No description available.

Contemporary French poet Yves Bonnefoy has always been attracted by English poetry, especially by Shakespeare’s work. Translating Shakespeare’s plays and sonnets has been a fundamental experience for him. The contact with a different culture, a different language and a different sort of poetry has been an important moment in his poetic experience. The dialogue between the French and the Elizabethan poet, which started in the 1950s, hasn't stopped yet and it offers some interesting perspectives to study Bonnefoy's work from a new point of view. Translation – which is first of all a poetic experience to him – is in fact the chance to get in touch with somebody else's poetry and to establish a dialogue with his poetic universe. Such a dialogue requires on the one hand an ‘ethic’ attitude on the translator's part, that is an attentive listening and a deep understanding of the original text. However, Bonnefoy has to create a new ‘poetic’ text in his own language. This is why the ‘seeds’ of his own poetry are also present in his translated texts, in which it is possible to clearly distinguish both the presence of the French poet’s own voice and his attempt to open his ‘speech’ to the specific quality of the Shakespearean poetry. On the other hand, such a deep contact with Shakespeare's work has changed the French poet, contributing to the development and maturity of his own poetry. Indeed, the Elizabethan poet is present in his work in different ways, in his critical essays as well as in his poems. Against this background, the aim of the present study is to define the complex dialogic forms and the osmotic relationships between the poetic experience and the experience of translation, which are considered two different moments of the same ontological research by the French poet.

The aim of the present study is to address contemporary drama translation by comparing two different scenarios, namely France and Italy. For each country, the following areas are described: publications of translated drama texts, their promotion and dissemination, the legal framework concerning copyright in publication and performance contracts. Moreover, the analysis highlights that the translation process of drama texts is part of a working cycle networking different professional figures, such as dramatic authors, directors, actors and publishers. Within this cycle, the translator is in a middle and central position at the same time, a sort of border zone between different contexts, i.e. the source language and culture and the target language and culture. As regards translation-related issues, on the basis of theoretical approaches that can be applied to drama translation, a number of translators’ opinions, statements, positions and practices are compared, thus highlighting an idea of drama translation wavering between translation and adaptation. Drama translators seem to follow these two orientations simultaneously, in compliance with translation ethics and the functional needs of target texts. Such ambivalence is due to the desire and difficulty of translating the specific nature of drama texts, i.e. translating textual elements that are linked, eventually, to stage performance. Indeed, the notion of text or form fidelity is replaced by the notion of fidelity to the theatrical value of a text, in terms of fidelity to its theatrical nature and rhythmical tension. The analysis reveals that drama translators work together with theatre operators, and that in many cases translators are authors, directors or actors themselves. These drama skills enable translators to apply relevant strategies when translating elements that generate rhythm, thus choosing from deleting, reproducing or recreating.

Il nostro lavoro si inserisce tra i contributi che si rifanno a quella branca di studi traduttologici nota come critica della traduzione; l’elemento di raccordo tra il testo di partenza e la successione dei testi di arrivo su cui baseremo l’analisi è il discorso riportato, un fenomeno complesso, che trova la sua naturale collocazione nei delicati rapporti che intercorrono tra orale e scritto. / This work integrates Translation studies field as an example of translation criticism. Following Antoine Berman’s analytical path, Zola’s Nana has been compared to some of its Italian versions. Target texts comparison to the French source text concerns reported speech as novel’s constitutive part.

