Dark humour as a culture specific phenomenon: a study in screen translation

The present study aims at analyzing how dark humour as a cinematic genre travels cross-culturally through a specific mode of audiovisual translation, i.e. dubbing. In particular, it takes into consideration the processes involved in dubbing humour from English into Italian as observed in the English- and Italian-language versions of ten British and American dark comedies from the 1940s to the 2000s. In an attempt to identify some of the main mechanisms of the dark humour genre, the humorous content of the films was analyzed in terms of the elements on which specific scenes are based, mainly the non-verbal and verbal components. In the cases in which verbal elements were involved, i.e. the examples of verbally expressed humour, the analysis was concerned with whether they were adapted into Italian and to what effect. Quantification of the different kinds of dark humour revealed that in the sample of dark comedies verbal dark humour had a higher frequency (85.3%) than non-verbal dark humour (14.7%), which partially disconfirmed the first part of the research hypothesis. However, the significance of contextual elements in the conveying of dark humour, both in the form of Nsp VEH (54.31%) and V-V (V+VE) (21.68%), provided support for the hypothesis that, even when expressed verbally, dark humour is more closely linked to context-based rather than purely linguistic humour (4.9%). The second part of the analysis was concerned with an investigation of the strategies adopted for the translation of verbal dark humour elements from the SL (English) into the TL (Italian) through the filter of dubbing. Four translational strategies were identified as far as the rendering of verbal dark humour is concerned: i) complete omission; ii) weakening; iii) close rendering; and iv) increased effect. Complete omission was found to be the most common among these strategies, with 80.9% of dark humour examples being transposed in a way that kept the ST’s function substantially intact. Weakening of darkly humorous lines was applied in 12% of cases, whereas increased effect accounted for 4.6% and complete omission for 2.5%. The fact that for most examples of Nsp VEH (84.9%) and V-AC (V+VE) (91.4%) a close rendering effect was observed and that 12 out of 21 examples of V-AC (PL) (a combined 57%) were either omitted or weakened seemed to confirm, on the one hand, the complexity of the translation process required by cases of V-AC (PL) and V-AC (CS). On the other hand, as suggested in the second part of the research hypothesis, the data might be interpreted as indicating that lesser effort on the translator/adaptor’s part is involved in the adaptation of V-AC (Nsp VEH) and V-V (V+VE). The issue of the possible censorial intervention undergone by examples of verbal dark humour in the sample still remains unclear.

La carriera degli attori italiani di prosa dalla scena allo schermo (1909-1916)

Most actors of the Italian silent cinema in the early 1910s have a theatrical training. Some of them are already asserted or famous actors (like Cesare Dondini, Ermete Novelli, Ermete Zacconi, Giovanni Grasso) who are invited “to pose” for the cinema following their reputation, according to a strategy of an aesthetic and cultural legitimacy launched in 1909 by film d'art of the Pathé Consortium. I think it is the proverbial readiness and strength of the stage Italian actors that create a decisive contribution to the rapid development of the national cinema industry, despite its serious structural deficiencies, from the protoindustrialized phase (1909) to the golden age of divismo (starting in 1913), until the first signs of decadence (1919), and the so-called “fall” of the UCI production and distribution system. This is the main topic of the thesis: an investigation on the Italian stage actors engaged in the film industry (“from stage to screen” as the Italian title says, but in a “post-Vardac” approach) through many different sources: periodicals, memories, personal and business letters, and also contracts, found in several archive funds. A specific chapter is dedicated to the artistic career of Febo Mari (1881-1939), real name Alfredo Rodriguez, witch is a time-sample symptomatic of deep ties established between the growing film publishing and the Italian theatrical production system in the 1910s. The Mari debut in cinema and his ascent toward screen “divo” status coincides with the parable that leads from emergence to decadence of divismo in Italy.

