Thesis (M.M.)--University of Texas at El Paso, 2009. / Title from title screen. Vita. CD-ROM. Includes bibliographical references. Also available online.

Diss.--Komparatistik--Universität Augsburg, 1998. / Bibliogr. p. 196-201. Index.

No description available.

In this essay, research is conducted on two different translations of the same comic play by Dario Fo: Accidental Death of an Anarchist. (Original title in Italian: Morte accidentale di un anarchico). The first translation is by Gillian Hanna – adapted by Gavin Richards, and the other by Simon Nye. As the original text is both satirical and comedic, one of the things investigated is how these satirical and comical features of the original text are translated. Questions asked include whether these comical and satirical features are sometimes omitted or altered for any linguistic reason, or if the “jester-like” satire of the original text is preserved. In order to answer these questions, the context of the text will first be explored, as this context may present linguistic obstacles for a translator. These possible linguistic obstacles will mainly be established through Fitzpatrick & Sawczak’s Cultural Translation Model. Chapter 2 of this essay consists of an explanation of the methodology of gathering data through primary and secondary literature sources, and, eventually a comparison of the two translations to the original text. In Chapter 3, a review of the relevant theories is presented, and the theoretical literature which may offer explanations about the linguistic properties of humour and the “comedic process”. Further, Dario Fo’s particular style of political satire is presented in Chapter 4, together with an investigation of the particular use of satire in theatre performances, and Commedia dell’arte - as background for his particular comedic style. In Chapter 5, linguistic obstacles for translating humour and satire for stage are investigated. In addition, various adaptation strategies of translation are briefly displayed, as well as a short account for Accidental Death of an Anarchist in adaptation. Finally, in Chapter 6, a comparison between some short segments of the two translations and the original text is conducted, in order to establish whether some satirical and comical features have been preserved or altered in the translations. The research will show that there exists a lack of linguistic humour theories which goes beyond linguistic puns. At the same time, various techniques are available to translate and adapt the humorous source text into the target language and culture. Even if there is no linguistic reason for altering the implications and symbolic approach of the original text, the translator may adapt the stage performance into the cultural realm of the native public. Thus, the translator can either exclude the humorous parts in the original text, or adapt the satire into domestically accepted jokes, or add new humorous events into the play. However, due to linguistic obstacles in translating humour, it is not always a matter of choice for the translator to either be true to audience or author.

