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Indigenous knowledges carry both weight and burden in postcolonial worlds. The subtitle to Tyson Yunkaporta’s Sand Talk suggests they can save the world. The subtitle to Victor Steffersen’s Fire Co...

This self-published book is clearly the product of a frustrated researcher. The subtitle alone provides an accurate insight into Cox’s thinking. That said, anyone who has been around these fields for any length of time can share a sense of frustration. Listening to any number self-anointed experts, and even charlatans, who populate the fields of the paranormal, can be exasperating. Yes, tall tales abound. Unfortunately, there are no lower limits to crazy that will not attract a following. Such is the nature of studying unexplained phenomena. The publication does not appear to have been professionally edited, as one finds both grammatical and contextual errors. Cox contracted with a company called Outskirts Press; one that specializes in physically printing self-published books. In checking with them, I found they do offer an editing service. The author would have been better served to have paid for that option, as there are many incomplete sentences and other grammatical errors. As an established author, I believe attempting to edit your own material is fraught with danger. That is the position I believe most frequently published and serious authors would agree with. Mechanically speaking, The Fall of the Ufology appears to be designed for an e-publication, as opposed to a print format. That is because there are many Internet sites that are listed and that I suspect can be directly accessed in electronically published form. The contextual format changes significantly throughout the book. Some of it is straight nonfiction statements of fact, but that is often followed by side commentary as if one were attending a social gathering. While the title implies the singular topic is UFOs, it digresses into many other areas. He takes significant liberties in defining, or redefining, terms that have been around for many years, even centuries. Seemingly, Cox does view himself as the arbiter of acceptability of terms. As an example, he proffers “Anomalogy” as a new term which he defines “as a person who studies anomalies,” as opposed to parapsychology or ufology. In many ways, what Cox puts forth many of us would view as a blinding flash of the obvious. The notion of the interrelationship between various fields in the study of phenomena has been addressed for decades. Several authors, including Jacques Valle and myself, have written extensively on this matter. On a hypocritical note, Cox simultaneously admonishes Ufologists who present outlandish opinions at conferences, and then destroys his own credibility by accepting extreme conspiracy theories. While addressing his own UAP (unidentified aerial phenomena) sightings, he states that he believes the craft as being of man-made origin. That, even though he witnessed events that would be beyond our currently known technical capabilities. Specifically, on page 32 he states, “I believe now that somehow we on earth have been given this technology from ‘Outside Intelligence.’” Here, I am admittedly biased, but have explicitly eliminated that possibility in my own UFO writings. The notion that the US government has reverse-engineered a crashed UFO is not new. But as I have pointed out, if such technology existed, making small craft that flit about would be trivial compared to the fundamental understanding of an entirely new energy source. Such a capability would undeniably alter our strategic interests and geopolitical landscape forever.

The subtitle of Madhav Khosla’s new book, India’s Founding Moment, describes India as a ‘most surprising democracy’. Certainly, much is surprising about Indian politics in the twentieth century, bu...

The subtitle of this roundtable discussion, “an encounter with another ‘other’”, is strangely compelling to me, who is Asian American, broadly, and Vietnam-born ethnic Chinese American, specificall...

God in Gotham issues a challenge: if religion can survive, nay thrive, in Sodom by the Sea, then maybe we need to revise our theory of secularization of the modern world. The book's subtitle articulates its subversive claims: “The Miracle of Religion in Modern Manhattan.” Its alliterative argument suggests a measure of wonder, one of those features of pre-modern life supposedly banished by secularization and the disenchantment of the world.

