A collection of stories

La recherche porte sur l’observation et l’analyse des dynamiques, explicites et implicites, qui règlent les interactions communicatives entre les migrants, arrivés en Europe par la route de la Méditerranée centrale, et les intervenants (humanitaires et sécuritaires) impliqués dans la gestion de l’urgence migratoire aux frontières maritimes. L’étude se focalise sur l’île de Lampedusa et la Sicile où les observations ont été menées à trois périodes différentes de l’histoire récente des migrations en Europe : en 2011, suite aux révolutions arabes, en 2013, lors du naufrage du 3 octobre, et en 2014, pendant l’opération de recherche et sauvetage Mare Nostrum. Elle vise à saisir les spécificités de chacun de ces contextes et la manière dont celles-ci se lient, dans un rapport de conditionnement mutuel, à des variables de plus grande envergure – les politiques migratoires, le rôle des médias, les sentiments collectifs, etc. – en influençant les comportements communicatifs des sujets observés. / The research aims at observing and analysing both the explicit and the implicit dynamics that characterise the communicative interactions between migrants who reach Europe through the central Mediterranean route and the security and humanitarian players working at its maritime borders. The study focuses on the island of Lampedusa and Sicily where much of the fieldwork has been carried out over three significant periods of Europe’s recent migration history: in 2011, in the aftermath of the Arab uprisings, in 2013, at the time of the 3 October migrant shipwreck, in 2014, during the search and rescue operation Mare Nostrum. The purpose is to capture and take into account the specific characteristics of each context as well as their closely intertwined combination with wider factors – immigration policies, the role of the media, the general perception of migration, etc. – which influence the communicative behaviours of the subjects observed and the ways they interact with each other. / Il presente lavoro si pone l’obiettivo di osservare le interazioni tra i migranti da un lato, e gli operatori dell’accoglienza e della sicurezza dall’altro, nelle zonedi confine esposte ai flussi migratori, e nello specifico l’isola di Lampedusa e la Sicilia tra il 2011 e il 2014; di analizzarne le dinamiche comunicative col supporto di riferimenti teorico-letterari e di rilevazioni precedentemente prodotte in analoghi contesti di studio; di proporre, infine, delle riflessioni sui principali elementi individuatinell’osservazione del fenomeno, cercando di contribuire allo sviluppo di un percorso d’indagine che l’attuale declinarsi del fenomeno migratorio ha imposto al dibattito sociologico, e soprattutto di proporre spunti di riflessione e approfondimento rispetto a una narrazione che, nonostante la complessità del tema, risulta spesso troppo semplicistica osensazionalistica, e funzionale al tornaconto mediatico e politico.

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In the mediated narrative about Lampedusa as a destination, thetourist’s mobility is indicating consumption. The recommendation of a boatride off Lampedusa’s coast to best experience/consume Lampedusa’s beauty,stands in great contrast to the boat rides in the narrative of the mobility ofthe migrant/refugee. This research is investigating the mediation andmobility processes working in the narrative of Lampedusa’s social structuresas a destination for the two human mobility categories the Tourist and theMigrant/Refugee. Mediated material concerning the two categories of humanmobility, the tourist and the migrant/refugee has been collected on theInternet. Material from two tourist destination communication platforms isillustrating the mobility of the tourist and the narrative of Lampedusa as atourist destination. While material from two humanitarian-aidcommunication platforms serve to illustrate the narrative of the mobility ofthe migrant/refugee and of the humanitarian crisis at the destination and itssurrounding waters. In order to a get fuller understanding of the mediatednarrative of Lampedusa I have added articles from English and Italianspeaking online news channels. The included material is selected following anon-probability, purposive sampling method. The result of the studydemonstrates that by maintaining the meditated narrative of the tourist as aconsumer, the mobility of the tourist is weakening the mobility of themigrant/refugee. And the narrative of Lampedusa is reinforcing the socialpower structures of the tourist from the Global North and themigrant/refugee from the Global South, as a representation of the politicaland moral consensus of postcolonialism.

