Since the first definition of “italiano neostandard” appeared in the Eighties, more and more often “neostandard” forms, while already present in common speech, feature today in the written media, and even find their space in contemporary grammaticography. Through a corpus-based analysis, this dissertation aims at assessing the vitality of the neostandard as it appears in the written columns of three daily papers during a selected period of time in 2007. In particular, two phenomena are explored: the usage of the clitics ci, ne and lo in function of case marker (marca complementare); and the tendency to reduce the use of the subjunctive in epistemic modality. This contribution proposes the integration of different approaches into one interpretation of mechanism of cliticization as a continuum which goes from facultative usages of case markers to obligatory ones. In the second case the phenomenon of reduction of usage of epistemic subjunctive is described here as a reorganization (ristrutturazione). According to this study, within the category of epistemic subjunctive it is necessary to distinguish particular contexts after which the subjunctive preserves its status from the ones in which tends to be substituted by the indicative or the conditional.

Cette thèse s’assigne comme objectif d’examiner l’évolution des évocations culturelles et théoriques des grands ensembles français entre les années 1960 et 2000. Notre recherche s’articule autour de la Cité des Quatre-Mille de La Courneuve. Prenant en compte les productions journalistiques disséminées par les grands médias durant ces quatre dernières décennies, les contrastant avec des créations artistiques plus dissidentes, les comparant avec des créations culturelles réalisées par les habitants de cette cité, nous élaborons un «complexe culturel» permettant un questionnement à la fois différent et «démocratique» des représentations historiques des grands ensembles. Le chapitre premier détaille l’armature théorique et méthodologique de notre étude. Le chapitre II propose une analyse rancièrienne des principes d’égalité, de démocratie et de politique. Les chapitres suivants (chapitre III, IV et V) retracent la trajectoire spécifique de la Cité courneuvienne. Le chapitre III se focalise sur les représentations journalistiques des Quatre-Mille au sein de la nation. Le chapitre IV est dévolu à la culture artistique et contraste d’autres formes de représentations esthétiques de la Cité et de l’identité nationale. Centré sur les productions quotidiennes de banlieusards, le chapitre V donne lieu à différentes représentations entre «banlieues» et citoyenneté.

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The aim of this thesis is to examine how the virtual image of Brazil and its literature is constructed in the Anglo-American world. To this end, a survey of Brazilian literary works in English translation was carried out. Having gathered this data, it became possible to establish correlations between the historical moments when such translations were made, when their number increased, and the events occurring at those times in the international panorama, as well as to look into the role of sponsors, publishers and translators in the selection and production of such translations. The data also allowed a profile of Brazilian literary works in English translation to be drawn. It became possible to suggest that such works fall into four main categories: `authorial works', 'topical works', `ambassadorial works' and `consumer-oriented works'. In order to look more closely into how the translation process has helped to shape the virtual image of Brazilian literary works in the Anglo-American world, an analysis of a sample of translations of such works was made. Included in this sample were the translations of works by Machado de Asis, by Indianist and Regionalist wirters, culminating in an examination of translations of GuimarAes Rosa's works. Having looked at these aspects of the translation process, what remained to be done was to investigate to what extent Brazilian literary works in English translation are read by the English- speaking public. To this end, a survey of availability and library readership was undertaken. Finally, a reading experiment was carried out in which native speakers of English were asked to read the short story 'A terceira margem do rio', by GuimarAes Rosa. The conclusion attempts to pull all these threads together and to indicate directions for further research.

In 1936 Olga Franzoni, Caproni’s girlfriend, dies of septicaemia. In 1943 Sereni is taken prisoner, thus beginning a two-year period of captivity. The impact of these episodes on Caproni’s and Sereni’s poetry has been thoroughly analysed, and to conceive of them as watersheds in the individual path of either poet thus comes as natural. However, what critics have less organically delved into is the possibility of considering these episodes as pivotal in shaping a more definite turning point, representing the moment from which Caproni’s and Sereni’s poetry becomes, in many respects, ‘posthumous’. Building on Giulio Ferroni’s idea of ‘postumo’, this study seeks to propose a critical lens through which to examine the oeuvre of both Sereni and Caproni. Through recourse to categories such as ‘end’ and ‘after’, I will explore the thematic implications of the nexus between poetry and experience for both Sereni and Caproni.

This thesis examines exile in contemporary autobiographical narratives written in French by women from across the Francophone world. The analysis focuses on work by Nina Bouraoui (Algeria), Gisele Pineau (Guadeloupe), Veronique Tadjo (Cote d'Ivoire), and Kim Lefevre (Vietnam), and investigates how the French colonial project has shaped female articulations of mobility and identity in the present. This comparative, cross-cultural, and cross-generational study engages with postcolonial theory, gender theory, and autobiographical theory in order to create a new framework with which to interpret women's experiences and expressions of displacement across the Francosphere. The thesis posits that existing models of exile do not fully explain the complex situations of the four authors, who do not have a well-defined 'home' and 'host' country. Although marginalised by their gender, they are economically privileged and have chosen to live a rootless existence, which nonetheless renders them alienated and 'out of place'. The thesis thus argues that women's narratives of exile challenge and complicate existing paradigms of exile which have a male, patriarchal focus. By turning our attention to these women and their specific postcolonial gendered narratives, a more nuanced understanding of exile emerges: exile is experienced as a sexual, gendered, racial, and/or linguistic otherness.