A temática da decadência em “Os Buddenbrook”: decadência duma família” é explícita: materializa-se enquanto subtítulo da obra literária. Em “Os Maias”, repete-se a estrutura essencial do título anterior, focalizando-se um nome de família. Sabe-se, entretanto, de antemão, que o enredo contemplado pelo romance de Thomas Mann perpassará por episódios cujo desfecho está no desnodar decadente das gerações da família Buddenbrook, o que, ainda que não explícito, repete-se na obra de Eça de Queirós. Para concretizar de forma estética a temática pretendida, ambos os autores focalizam cada geração das famílias ficcionais, desnudando dialeticamente pensamentos e papeis sociais. Desse desnudamento, um traço se mostra compartilhado por quase todas as personalidades: a preocupação para com a perpetuação do nome da família; fardo que pressagia a total extinção de ambos os antropônimos. A fim de demonstrar a relação da nomeação com a temática da decadência familiar, este artigo propõe um diálogo entre a Literatura Comparada e a Antroponomástica Ficcional – estudo dos nomes ficcionais – e situa o processo da despersonalização subjetiva do nome de família para a concretização do ápice da decadência: o desparto social do nome.

The aim of the article is to analyze the autobiographical places called Krakonos’s Garden (Krako- nosovazahrada) in the essays of the brothers Josef and Karel Capek (from the books: O sobě and Krakonosova zahrada) in the context of Malgorzata Czerminska’s concept of the remembered- and lost-sites. The analysis is confronted with the current perception of the famous siblings’ region of childhood, which is characterized as a site of memory. The description includes document analysis (photos, tourist routes, museums) and one project in particular: the map of a region, that is based on Capek’s autobiographical places, with the subtitle: Cestujte s naminamista, kde Karel, Josef a Helena žili a tvořili (Travel with us to the places, where Karel Josef and Helena lived and created). The juxtaposition of these two points of view aims to discover the operation of data memory as the main determinant of the importance of this place.

A definition of perception as used in the above subtitle might be, “an awareness of the environment through physical sensation.” One becomes aware of something through all five senses. Yet it is “seeing” that is the most compelling when analyzing the relationship between architecture and race, especially, for example, when reexamined in literary works such as F. Scott Fitzgerald’s The Great Gatsby. The author, Adrienne Brown, is a professor who specializes in American and African American cultural production at the University of Chicago. In her book, Brown takes her readers on a journey that recounts seeing racial characteristics in the early period of American skyscraper construction. This begins at the end of the nineteenth century, and essentially ends with the erection of the Empire State Building, circa 1931. The book is worthwhile, if mostly for the wealth of literary references — too many to list properly here — and rereading of classic texts. Interdisciplinary is the best way to describe Brown’s approach: She uses architectural treatises, well-known literary novels, and short stories to mark how urbanites visually contended with their changing environment. Although at times her thesis loses its coherency within the style of writing, Brown’s book is a welcome addition to a time in which scholars are examining how everyday objects have been historically written. In addition, Brown’s close readings of these texts are grounded in sociology, history, and legal precedents, providing the reader with context for why a certain author may have perceived skyscrapers in a certain way. This reading highlights the pervasiveness of our visual senses when coping with modern technology and a rapidly changing environment.

The 43 Group was an anti-fascist organization founded in 1946 by Jewish ex-servicemen that physically and ideologically opposed British fascists until 1950. Despite the book’s subtitle referring to...

Having had its protagonist in a carnivalistic world, Aphra Behn’s Oroonoko provides a polyphonic atmosphere in which different attitudes toward colonization can be heard. Oroonoko, who used to be the prince of Coramantien, is doomed to live as a slave in Surinam; a British colony. This degradation, beside other elements of Bakhtinian carnivalesque, makes his language a unique one, belonging neither to aristocrats anymore nor to the slaves, but simultaneously representing both. The subtitle of the story, The Royal Slave, can be implied as referring to this paradox. Additionally, his relationship with the slave society lets their different beliefs and ideas be revealed to the reader despite the author’s will. Aphra Behn, the author, intends to impose her monolithic view on the readers. As a Tory proponent of her time, she defends the colonization and tries her best not to stand against. She attempts to portray her protagonist as the one who believes in social hierarchy; what defines a gentleman from the narrator’s viewpoint. On the surface, Aphra Behn and her hero seem to be of the same opinion toward monarchy and accordingly its policies. They both respect it and believe in its need for the society. A Bakhtinian reading, however, can disclose other massages. Adding to all that, having employed first point of view as the narrator, Behn provides an opportunity for herself to enforce her political attitude to the story. All miscellaneous details of the story are under the control of this monolithic voice. Therefore other characters including the hero can speak only after her permission. Nevertheless, the scope of the novel does not let her be meticulous enough and sporadically, other voices can be heard from different lines of the story. The Bakhtinian reading of this story can bring these hidden voices to the surface.