Development Aid to Water Management in Mali: The Actors, ‘Global’ Paradigms, and ‘Local’ Translations

Development aid involves a complex network of numerous and extremely heterogeneous actors. Nevertheless, all actors seem to speak the same ‘development jargon’ and to display a congruence that extends from the donor over the professional consultant to the village chief. And although the ideas about what counts as ‘good’ and ‘bad’ aid have constantly changed over time —with new paradigms and policies sprouting every few years— the apparent congruence between actors more or less remains unchanged. How can this be explained? Is it a strategy of all actors to get into the pocket of the donor, or are the social dynamics in development aid more complex? When a new development paradigm appears, where does it come from and how does it gain support? Is this support really homogeneous? To answer the questions, a multi-sited ethnography was conducted in the sector of water-related development aid, with a focus on 3 paradigms that are currently hegemonic in this sector: Integrated Water Resources Management, Capacity Building, and Adaptation to Climate Change. The sites of inquiry were: the headquarters of a multilateral organization, the headquarters of a development NGO, and the Inner Niger Delta in Mali. The research shows that paradigm shifts do not happen overnight but that new paradigms have long lines of descent. Moreover, they require a lot of work from actors in order to become hegemonic; the actors need to create a tight network of support. Each actor, however, interprets the paradigms in a slightly different way, depending on the position in the network. They implant their own interests in their interpretation of the paradigm (the actors ‘translate’ their interests), regardless of whether they constitute the donor, a mediator, or the aid recipient. These translations are necessary to cement and reproduce the network.

La sanità mediata: il rapporto medico-paziente dentro e fuori lo schermo televisivo

L’obiettivo di questa tesi è rilevare se e quanto i medical dramas abbiano contribuito a ridefinire conoscenze, aspettative e pratiche dei telespettatori/pazienti rispetto a questioni concernenti la salute e il loro ruolo all’interno della relazione medico-paziente. Grazie ad un lavoro di campo, fatto di questionari e interviste con utenti, operatori della sanità di Centro e Nord Italia e studenti di Medicina, sono state poi registrate le modalità di interazione che i protagonisti della scena della cura dichiarano di sperimentare quotidianamente. Ciò ha permesso di rendere conto delle trasformazioni più recenti della professione medica e di come viene elaborato oggi il sapere sulla malattia da parte dei soggetti implicati, fra tecnicismi, atteggiamenti difensivi, sfiducia e affidamento. La tesi restituisce anche alcune modalità sperimentali di interazione fra pazienti e medici, messe in atto in contesti locali, che testimoniano l’esigenza di approdare a un sapere partecipato delle relazioni di cura. Infine, raccogliendo la sfida posta dalle medical humanities, immagina un utilizzo del medical drama nella formazione degli studenti di medicina per l’apprendimento di competenze narrative necessarie ad una pratica medica più umana e efficace.

Essays on Atypicality: A narrative perspective to illuminate how atypical actors can counter the disciplining effect of categories

Using Big Data and Natural Language Processing (NLP) tools, this dissertation investigates the narrative strategies that atypical actors can leverage to deal with the adverse reactions they often elicit. Extensive research shows that atypical actors, those who fail to abide by established contextual standards and norms, are subject to skepticism and face a higher risk of rejection. Indeed, atypical actors combine features and behaviors in unconventional ways, thereby generating confusion in the audience and instilling doubts about their propositions' legitimacy. However, the same atypicality is often cited as the precursor to socio-cultural innovation and a strategic act to expand the capacity for delivering valued goods and services. Contextualizing the conditions under which atypicality is celebrated or punished has been a significant theoretical challenge for scholars interested in reconciling this tension. Nevertheless, prior work has focused on audience side factors or on actor-side characteristics that are only scantily under an actor's control (e.g., status and reputation). This dissertation demonstrates that atypical actors can use strategically crafted narratives to mitigate against the audience’s negative response. In particular, when atypical actors evoke conventional features in their story, they are more likely to overcome the illegitimacy discount usually applied to them. Moreover, narratives become successful navigational devices for atypicality when atypical actors use a more abstract language. This simplifies classification and provides the audience with more flexibility to interpret and understand them.