Les recherches relatives à l'utilisation des TICE se concentrent fréquemment soit sur la dimension cognitive, sur la dimension linguistique ou sur la dimension culturelle. Le plus souvent, les recherches empiriques se proposent d'évaluer les effets directs des TICE sur les performances langagières des apprenants. En outre, les recherches, surtout en psychologie cognitive, sont le plus souvent effectuées en laboratoire. C'est pourquoi le travail présenté dans cette thèse se propose d'inscrire l'utilisation des TICE dans une perspective écologique, et de proposer une approche intégrée pour l'analyse des pratiques effectives aussi bien en didactique des langues qu'en didactique de la traduction. En ce qui concerne les aspects cognitifs, nous recourons à un concept apprécié des praticiens, celui de stratégies d'apprentissage. Les quatre premiers chapitres de la présente thèse sont consacrés à l'élaboration du cadre théorique dans lequel nous inscrivons notre recherche. Nous aborderons en premier lieu les aspects disciplinaires, et notamment l’interdisciplinarité de nos deux champs de référence. Ensuite nous traiterons les stratégies d'apprentissage et les stratégies de traduction. Dans un troisième mouvement, nous nous efforcerons de définir les deux compétences visées par notre recherche : la production écrite et la traduction. Dans un quatrième temps, nous nous intéresserons aux modifications introduites par les TICE dans les pratiques d'enseignement et d'apprentissage de ces deux compétences. Le cinquième chapitre a pour objet la présentation, l'analyse des données recueillies auprès de groupes d'enseignants et d'étudiants de la section de français de la SSLMIT. Il s’agira dans un premier temps, de présenter notre corpus. Ensuite nous procéderons à l’analyse des données. Enfin, nous présenterons, après une synthèse globale, des pistes didactiques et scientifiques à même de prolonger notre travail. / Most of the research on ICT uses for teaching/learning has focused either on the cognitive and linguistic dimension, or on cultural aspects. And in both cases, it generally targets the effect of the use of ICT on learners’ linguistic competence. Moreover, data has usually been gathered from laboratory tests rather than being built up from direct observation in the classroom. The work presented in this thesis is mainly aimed at defending the idea that studies and research should be more interested in bringing about modifications in the teaching/learning praxis. With regard to cognitive effects, not only have learning strategies been identified and classified but also textual typologies applied to language learning and translation. Nonetheless, the proliferation of typologies and metalanguage may be a problem in a pedagogical context. This is why our research aims to defend a teaching/learning integrated approach of writing and translating skills assisted by technological instruments. In the first four chapters, we present the theoretical frame of our research. First, we underline the interdisciplinarity of foreign language and translation teaching. Then, in the second chapter, we discuss the cognitive approach. In the third chapter, we focus on the definitions and models of writing and translation skills. In the fourth chapter, we explore the ICT field of research and particularly the use of the computer to optimize both kinds of competence. The fifth chapter is dedicated to data protocols and analysis, which is based on our research carried out with the participation of the teachers and students of the French section of the SSLMIT of Forli (University of Bologna). We conclude with presenting our analysis of the results of the surveys and classroom observation used to bring out teachers’ and learners’ activity and praxis to enforce their writing and translating skills.

No description available.

Il presente lavoro si inserisce nel filone degli studi di terminologia diacronica. La tesi ha per oggetto il lessico francese della vinificazione nei secoli XVIII e XIX, periodo cruciale per la costituzione e l’evolvere della disciplina. La tesi è articolata in due parti. La prima parte prende avvio dall’analisi lessico-semantica dei termini vinification ed œnologie che delimitano l’oggetto di ricerca, per poi fornire un inquadramento storico e testuale ai temi della vite e del vino. La pratica della vinificazione registrata dalle fonti sette-ottocentesche di riferimento è descritta con l’obiettivo di ricostruire e documentare l’evoluzione delle tecniche e l’emergere della scienza. La seconda parte è dedicata alla dimensione linguistica della ricerca. Dopo aver presentato il corpus costituito per l’estrazione delle unità lessicali e aver enunciato la metodologia adottata, le voci censite sono oggetto di sistematizzazione in schede lessicali, la cui struttura offre informazioni di natura lessicale e semantica all’interno di un’ampia rete concettuale rappresentata dall’albero di dominio. La suddivisione del periodo considerato in tre fasi ha permesso una maggiore chiarezza nell’offrire i risultati dell’analisi linguistica, condotta al fine di osservare le dinamiche evolutive del lessico. La conclusione ripercorre, infine, i risultati salienti della ricerca e delinea eventuali sviluppi futuri. / The present work contributes to studies of diachronic terminology in French. The dissertation focuses on the analysis of French vocabulary of winemaking between the 18th and 19th centuries, when the concept of enology as a science emerged. The study is divided into two parts. The former starts analysing the terms vinification and œnologie from a lexico-semantic point of view in order to define the subject of the research. The analysis is followed by a reconstruction of the historical and textual framework in which the themes of vine and wine are developed. The process of winemaking based on the eighteenth and nineteenth-century reference sources is then described; this description allows tracing the passage from tradition to modernity, showing the main scientific discoveries and technological achievements occurred in the field. The latter is the linguistic one. After a methodological introduction about the creation of the corpus and the description of our selection criteria, the selected terms are collected in lexical records exploring lexical and semantic information. The study of terms also allowed to build from an historical point of view the conceptual framework of the field. The classification of the period in three phases offered a closer analysis of lexical and semantic issues in the evolution of the vocabulary. Finally, the conclusion section discusses the results of the research and outlines further perspectives of study.