This is a remarkable book on a remarkable subject. People who have heard of Shenzhen are likely to know the received modern myth of (as the book's subtitle puts it) ‘China's Instant City’ and so mi...

Despite its title, this monograph does not focus on regional geopolitics as such, but, as the subtitle indicates, on South African involvement in the Congo crisis of the early 1960s. That disastrou...

The Black Circle explores the Russian roots of one of the most brilliant and seminal thinkers of the twentieth century. The subtitle, A Life of Alexandre Kojeve, is perhaps misleading because Jeff ...

al-Tabarsī is one of the glossators in the Shī‘ah gloss tradition in the second middle period or first sagacity period. al-Tabarsī who had a wide knowledge in the various knowledge branches was mentioned as a glossator, narrator of Mohammad’s all sayings, deeds and approvals and scribe. One of compilations that al-Tabarsī wrote it in the field of gloss is Macmau-l-bayān fī tafsīri-l-Qur’ān . The glossator who widely included the recitations in this work used some evidence related to their averment while he was reporting the recitations, and he made the recitations’ justification in the framework. The averment is a science which determines the correct recitations as distinguishing the correct one of recitation’s differences from the deficient one, and which founds an aspect of the correct category with all the other transferred and linguistic arguments of recitation in the predilection besides the imputation, the formal Qur’ān. Al-Tabarsī first mentioned the recitations under the subtitle of recitation related to the verses in each sura and then transferred the argument of recitations with the term of argument. So the glossator applied to give evidence on them with the linguistic and transferred arguments in each of the parts that the recitations were nearly mentioned. He mentioned the imputation, the Qur’ān lettering, verse, hadith, companion and natural people’s readings. He used Arabic poetry, Arabic idiom, dialect, grammar and syntax rules for the linguistic arguments. In this study, the evidences which were used in the recitations’ averment are reviewed in the sample of al-Tabarsī’s gloss in the name of Majmau-l-bayān. Summary: Full name of al-Tabarsī who was one of the leading scholar of Shī‘a is Fadl b. Hasan b Fadl al-Tabarsī. He was born in Thabaristan. According to some narration he was born in village named Tafrish which is between Kashan and Isfahan. He was called al-Tabarsī by reference to his hometown Thabaristan, according to another opinion he was called al-Tabarsī which comes from his birth place known as Tafrish located between Kashan and Isfahan. Tafrish was translated into Arabic as Tabars. Also, the commentator was known with nicknames such as Amīnu’l-islām, Amīnu’d-dīn and Umdatu’l-Mufassīrīn. He was called Sebzevarī due to the place where he died and named Mashadī and Ṭūsī because of the place where he was buried. Although he is proficient in many fields, he has been described in the sources as commentator, muhaddīth and faqīh. Mufassīr has written many works in Islamic sciences. one of his works written in the field of commentary is Mujmau-l-bayān fī tafsīri-l-Qurʾān . Mufassīr stated that he wrote this commentary by taking advantage of Ṭūsī 's (d. 460/1067) al-Tibyān by saying “It is a guide from which I benefited from Tibiān light, and I write the subjects on the basis of his method”. The author started to write this work with the encouragement of some of his friends after he had aged quite a bit and his hair turned white. and he saw a gap in this area. He spent a lot of effort to fill that gap. This commentary, written during the first dirayet of the Shī‘a exegesis, is more moderate than the previous periods of Shī‘a commentators. The most basic indicator of this is the definitive rejection of the falsification of the Qurʾān in this period. The second important indicator is that insults and degrading expressions about the first three of the hulafā-i rashid and some of the companions are not accepted. The third important indicator is that most of the verses have been interpreted in a manner that corresponds to the views of the Ahl al-Sunnah school in linguistic analyses and proved by appealing to