Sabotage! and Other Stories
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“How the Nanny Has Become La Tata”: Analysis of an Audiovisual
Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue Moderne per la Comunicazione e la Cooperazione Internazionale Classe LM-38 Tesi di Laurea “How The Nanny has become La Tata”: analysis of an audiovisual translation product Relatore Laureando Prof. Maria Teresa Musacchio Susanna Sacconi n° matr. 1018252 / LMLCC Anno Accademico 2012 / 2013 Contents: INTRODUCTION 1 CHAPTER 1 – THEORY OF AUDIOVISUAL TRANSLATION 1.1 Translation: General concepts 3 1.2 Audiovisual translation 6 1.3 Audiovisual translation in Europe 10 1.4 Linguistic transfer 12 1.4.1 Classification for the current AVT modes 14 1.5 Dubbing vs Subtitling 22 CHAPTER 2 – DUBBING IN ITALIAN AUDIOVISUAL TRANSLATION 2.1 Dubbing: An introduction 27 2.2 A short history of Italian dubbing 31 2.3 The professional figures in dubbing 33 2.4 The process of dubbing 36 2.5 Quality in dubbing 40 CHAPTER 3 – DUBBING: ASPECTS AND PROBLEMS 3.1 Culture and cultural context in dubbing 43 3.2 Dialogues: their functions and their translation in films 47 3.3 Difficulties in dubbing: culture-bound terms and cultural references 51 3.3.1 Culture-bound terms 54 3.3.2 Ranzato: the analysis of cultural specific elements 55 3.4 Translation strategies in dubbing (and subtitling) 59 3.4.1 Other strategies: Venuti’s model and Toury’s laws 63 3.4.2 The choice of strategies 65 3.5 Other translation problems: humour and allocutive forms 67 3.5.1 Humour 67 3.5.2 Allocutive forms 68 3.6 Synchronization and other technical problems 70 3.6.1 Synchronization -
“Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville
“UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights. -
<I>Always Coming Home</I>
Volume 17 Number 3 Article 7 Spring 3-15-1991 The Making of Always Coming Home Ursula K. Le Guin Todd Barton Margaret Chodos-Irvine George Hersh Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Le Guin, Ursula K.; Barton, Todd; Chodos-Irvine, Margaret; and Hersh, George (1991) "The Making of Always Coming Home," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 17 : No. 3 , Article 7. Available at: https://dc.swosu.edu/mythlore/vol17/iss3/7 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Transcript of panel discussion from 1988 Mythopoeic Conference. Author, illustrator, composer, and cartographer/ researcher discuss the genesis of Always Coming Home. Additional Keywords Le Guin, Ursula K. Always Coming Home; Le Guin, Ursula K. -
Episode 308: JOHNNYSWIM That Sounds Fun with Annie F. Downs
Episode 308: JOHNNYSWIM That Sounds Fun with Annie F. Downs [00:00:00] <Music> Annie: Hi friends, welcome to another episode of That Sounds Fun. I'm your host Annie F. Downs, I'm really happy to be here with you today. We've got a great show in store, one y'all have been requesting for always. So I'm thrilled about today's show. And before we get started, I want to tell you about one of our incredible partners, CRU. It probably goes without saying, but here I am saying it anyways, reading the Bible is so important to me. If you've been following me through 2021, you know, I've been doing the Bible in a Year, and I'm always blown away by the new things I learn, even in passages I feel like I've read 100 times. But imagine for a second that you couldn't get a Bible, like you couldn't afford one or couldn't just hop on Amazon and have one sent to your house. Take it one step further, and imagine that you aren't even allowed to have one. Honestly, sometimes we forget that there are so many people all around the world, who simply can't get a Bible. And that's why we're thrilled to partner with Cru. Cru is one of the largest evangelical organizations in the world, with over 25,000 missionaries in almost every country. Cru has given Bibles to people in their own heart language, and sharing the hope of Jesus all around the globe. -
Making and Managing Class: Employment of Paid Domestic Workers in Russia Anna Rotkirch, Olga Tkach and Elena Zdravomyslova Intro
Making and Managing Class: Employment of Paid Domestic Workers in Russia Anna Rotkirch, Olga Tkach and Elena Zdravomyslova This text is published with minor corrections as Chapter 6 in Suvi Salmenniemi (ed) Rethinking class in Russia. London: Ashgate 2012, 129-148. Introduction1 Before, they used to say “everybody comes from the working classes”. I have had to learn these new practices from scratch. I had to understand how to organise my domestic life, how to communicate with the people who I employ. They have to learn this too. (Lidiia, housekeeper) Social class is a relational concept, produced through financial, social and symbolic exchange and acted out in the market, in work places, and also in personal consumption and lifestyle. The relations between employers and employees constitute one key dimension of social class. Of special interest are the contested interactions that lack established cultural scripts and are therefore prone to uncertainties and conflicts. Commercialised interactions in the sphere of domesticity contribute to the making of social class no less than do those in the