Italian immigration policy is a sensitive topic on the Italian as well as on the European political scene. Due to its geographical location Italy is exposed to an enormous influx of immigrants coming to the country mainly from North Africa. Being a country that faces the immigration issue in the last decades and and has a relatively young legislation in this area Italy is often criticized for its awkward anti-immigration measures. Italian society has generally a negative attitude concerning the immigration issue that is often supported by the opinions of Italian politicians and the strict legislation. My thesis analyzes the development and the current situation of the Italian immigration and asylum policy and the weightiest problems that Italy faces. The thesis describes the situation of immigrants in Italy, development of legislation in the area and the most controversial point of the last law on immigration. Next the treating of immigrants by the state authorities and the integration policy is discussed. The last chapter focuses on the Italian policy connected with the European immigration policy, analyses their relation and possibilities for a better cooperation in the future.

Dissertation--Mainz--Johannes-Gutenberg-Universität, 2006. / Contient le texte en danois de Hans Christian Andersen, ainsi que sa traduction allemande : "Den standhaftige Tinsoldat = Der standhafte Zinnsoldat" Bibliogr. p. 202-209.

This study explores the roles of religious organizations in the refugee movement “Lampedusa in Hamburg”, in Hamburg, Germany during 2013 and 2014. “Lampedusa in Hamburg” consisted of approximately 300 refugees who had come from Libya, and decided to fight for their right to stay in Germany. Early on, religious organizations became important supporters to the movement, by providing the members food and shelter. By analyzing archival material and interviews with two religious representatives, this thesis investigates the involvement of religious organizations, their collaborations, and the outcomes produced by their work during the protests, using theories connected to secularization and religion and migration. The analysis shows that the involvement of religious organizations in the “Lampedusa in Hamburg”- movement is an example of how faith-based actors in the West are standing up against authorities and objecting migration policies. Their work, collaborations and impact were clearly shaped by national ties with the German state and their position in society.  Further, local dynamics formed the roles of the religious organizations, especially in the case of the St. Pauli church – one of the most central religious actors – located in St. Pauli, a block with a long history of protests. During the Lampedusa in Hamburg-movement, processes operating at global, national, and local scales met, exposing the complexities of the roles that religious organizations take on, as they become involved in migrant processes in Western Europe today.

Lo scopo della tesina è comparare, alla luce della cornice teorica che esiste nel campo della ritraduzione, le due traduzioni in lingua svedese del romanzo Il Gattopardo di Giuseppe Tomasi di Lampedusa. I metatesti svedesi sono la prima traduzione del 1960 di Eva Alexandersson e quella del 2016 di Viveca Melander. Le due traduttrici svedesi usano due versioni differenti del prototesto: la versione d'origine del 1958 e la versione riveduta del 1969. Quindi, all'inizio di questo lavoro. è stata in primo luogo fatta un'analisi comparativa di un estratto delle due versioni del prototesto. L'analisi dimostra differenze più frequenti tra le due versioni di quanto fosse precedentemente indicato nella bibliogafia a riguardo. In secondo luogo. viene condotta un'analisi del lessico della traduzione della Alexandersson per indagnare in che modo un invecchiamento del lessico di quella traduzione possa motivare una ritraduzione del romanzo. Vengono esaminati 18 lemmi del primo capitolo della traduzione della Alexandersson ed è esplorata la presenza di questi lemmi in due versioni della Svenska Akadmiens Ordlista: la versione 9 (del 1950) e la versione 14 (del 2015). Usando questo metodo non è risultato possibile dimostrare in maniera conclusiva un invecchiamento del lessico. In terzo luogo, è analizzato in che modo la teoria proposta da Antoine Berman sul carattere della ritraduzione, quella di avere lo scopo di essere più fedele della prima traduzione al testo di origine, possa applicarsi alle traduzioni svedesi di Il Gattopardo. Sono paragonate dal punto di vista lessicale e sintattico 14 frasi dei prototesti e delle due traduzioni in lingua svedese. Viene mostrato che la seconda traduzione è più prossima al prototesto. Queste osservazioni danno quindi appoggio alla teoria di Berman. / The aim of this thesis is to compare, considering the theoretical framework that exists in the field of retranslation, the two translations into Swedish of Giuseppe Tomasi di Lampedusa's novel Il Gattopardo (The Leopard). The Swedish texts are the first translation from 1960 by Eva Alexandersson and the one from 2016 by Viveca Melander. The two Swedish translators use different versions of the source text: the original version from 1958 and the revised version from 1969. Therefore, at the outset of this work, a comparative analysis is made of an excerpt of these two versions of the source text. The analysis shows that there are more differences between the versions than has previously been reported in the literature. Secondly, an analysis of the translation by Alexandersson is made in order to examine to which extent an ageing of the vocabulary of this translation could justify a retranslation of the novel. 18 headwords from the first chapter of Alexandersson's translation of the novel are investigated, and their existence in two editions of Svenska Akademiens Ordlista: version 9 (1950) and 14 (2015) is examined. Using this method, it was not possible to conclusively prove an ageing of the vocabulary. Thirdly, it i investigated to which extent the theory proposed by Anoine Berman on the character of retranslation, i.e. to have the tendency and function to get closer to the source text, is applicable to the Swedish translations of Il Gattopardo. 14 sentences from the source text and the two translations are compared from lexical and syntactic points of view. It can be shown that the second translation is closer to the source text. These observations thus give support to Berman's theory.

