The Explanatory Effect of a Label: Its Influence on a Category Persists Even If We Forget the Label

In this study we replicated the explanatory effect of a label which had been found by Giffin et al. (2017). In their experiments, they used vignettes describing an odd behavior of a person based on culturally specific disorders that were unfamiliar to respondents. It turned out that explanations which explain an odd behavior through a person’s tendency to behave that way (circulus vitiosus) seemed more persuasive if the disorder was given a label that was used in the explanation. We replicated these results in Experiment 1, and in a follow-up Experiment 2 we examined the familiarity with category information and the evaluation of that category over time (the delay lasted one week). We realized that the label effect persists even when people make judgments based on their recollections about a category. Furthermore, according to a content analysis of the recollections, participants in the label condition remembered more information from the vignettes but tended to forget an artificial label; however, they used other words from the disorder domain instead (like “disease” or “kleptomania”). This allowed us to suggest a new interpretation of this effect: we suppose that in the Giffin et al. (2017) experiments the label did not bring any new features to a category itself, but pointed to a relevant domain instead, so the effect appeared from the activation of areas of knowledge in semantic memory and the application of relevant schema for learning a new phenomenon.

What If We Were Savage? Mad Max Transmedia as Speculative Anthropology

Through a neoteric methodology (speculative ethnography), we analyze the transmedia worldbuilding of the Mad Max franchise as a form of “Ozploitation.” This post-apocalyptic rural sci-fi series exploits culturally specific fears generated from Australia’s colonial past. Mad Max is a popular imagining of the Australian eschaton and its aftermath, a collective national nightmare where near-future Australia—“Maxtralia”—plummets into the savagery invented by generations of colonialist discourse. “Maximum madness,” the retrogressive technological, religious, and socioeconomic wasteland culture for which the series is known, signifies a Western reproach to indigeneity and locative culture, perpetuating attitudes of voyeuristic excitement towards primitivism.

Teachers’ and Students’ Perceptions of the Effect of Cultural Background in the IELTS Listening Test

This study examined the effect of culturally-specific items on the performance of Arab candidates on the IELTS Listening Test. Using an online survey and focus-group discussions with 16 IELTS teachers and 32 IELTS candidates at Al Ain University in Abu Dhabi/the United Arab Emirates, the current study showed that the independent variable, i.e. ‘culture’, has a negative impact on the candidates’ performance. The results revealed that the most culturally-loaded section of the IELTS Listening Test is Section 1, followed by Section 2, Section 3 and Section 4, respectively. The results also demonstrated that the culturally-specific items included in the Listening Test had a negative effect on the candidates’ answers who were not aware of certain cultural aspects referenced in the test. The study concluded with some recommendations that aim to improve the cultural awareness of Arab candidates.

Synagogue as Infrastructure in Everyday Life of Batumi Jewish Community

The subject under scrutiny is Sephardic and Ashkenazi synagogues in Batumi (the Black Sea Region of Georgia) that reveal both universal and culturally specific forms. The paper is based on ethnographic data gathered during fieldwork in Batumi, in 2019, and on the theoretical postulates of anthropology of infrastructure. The article argues that the Batumi synagogues could be viewed and understood as ‘infrastructure’ in their own right, as they serve as objects through which other objects, people, and ideas operate and function as a system. The paper attempts to demonstrate how the sacred edifices change their trajectory according to modern conditions and how the sacred place is inserted and coexists inside a network of touristic infrastructure.

ABOUT RUSSIAN MENTALITY IN LANGUAGE, SPEECH AND SCIENTIFIC DISCOURSE

This article is devoted to the disclosure of the mental characteristics of the Russian language personality. Particular attention is paid to the synthetic structure of the language, the nonfixed order of words in the sentence and the category of impersonality, which together create a culturally specific mental context of language, speech and scientific discourse.

CULTURALLY SPECIFIC SENSE OF SIMILE IN TRANSLATION (A CASE STUDY OF THE FLORA NAMES LEAF, TREE IN UKRAINIAN AND ENGLISH)

Culturally specifi c images and symbols are ethnic semantics carriers. They show historical, national and cultural experience of the nation. The translation studies analysis of similes with a fl ora name, verbalised in the Ukrainian-English language pair, enables tracing the peculiarities of culturally specifi c images and concepts. The article investigates, analyses and gives detailed characteristic of the notion of the culturally specifi c sense as an element of the actual sense of simile, peculiarities of universal and nationally specifi c attributes being the result of the national conceptualisation of a corresponding fl ora object (leaf, tree) in the consciousness of Ukrainian and English speakers. Translation studies analysis is applied aiming at revealing the ways of rendering the culturally specifi c sense in similes with a fl ora name (leaf, tree). Ways of translating simile with the utmost load of cultural information rendering are discussed. Key words: simile, fl ora name, translation, culturally specifi c sense, ways of translation

The Epistemic Value of Affective Disruptability

In order to explore how emotions contribute positively or negatively to understanding the meaning of complex socio-culturally specific phenomena, I argue that we must take into account the habitual dimension of emotions – i.e., the emotion repertoire that a feeling person acquires in the course of their affective biography. This brings to light a certain form of alignment in relation to affective intentionality that is key to comprehending why humans understand situations in the way they do and why it so often is especially hard to understand things differently. A crucial epistemic problem is that subjects often do not even enter a process of understanding, i.e., they do not even start to consider a specific object, theory, circumstance, other being, etc. in different ways than the familiar one. The epistemic problem at issue thus lies in an unquestioned faith in things being right the way they are taken to be. By acknowledging the habitual dimension of affective intentionality, I analyze reasons for this inability and suggest that being affectively disruptable and cultivating a pluralistic emotion repertoire are crucial abilities to overcome this epistemic problem.

Cultural Management of Terror and Worry During the COVID-19 Pandemic: How Religiosity and a Dream of Human Solidarity Help the Polish People Cope

The COVID-19 pandemic, which involves the threat of contracting a potentially fatal disease, can be understood as a source of terror. According to terror management theory, people shield themselves from terror by adopting culturally specific worldviews and protecting self-esteem. The study investigates the protective role of worldviews that are culturally specific to Poles: religiosity and social solidarity. The hypothesis was that Poles who tend to worry, entertain these worldviews and are more likely to maintain high self-esteem and concentrate on the current moment (carpe diem), which theoretically allows them to reduce future-related anxiety. Path analysis confirmed that self-esteem, the centrality of religiosity, and expectation of solidarity due to the COVID-19 pandemic mediate the relationship between the worry trait and carpe diem.

"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>