La presente ricerca ha un duplice obiettivo. Primo, individuare i modi in cui lingue e identità culturali diverse sono state rappresentate al cinema. Secondo, identificare le diverse strade imboccate dai professionisti del doppiaggio italiano quando si trovano a confrontarsi con un film in cui si parlano più lingue. La ricerca propone un approccio multidisciplinare che combina i contributi teorici sviluppati nel campo degli studi di traduzione audiovisiva con le modalità di analisi più comunemente utilizzate dalla semiotica del cinema. L'analisi si basa su un campione di 224 film multilingue prodotti dall'inizio degli anni Trenta alla fine degli anni Duemila. Particolare attenzione viene indirizzata al quadro teorico all'interno del quale viene interpretato il ruolo che il multilinguismo assume al cinema. Vengono identificate tre funzioni principali: conflitto, confusione e resa realistica. Un altro elemento chiave nell'analisi è costituito dal genere cinematografico prevalente a cui è possibile ricondurre ciascuno dei film selezionati. Sono individuati tre generi principali: il film drammatico, la commedia e il thriller. Nel film drammatico il multilinguismo agisce come un veicolo che produce e accentua il conflitto, mentre nella commedia esso di solito diventa un dispositivo comico che crea confusione e umorismo. Nel cinema thriller, invece, il multilinguismo funziona essenzialmente come un veicolo di suspense. Per quanto riguarda le soluzioni traduttive adottate nel doppiaggio italiano del cinema multilingue, sono rilevate tre macro-strategie: la conservazione, la neutralizzazione e la riduzione dell'originale dimensione multilingue. Ciascuna di queste tre strategie è passata a vaglio critico. Se nel primo caso si tratta di un tentativo di riprodurre fedelmente le originali situazioni multilingue rappresentate nel film, negli altri due casi si tratta di soluzioni che risentono fortemente delle specificità del doppiaggio come modalità di traduzione degli audiovisivi (fattori ideologici ed economici, nonché il problema tecnico dell'armonizzazione delle voci per i personaggi bilingue). / The research has a two-fold aim. First, it sets out to define the ways in which lingua-cultural diversity has been represented in film history. Second, it seeks to identify the different solutions adopted by Italian dubbing professionals to cope with the multilingual situations depicted on screen. The investigation proposes a multidisciplinary approach which combines the theoretical contributions of audiovisual translation studies with those of films studies, particularly with film analysis techniques. The analysis is based on a sample of 224 multilingual films produced from the early 1930s to the end of the 2000s. Special attention is given to the theoretical framework whereby the role of multilingualism on screen is interpreted. Three main functions of multilingualism are thus identified: realistic rendering, conflict and confusion of lingua-cultural identities. The role played by multilingualism in film is also linked to the cinematic genre which seems to prevail in each of the films taken into account. Specifically, three main genres are examined: drama film, comedy and thriller film. If in drama films multilingualism tends to function as a means to produce or exacerbate conflict, in comedy it is generally employed as a vehicle for confusion, leading to humorous and comic effects. Conversely, in thriller films multilingualism mainly operates as a vehicle for suspense. With specific regard to Italian dubbing, three different macro-strategies are singled out: preservation, neutralisation and quantitative reduction of the original multilingual situations represented. Each of these strategies is critically discussed. Whereas the preservation of lingua-cultural identities represents a clear attempt at closely mirroring the multilingual dimension of the original film, both neutralisation and quantitative reduction are strategies mainly associated with the specificities of dubbing as a screen translation mode (ideological and economic factors as well as the technical problem of harmonising the voices in case of bilingual characters).

