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This article analyses Italian illustrated editions of Little Women published between 1908 and 1945. After an overview of the publishing history of the novel in Italy, the paper will examine Italian illustrations as hermeneutic tools in order to examine their ideological function in the representation of gender. The belated reception of Alcott's novel in Italy, caused by its representation of a nonconformist educational model for girls, is mirrored in the tension between the nationalistic drive and the influence of foreign models that can be pinpointed in the illustrated editions. By analyzing adaptations of American illustrations, original Italian creations, and omissions of iconic illustrations, this paper will unveil how much the visual element is embedded in the Italian historical and cultural context, as the choice (or omission) of particular images impacted the interpretation of the book. By examining the Italian editions of Little Women published in this time frame, we will also be able to retrace the links with the American illustrated history of the book and bear testimony to the powerful impact of the 1934 film version on printed editions. [ABSTRACT FROM AUTHOR]

Copyright of Etudes Romanes de Brno is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Verbal periphrases (VP) constitute a typological feature of Romance languages and they are especially frequent in the Iberoromanic languages. In the context of this paper, the aspectual verbal construction stare a + infinito and the modal VP volere + infinito will be "grasped in the concrete speech action" (Katelhön 2013: 237; my translation) in order to show how these two VPs are used as discourse-structuring elements in contemporary Italian (outline signals, turn-taking markers, hesitation phenomena etc.). Furthermore, formal and functional equivalents of the periphrastic discourse markers it. sta(mmi) a sentire and it. voglio dire will be analyzed in two Romance "sister languages", namely French and Spanish, as well as in a typologically more distant language, namely German. The translation strategies chosen in the respective target languages will be examined with regard to the preservation or modification of pragmatic- discursive values inherent in the source language structure. For the present study, which is exclusively qualitative, the LIP corpus and the OPUS corpus (Tiedemann 2012, Italian), which is a collection of subtitles from a wide range of films in various languages, were used. [ABSTRACT FROM AUTHOR]

By drawing on primary scholarly literature on the dual career in sport, this article aims to identify the key features and problems concerning the development and implementation of programs promoting school and university education for young footballers. The paper highlights the importance of bridging the gap between professional sport and learning in young footballers by promoting dissemination actions within dual-career programs. To implement these actions, the authors have investigated and examined by comparative, historical, and hermeneutical methodology the role that team manager may play to support programs that, in the context of Italian legislation and regulations, encourage the development of specific skills in young footballers. These skills deal mainly with coping with transitions affecting athlete-students and student-athletes' sports experience and post-career years. The paper will conclude with a list of educational principles to be developed as practical actions to implement dual-career programs for young footballers attending high school or university. [ABSTRACT FROM AUTHOR]

On 13rd October 2016 the Chiostergi-Tuscher archive and library, originating from the heirs' house located in France (Saint-Cergues Les Voirons), was transferred to the Centro cooperativo mazziniano "Pensiero e Azione" in Senigallia. The paper reports about how this remarkable heritage of Chiostergi-Tuscher was retrieved and returned to Italy after thirty years. The collection includes correspondences, letters, diaries, documents, journals and papers, pictures, books, posters and other archival and bibliographic materials of great historical value to learn about the political, civic and cultural activities of Giuseppe Chiostergi (1899-1961), anti-fascist, member of the Italian Constituent Assembly and of Parliament, ambassador, pro-European and statesman, friend and correspondent to leading Italian and European personalities in the 20th century. [ABSTRACT FROM AUTHOR]

Copyright of Fluminensia is the property of Fluminensia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In recent decades, cinema has increasingly included and depicted multilingual realities (Heiss 2014). Starting from a discussion of multilingualism and its main functions on screen, this paper focuses on two multilingual films of recent production and of different genres - the drama Lion (Gareth Davis 2016) and the comedy Demain tout commence (Hugo Gélin 2016) in order to analyse the transfer operations (Zabalbeascoa and Voellmer 2014) found in the Italian dubbed versions. The aim of the study is to investigate how multilingual discourse is dealt with in the translated versions and to consider the implications of different translation strategies in terms of character portrayal and film genre. [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Film remakes represent a form of cinematic translation that reconstructs various elements of the original text. This article relies on the translation strategies of domestication and foreignization to analyze "Āṣḥāb Wālā Āʿāz", the Arabic remake of the Italian film "Perfetti Sconosciuti" or "Perfect Strangers". This study shows that the Arabic remake, which sparked controversy across the Middle East, replicates many of the syntactic elements of the original film, such as the narrative and the plot structure, as well as cinematographic and paralinguistic elements. Still, it attempts to adopt a transformative approach in order to generate a cultural production. The result shows that the use of domestication in film remakes alters the rhetorical effect of the original version and that, although foreignization may promote an audience's interest in foreign cultures, it may contribute to the reproduction of otherness due to the dissatisfaction of the targeted audiences. [ABSTRACT FROM AUTHOR]