Arabic poems and sayings. al-Tabarsī mentioned recitation almost in all verses as a subtopic. He performed this in the surah by using subtopics. Then he has used “hujjatuhu” (its evidence) expression to narrate the evident of qirāʾāt. By doing so, commentator grounded qirāʾāts by using their evidences utilizing linguistic and narrative evidences in nearly every mentioned qirāʾāts. Ihtijaj is a science that determines the authentic readings by distinguishing authentic readings from the weak ones, and that grounds the reading in the choice of an angle, which is mentioned in the authentic category, with isnād, Mushaf script and all other narrative and linguistic evidences. There are two types of ihtijaj which are ihtijaj bi-l-qirāʾāt ve ihtijaj li-l-qirāʾāt. Ihtijaj li-l-qirāʾāt uses the linguistic evidences such as isnād, Mushaf line, Arabic language, consumables-nahiv pedestals, polish differences and the narrative evidences such as verses, hadith, qirāʾāt, Arabic words and poetry in determination and preference of a reading aspect. ihtijaj bi-l-qirāʾāt is the use of kiraa as evidence for any matter of science. al-Tabarsī has also mentioned detection proofs which reveal the authentic ways of qirāʾāt like isnād and rasm al-mushaf. Isnād is attribution to whom take the qirāʾāt from previous persons. This proportion reaches up to the Prophet. The persons in the chain of isnād constitute this chain. al-Tabarsī has given in preface the names of the recitors and narrators, which are famous in the cities, based on the fact that an authentic attribute is the basic element in the determination of the qirāʾāh. Thus he passed on the chains of isnād that reached up to the Prophet. Another thing that al-Tabarsī used in the determination proof of qirāʾāh is rasm al-mushaf. The commentator has used the spelling of al-mushaf scripture as evidence by saying “written in al-mushaf like this”. al-Tabarsī, also mentioned preferable evidences about ways of qirāʾā’s proof. Preferred proofs, are evidence to make choosing between qirāʾāh whose authenticity is defined by means of determination proofs. These evidences are divided into two parts which are determination proofs-based and special. Special evidence has not relation with the determination proofs. It contains evidence categories used to prefer one of the two authentic qirāʾāh as special. These categories are divided into four parts: linguistic, transplant, mental and private. al-Tabarsī has evidenced with verses of narrative proofs in the preferred evidence category. The commentator has mentioned about this method for qirāʾā evidence extensively. He has grounded qirāʾāh by using verses. al-Tabarsī also has evidenced these matters by using words of the Prophet from narrative proofs in the preferred evidence category. In this method commentator has evidenced from hadith after mentioning qirāʾāh ways. al-Tabarsī evidences from narrative proofs with qirāʾāh preferred evidence category. In this context, the commentator mentioned recitation of companion and followers by saying his qirāʾāh after reporting qirāʾāh. Moreover, the commentator has sometimes mentioned recitations which is related with reading seven of the recitation and reading ten of the recitation sciences qurra recitation and sometimes mentioned recitations which are known as shadhdh. Then, he has examined these recitations with the qirāʾāh of companions and followers. al-Tabarsī has benefited from narrative evidences, Arabic poetry and phrase in the preferred evidence category extensively. Another evidence used for examination of qirāʾāh is linguistic evidences. Qirāʾāh are related with Arabic language because it has connection with Qur’ānic wording which revelated in Arabic. al-Tabarsī has benefited from some things such as Arabic grammar rules and dialectic differences extensively. The commentator has benefited from Arabic grammar by emphasizing the meaning of the words with the literary features. He has explained grammar statement related with qirāʾāh aspects. He has also explained linguistic rules which are about aspects.

When Iris Chang published The Rape of Nanking in 1997, exactly sixty years after the Nanjing Massacre, the subtitle The Forgotten Holocaust of World War II, called attention to one of the greatest ...

