La sottotitolazione interlinguistica in tempo reale: il caso Ericsson Olanda e l'esperimento presso il festival Sedicicorto 2014

Al giorno d'oggi l'accessibilità all’informazione e ai prodotti audiovisivi è un argomento particolarmente delicato. Spesso, le categorie più svantaggiate, come le persone affette da disabilità sensoriali e gli stranieri, non hanno pieno accesso alla programmazione televisiva o a eventi ricreativi, culturali o formativi (conferenze, workshop, spettacoli), a causa della mancanza di adeguati servizi di supporto linguistico. Tale carenza rappresenta una mancata opportunità d’integrazione e anche una potenziale perdita, in termini di pubblico e di introiti, per le emittenti e gli enti che organizzano programmi ed eventi di interesse generale. Questa tesi intende analizzare le tecniche attraverso le quali oggi viene realizzata la sottotitolazione interlinguistica in tempo reale. Il nostro obiettivo è quello di dimostrare che approfondendo la ricerca scientifica sul respeaking e su altre tecniche meno costose rispetto alla stenotipia, la sottotitolazione interlinguistica in tempo reale non sarebbe più un miraggio. Il primo capitolo fornisce una panoramica sulla sottotitolazione intralinguistica e interlinguistica e sulla sottotitolazione preregistrata, in diretta e in semi-diretta. Nel secondo capitolo presenteremo il caso dell’azienda Ericsson in Olanda, l'unica a fornire sottotitolazione interlinguistica in tempo reale nei Paesi Bassi, tramite una tecnica che combina un interprete simultaneo, uno stenotipista e un "subtitle keyer" (figura che inserisce i sottotitoli al momento opportuno). La squadra lavora su un segnale dal vivo che viene però trasmesso al pubblico olandese con alcuni secondi di ritardo, permettendo di migliorare la qualità dei sottotitoli. Grazie ad una borsa di studio concessa dal Dipartimento d’Interpretazione e Traduzione di Forlì (Università di Bologna), abbiamo potuto intervistare il responsabile dell’unità di traduzione presso Ericsson, dott. Thijs de Korte, e abbiamo avuto modo di assistere in loco alla realizzazione dei sottotitoli interlinguistici in tempo reale. Il terzo capitolo si concentrerà sulla tecnica del respeaking, dagli ambiti d’uso ai requisiti per svolgere questa professione. Ci concentreremo in particolare sulle somiglianze tra respeaker e interprete simultaneo, che ci condurranno all'esperimento descritto nel capitolo 4. Infatti, date le somiglianze riscontrate tra interpretazione simultanea e respeaking e il potenziale in termini di accessibilità offerto dalla sottotitolazione interlinguistica dal vivo, abbiamo fornito un servizio sperimentale di sottotitolazione in diretta dall’italiano verso l’inglese durante la cerimonia di premiazione del Sedicicorto International Film Festival di Forlì. Dopo aver descritto in dettaglio l’esperienza, analizzeremo i giudizi espressi da ospiti stranieri, pubblico italiano e membri dell'associazione "Sedicicorto", al fine di verificare la qualità del servizio e osservarne i benefici. La conclusione della nostra tesi è che sfruttando appieno il potenziale offerto della tecnologia moderna e approfondendo la ricerca sulle tecniche per la sottotitolazione interlinguistica dal vivo, si potrebbero ridurre i costi dei servizi di supporto linguistico a non udenti e stranieri, incoraggiando dunque aziende ed enti a garantire una maggiore accessibilità all’informazione e agli eventi culturali e formativi.

Il linguaggio della medicina: proposta di traduzione dall'italiano all'inglese del libro "Osteopatia come Medicina di Terreno"

This thesis is aimed at providing a translation from Italian into English of some chapters taken from Osteopatia come Medicina di Terreno (Osteopathy as Ground Medicine), written by Dr. Mauro Fornari D.O.M.R.O.I., Dr. Alberto Garoli MD Ac, MD Ay, MD Tcm, Dr. Lara Gozzi D.O.M.R.O.I., Professor Stefano Guizzardi MD Ph.D., Dr. Andrea Martini D.O.M.R.O.I., and Dr. Stefano Matassoni D.O.M.R.O.I., published in 2014 by Piccin Nuova Libraria publishing house. The main reason behind this choice is a personal interest in technical-scientific translation, especially in medical translation. Furthermore, this translation has been personally requested by one of the authors of the book, Dr. Mauro Fornari, in order to export the new and functional osteopathic method to assess the patient, that is discussed in this book. The dissertation consists of four chapters. Chapter one illustrates an analysis of specialized languages from a stylistic, textual, lexical and morphosyntactic point of view. Chapter two contains an analysis of the main features of medical language, both in Italian and English. Chapter three is focused on corpus linguistics and the use of corpora in specialized translation, it includes a brief introduction to the Osteopathic practice, and contains the translation of chapters 4-5-6-7 of Osteopatia come Medicina di Terreno. And finally, chapter four contains an analysis of the problems found during the translation process, and a proposal for their resolution.