Italian horror cinema is commonly divided into two periods and genres. An initial classical Gothic period spanned the years from 1956 to 1966 and was followed by a modern giallo (thriller) period from 1970 to 1982. Whilst accepting this broad distinction, this paper seeks to add nuance by considering the hybrid elements of three key films by three of the most important directors working in the giallo and horror area, namely Riccardo Freda with I Vampiri (1956), Mario Bava with The Girl Who knew too Much (1963) and Dario Argento with Deep red (1975). drawing in particular upon Nöel Carroll's idea of "fearing fictions", I contend that Freda's film, the first Italian horror movie since the silent era, is notable for being a distinctively modern vampire film; that Bava's film, a foundational giallo, may be seen as having a palimpsest in Jane Austen's Gothic parody Northanger abbey; and that Argento's film, while often taken as the paradigmatic giallo, has supernatural horror elements that push it in the direction of the Gothic. [ABSTRACT FROM AUTHOR]

This article analyzes the two films of the Taviani brothers through which the Tuscan directors have narrated the early 20th century Italian diaspora in the United States: the first episode of Kaos, the 1984 film based partly on Pirandello’s Novelle per un anno, and the 1987 film Good morning, Babylon. Besides analyzing various sequences of the films, especially those related to the departure, arrival and pursuit of the American dream, in this paper I explain how both films aimed not only to recall the relevance of a social-historical phenomenon such as the great migration, but also by reflecting on the present and the future, the films force us to focus on the drama of those who today are forced to leave their homeland in search of a better future. [ABSTRACT FROM AUTHOR]

The aim of the present article is to describe, both quantitatively and qualitatively, how features of (in)formal language style characterizing the dialogues of English films were handled in dubbing and subtitling translation into Italian. Three English films, together with their dubbing and subtitling translations into Italian, where analysed: Enola Holmes (2020), Little Women (2019) and The Age of Innocence (1993). Availing itself of corpus-bases quantitative and qualitative contrastive analyses of the three sub-corpora (English, dubbing and subtitling), the study revealed that dubbing and subtitling translators' approaches were quite dissimilar. If subtitlers, on the one hand, remained faithful to the source dialogues, thus preserving in the target text the same degree of (in)formality of the source test, dubbing translators showed a tendency towards maximization of formality in the Italian dialogues. The adoption of two different strategies, which points to the translators' minimum intervention in the case of subtitling, and to greater manipulation in the case of dubbing, was hypothesized to be due to the different features characterizing dubbing and subtitling translation. [ABSTRACT FROM AUTHOR]

The article aims at studying the geographical variability of theatrical consumption and popularity of contemporary films imported in Italy since the beginning of the XXI century. It relies on the data about regional admissions and theatrical distribution of more than 4100 titles, namely all the films with more than 15,000 admissions that had been projected in Italy from January 2000 to the pandemic outbreak in mid-February 2020, which forced the closure of all cinemas nationwide. While the regional patterns of distribution of both domestic and foreign films are always rather homogeneous and do not undergo major regional variations, Italian and non-Italian films are consumed in very different ways, geographically. When it comes to foreign cinema, a Regional Popularity Index shows how different regions and primarily wider trans-regional areas have different preferences linked to particular themes and genres. Different films are more or less popular in different areas, even regardless of any disparities in their distribution, precisely because they meet (or fail to meet) the specific tastes of macro-regional audiences. Specifically, the data consistently show a divide in taste between the northern-central audiences and their southern counterparts, which replicates the great distance that still divides the North from the South of Italy, from an economic, social and cultural point of view. [ABSTRACT FROM AUTHOR]

We study nascent project-based enterprises (PBEs) through the lens of upper echelons and institutional theory. We analyse the interplay between the different role-congruent reputations of their project entrepreneurs and the institutional endorsement of their project idea, theorizing how these affect PBEs' ability to attract private investments. In the context of the Italian film industry, we find that the commercial reputation of the project entrepreneur in the producer role is crucial for attracting investors, while the artistic reputation of the project entrepreneur in the creative director role is crucial for attaining institutional endorsement of the project idea. Finally, we find that the effect of the commercial reputation of the project entrepreneur in the producer role on attracting investments is mediated by the institutional endorsement. We contribute to the literature on PBEs by demonstrating how specific combinations of project entrepreneurs' roles and (role-congruent) reputations can directly and indirectly attract investments. [ABSTRACT FROM AUTHOR]