La tesi è un'analisi di tre testi ("Sixtine" di Remy de Gourmont, "Là-Bas" di Joris-Karl Huysmans e "Paludes" di André Gide), che si inseriscono nel genere oltre i generi da me definito "Romanzo Critico", comparsi nella Francia di fine Ottocento. / My Thesis is an analysis of three books ( "Sixtine" by Remy de Gourmont, "Là-Bas by Joris-Karl Huysmans and "Paludes" by André Gide).Three exemples of "Critic Novel" in the period of fin-de-siècle in France.

La tesi affronta il problema della teatralità presente nel romanzo di François Rabelais (1483-1553). La scrittura dell’umanista contamina i generi letterari attivi tra tardo Medioevo e Rinascimento, recupera le forme dei generi classici greco-latini e sfrutta la forza vivente delle pièces teatrali francesi. La mescolanza di tutti questi materiali produce una poetica coerente, volta al potenziamento della visione del mondo, che trova nella teatralità la sua evidenza più forte. Ribaltando la prospettiva degli studi critici precedenti, il lavoro analizza l’opera secondo un "découpage" delle categorie teatrali principali: il tempo, lo spazio, il pubblico, il testo e l’attore. Il risultato finale è l’emersione di una teatralità strutturale, diffusa nell’intero romanzo tramite diversi meccanismi: l’ambiguità tra diegesi/mimesi e tra lettura/ascolto, il dialogo tra narratore e lettori, la compresenza di pubblico e personaggi recitanti, le indicazioni di una spazialità performativa, l’importanza della gestualità e della vocalità, la musicalità teatrale della lingua, il lessico specialistico della messinscena, i temi del travestimento, del "théâtre du monde" e del "théâtre anatomique". / The dissertation focuses on the connection between François Rabelais’s Gargantua et Pantagruel and the theatre. Rabelais’s writing possesses generic characteristics, typical of the late Middle Ages and early Renaissance periods; it also presents generic forms derived from Greek and Latin literature, and is endowed with the vitality of French medieval theatre. The mingling of these materials results in a coherent poetics expressed through pervasive theatrical elements, and aimed at amplifying the reader’s worldview. Previous scholarly perspectives are here “overturned”, for analysis is built on fundamentally theatrical categories: time, space, audience, text and actor. Theatricality proves to inform the very structure of Rabelais’s work and manifests itself in the alternation of diegesis and mimesis; in the ongoing dialogue between narrator and readers/listeners; in the co-presence of audience and characters/players; in the indications of performative spaces; in the emphasis on gesture and voice; in the theatrical musicality of language; in the specialist vocabulary of the mise-en-scène and the themes of disguise, théâtre du monde and théâtre anatomique.

Questo lavoro si concentra sul testo À la Recherche du temps perdu di Marcel Proust rintracciando e catalogando tutte le indicazioni cromatiche presenti nell’opera (aggettivi di colore, verbi, sostantivi di colore, ecc.). Considerando lo statuto del colore – fondamentalmente ambiguo – tra la fine del XIX secolo e l’inizio del XX (nella teoria scientifica, così come nella riflessione filosofica, psicologica e artistica), la tesi dimostra la presenza di svariate linee di forza (sovrapposte, contraddittorie, ambigue) nel trattamento del fenomeno “colore” all’interno del testo letterario. Infine, la tesi analizza come le occorrenze cromatiche del testo proustiano si legano a scelte stilistiche precise (ad esempio: strutture sintattiche parallele, sinestesie, participi e adjectifs verbaux, metonimie…), dal momento che il colore proustiano provoca nel testo uno scarto rispetto alla norma. / This work focuses on the text À la Recherche du temps perdu by Marcel Proust: it scans and classes all the chromatic references of the text (colour adjectives, colour verbs, colour nouns and so on). Considering the ambiguous status of colour between the end of the 19th century and the beginning of the 20th (in the scientific field, as well as in the philosophic, psychological and artistic domain), this theses shows the presence of contradictory trends of the use of colours inside a literary text. Finally, the work shows how the colour references in the Proustian text are linked to recurrent stylistic devices (parallelism of syntax constructions, use of synesthesias, use of present participles of verbs, use of metonymies…), confirming that the presence of colour in the artistic text causes a gap in comparison with the standard French syntax.