The number of studies addressing non-professional or amateur subtitling or fansubbing has increasingly multiplied over the past years, underlying its relevance in the present world. This is partly because a growing number of audiences worldwide now watch TV series and films with subtitles by amateur subtitlers, which are freely shared online, and Iranian viewers are certainly included. In Iran, to get around the “cultural gate-keeping” policy advocated and strictly enforced by the state in the national media system, from the early 2010s onward, numerous Persian-language websites have embarked on a new initiative whereby original, especially American tv series and films are made available for download together with their Persian subtitles. Despite the upsurge of this phenomenon in the Iranian context, there is limited literature and research on Persian non-professional subtitling. To fill this knowledge gap, this article aims to examine and analyze the different practices that are closely associated with Persian amateur subtitling. This includes building a profile of Iranian amateur subtitlers, along with an account of their working process, followed by a description of fansubbed products. The data are gathered using an open-ended questionnaire with a criterion sample of Iranian non-professional subtitlers, a survey of Iran-based video and subtitle sharing websites, and a close examination of the common features found in fansubbed Persian products, including reading speed and fansubbers’ experimentation with the original.El sistema de subtitulación aficionada iraní: Una investigación cualitativaResumenLa cantidad de estudios que abordan la subtitulación no profesional o aficionada, o fansubbing, se ha multiplicado en los últimos años, lo que subraya su relevancia en el mundo actual. Esto se debe en parte a que un número creciente de espectadores en todo el mundo ahora ve series de televisión y películas con subtítulos compartidos en línea por subtituladores no profesionales e Irán no es una excepción. Desde principios de 2010 en adelante, en Irán, numerosos sitios web en lengua persa se han embarcado en una nueva iniciativa para sortear la política de "filtrado cultural" —defendida y dirigida estrictamente por el Estado en el sistema de medios de comunicación nacional—, en la cual series y películas, especialmente estadounidenses, se comparten para descargar con subtítulos en persa. A pesar del aumento de este fenómeno en el contexto iraní, existe poca literatura e investigación sobre la subtitulación persa no profesional. Para llenar este vacío, este artículo busca examinar y analizar las diferentes prácticas estrechamente asociadas a la subtitulación persa. Esto incluye construir un perfil de los subtituladores no profesionales iraníes, junto a una descripción de su proceso de trabajo, seguida de una descripción de los productos subtitulados por aficionados. Los datos se recopilan mediante un cuestionario abierto con una muestra de criterios tomados de los subtituladores no profesionales iraníes, una revisión de los sitios web para compartir subtítulos y videos en Irán, y un examen detallado de las características comunes a los productos subtitulados por aficionados a la lengua persa, incluyendo la velocidad de lectura y la experimentación de los subtituladores aficionados con el original.Palabras clave: subtitulación no profesional, subtitulación aficionada, subtituladores aficionados, subtitulación persa, IránFecha de recepción: 30/04/2019Fecha de aceptación: 30/06/2019¿Cómo citar este artículo?Ameri, S. y Khoshsaligheh, M. (2019). Iranian Amateur Subtitling Apparatus: A Qualitative Investigation. Mutatis Mutandis. Revista Latinoamericana de Traducción, 12(2), 433-453. doi: 10.27533/udea.mut.v12n2a08

In this research, the writer attempts to find out the translation procedures in the translation of movie subtitle: Zootopia from English to Indonesian subtitle to determine the intended audience of the movie. The research used a descriptive qualitative method. The data of this research are the utterances or sentences in movie subtitle both English and Indonesian with the source of the data of this research is Zootopia movie. The writer used Indonesian subtitle from the site called subscene where the translators around the world could translate movies into many languages. The data collected by watching the movie with both English and Indonesian subtitles, and categorized the collected data based on each translation procedures of Newmark. The writer figured out that the intended audience is all ages group and the writer also found ten translation procedures used in the movie subtitle: Zootopia. The ten translation procedures are couplets, modulation, paraphrase, reduction, literal translation, cultural equivalent, transference, functional equivalent, naturalisation, transposition/shifts. Based on the findings, it can be concluded that the intended audience of Zootopia movie is all ages group and there are ten from nineteen procedures are found in the movie subtitle: Zootopia.

