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Migrants, refugees, asylum seekers: many words to describe human beings who leave behind their homes, their loved ones, and their identities to build a new life in a host country. However, due to historical and cultural issues, nowadays the UK is a hostile environment rather than a hospitable, welcoming one. Three interesting contemporary projects will be analysed and compared: Anders Lustgarten’s 2015 play Lampedusa, the two volumes of Refugee Tales published in 2016 and 2017 by Comma Press and the anthology A Country of Refuge, edited by Lucy Popescu and published in 2016 as part of the Unbound project. What they have in common is the search for a language that is able to grasp and convey the complexity of migration from the point of view of all those involved: not only refugees and asylum seekers, but also coastguards, lawyers, interpreters, social workers, and many others.

British theatre has undergone dramatic changes over the last few decades, which mirror the enormous changes in British society. In particular, since the 1980s there has been an increasing number of Black and Asian playwrights working in and writing about Britain. This article will focus on the diasporic theatre of such writers as Tanika Gupta, Roy Williams and Kwame Kwei-Armah, a kind of theatre which attempts to redefine British identity through a “hybridisation” of the theatrical discourse.

Nowadays learning analytics has been growing as a science, and at the University of Turin we are interested in its potential to enhance both the teaching and the learning experience. In the last few years we have gathered data from two projects: Orient@mente, an online platform where students can prepare for university entry tests and browse online courses before enrolling in one, and start@unito, which offers open online university courses in various disciplines. In addition, we have also studied and analyzed the results of the teacher training experience carried out for the start@unito project, as well as those obtained from a survey involving secondary school teachers and the possible employment of the start@unito OERs in their everyday teaching. Our sources of data are students’ activity online, the results of formative automatic assessment, and the questionnaires given to the learners; the types of questions range from Likert scale evaluations to multiple choice, yes/no and a few open questions. In this way, the insights gained from both usage tracking and questionnaires can be used to make interventions to improve the teaching and the learning experience. In this paper we discuss the different ways we employ LA in our projects and try to evaluate their effectiveness in terms of outcomes, structure, availability, statistics and interventions.

Abstract - The most noticeable feature of Alasdair Gray’s first collection of poems is the predominance of loss, absence, and void in all its manifestations. The absence is mostly of love and the beloved ones, either dead or gone, but also of meaning, of God, of light and warmth. So, my translation of Old Negatives focused primarily on the analysis of this poetics of what he himself calls “absences and reverses”, accounting for the linguistic phenomena of negation. This article concentrates on the translation strategies, as well as the actual solutions, adopted in order to preserve the “un-factor” which permeates Gray’s entire poetic production. The translation strategies employed range from the linguistic and etymological study of Italian negative prefixes or periphrases to the creation of neologisms. The purpose is to achieve what Zdanys (1982) called “affective equivalents”, namely a type of objective correlative which can capture as many of the cognitive implications of the original as possible. Riassunto -La caratteristica della prima raccolta di poesie di Alasdair Gray è la predominanza dei temi della perdita, dell’assenza e del vuoto in tutte le loro manifestazioni. L’autore esplora l’assenza dell’amata, lontana o dipartita, l’assenza di significato, di Dio, della luce e del calore. La mia traduzione di Old Negatives si è dunque concentrata soprattutto sull’analisi della poetica di “assenze e rovesciamenti”, prestando particolare attenzione ai fenomeni linguistici di negazione. Più o meno deliberatamente, Gray sottolinea questo aspetto utilizzando un numero incredibilmente alto di aggettivi e verbi che iniziano col prefisso negativo inglese ‘un-’, coniando anche parecchi neologismi. In questo scenario, ho ritenuto opportuno spiegare le strategie di traduzione adottate (che spaziano dallo studio linguistico ed etimologico dei prefissi negativi italiani alla necessità di ricorrere a perifrasi, fino alla scelta di coniare dei neologismi) al fine di preservare il “fattore –un” che permea l’intera raccolta. Lo scopo è ottenere ciò che Newmark ha definito un “effetto equivalente” e trovare quelli che secondo Zydanis sono gli “equivalenti affettivi”, un tipo di correlativo oggettivo che riesce a catturare il maggior numero possibile delle implicazioni cognitive dell’originale.