A melanopsina foi descoberta em 1998 por Ignacio Provencio e colaboradores em melanóforos de Xenopus leavis. Desde sua descoberta, esse fotopigmento surgiu como um possível candidato a intermediar os fenômenos de sincronização nos vertebrados. Nos mamíferos, a melanopsina é encontrada num pequeno subgrupo de células ganglionares da retina, conhecido como células ganglionares retinianas intrinsecamente fotossensíveis (ipRGCs) e o seu papel como fotopigmento responsável pela percepção luminosa, que leva à sincronização das espécies dessa classe aos ciclos de claro e escuro, já foi estabelecido. A melanopsina está presente na retina de todas as classes de vertebrados estudadas até o momento, mas, em contraposição a essa afirmação, a sua estrutura tem maior semelhança com opsina de invertebrados do que com opsina de vertebrados, sugerindo que sua fototransdução ocorra através da via dos fosfoinositídeos. Essa hipótese foi confirmada por diversos trabalhos na literatura e estudos posteriores demonstraram que, em vertebrados não mamíferos, a melanopsina é codificada por dois genes: um ortólogo ao de mamíferos, Opn4m, e um ortólogo ao de X. leavis, Opn4x, levantando diversas questões a respeito da funcionalidade dessa opsina. Nosso grupo vem estudando esse fotopigmento nos tecidos periféricos de vertebrados desde 2001, sendo que foi pioneiro em demonstrar, em melanóforos de Xenopus laevis, que a dispersão dos grânulos de melanina se dá através da fotoativação da melanopsina que desencadeia a cascata de fosfoinositídeos. E estudos mais recentes vêm colocando a melanopsina como um dos possíveis fotopigmentos responsáveis pela sincronização de relógios periféricos em organismos como peixes e anfíbios. Nesse sentido, a linhagem de células ZEM-2S do peixe teleósteo Danio rerio é um ótimo modelo para o estudo das vias de fototransdução em relógios periféricos. Já foi demonstrado que essa linhagem de células é responsiva a estímulos luminosos, exibindo uma proliferação diferencial frente a diferentes regimes de claro e escuro, e ativando a expressão de genes de relógio como clock, per1 e cry1b, que conhecidamente são responsáveis por sincronizar os ritmos biológicos ao fotoperíodo ambiental. Nossos experimentos de imunocitoquímica detectaram a presença das duas proteínas codificadas pelos genes opn4m-1 e opn4m-2 da melanopsina, e mostraram uma significativa diferença na distribuição das proteínas Opn4m-1 e Opn4m-2. Análises de PCR quantitativo mostraram que um pulso de luz azul de 10 min é capaz de alterar a expressão dos genes de relógio per1b, per2, cry1a e cry1b, e que essa alteração ocorre através da via dos fosfoinositídeos em células embrionárias ZEM-2S de Danio rerio. Em adição mostramos que para promover a alteração dos genes de relógio, a via dos fosfoinositídeos interage com outras vias de sinalização como a via do óxido nítrico (NO) e a via das proteína quinases ativadas por mitógenos (MAPKs). Esses dados sugerem que a melanopsina seja um dos principais candidatos a intermediar os processos de sincronização nessas células, pois a somatória dos resultados de detecção da melanopsina, estimulação dentro de seu espectro de absorção e ativação da via dos fosfoinositídeos, a coloca a frente de outras opsinas como vertebrate ancient opsin (Va-opsin) e teleost multiple tissue opsin (Tmt-opsin) e de outros candidatos como Crys fotossensíveis e mecanismos de estresse oxidativo. No curso deste trabalho também conseguimos definir metodologias eficientes de transfecção de RNA de interferência e de DNA plasmidial em células ZEM-2S de D. rerio, que são ferramentas fundamentais nos estudos de expressão gênica nesse modelo / Melanopsin was discovered in 1998 by Ignacio Provencio and colleagues in Xenopus leavis melanophores. Since its discovery, this photopigment has emerged as a possible candidate to mediate synchronization in vertebrates. In mammals the melanopsin is found in a subset of retinal ganglion cells, known as intrinsically photosensitive retinal ganglion cells (ipRGCs) and their role as the photopigment responsible for photoentrainment in mammals has already been established. Melanopsin is present in the retina of all vertebrate classes studied to date, nevertheless, its structure is more similar to invertebrate than to vertebrates opsins, suggesting that their phototransduction pathway occurs through the phosphoinositide pathway. This hypothesis has been confirmed by several studies in the literature. Later studies showed that melanopsin is encoded by two genes in non-mammalian vertebrates, Opn4m orthologous to mammalian and Opn4x orthologous to X. leavis, raising new questions about the functionality of this opsin. Our group has studied this photopigment in vertebrate peripheral tissues since 2001 and, in Xenopus laevis melanophores, we demonstrated that pigment granule dispersion occurs through photoactivation of melanopsin and triggering of phosphoinositide pathway. More recent studies have put melanopsin as a possible photoreceptor responsible for peripheral clocks entrainment in organisms like fish and amphibians. In this context, the ZEM-2S cell line of the teleost fish Danio rerio is a good model to study the mechanism of phototransduction in peripheral clocks. It has been previously demonstrated that this cell line is responsive to light stimuli, exhibiting a differential proliferation when submitted to different light/dark regimes and activating the expression of clock genes such as clock, per1 and cry1b, known to synchronize the biological rhythms to environmental photoperiod. Our immunocytochemistry experiments detected the presence of two proteins encoded by the melanopsin genes opn4m-1 and opn4m-2, and showed a significant difference in the distribution of proteins Opn4m-1 Opn4m-2. Quantitative PCR analyses showed that a 10-min blue light pulse is able to change the expression of the clock genes per1b, per2, cry1b and cry1a, and that this change occurred through the phosphoinositide cascade in embryonic ZEM-2S cells of D. rerio. In addition we showed that, to promote the change in clock gene expression, the phosphoinositide pathway interacts with other signaling pathways such as the nitric oxide (NO) and the mitogen-activated protein kinase (MAPK) pathways. These data suggest that melanopsin is a major candidate to mediate the photoentrainment in these cells, because taken together, the detection of melanopsin, stimulation within its absorption spectrum and activation of the phosphoinositide cascade, puts it ahead of other opsins, as the vertebrate ancient opsin (Va-opsin) and teleost multiple tissue opsin (Tmt-opsin), and other candidates, as photosensitive Crys and mechanisms of oxidative stress. In the course of this work, we could also define efficient methods for transfection of interference RNA and plasmidial DNA in ZEM-2S cells of D. rerio, which are fundamental tools in studies of gene expression in this model