Niklas Olsen, an historian at the University of Copenhagen, has written an ambitious book that claims in its subtitle to offer ‘a new intellectual history of neoliberalism.’ The novelty of his appr...

This report discusses the process of making English subtitle by using the Aegisub application for profile movie of Padang Pariaman Regency produced by local government. The aims of making the English Subtitle for the profile movie is to influence the foreigners to visit Padang Pariaman as the tourism destination and to make this place well known worldwide. The profile movie tells the hidden potential sectors of Padang Pariaman, including tourism spots, farm, plantations, marine resources, hospitality, culture and customs. There are three stages conducted in the process of making the English subtitle. The stages are transcription, translation, and subtitling. The transcript of the profile movie consist of 1200 words with 14 minutes, 36 seconds in duration. The translation process, methods, and procedures are applied. There are several procedures used in the translation stage such as transference, descriptive equivalent, modulation, transposition, and recognized translation Then, the English subtitle is created by using Aegisub application. So the result of this project is a new profile of Padang Pariaman Regency with the English subtitle. Hopefully, this profile movie can be understood by foreigners who have great interest to become potential visitors in the future.

From 2001-5 Virginia Ryan staged several hundred photographs of herself in diverse situations in Accra, Ghana, and surrounding locales in West Africa, where she was living and working as an artist, administrator, and member of a diplomatic mission. The images inquire into and create an artistic conversation about the experience of being white in West Africa, of a European woman being the exposed object of a non-European gaze. The essay blurs voices, mixing analytic and evocative registers, incorporating fragments of recorded conversation with Ryan, and situating the work in perspectives from art/photo/film history, anthropology, African studies, and critical race and gender studies. In resonance with the title 'Exposures,' and the highly ironic subtitle 'A White Woman in West Africa', they ask what has changed, or been left unchanged, about the look or display of whiteness since colonial times, and who and what is exposed, made vulnerable through the gazing of inter-race encounters.

The editors of this book claim that its contents are “intentionally provocative” (p. xxxi). Certainly, the title and subtitle indicate a book focused upon disruption, radical change, and hopefully ...

As indicated by the subtitle of this book, The Kinematograph Theatre Arrives is the third volume in a series, of which the second volume has previously been reviewed in this journal (Kember 2014). ...

This introductory chapter gives an overview of the development of multimodal approaches to discourse analysis and of previous research on multimodal translation and interpreting. It introduces multimodal discourse analysis, including visual grammar, visual metaphor and image-text relations. This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book examines the translation of the English classic Hamlet in China. It focuses on the translation of modern Chinese themes, working with text and images from the Belt and Road Initiatives and tourism promotional materials of Macao. The book analyses the intersemiotic shifts in the English subtitle of the popular Chinese costume drama, Zhenhuan Zhuan. It also analyses how the Chinese classic “Mulan Ci” is repackaged in contemporary bilingual picturebooks through the verbal and non-verbal paratexts in translation. The book also focuses on the reshaping of the image of Monkey King in translating the animated movie Monkey King: Hero Is Back for Western audiences.

With the implementation of “go globally” strategy of Chinese culture, a large number of Chinese films and TV programs have been produced to go abroad. As a medium and carrier of cultural communication, the quality of documentary subtitle translation determines whether Chinese culture can be appropriately disseminated or not. This paper aims to investigate the translation strategies of culture-specific items with special focus on name of dishes. The object of study in this paper is A Bite of China 1 produced by CCTV in 2012, which is not only about Chinese foods but also geography, local customs and dietary habit. Firstly, by using comparative approach, the linguistic characteristics are discussed to identify the similarities and differences between source and translated dish names. Then the translation strategies for dish name are examined. Next, such factors affecting translation strategies as cultural ideology is analyzed. The objective of this paper is to study what translation strategies are possibly adopted when translating Chinese dish name into English in the documentary. The findings show that in the process of dish name translation of Chinese documentaries, domestication and foreignization are two frequently used strategies which is complementary to each other.