public sphere. In this chapter, we approach paid domestic work as a realm of interactions through which class boundaries are drawn and class identity is formed. We are interested in how middle class representatives seek out their new class identity through their standards and strategies of domestic management, although we also discuss the views of the domestic workers. As the housekeeper Lidiia stresses in the introductory quotation to this chapter, both employers and employees have to learn new micro-management practices and class relations from scratch. The assertion that class is in continual production (Skeggs 2004) is especially true for the contemporary Russian situation, where stratification grids are loose and class is restructured under the pressure of political and economic changes. -
A Blank Space Extended: on the Poetics of Osvaldo Lamborghini
Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 A Blank Space Extended: On the Poetics of Osvaldo Lamborghini Kevin Paul Soto Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the Latin American Languages and Societies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Soto, Kevin Paul, "A Blank Space Extended: On the Poetics of Osvaldo Lamborghini" (2016). Senior Projects Spring 2016. 105. https://digitalcommons.bard.edu/senproj_s2016/105 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. A Blank Space Extended: On the Poetics of Osvaldo Lamborghini Senior Project submitted to The Division of Languages and Literature of Bard College by Kevin P. Soto Annandale-on-Hudson, New York May 2016 Acknowledgements If I were to list every single person who has helped me out in some way, either by directly having a hand in this project or even just keeping me sane and well, I would run up an innumerable amount of pages, and we would have a “Library of Babel” type of situation on our hands. -
The Willow Pattern Characters
THE WILLOW PATTERN [Transcribed from the libretto in the British Library by Vincent Daniels] CHARACTERS AH-MEE (a Chinese Maiden ) MISS AGNES FRASER HI-HO ( her Lover ) MR POWIS PINDER SO-HI ( her Father ) MR REGINALD CROMPTON SO-LO ( his Friend ) MR R. ROUS WEE-PING ( a Rich Lady ) MISS ROSINA BRANDRAM PING-PONG ( her Lover ) MR WALTER PASSMORE TEE-THING ( his Grandmother ) MISS JESSIE POUNDS FEE-FI ( a Poor Girl ) MISS BLANCHE GASTON MURRAY FO-FUM ( her Lover ) MR W. H. LEON CHORUS OF PAIRS OF LOVERS SCENE: A CHINESE GARDEN, AS IN THE WELL-KNOWN WILLOW PATTERN Libretto SCENE. - A Chinese garden, House L.C., Willow tree L of House, Bridge R, It is late afternoon. Enter CHORUS, CHINESE MEN and GIRLS CHORUS. Comes a merry throng With wreaths and garlands laden Sound the joyous gong, China man and maiden. Beat it loud and long, Bing! Bang! Sound the gladsome gong, Cling! Clang! In praise of the god Choo-Chow Tow! Kow! In praise of the god Choo-Chow. FO-FUM. For today is the Feast of Lovers When every youth discovers His heart is laid At the feet of a maid With toddling tootsicums! FEE-FI. And every maid that toddles 1 Is dressed in her best, and swaddles Her figure petite In a costume neat – So rattle the Chinese drum, And beat Every Chinese gong ALL. Clang! Clang! FEE-FI. Beat them loud and long. ALL. Bang! Bing! FEE-FI. And join in the joyful song I sing In praise of the god Choo-Chow. ALL. -
Song & Music in the Movement
Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing. -
The Case of Bartu Ben
Transformation of Comedy with Streaming Services: The Case of Bartu Ben Nisa Yıldırım, Independent Scholar [email protected] Volume 8.2 (2020) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2020.300 | http://cinej.pitt.edu Abstract Comedy has always been one of the most popular genres in Turkish cinema and television series. As the distinction between film and series has begun to blur in the post-television era, narratives are transforming according to the characteristics of the new medium. Streaming services targeting niche audience offer more freedom to creators of their content. This article aims to study the comedy series Bartu Ben (Its me, Bartu) which is one of the original series of Turkish streaming service Blu TV, in order to interpret the differences of the series from traditional television comedies, and contribution of streaming services to the transformation of the genre. Keywords: Comedy; streaming services, Turkish cinema; Turkish television series; Bartu Ben; Netflix New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press Transformation of Comedy with Streaming Services: The Case of Bartu Ben Nisa Yıldırım Introduction In the recent era, the distinction between cinematic and televisual narratives has been blurring due to the evolution of these two media with the impact of digital technologies. Streaming services have been threatening cinema and television lately in terms of both production and distribution by creating their original films and series, besides offering wide-ranging archives including films, series, and documentaries from various countries with subtitles and dubbing options. -
The Nanny Network & Sitters' Registry 318-841-6266 (NANNY)