Populism as a battlefield Populist actors and their representation on social and legacy media during the european parliament elections 2019 in Finland, Italy and the Netherlands

The objective of the present research is to describe and explain populist actors and populism as a concept and their representation on social and legacy media during the 2019 EU elections in Finland, Italy and The Netherlands. This research tackles the topic of European populism in the context of political communication and its relation to both the legacy and digital media within the hybrid media system. Departing from the consideration that populism and populist rhetoric are challenging concepts to define, I suggest that they should be addressed and analyzed through the usage of a combination of methods and theoretical perspectives, namely Communication Studies, Corpus Linguistics, Political theory, Rhetoric and Corpus-Assisted Discourse Studies. This thesis considers data of different provenance. On the one hand, for the Legacy media part, newspapers articles were collected in the three countries under study from the 1st until the 31st of May 2019. Each country’s legacy system is represented by three different quality papers and the articles were collected according to a selection of keywords (European Union Elections and Populism in each of the three languages). On the other hand, the Digital media data takes into consideration Twitter tweets collected during the same timeframe based on particular country-specific hashtags and tweets by identified populist actors. In order to meet the objective of this study, three research questions are posed and the analysis leading to the results are exhaustively presented and further discussed. The results of this research provide valuable and novel insights on how populism as a theme and a concept is being portrayed in the context of the European elections both in legacy and digital media and political communication in general.

Myanmar higher education in transition: the interplay between state authority, student politics and international actors.

The Myanmar “period of transition” (2011-2021) has often been described as a puzzle. Various scholars have begun to engage with the Myanmar context in an effort to grasp the essence of the transition it underwent during President Thein Sein’s USPD and Aung San Suu Kyi’s NLD governments. My work focuses on a specific policy sector, higher education, with a view to contributing to this scholarly debate regarding what was actually happening inside this complex country “transition”, especially in terms of collective participation in the process of political and social change. Reviewing existing scholarly literature on the politics of higher education, my study employs a triangle of analysis in which higher education reform is framed as the interplay of action on the part of “state authority”, “student politics” and “international actors”. What does this interplay lens reveal if we consider Myanmar’s “period of transition”? I argue that it shows the ambiguity and contradiction of tangible pushes for progressive social change that coexisted with authoritarian currents and the reinforcement of the societal position of dominant elites. At the policy level, ultimately, a convergence of interests between international actors and state authority served as the force driving the new higher education reform towards a neo-liberal model of governance and autonomy. This work unpacks the higher education reform process thanks to qualitative data gathered through extensive participant observation, in-depth interviewing and critical discourse analysis, shedding light on the rich narratives of those involved in the politics of higher education in Myanmar.

Collaborative governance of smart cities: addressing multiple relations of actors involved

This dissertation aims to contribute to the discourse on the governance of smart cities (SC) by examining the collaborative relationships between various actors involved in developing and implementing SC initiatives. Poorly organized collaboration can lead to conflicts and misunderstandings, resulting in failures in realizing such complex technological initiatives. Hence, capturing the main elements of SC collaboration becomes essential for understanding how they should be developed and managed. However, the topic has been limitedly explored in prior research, with fragmented studies on narrow aspects related to the SC governance. Using Russia as an empirical setting, the study focuses on the interplay of both government and non-governmental stakeholders in constructing collaborative relationships within SC, covering both vertical and horizontal dimensions of their interaction. The overarching goal of this research is to understand how collaborative governance unfolds in the SC context by stating two guiding research questions: 1) who are the dominant actors in SC and what are their roles? 2) what are the relationships forged among them? The dissertation investigates the SC initiatives across three different cities – Moscow, Saint Petersburg, and Perm – in a format of empirical illustration as well as an in-depth case study. The dissertation provides three main contributions. First, it strengthens the link between the SC domain, public governance, and literature on cross-sectoral collaboration by highlighting ‘urban smartness’ as a source for generating multiple values. Second, the thesis offers novel view on the strategic development paths which conceptually shape the SC framework. It connects the techno-centric and human-centric perspectives of SC by showing that they are naturally linked, rather than mutually exclusive. Third, the study illustrates that SC initiatives are contextually dependent, and this dependence covers specificities of public governance, including underlying informal mechanisms, which influence the inception, development, and management of SC in the organizational realms.