The paper discusses a specialised branch of translation, „lm translation, more precisely subtitle translation. Film subtitle translation is not only difficult for its linguistic and cultural aspects but for its technical challenges as well. The translation needs to comply with such technical criteria as the length of the subtitle, the timeframe for reading, and in certain cases the lip movement of the actor in the „lm. In the last section of the article the author demonstrates his previously made points by sharing his experiences with the translation of The Aristocratic Peasant Girl by Russian director Aleksey Sakharov.

The words “conflict prone regions” in the subtitle of this eclectic volume are a euphemism for the descent into misery, death, and destruction experienced by Nigerians at the hands of the sadists a...

One of the humorous aspects in the field of language is wordplay. Wordplay tends to create linguistic problems of translability due to the the diversity of languages and different linguistic typology. However, recently a number of movies and series from overseas which the genre is comedy must contain wordplay in the subtitles. Whilst, the subtitles in one of the scope of audiovisual translation, it requires several techniques to translate as subtitling adds space, time, and presentation. This paper is to investigate types of wordplay found in the subtitles of Hannah Montana and strategies applied to translate English wordplay into Indonesian. The data of this study was collected from an American series entitled Hannah Montana from season one to three. Hence, the most appropriate method employed is qualitative. The sampling technique applied is purposive sampling. The total four types of wordplay found in the series, namely: phonological and graphological structure (consists of homonymy, paronymy, and homophony), lexical structure (polysemy), morphological structure, and syntactic structure. Most of the translator whom sub movies or series used is wordplay to non-wordplay strategy. This strategy has a significant effect in rendering the meaning to the target text that affects the audience when they watch the film whether to laugh or not to laugh.

Since its inception in 1990, Kannywood, the Northern Nigerian film industry, produced films only in Hausa, the dominant language of the region. The film, There is a Way (2016, dir. Falalu A. Dorayi) has recently debuted a new “genre” in the English language in the industry. However, the place of English or any non-African language in African arts (film, inclusive) is a topic of scholarly debate, especially within the discourse of postcolonial studies. Many pan-African writers and critics query the justification of that as the language is, they argue, foreign to African audience and is used only by and for the elites. Kannywood filmmakers, nevertheless, claim that theirs is rather a response to the Southern Nigerian filmmakers whose industry, Nollywood is enormously successful and far ahead for, among other reasons, their use of English. This paper attempts an evaluation of the English language and the subtitle of the film in question, to access the success or otherwise of its narrative essence.

The title and subtitle of this book tell the untold story of the neoliberal era—a cumulative destruction of foundational institutions of public knowledge. This free markets’ destruction of the gene...

In a review of Bernard Lewis’ 1986 book Semites and Anti-Semites: An Inquiry into Conflict and Prejudice, Richard Wolheim makes the suggestive remark that the subtitle is ‘not strictly accurate for...

The specific form of modern Russian literature - the so-called “nanobook” - is considered. The relevance of the study is due to the emergence of a significant number of such works in the late 2000s and the first half of the 2010s, as well as insufficient attention to this phenomenon from scientific community. A review of nanobooks presented to readers in print or electronic form in the post-Soviet period is proposed. The appeal to such material is the novelty of this study. The authors conclude that nanobook is not a literary genre, but a literary form. It is noted that such works do not have stable features in a content, but they can be combined into a single group on the basis of certain formal characteristics: short body of the main text; “reproduction” of a lexical unit in a line or in a column for tens or even hundreds of pages; author’s equating of his / her work to large prose or poetic statements, for example, novels, poems, epics; publication of such a work by a separate edition. In addition, the authors of the article emphasize that the importance of a title, subtitle, overtitle, preface, dedication, epigraph, afterword in a nanobook increases significantly, while the importance of the main body of the book, on the contrary, decreases.

The present article gives a detailed account of previously unknown documentary sources of Leskov’s short story “Episcopal Justice.” This story bears the subtitle “True story. From recent re...

