce presence of women as cultural references in textbooks. In order to study this trend in Italian textbooks, this article examines nine current manuals. As a result, various categories have been identified in order to analyse the presence of illustrious women and the overall impact of women’s presence in the textbooks. The results show that female figures are generally underrepresented, amounting to little more than 15% of the total. The absence of illustrious women indicates that in language textbooks for foreign learners, Italian culture is represented in a biased and insufficiently rigorous way.</p>

The Invention of an Opera House: The 1844 Teatro Victoria in Valparaiso, Chile

The 1844 Teatro Victoria in Valparaiso, Chile, can be considered the first purpose-built opera house in the Andean region of the Americas. Managed by impresario Pietro Alessandri, it became the centre of an early operatic scene in the South Pacific and a model for theatres built during the following decades. In this article, I discuss the Teatro Victoria as an opera house and the way in which it functioned on the borders of what was then a new global operatic scene. Latin American research on opera has focused mostly on singers and performances, rather than on the workings of the opera houses and the operatic scene. This article discusses the rationale behind the development of the Teatro Victoria project, some of the strategies underpinning its success and the notion of this particular opera house as a projection of certain ideas of ‘Italian culture’ and networks. The article shows, first, that the successful reception and appropriation of Italian opera in this period was not necessarily guaranteed, and it differed across the Americas. Second, that local brokers and host communities had key roles in shaping that reception, which can easily be perceived as a passive one when looked at only from the perspective of the singers or the music itself.