Submitted by Edisangela Bastos (edisangela@ufpa.br) on 2012-05-21T15:29:57Z No. of bitstreams: 2 Dissertacao_DiscursoLiterarioCinematografico.pdf: 3853366 bytes, checksum: d50e945e52abf5ae91e85bda22c91b05 (MD5) license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) / Approved for entry into archive by Edisangela Bastos(edisangela@ufpa.br) on 2012-05-21T15:30:15Z (GMT) No. of bitstreams: 2 Dissertacao_DiscursoLiterarioCinematografico.pdf: 3853366 bytes, checksum: d50e945e52abf5ae91e85bda22c91b05 (MD5) license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) / Made available in DSpace on 2012-05-21T15:30:15Z (GMT). No. of bitstreams: 2 Dissertacao_DiscursoLiterarioCinematografico.pdf: 3853366 bytes, checksum: d50e945e52abf5ae91e85bda22c91b05 (MD5) license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Previous issue date: 2008 / Cet travail traite de deux arts, la Littérature et le Cinéma. C‟est que, bien les textes autonomes et spécífiques, son convertis en rapports distincts a identifier et, dans le même temps, le temps hors travail par rapport à l‟outre. Notre abroche, comme point de départ, le texte littéraire “Le Guépard”, l‟ écrivain italien Giuseppe Tomasi di Lampedusa et, comme un point d‟arrivée, le travail du réalisateur cinematographique homonyme, également italien, Luchino Viscontii. Lampedusa a produit un‟oeuvre que serait reconnue à titre posthume. Il a creé un récit à travers lequel met en évidence l‟histoire et la répresentation de la societé. Bien qu‟il nous a laissé un peu travail caracterisée par la présentation de leurs propre style, marqué par des touches de liberté et de loisirs de la parole. Luchino Visconti, créateur des plus belles ouvres du cinéma de son temps, mis un travail avec vigueur à l‟écran, d‟importants travaux décrivains de renom. Ses films reflètent un point de vue historique précis, et aussi de la désintegration sociale aristocratique. Son film narratif est un mélange constant de l‟audace et la créativité stimulant l‟acte à l‟architecte qu‟il en images magnifiques, en conformité avec la fidelité (ou presque) à l‟ordre de l‟abstraction de l‟imagerie. / Este trabalho trata de duas artes, Literatura e Cinema. Embora autônomas e específicas, traduzem-se em textos distintos, relações de identificação e ao mesmo tempo afastamento de uma obra em relação à outra. Nossa abordagem tem, como ponto de partida, o texto literário "O Leopardo", do escritor italiano Giuseppe Tomasi di Lampedusa e, como ponto de chegada, a obra cinematográfica homônima do cineasta, também italiano, Luchino Visconti. Lampedusa produziu uma obra que só ganharia reconhecimento postumamente. Nela, criou um discurso narrativo através do qual põe em destaque a História e a representação da sociedade. Apesar de ter nos legado uma obra pequena, caracteriza-se por apresentar um estilo próprio, marcado por requintes de liberdade e recriação da palavra. Luchino Visconti, o mais requintado criador da sétima arte de seu tempo, transpôs, com rigor, para a tela, importantes obras de renomados escritores. Seus filmes traduzem uma precisa visão histórica e aristocrática. A narrativa cinematográfica mescla ousadia e criatividade, desafiando a escritura ao arquitetá-la em magníficas imagens, cumprindo com o (quase) intuito da fidelidade a abstração da imagem literária.