The present study aimed to understand the norms of the use of plants by Korean ancestors and to further broaden the horizon of the Palgyeong (eight landscapes) culture. This study explored the planting origin and symbolic meaning of Ssanggoi-su by the Gwangju Ahn clan in Sirye-ri, Gimhae to analyze and interpret the subtitle and content of the Chodangpalgyeong poem from a limited viewpoint of Yeomsudang. The results of this study are as follows: On the basis of the brotherhood of two brothers in the Gwangju Ahn clan Gwangju, Sirye-ri Ssanggoi-su was a symbolic tree to express the spirit of Seonbi by planting a pagoda tree called the scholar tree, as well as wishes that their descendants climb the ladder to become the highest government officials. However, Chodangpalgyeong is Palgyeong, which is a similar type of Sosang, composing poems on eight landscapes from the viewpoint of the Sarangchae space of the Yeomsudang garden. Chodangpalgyeong is the only collection of eight different landscape plants as objects of landscape. The Palgyeong poem presents a particular planting position for each of eight different plants, indicating planting patterns as custom. That presentation suggests that the landscape plants in Chodangpalgyeong are a symbolic counterpart that can enhance the careful consideration of the “ancient things” in addition to the pursuit of beauty. Furthermore, the plants that had appeared in “Bihaedangsasippalyoung (Bihaedang 48 Poems)” at the beginning of the Joseon Dynasty further appeared in Chodangpalgyeong in the early 19th century. This observation indicates the norm of the traditional planting pattern as well as the universal cultural phenomenon.

‘I sell the shadow to support the substance’. So went the famous subtitle on the cartes de visite Sojourner Truth began selling in the 1860s to fund her work. In the past two decades, a wealth of s...

Eric Mumford Designing the Modern City: Urbanism since 1850 New Haven, Conn.: Yale University Press, 2018, 360 pp., 125 b/w illus. $40 (cloth), ISBN 9780300207729 The expansive catalogue of recent books on global urbanization covers an array of approaches, from the political and social to the technological and environmental. Urbanization and its central object, the city, claim a priority in analyses of the modern condition, whether optimistic or pessimistic. The city also appears as a central protagonist in any number of works of architectural history, having captivated the attention of architects and architectural discourse for the past two centuries. In Designing the Modern City: Urbanism since 1850 , Eric Mumford aims to acknowledge both of these views—the city as the conceit of architects and the city as the embodiment of modernity—with a broad survey of the strategies conceived, proposed, and deployed to design the modern city in the nineteenth and twentieth centuries. Although compact, Mumford's book accomplishes ample coverage of salient examples distributed temporally and geographically, such that it functions as a survey textbook, one that may occupy the pedagogical positions formerly held by classic publications on city form. The influential morphological approach of publications by Leonardo Benevolo, Edmund Bacon, and Spiro Kostof has of course waned in recent decades with the ascendance of more emphatically sociocultural and technopolitical examinations of urbanization, leaving open the question of whether and how we should talk about the intentional design of cities. This is the challenge that Mumford takes up, proposing to offer “an account of how key figures in design responded to changing social, technical, and economic circumstances with design proposals and built projects” (2). The urbanism of the book's subtitle is for Mumford a field …

As its subtitle indicates, Bryan Van Norden’s book is a manifesto. This means that, while not being simply a statement of beliefs or demands, it is somewhat vociferous (although it is also sometime...

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Chinese is a verb-dominated language, while English is a noun-dominated language. In Chinese-English translation, Translators must deal with Chinese verbs based on the characteristics of English. Through analyzing the subtitle of Aerial China: Jiangxi, it found that translators have used different translation strategies to translate Chinese verbs into English. When dealing with Chinese verbs, translators mainly adopt the following strategies: translating Chinese verbs into English nouns, Translating Chinese verbs into English prepositions, and translating part of verbs of serial verb construction into English non-predicate forms. It is hoped that this article can provide reference for the translation of Chinese verbs in Chinese-English translation.

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To look at the subtitle for this volume, you might decide it is a minority book about a marginal community that you will need for your research library for completeness sake. This would be a mistak...

Despite its subtitle, The Alchemy of Slavery is a history of slavery and emancipation within the boundaries of present-day Illinois State rather than of the ‘Illinois Country.’ The ‘Illinois Countr...

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