This thesis re-evaluates the relationship between original text and translation through an approach that assumes the equality of source and target texts. This is based on the translation strategy expressed in the work of the Argentine writer Jorge Luis Borges and theoretical approaches by Walter Benjamin and Michel Foucault, as well as exponents of Possible World Theory. Rather than considering what may be lost in translation, this thesis focuses on why we insist on maintaining a border between the textual phenomena ‘translation’ and ‘original’ and argues for a mutually enriching dialogue between a text and its translation. The opening chapter investigates marginal cases of translation and determines where one form (original) ends and the other (translation) begins. The case studies derive from the anthology Cuentos breves y extraordinarios (edited by Borges and Adolfo Bioy Casares) and include ‘pseudotranslations’: texts presented as translations even though no linguistic transfer precedes them. Another example is Borges’s self-translation of his Spanish poem ‘Mañana’ into German as ‘Südlicher Morgen’ for the Expressionist poet Kurt Heynicke. Although an original text, the pseudotranslation is judged as a translation, problematizing the boundary between the two. Since its perception changes over time, it unsettles the idea of the stable text by positing a text in progress. The analysis of the effects of the translation is supported by a discussion of Michel Foucault’s categorization expressed in Les mots et les choses (1966). Translations are regarded as coins, which gain value through their ability to represent, and create heterotopias: potentially existing non-places, which escape logic and thereby create an ‘uneasy laughter.’ Heterotopias are based on anti-logical orders, exemplified in the organisation of Antología de la literatura fantástica, collaboratively edited by Borges, Bioy Casares and Silvina Ocampo in 1940. This organisation invites an interpretation based on resemblance rather than comparison, the latter of which always results in the production and reproduction of hierarchies. In Chapter Two, I uncover the fraudulent assumption that an original is a stable text. I make recourse to Walter Benjamin’s definition of origin in ‘Die Aufgabe des Übersetzers’ (1923) as ‘the eddy in the stream of becoming’, and André Lefevere’s notion of the refracted text, explaining that our first encounters with a classic text are mostly made through abridged, altered, and interpreted versions. Collaborative work also unsettles the idea of the single author as source and guarantor of authenticity, exemplified through examples of Borges and Bioy Casares’s collaboration, and Borges’s collaborative translations with Norman Thomas di Giovanni. I elaborate on Possible World Theory (PWT) following Marie-Laure Ryan and Ruth Ronen, explaining key terms and concepts and showing that PWT offers an alternative to thinking about the relationship of original text and translation as hierarchical. PWT can be employed to consider source text and target text to be possible, parallel versions of a fictional world. The findings lead to a link between authenticity and the different reception of original and translated texts. I note that the term ‘authenticity’, often used in reference to the original, also has ‘murderous’ connotations. Applied to a text, ‘inauthenticity’ might therefore be a more helpful term in discussing its ‘afterlife’ (Fortleben; Benjamin) as an inauthentic text. An effective way of ensuring a text can be read as ‘inauthentic’ is to dissimulate its origin and relations, whilst also unsettling the authority of the author and translator. The theoretical examination of hierarchies and categorization is then illustrated in case studies analysing Borges’s contrasting translations of works by Virginia Woolf and Franz Kafka. Chapter Three focuses on translations of Orlando and A Room of One’s Own attributed to Borges. While it remains uncertain whether Borges did in fact translate Woolf’s texts himself, the notion of ‘translatorship’ comes into focus. The continuation of claiming Borges as the translator serves to aid the publication of the translations by making use of the famous translator’s name. I give an overview over the publishing environment in Argentina of the 1930s into which the Woolf texts were translated, with particular focus on the readership of the publishing house Sur. I thereby foreground Victoria Ocampo’s particular interest in having Woolf translated into Spanish, since Ocampo considered Woolf a role model for feminism. Feminist discussions show parallels with the way in which translations and original texts are separated. Borges’s Orlando furthermore triggered controversy concerning his handling of gender issues. I offer a reading of the text along the lines of Feminist Translation Studies, as expressed by Sherry Simon, Luise von Flotow and Lori Chamberlain, amongst others. I argue that Borges’s translation can be read ‘inauthentically’ as fidelity becomes a movable factor. I regard the translations of Orlando and A Room of One’s Own attributed to Borges as texts translated in a feminist way as they offer many possible worlds of interpretation and much undecidability. The notion of ‘translatorship’ is picked up again in the final Chapter Four, as it applies equally to the translation of Franz Kafka’s ‘Die Verwandlung’ as ‘La metamorfosis.’ Since there are different versions of ‘La metamorfosis,’ the quest for the translator also questions where ‘translation’ ends and ‘editing’ begins. The popularity of Borges’s version might furthermore be particularly linked to this uncertainty, as I argue that the veneration of Kafka’s work is, at least in part, due to the fragmentary nature in which his work survived. This incompletion enables many possible interpretations of his texts, which thereby appear as perfect pieces of literature since they, like Foucault’s coin, are uncorrodable and have the ability to represent, much like inauthentic texts. The ‘inauthentic’ literary treatment of translating in collaboration, as is the case when Borges and Bioy Casares translate ‘Cuatro reflexiones’, ‘Josefina la cantora’, ‘La verdad sobre Sancho Panza’ and ‘El silencio de las sirenas’ is hence particularly adequate for these fragments. The translations in collaboration, besides undermining the authorial genius of the single author, also feature particular destructions of the perfection of the original. The concluding chapter summarises the findings concerning the questions as to why there should be a hierarchy between the reception of original texts and translations, why this hierarchy is so persistent, and what alternatives may be offered instead. I demonstrate how the selected case studies are exemplary of alternative approaches to Translation Studies and to what effect PWT and Borges have been helpful in pursuing this approach. I then suggest further routes of research, including: an increased visibility of translations in academic disciplines, through publishing books and reviews; further study on the translations of Argentine literature into an Anglo-American context and the ‘decolonized’ effect this could have; and an update of Feminist Translation Studies to expand it to Transgender Translation Studies. I finally suggest that the uncertain and unsettling effect brought about by translation in its creation of multiple worlds should be embraced as a way of reading and writing inauthentically.

