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'A Distortion in the mirror of being': verso un modello liquido di personaggio. Da Nabokov alle sperimentazioni contemporanee in ambito slavo / 'A Distortion in the mirror of being': towards a liquid model of character. From Nabokov to contemporary experimentations in the Slavic fieldMarchesini, Irina <1982> 24 May 2012 (has links)
La tesi mira a ridefinire lo statuto del personaggio nell’ambito del self-conscious novel postmoderno, alla luce delle più recenti tendenze narratologiche, con particolare riferimento all’unnatural narratology. Per poter presentare un modello scientificamente valido si è fatto ricorso alla comparazione della produzione letteraria di due macro-aree: quella britannica e quella slava (Russia - Unione Sovietica - e Polonia). Come figura di mediazione tra queste due culture si pone senza dubbio Vladimir V. Nabokov, cardine e personalità di spicco della ricerca. Tra le analisi testuali proposte sono stati presi in considerazione i seguenti autori: Julian Barnes, Vladimir Nabokov, Daniil Charms, Konstantin Vaginov, Andrej Bitov, Saša Sokolov, Bruno Schulz e Tadeusz Kantor. / The thesi aims to propose a new, flexible theoretical model of character capable to include an up-to-date mapping of the narrative strategies employed with this figure, thus redefining the notion. The adoption of an “unnatural” point of view enables us to concentrate “on the text’s otherness, on its monstrosity, on the role of chance and chaos” (Alber, 2002: 70). The choice of a comparative approach that focuses on British, Russian (Soviet) and Polish authors proves to be particularly effective in order to demonstrate the scientific validity of this new model. Textual analyses include the works of: Julian Barnes, Vladimir Nabokov, Daniil Charms, Konstantin Vaginov, Andrej Bitov, Saša Sokolov, Bruno Schulz and Tadeusz Kantor.
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Bacteriophage T4 lysis and lysis inhibition: molecular basis of an ancient storyTran, Tram Anh Thi 15 May 2009 (has links)
T4 requires two proteins: holin, T (lesion formation and lysis timing) and
endolysin, E (cell wall degradation) to lyse the host at the end of its life cycle. E is a
cytoplasmic protein that sequestered away from its substrate, but the inner membrane
lesion formed by T allows E to gain access to the cell wall. T4 exhibits lysis inhibition
(LIN), a phenomenon in which a second T4 infection occurs ≤ 3 min after primary
infection results a delay in lysis. Mutations that abolish LIN mapped to several genes
but only rV encoding the holin, T, and rI, encoding the antiholin, RI, are required for
LIN in all hosts which support T4 replication. Antiholin RI inhibits T-mediated lysis by
direct interaction with the holin. T has at least one transmembrane domain with its Nterminus
(TNTD) in the cytoplasm and C-terminus in the periplasm (TCTD). In contrast,
the N-terminus of RI (RINTD) is predicted to function as a cleavable signal sequence
allowing the secretion of the RI C-terminal domain (RICTD) into the periplasm. Most of
RI mutations which abolish LIN occur in the RICTD, suggesting RI inhibits T-mediated
lysis by interacting with T via RICTD. Topological analysis of RI and T showed that fusion of PhoA signal sequence (ssPhoA) to RICTD is necessary and sufficient for LIN
and ssPhoAΦTCTD interferes with RI-mediated LIN, indicating T and RI interact via
periplasmic C-terminal domains.
In T4 infection, LIN is observed only when superinfection takes place, indicating
either the antiholin or the LIN signal must be unstable. Both RI and RINTDΦPhoA are
localized to both the inner membrane and the periplasm suggesting that the RINTD is a
Signal-Anchor-Release (SAR) domain. Protein stability studies indicated that the SAR
domain is the proteolytic determinant of RI, and DegP is the protease that is responsible
for RI degradation.
To date, how TNTD participates in lysis and LIN is not known. Modifications and
deletion of the N-terminus of T change the lysis time, indicating this domain is involved
the in timing of lysis. GFP fusion to holin T allowed microscopic visualization of
fluorescent patches on the membrane at the time of lysis.
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noneChen, Shu-hua 25 May 2005 (has links)
none
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Lin Fengmian : ein expressionistischer Maler in China /He, Hua, January 2007 (has links)
Texte remanié de: Dissertation--Heidelberg Universität, 2006.