This research work looks at the cinematic construction and internalisation of national identities by national populace, taking the case of Assamese film Joymoti under study. Films have a distinctive presence within every society and play a significant role in creating new constructs and modifying the existing ones. Researcher cited some instances of cinematic nation construction in Russian, Italian and African film. She further referred some existing literature on Danish films with banal national references. Reflection of socio-political conscious of Assamese society and nation in the Assamese cinemas of early age has also been discussed with this regard. It has been observed that these films advocated the construction of a free nation as an organic outcome of the society that they are associated with, where social equity is a primary facet. The researcher further elaborated Berger and Luckmann's three fundamental processes in the construction of any social phenomena: externalisation, objectivation and internalisation. Here, the construction of national identities in films have been analysed taking the first Assamese Film Joymoti as case study, keeping this three stage process at backdrop. The researcher observed the journey of Joymoti's legend, from a myth primarily popular in the eastern part of the state that got objectivised with written texts in the form of a novel establishing her to be the epitome of national valour. Further with the film by Jyotiprasad Agarwala, the divide of illiteracy has been addressed and Joymoti's myth got internalised by Assamese populace. [ABSTRACT FROM AUTHOR]

The GeomBot is a drawing robot that combines the well-known strengths and opportunities offered by Scratch with those of Papert's original robotic drawing-turtle. In this study we look at the GeomBot as a physical programmable artifact around which action research with a group of teachers and a researcher was carried out with the aim of designing, implementing and discussing geometry activities for primary school classes. The aim of this article is to investigate teachers' positioning and perspectives with respect to the activities and the educational environment emerging around the Geombot in the action research. The action research meetings between September 2018 and June 2019 included nine primary school teachers from seven different Italian schools, who met regularly with the first author. After the design and experimentation sessions, in June 2019, the teachers shared their experiences during a final meeting and group discussion guided by the first author. The data collected from the teachers were analyzed using cultural categories from the Semiotic Systems of Cultural Signification, theorized by the Theory of Objectification, to identify the most significant features defining the teachers' perspectives and identity. The seven emergent features cover teachers' positioning with respect to: forms of rationality and language and languages: sensuous cognition and the use of ideal and material semiotic resources; accepted teaching practices, problems and situations; mathematical knowledge; the conception of the student; social interaction and forms of rationality; ethical issues; technology. [ABSTRACT FROM AUTHOR]

This article uses quantitative methods to provide a macro perspective on translations of novels in Romanian culture during the long nineteenth century, by modifying Eric Hobsbawm's 1789-1914 period, and using it as spanning from 1794 (the first registered local publishing of a translated novel) to 1918 (the end of the First World War). The article discusses the predominance of the French novel (almost 70% of the total of translated novels), the case of four other main competitors in the second line of translations (or the golden circle, as named in the article: German, English, Russian, and Italian), the strange case of the American novel as a transition zone, and the situation of five other groups of novels translated during the period (the atomizing agents: the East European, the Spanish, the Austrian, the Nordic, and the Asian novel). [ABSTRACT FROM AUTHOR]

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article explores the films made by Matteo Garrone in which the author will show that Garrone's films are not offshoots of the contemporary tendencies in Italian film and literature. It examines Gerrone's films "L'imbalsamatore" and "Primo Amore" in which he has seemlessly presented a reverse Pygmalion myth in the style of Michelangelo Antonioni. Literary and cinematic traditions are also revisited in order to reveal the conflicts of Garrone's films.

The article examines an ensemble of gender and migrant roles in post-war Neorealist and New Migrant Italian films. Its main objective is to analyze gender and placemaking practices in an ensemble of films, addressing these practices on a symbolic level. The main argument of the article is that the way gender and migrant roles were conceived in the Italian Neorealist and New Migrant Cinema was based on the intention to challenge certain stereotypes characterizing the understanding of national identity and 'otherness'. The article presents how the roles of borgatari and women function as devices of reconceptualization of Italy's identity, providing a fertile terrain for problematizing the relationship between migration studies, urban studies and gender studies. Special attention is paid to how migrants are related to the reconceptualization of Italy's national narrations. The Neorealist model is understood here as a precursor of the narrative strategies that one encounters in numerous films belonging to the New Migrant cinema in Italy. The article also explores how certain aspects of more contemporary studies of migrant cinema in Italy could illuminate our understanding of Neorealist cinema and its relation to national narratives. To connect gender representation and migrant roles in Italian cinema, the article focuses on the analysis of the status of certain roles of women, paying particular attention to Anna Magnagi's roles. [ABSTRACT FROM AUTHOR]