This dissertation delves into re-casted, re-negotiated, and emergent U.S. and Latino perspectives that are resulting from trans-border cultural and national fusion and undocumented Mexican immigration to the U.S. between the years 2000-2015. Five cultural products-- newspaper headlines, literature, music, political cartoons, and memes-- as produced by Mexican individuals on one side of the U.S.-Mexican Border and undocumented individuals on the other, who are part of the millennial generation, are considered against fossilized notions of gender, race, class, and national identity to determine if and how millennial Mexicans and millennial undocumented individuals are leveraging specific cultural tokens to be tools of defiance and to promulgate a re-writing of self.

As an output of the HERA Travelling Texts project, created with the aim of uncovering the realities of women’s literary culture on the fringes of Europe during the long nineteenth century, this study was conceptualised to find out more about the networks of women writers in Spain around 1900, using the digitised corpuses of contemporaneous periodicals as the primary source material. Each chapter of the study centres on a particular periodical, which is used as the starting point for the community of writers and readers, both real and imagined. This thesis looks at the realities of the literary culture for creative women in the late nineteenth century-early twentieth century, exploring the strategies used by women (and men) to support each other in their literary endeavours, how they took inspiration and courage from each other, how they promoted their own names, and how they were received by wider society. The study will also focus on the transnational nature of this literary culture, looking at how women of different nations influenced each other’s work, with a view to understanding more about how cultural change takes place. Finally, this thesis hopes to persuade the reader that the periodical is a rich and under-utilised resource for discovering more about the lives of women writers and their network of relationships.

This thesis aims to investigate the nature of ideologies of language, and specifically to understand what kinds of linguistic, social, political and historical factors impact upon and inform ideologies of standardisation. I consider the particular case of the Spanish language, and examine how public debates in Spain’s press constitute discursive sites in which the ideologies of language authorities are evidenced. There are few studies which identify and critique the social actors in Spanish standardisation, and this thesis is a contribution to addressing that absence. By adopting a Critical Discourse Analysis approach , I seek to relate the microstructures of texts from two of Spain’s best-selling daily newspapers (El País and ABC) to the socio-political macrostructures in which press discourse is produced, and in which hegemonic ideologies underpin debates about Spanish. The press is a crucial vehicle of transmission in which language ideologies are staked out, and the large data corpus allows me to identify recurring aspects of discourse which become ‘naturalised’ and form ‘common sense’ beliefs about Spanish, its role, its authorities, and the practices of those who ‘guard’ the language. The principal guardian of Spanish, the Real Academia Española (RAE), is the particular focus of this thesis. I interrogate RAE discourse and shed light on this institution’s role in producing and maintaining a ‘standard’ Spanish in the contemporary context. Discourses of language unity and community are central, as are themes which form a vision of Spanish on an international scale. I argue that the RAE’s discourse serves to reinforce its authority and leadership in standardisation. I further argue that this centralisation of linguistic authority is occurring simultaneously with a rescaling and expansion of standardisation practices which go beyond the nation-state paradigm in pursuit of a ‘total Spanish’ guided by ‘panhispanic norms’. The role of other elite institutions in the panhispanic language policy is also legitimised in press discourse, with important social, cultural and commercial implications for not just Spain, but the entire Spanish-speaking world.