Coccidioidomycosis is a growing problem in the United States. There is still an incomplete understanding of the immunological response associated with human coccidioido-mycosis, although previous studies have indicated that cell-mediated immunity (CMI) is critical in the control of this disease. We have examined necrotizing pulmonary coccidioidal granulomata using immunohistochemical staining for lymphocyte subsets and for the cytokines interleukin-10 (IL-10) and gamma interferon (IFN-?). Discrete perigranulomatous lymphocytic clusters were identified containing roughly equal numbers of T (CD3+) and B (CD20+) lymphocytes. While the number of cells expressing IL-10 was similar in the mantle and in the perigranulomatous clusters, there were significantly more cells expressing IFN-? in the mantle compared to the clusters (P = 0.037). Confocal microscopy revealed that CD4+ T lymphocytes and B lymphocytes are associated with IL-10 production. CD4+CD25+ T lymphocytes were also identified in the perigranulomatous clusters but were not associated with IL-10 production. This is the first report noting perigranulomatous lymphocyte clusters and IL-10 in association with human coccidioidal granulomata, suggesting a down-regulation of cellular immune response.IL-12 is critical in driving a T helper type 1 (Th1) immune response. To understand the mechanism associated with hyporesponsiveness to IL-12 stimulation seen in some anergic patients with disseminated coccidioidomycosis, IL-12 receptor expression and function were determined in PBMCs from immune and nonimmune healthy donors. By using a relative quantitative RT-PCR technique, we found that IL-12R?1 is constitutively expressed in PBMCs and is equally up-regulated by coccidioidal antigen preparation T27K in both immune and nonimmune donors. On the other hand, the IL-12R?2 expression level is increased by T27K only in PBMCs from immune but not nonimmune donors. In addition, the increased IL-12R?2 expression in immune PBMCs is correlated with Stat4 activation and the induction of IFN-? production by IL-12. These data suggest that the IL-12R?2 expression and signal transduction is functional in host immunity against Coccidioides infection. Subsequent research, which involved the stimulation of lymphocytes with autologous dendritic cells (DCs) pulsed with T27K, revealed that the up-regulation of IL-12R?2 expression and signal transduction is associated with the induction of IFN-? production by DCs pulsed with T27K.

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The present study aims at analyzing how dark humour as a cinematic genre travels cross-culturally through a specific mode of audiovisual translation, i.e. dubbing. In particular, it takes into consideration the processes involved in dubbing humour from English into Italian as observed in the English- and Italian-language versions of ten British and American dark comedies from the 1940s to the 2000s. In an attempt to identify some of the main mechanisms of the dark humour genre, the humorous content of the films was analyzed in terms of the elements on which specific scenes are based, mainly the non-verbal and verbal components. In the cases in which verbal elements were involved, i.e. the examples of verbally expressed humour, the analysis was concerned with whether they were adapted into Italian and to what effect. Quantification of the different kinds of dark humour revealed that in the sample of dark comedies verbal dark humour had a higher frequency (85.3%) than non-verbal dark humour (14.7%), which partially disconfirmed the first part of the research hypothesis. However, the significance of contextual elements in the conveying of dark humour, both in the form of Nsp VEH (54.31%) and V-V (V+VE) (21.68%), provided support for the hypothesis that, even when expressed verbally, dark humour is more closely linked to context-based rather than purely linguistic humour (4.9%). The second part of the analysis was concerned with an investigation of the strategies adopted for the translation of verbal dark humour elements from the SL (English) into the TL (Italian) through the filter of dubbing. Four translational strategies were identified as far as the rendering of verbal dark humour is concerned: i) complete omission; ii) weakening; iii) close rendering; and iv) increased effect. Complete omission was found to be the most common among these strategies, with 80.9% of dark humour examples being transposed in a way that kept the ST’s function substantially intact. Weakening of darkly humorous lines was applied in 12% of cases, whereas increased effect accounted for 4.6% and complete omission for 2.5%. The fact that for most examples of Nsp VEH (84.9%) and V-AC (V+VE) (91.4%) a close rendering effect was observed and that 12 out of 21 examples of V-AC (PL) (a combined 57%) were either omitted or weakened seemed to confirm, on the one hand, the complexity of the translation process required by cases of V-AC (PL) and V-AC (CS). On the other hand, as suggested in the second part of the research hypothesis, the data might be interpreted as indicating that lesser effort on the translator/adaptor’s part is involved in the adaptation of V-AC (Nsp VEH) and V-V (V+VE). The issue of the possible censorial intervention undergone by examples of verbal dark humour in the sample still remains unclear.