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Ming dai han lin yuan zhi yan jiuFu, Xianda. January 1900 (has links)
Thesis (M.A.)--Guo li zheng zhi da xue, 1978. / Cover title. Reproduced from typescript on double leaves. eContent provider-neutral record in process. Description based on print version record. Bibliography: p. [231]-[238]
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La traduzione letteraria in Unione Sovietica (1930-1955) / Literary translation in the Soviet Union (1930-1955)Lelli, Ilaria <1981> 12 September 2012 (has links)
In Unione Sovietica il partito mette in atto un sistema di istituzioni per controllare il mondo culturale e la produzione scritta: il Glavlit, il massimo istituto censorio, l’Unione degli scrittori, un’editoria centralizzata e statalizzata e un unico metodo creativo possibile, il realismo socialista. Il settore della traduzione letteraria e della ricezione della letteratura straniera vengono ugualmente posti sotto controllo. All’interno dell’Unione degli scrittori operano la Sezione dei Traduttori, a cui spetta la formazione dei nuovi traduttori sovietici, e la Commissione Straniera, che stabilisce quali autori e quali libri occidentali debbano essere tradotti. Il Reparto straniero del Glavlit controlla il materiale a stampa proveniente dall’estero, la sua distribuzione e le modalità di consultazione e si occupa di effettuare una censura sia sul testo in lingua straniera che su quello tradotto in lingua russa. Parallelamente, il codice estetico e normativo del realismo socialista comincia a influenzare lo sviluppo della teoria della traduzione. La traduttologia si allinea alla critica letteraria ufficiale e promuove un approccio libero al testo che permetta l’introduzione di modifiche testuali arbitrarie da parte del traduttore o del redattore. / In the Soviet Union the party develops a system of institutions aiming at controlling the cultural sphere and the written production. Such a complex system is formed by the Glavlit, the most important censorial institution, the Union of Writers, the world of publishing (which is nationalized and centralized), and a unique creative method, the socialist realism. The section of literary translation and of reception of foreign literature is equally kept under control. The Translators' section is charged of training new soviet translators; the foreign Commission decides which western authors and books can be translated. Both of them are part of the Union of Writers. The foreign department of Glavlit controls the printed material coming from abroad and its distribution. It also decides the conditions of reading and is charged of censoring both the foreign text and the translated one. At the same time, the aesthetic and normative code of socialist realism begins to influence translation theory, which follows the instructions of official literary criticism and promotes a free translation approach to texts. Such an approach allows translators and editors to introduce textual changes in an arbitrary way.
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Ivan Alekseevic Bunin: immagini d'amore attraverso "Viali oscuri"Focardi, Emanuela <1977> 28 June 2007 (has links)
No description available.
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La transmisión al ruso de especifidades culturales españolas en las traducciones de Don Quijote de K. P. Masal'skij y N. M. Ljubimov / La trasmissione in russo delle specificità culturali spagnole nelle traduzioni di Don Chisciotte di K. P. Masal'skij e N. M. LjubimovVercher Garcia, Enrique Javier <1978> 14 March 2008 (has links)
No description available.
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Epos orale russo tra oralità e scrittura: problemi e proposte di traduzioneMoroni, Elisa <1977> 24 May 2011 (has links)
In the present thesis, I discuss the role of orality in translation, taking into account the problems arising while translating Russian folk epics. I investigate the meaning of orality in the context of folkloristic translation, trying to define a concept of oral poetry, and exploring its consequences for translation. In the first chapter, I try to identify the main differences between written literature and oral modes of expression, with special reference to folklore. Oral verbal art is performed, sung or recited, and based on a vital and dynamic interrelation between kinesics, sound, speech and gestures. According to Muhawi (2006), performance provides an interpretive frame enabling a correct interpretation of the message conveyed beyond the literal meaning. Transposing certain performance elements into print is one of the most controversial problems in folklore studies. However, formulas and formal stylistic devices may be rendered in transcription, building a bridge between oral and written elements. In the translation of oral poetry in transcription, this interconnection between orality and literacy might be emphasized, thus creating a hybrid dimension where oral and literary features coexist. In the second chapter, I introduce and describe the genre of Russian folk epics, transmitted orally, and transcribed between the 19th and 20th centuries, from a historical, linguistic and stylistic point of view. In the third and fourth chapters, I explore the issue of translation of Russian oral poetry. I first analyse existing Italian translations of Russian epics, and then present and discuss my own translation, based on a philological, scholarly approach. Thus, in my translation, which is followed by a rich commentary, I try to focus on the rendering of formulas as one of the most relevant aspects of Russian epics. At the same time, oral devices combine with literary features, thus creating a sort of frozen orality.
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Tradurre la letteratura russa contemporanea per l'infanziaNicoli, Simona <1977> 24 May 2011 (has links)
Questo lavoro affronta la traduzione della letteratura per l'infanzia. La prima parte teorica si divide tra l'analisi di cosa si intenda per traduzione per l'infanzia, quali siano le problematiche e le particolarità che la caratterizzano, e un'analisi delle specificità della traduzione dal russo all'italiano, con un approfondimento della letteratura russa contemporanea per l’infanzia. La seconda parte, pratica, analizza le traduzioni della stessa dottoranda per calare in esempi pratici le possibilità teoriche analizzate nella prima parte. Vengono affrontati brani dei maggiori scrittori contemporanei, come G. Oster, M. Moskvina, M. Borodickaja, Ju. Nečiporenko e altri.
Caratteristiche fondanti la letteratura per l’infanzia sono l’interazione tra parola e immagine, il ruolo della lettura a voce alta e l’importanza del suono, i nomi parlanti, il doppio destinatario, l’adattamento, il rispetto dei canoni morali e estetici imposti dalla società, il carattere pedagogico. Gli aspetti teorici esaminati sono il traduttore come lettore e la ricerca di un equivalente funzionale come strategia traduttiva.
This thesis is about translation of children’s literature. In the first section, I explore the meanings of translating for children, and which are its issues and peculiarities; the specificities in translation from Russian into Italian; the background of contemporary Russian Children’s Literature (G. Oster, M. Moskvina, M. Boroditskaya, Yu. Nechiporenko).
In the second part I analyze my translations, in order to give some practical examples of the theoretical strategies I explored in the first section.
Relevant characteristic of children’s literature are: its pedagogical character, interaction between word and image, double addressee, the importance of reading aloud, adaptation, respect of moral and aesthetic canons imposed by the society. The theoretical aspects examined in this thesis involve the issue of the translator seen as reader, and the search of functional equivalents as dominant translation strategy.
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