In this comparatively brief chapter I begin by introducing my central research proposition. I then introduce my corpus of films and establish their significance both in their own right and as somewhat representative examples of a broader area of cinema. Following this I introduce my corpus of theory. Throughout, I seek to position my research within its wider context, identifying precedents for the approach I will take, alongside the originality of the thesis as a whole. My central contention in this thesis is that the films made by the Italian directors Sergio Leone and Dario Argento between the mid-1960s and the early 1980s are distinctive instances of a Deleuzean hybrid cinema. Gilles Deleuze suggests that we can identify two main, contrasting forms of cinema. These are the cinema of the movement-image and the cinema of the timeimage. As a philosopher of difference, Deleuze tends to present the two cinemas as alternatives. This is enhanced by their most important respective manifestations. The movement-image is associated with classical Hollywood genre cinema, the time-image with modern European art cinema. Accordingly, a Deleuzean approach leads to two contradictory hypotheses on the nature of Leone and Argento’s films. On the one hand, that they are genre works (westerns, gangster, thrillers and horror films) suggests they are movement-image. On the other hand, that they are post-Second World War continental European films suggests they are time-image. My contention is that we can resolve this apparent contradiction by considering the films as including combinations of movement-images and time-images. This entails reading Deleuze’s theory somewhat against the grain, by suggesting the existence of a continuum between the two image regimes. Crucially, however, there are a number of precedents for using Deleuze’s ideas to investigate hybrid cinemas, with these also demonstrating the value of modifying or extending his theories. In addition, I would suggest that we can deploy notions of hybrid cinema as a means of exploring the career trajectories of certain directors, by considering the proportions and types of movement-image and time-image apparent over their filmographies. My main corpus of films comprises fourteen works by Italian directors Sergio Leone (1929-1989) and Dario Argento (1940-). The Leone films span the period 1964 to 1984 and are all westerns with the exception of his final film, which belongs to the gangster/crime genre. The Argento films span the period 1970 to 1982 and are all giallo thrillers or fantasy-horror films, with some overlap between these genres. The Leone films are A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, The Bad and The Ugly (1966), Once Upon a Time in the West (1968), Duck You Sucker (1971), My Name is Nobody (1973) and Once Upon a Time in America (1984). The Argento films are The Bird with the Crystal Plumage (1970), The Cat o’ Nine Tails (1971), Four Flies on Grey Velvet (1971), Deep Red (1975), Suspiria (1977), Inferno (1980) and Tenebrae (1982). The exclusion of Argento’s later films allows for a clearer and closer comparison to be made with Leone’s films, my contention being that the two directors were doing similar things in their respective genres during this time period. Argento also broke into filmmaking through collaborating with Leone upon Once Upon a Time in the West.

Aristophanes to Fo is a study of the principal comedic conventions of Aristophanes' political satire and their relationship to contemporary political satire. A template of these principal conventions is tabulated. This is then compared to, and contrasted with, conventions used in subsequent plays in the genre of political satire, including one written as the practice component of this exegesis. This process determines the influence of Aristophanic conventions on political satire from 4th century BCE Greece to the modern era. There is an analytical emphasis on three 20th century plays as case studies and on my play, Soft Murder, which is case study number four. At the core of the research is the hypothesis that Aristophanic comedic conventions are still relevant to the genre of political satire in contemporary theatre. To retain relevance the genre should be a discourse on a situation or event that has social as well as political meaning to its audience and its presentation should have entertainment value for the culture of the time. Soft Murder is a fundamental part of this process and is written concurrently with the research component.