The Nanny Network 841-Nanny (6266) Nanny Application and Agreement Thank you for your interest in The Nanny Network. Please complete the following Nanny application and the Nanny agreement and mail to Jennifer Holloway, Po Box 5824, Shreveport, La 71135. Please attach a recent picture & feel free to attach relevant information to the completed application (resume, etc.). Nanny Application & Agreement Name:____________________________________ Date: ____________________ Work Phone: __________________ Home Phone: _________________________ Cell Phone: _____________________Email: ______________________________ Current Address: __________________________________Zip:_______________ Place of Birth:________________________ D.O.B._________________________ Social Security #: ______________________ Driver’s License #_____________ State: _____________ Exp Date: ___________ Are you a US Citizen?__________ Maiden or other name, middle name____________ ____________________ Questions: 1. Explain your childcare experience and why you enjoy being a nanny. 2. What are your hobbies and areas of interest? 3. How do you describe your personality? 1 Driving/Personal Habits: List all accidents and moving violations in which you were a driver in last 3 years:__________________________________________________________________ Have you ever been convicted of a felony? ____________________________________ Explain:_________________________________________________________________ Do you have your own transportation? __________ Describe: ____________________ If a family -
What Happens When Parents and Nannies Come from Different Cultures? Comparing the Caregiving Belief Systems of Nannies and Their Employers
Journal of Applied Developmental Psychology 29 (2008) 326–336 Contents lists available at ScienceDirect Journal of Applied Developmental Psychology What happens when parents and nannies come from different cultures? Comparing the caregiving belief systems of nannies and their employers Patricia M. Greenfield ⁎, Ana Flores, Helen Davis, Goldie Salimkhan UCLA, Department of Psychology and FPR-UCLA Center for Culture, Brain, and Development, United States article info abstract Article history: In multicultural societies with working parents, large numbers of children have caregivers from Available online 8 May 2008 more than one culture. Here we have explored this situation, investigating culturally-based differences in caregiving beliefs and practices between nannies and the parents who employ Keywords: them. Our guiding hypothesis was that U.S. born employers and Latina immigrant nannies may Culture have to negotiate and resolve conflicting socialization strategies and developmental goals. Our Cultural values second hypothesis was that sociodemographics would influence the cultural orientation of Individualism nannies and mother-employers independently of ethnic background. We confirmed both Collectivism hypotheses by means of a small-scale discourse-analytic study in which we interviewed a set of Parental belief system nannies and their employers, all of whom were mothers. From an applied perspective, the Immigrant caregiver Socialization results of this study could lead to greater cross-cultural understanding between nannies and mother-employers and, ultimately, to a more harmonious childrearing environment for children and families in this very widespread cross-cultural caregiver situation. © 2008 Published by Elsevier Inc. 1. Introduction Irving Sigel pioneered the study of parental belief systems (Sigel, 1985; Sigel, McGillicuddy-De Lisi, & Goodnow, 1992). -
Images of Jewish Women in Comic Books and Graphic Novels. a Master’S Paper for the M.S
Alicia R. Korenman. Princesses, Mothers, Heroes, and Superheroes: Images of Jewish Women in Comic Books and Graphic Novels. A Master’s Paper for the M.S. in L.S degree. April 2006. 45 pages. Advisor: Barbara B. Moran This study examines the representations of Jewish women in comic books and graphic novels, starting with a discussion of common stereotypes about Jewish women in American popular culture. The primary sources under investigation include Gilbert Hernandez’s Love and Rockets X, Aline Kominsky-Crumb’s autobiographical works, the X-Men comic books, Art Spiegelman’s Maus and Portrait of the Artist as a Young %@&*!, Joann Sfar’s The Rabbi’s Cat, and J.T. Waldman’s Megillat Esther. The representations of Jewish women in comic books and graphic novels vary widely. And although certain stereotypes about Jewish women—especially the Jewish Mother and the Jewish American Princess—pervade American popular culture, most of the comics featuring Jewish characters do not seem to have been greatly influenced by these images. Headings: Comic books, strips, etc. -- United States -- History and Criticism Popular Culture -- United States – History – 20th Century Jewish Women -- United States – Social Life and Customs Jews -- United States -- Identity PRINCESSES, MOTHERS, HEROES, AND SUPERHEROES: IMAGES OF JEWISH WOMEN IN COMIC BOOKS AND GRAPHIC NOVELS by Alicia R. Korenman A Master’s paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Library Science. Chapel Hill, North Carolina April 2006 Approved by _______________________________________ Barbara B.