The Operatics of Cabiria (1914): Intermediality in Early Italian Cinema

This article presents an intermedial analysis of the Italian silent film Cabiria by Giovanni Pastrone within the cultural context of its time. Employing theories developed by Werner Wolf and Irina Rajewsky, the article lays out the intermedial and transmedial relationships of Cabiria with other media, in particular opera, literature, and painting, and illustrates that operatic references are incorporated recognizably during key moments of the film. By contrasting these references with specific cinematic techniques, Pastrone demonstrates that film is able to elicit an operatic sensation and that film is a distinct and valuable form of art.

The Representation of Motherhood in Polish Cinema

The project aimed to analyse representations of motherhood in Polish cinema as a special case of a more general system within the representation of women. It concentrated on the image of the Polish Mother created during the 19th century in Polish culture under the influence of specific political, social and religious factors. Ms. Ostrowska's initial hypothesis was that this symbolic image became one of the most stable elements in Polish cinema and as her research revealed, it was valuable for the preservation of national identity but nevertheless a fiercely constraining model for Polish femininity. In order to fully understand the nature of this persistent image it was initially necessary to related it to broader contexts and issues in representation. These included the image of the Polish Mother within general mythological structures (using the notion of myth in the Barthesian sense). Following her initial research Ms. Ostrowska felt that it was most appropriate to view the myth of the Polish Mother as a dominant ideological structure in the discourse of motherhood within Polish culture. An analysis of the myth of the Polish Mother can provide an insight into how Polish society sees itself at different periods in time and how a national identity was constructed in relation to particular ideological demands stemming from concrete historical and political situations. The analysis of the film version of this myth also revealed some aspects of the national character of Polish cinema. There the image of woman has become enshrined as the "eternal feminine", with virtues which are inevitably derived directly from Catholicism, particularly in relation to the networks of meanings around the central figure of Mary, Mother of God. In 19th century Poland these were linked with patriotic values and images of woman became part of the defence of the very idea of Poland and Polishness. After World War Two, this religious-political image system was adapted to the demands of the new communist ideology. The possibility of manipulating the ideological dimensions of the myth of the Polish Mother is due to the very nature of the image, which as a symbol of civil religion had been able to function independently of any particular state or church institution. Although in communist ideology the stress was on the patriotic aspect of the myth, its pronounced religious aspect was also transmitted, consciously or not, in the denotation process, this being of great significance in the viewer's response to the female character. This appropriation of elements derived from the national patriotic tradition into the discourse of communist ideology was a very efficient strategy to establish the illusion of continuity in national existence, which was supposed to convince society of the rightness of the new political situation. The analysis of films made in the post-war period showed the persistence of this discourse on motherhood in a range of cinematic texts regardless of the changing political situation. Ms. Ostrowska claims that the stability of this discursive formation is to a certain extent the result of the mythological aspect of the mother figure. This mythological structure also belongs to the ideology of Romanticism which in general continues to prevail in Polish cultural discourse as a meta-language of national community. The analysis of the films confirmed the hypothesis of the Polish Mother as a myth-sign whose signifier is stable whereas the signified depends on the specific historical conditions in which it is set. Therefore in the famous propaganda documentary Kobiety naszych dni (Women of Our Days, 1951) by Jan Zelnik, and in other films made after the October 1956 "thaw" it functions as an "empty sign. She concludes that it would be difficult to deny that the myth of the Polish Mother has offered Polish women a special role in national life, granting them a high moral position in the social, hierarchy. However the processes of idealisation involved have resulted in a deprivation of her subjectivity and the right to decide about her own life. This idealisation also served to strengthen traditional patriarchal structures through this set of female obligations to the mother land. In Polish ideology it is not a man who demands sacrifice from a woman but the motherland, which, deprived of the institutions of male power for nearly 150 years, had functioned as a feminine structure. That is why oppressive aspects of the myth have been obscured for so long. While Polish women were doubtless able to accept the constrictions because of their sense of national duty and any misgivings were overridden by the argument of the cause, it is important to recognise that the strength of these constructions, compounded by the ways in which they spoke of and continue to speak of a certain perfection, make them persist into contemporary Poland. Poland is however no longer embattled and the signs that made these meanings are potentially empty. This space for meaning will be and is already being contested and increasingly colonised by current western models of femininity. Ms. Ostrowska's final question is whether this will help to prevent a possible resentful victimisation of the silent and noble Polish Mother.