A melanopsina foi descoberta em 1998 por Ignacio Provencio e colaboradores em melanóforos de Xenopus leavis. Desde sua descoberta, esse fotopigmento surgiu como um possível candidato a intermediar os fenômenos de sincronização nos vertebrados. Nos mamíferos, a melanopsina é encontrada num pequeno subgrupo de células ganglionares da retina, conhecido como células ganglionares retinianas intrinsecamente fotossensíveis (ipRGCs) e o seu papel como fotopigmento responsável pela percepção luminosa, que leva à sincronização das espécies dessa classe aos ciclos de claro e escuro, já foi estabelecido. A melanopsina está presente na retina de todas as classes de vertebrados estudadas até o momento, mas, em contraposição a essa afirmação, a sua estrutura tem maior semelhança com opsina de invertebrados do que com opsina de vertebrados, sugerindo que sua fototransdução ocorra através da via dos fosfoinositídeos. Essa hipótese foi confirmada por diversos trabalhos na literatura e estudos posteriores demonstraram que, em vertebrados não mamíferos, a melanopsina é codificada por dois genes: um ortólogo ao de mamíferos, Opn4m, e um ortólogo ao de X. leavis, Opn4x, levantando diversas questões a respeito da funcionalidade dessa opsina. Nosso grupo vem estudando esse fotopigmento nos tecidos periféricos de vertebrados desde 2001, sendo que foi pioneiro em demonstrar, em melanóforos de Xenopus laevis, que a dispersão dos grânulos de melanina se dá através da fotoativação da melanopsina que desencadeia a cascata de fosfoinositídeos. E estudos mais recentes vêm colocando a melanopsina como um dos possíveis fotopigmentos responsáveis pela sincronização de relógios periféricos em organismos como peixes e anfíbios. Nesse sentido, a linhagem de células ZEM-2S do peixe teleósteo Danio rerio é um ótimo modelo para o estudo das vias de fototransdução em relógios periféricos. Já foi demonstrado que essa linhagem de células é responsiva a estímulos luminosos, exibindo uma proliferação diferencial frente a diferentes regimes de claro e escuro, e ativando a expressão de genes de relógio como clock, per1 e cry1b, que conhecidamente são responsáveis por sincronizar os ritmos biológicos ao fotoperíodo ambiental. Nossos experimentos de imunocitoquímica detectaram a presença das duas proteínas codificadas pelos genes opn4m-1 e opn4m-2 da melanopsina, e mostraram uma significativa diferença na distribuição das proteínas Opn4m-1 e Opn4m-2. Análises de PCR quantitativo mostraram que um pulso de luz azul de 10 min é capaz de alterar a expressão dos genes de relógio per1b, per2, cry1a e cry1b, e que essa alteração ocorre através da via dos fosfoinositídeos em células embrionárias ZEM-2S de Danio rerio. Em adição mostramos que para promover a alteração dos genes de relógio, a via dos fosfoinositídeos interage com outras vias de sinalização como a via do óxido nítrico (NO) e a via das proteína quinases ativadas por mitógenos (MAPKs). Esses dados sugerem que a melanopsina seja um dos principais candidatos a intermediar os processos de sincronização nessas células, pois a somatória dos resultados de detecção da melanopsina, estimulação dentro de seu espectro de absorção e ativação da via dos fosfoinositídeos, a coloca a frente de outras opsinas como vertebrate ancient opsin (Va-opsin) e teleost multiple tissue opsin (Tmt-opsin) e de outros candidatos como Crys fotossensíveis e mecanismos de estresse oxidativo. No curso deste trabalho também conseguimos definir metodologias eficientes de transfecção de RNA de interferência e de DNA plasmidial em células ZEM-2S de D. rerio, que são ferramentas fundamentais nos estudos de expressão gênica nesse modelo / Melanopsin was discovered in 1998 by Ignacio Provencio and colleagues in Xenopus leavis melanophores. Since its discovery, this photopigment has emerged as a possible candidate to mediate synchronization in vertebrates. In mammals the melanopsin is found in a subset of retinal ganglion cells, known as intrinsically photosensitive retinal ganglion cells (ipRGCs) and their role as the photopigment responsible for photoentrainment in mammals has already been established. Melanopsin is present in the retina of all vertebrate classes studied to date, nevertheless, its structure is more similar to invertebrate than to vertebrates opsins, suggesting that their phototransduction pathway occurs through the phosphoinositide pathway. This hypothesis has been confirmed by several studies in the literature. Later studies showed that melanopsin is encoded by two genes in non-mammalian vertebrates, Opn4m orthologous to mammalian and Opn4x orthologous to X. leavis, raising new questions about the functionality of this opsin. Our group has studied this photopigment in vertebrate peripheral tissues since 2001 and, in Xenopus laevis melanophores, we demonstrated that pigment granule dispersion occurs through photoactivation of melanopsin and triggering of phosphoinositide pathway. More recent studies have put melanopsin as a possible photoreceptor responsible for peripheral clocks entrainment in organisms like fish and amphibians. In this context, the ZEM-2S cell line of the teleost fish Danio rerio is a good model to study the mechanism of phototransduction in peripheral clocks. It has been previously demonstrated that this cell line is responsive to light stimuli, exhibiting a differential proliferation when submitted to different light/dark regimes and activating the expression of clock genes such as clock, per1 and cry1b, known to synchronize the biological rhythms to environmental photoperiod. Our immunocytochemistry experiments detected the presence of two proteins encoded by the melanopsin genes opn4m-1 and opn4m-2, and showed a significant difference in the distribution of proteins Opn4m-1 Opn4m-2. Quantitative PCR analyses showed that a 10-min blue light pulse is able to change the expression of the clock genes per1b, per2, cry1b and cry1a, and that this change occurred through the phosphoinositide cascade in embryonic ZEM-2S cells of D. rerio. In addition we showed that, to promote the change in clock gene expression, the phosphoinositide pathway interacts with other signaling pathways such as the nitric oxide (NO) and the mitogen-activated protein kinase (MAPK) pathways. These data suggest that melanopsin is a major candidate to mediate the photoentrainment in these cells, because taken together, the detection of melanopsin, stimulation within its absorption spectrum and activation of the phosphoinositide cascade, puts it ahead of other opsins, as the vertebrate ancient opsin (Va-opsin) and teleost multiple tissue opsin (Tmt-opsin), and other candidates, as photosensitive Crys and mechanisms of oxidative stress. In the course of this work, we could also define efficient methods for transfection of interference RNA and plasmidial DNA in ZEM-2S cells of D. rerio, which are fundamental tools in studies of gene expression in this model

Homme-théâtre, Dario Fo s’inscrit dans un continuel processus de définition de l’auteur comme acteur et de l’acteur comme auteur, qui passe par une affirmation de sa double place en scène et dans la vie publique. Il se fait ainsi le créateur d’une façon de faire du théâtre non pas radicalement neuve mais singulière et qui se distingue dans le panorama théâtral de son temps en envahissant d’autres domaines d’activité et de compétence, ce qui lui permet de conquérir une reconnaissance globale à la fois comme histrion et comme intellectuel. La première partie de la thèse analyse les processus de création pour voir comment Dario Fo se montre auteur en tant qu’écrivain, en tant que comédien et en tant que metteur en scène ou plutôt chef de troupe. La deuxième partie prend en considération la façon dont la figure d’auteur est présentée au public : dans la construction d’un réseau de sens qui donne une cohérence à l’ensemble de l’œuvre, dans la fixation de cette œuvre par des processus d’édition, de captation et d’archivage, et par la diffusion des spectacles en Italie et dans le monde, en présence de l’acteur-auteur ou non. La troisième partie, enfin, revient sur la construction d’une autorité intellectuelle, dans l’élévation de Fo au statut de porte-parole politique et de maître à penser. / Dario Fo is a theatre-man whose work ceaselessly redefines the author as an actor and the actor as an author, in a process that claims his dual position on stage and in public life. He thus creates an approach to theatre that, though not radically new, distinguishes itself in the theatrical landscape of his time, by encroaching on other fields of activity and competency, earning him a global recognition as an actor and intellectual. The first part of this study analyzes the creative process and shows how Dario Fo stages himself as an author through writing, acting and directing. The second part considers how the authorial figure is presented to the public : as part of a larger network of references that lends coherence to his work as a whole, in the fixation of this work through publishing, audio and video-recording and archiving, and through the circulation of his productions in Italy and the world, with or without his presence. The third part analyzes the construction of his intellectual authority, his promotion to the status of political spokesman and mentor.

This dissertation explores the troubled relationship between Hispanic-American Modernism and modernity through the close study of a representative array of authors (José Martí, Rubén Darío, Enrique Gómez Carrillo, Augusto Dhalmar and Pedro Prado). My analysis departs from the revisionist theories of Angel Rama and Ivan A. Schulman, which changed the traditional views about the movement towards a more complete vision of its role as a literature that is highly subversive. During the XIX century, America experienced a vigorous cultural awakening unsupported by an incomplete modernization whose more fundamental principles are challenged by the systematic use of primitivism by these authors. I propose that by analyzing how primitivism is used as an essential tool for criticism, a deeper understanding of a highly codified literature and its importance as precursor of the Vanguard may be reached.