DOCSLIB.ORG

Teresa Filizzola Phd Thesis Final Copy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Teresa Filizzola Phd Thesis Final Copy Italians’ Perception and Reception of British Stand-Up Comedy Humour with Interlingual Subtitles A Qualitative and Quantitative Study on Eddie Izzard’s Shows Teresa Filizzola Submitted in accordance with the requirements for the degree of PhD University College London Centre for Translation Studies, CMII September 2016 Primary Supervisor: Dr Federico M. Federici Subsidiary Supervisor: Dr Louisa Desilla 1 Declaration I, Teresa Filizzola, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Teresa Filizzola 30th September 2016 2 Abstract If we look at the existing publications addressing topics related to the audiovisual translation mode of subtitling and the rendering of humour into another language, we shall notice that there has been an undeniable growth within these branches of translation studies. Nonetheless, this statement does not apply to the specific field of translation of stand-up comedy humour by means of interlingual subtitles. The literature related to this research field reveals a significant gap especially when the focus is on how audiences respond to this type of translated audiovisual products, and when the source language and the target language are respectively British English and Italian. The present PhD project was designed to fill the aforementioned research gap and, in order to attain this purpose, some sketches selected from three of Eddie Izzard’s stand-up comedy shows (Dress to Kill, Circle and Stripped, for which Italian subtitles are available in the official DVDs) were played to a sample of 103 Italians based in Italy so as to observe their reaction. In order to study the specific research field outlined above, the project was made even more original and innovative by adopting a twofold methodology that combines the use of a survey questionnaire with the eye-tracking technology for the data collection. The ultimate aims of this research project were to discover: 1) whether the import of audiovisual products involving British stand-up comedy humour with interlingual subtitles can be deemed as successful in a dubbing country like Italy; 2) the role played by factors such as age, level of English and habit of watching video material in English in the Italian participants’ degree of appreciation of this type of product, as well as in their attention distribution between subtitles and images; and 3) whether a triangulated methodological approach can help to obtain more reliable findings. 3 Acknowledgements First of all, I want to thank my family for their constant support – shown in every possible way – throughout my entire life and especially over the past three years of my PhD. They were always there whenever I needed them, and they helped me cope well in difficult times. To share this achievement of mine with them is an emotion that cannot be described in words. Within the academic world, I would like to thank my primary supervisor, Dr Federico M. Federici, for what I have learned from him during my PhD, for the skills that he has transferred to me, for the constructive dialogue that we have always had, for the times that he challenged me and brought the best out of me, and for being such a calm, kind and understanding person. Another person who deserves to be mentioned is my subsidiary supervisor, Dr Louisa Desilla, who gave me some valuable advice on the core chapters of my dissertation. Finally, I want to express my gratitude to some wonderful people who were there for me in different ways: Giulia and Gianni, for some of the most enlightening conversations in my life and for being two wonderful listeners; Aaran, for his physical and moral support, and for taking me to other dimensions with his positive energy; Carolina, for teaching me some precious Excel tricks and formulae, and for her affection as a cousin; Silvia and Greta, for allowing me to stay at their places during the data collection in Italy and for helping me find some of the participants for my study; and Domenico, for all the times that we went for a coffee together, which was always an occasion to have a lovely chat and learn from his experience in academia, and for all his precious help till the very end. I would also like to thank all my other friends and relatives who contribute to make my little word a beautiful one, and all the participants who voluntarily took part in my study. 4 Contents Abbreviations ................................................................................................................... 9 List of Charts ................................................................................................................. 10 List of Figures ................................................................................................................ 12 List of Tables ................................................................................................................. 13 1 Introduction .............................................................................................................. 17 1.1 Premise .......................................................................................................... 17 1.2 The Experiment .............................................................................................. 18 1.3 The Research Questions ................................................................................ 19 1.4 The Structure of the Dissertation .................................................................... 22 2 Translation of Humour, Subtitling and Reception Studies ....................................... 28 2.1 Introduction ..................................................................................................... 28 2.2 Humour and Translation Studies .................................................................... 29 2.3 Subtitling (of Humour) ..................................................................................... 36 2.4 Reception Studies and Eye Tracking ............................................................. 44 2.5 Conclusions .................................................................................................... 52 3 Eddie Izzard, the Shows and the Clips .................................................................... 53 3.1 Introduction ..................................................................................................... 53 3.2 Eddie Izzard’s Humour: The Media Reception and His Own Perception ....... 54 3.2.1 A note on Italian humour ....................................................................... 57 3.3 The Shows and the Selected Clips ................................................................. 62 3.3.1 Dress to Kill ............................................................................................ 62 3.3.2 Circle ...................................................................................................... 64 5 3.3.3 Stripped ................................................................................................. 65 3.4 A Comparative Analysis of English Audio Scripts and Italian Subtitles .......... 67 3.4.1 Cultural references ................................................................................ 67 3.4.2 Bad and strong language ...................................................................... 72 3.4.3 Blasphemy ............................................................................................ 76 3.4.4 Puns ...................................................................................................... 80 3.4.5 Idioms .................................................................................................... 82 3.4.6 Polysemy ............................................................................................... 83 3.5 Conclusions .................................................................................................... 85 4 Methodology I: Tools and Sample .......................................................................... 87 4.1 Introduction .................................................................................................... 87 4.2 Online Survey Questionnaire ......................................................................... 88 4.3 Eye Tracking .................................................................................................. 94 4.4 The Sample of Participants .......................................................................... 101 4.5 Conclusions .................................................................................................. 108 5 Methodology II: Pilot Study ................................................................................... 109 5.1 Introduction .................................................................................................. 109 5.2 Questionnaire Data ...................................................................................... 110 5.3 Eye-Tracking Data ....................................................................................... 118 5.4 Consequences of the pilot study: issues and amendments ......................... 133 5.5 Conclusions .................................................................................................. 135 6 Data Analysis: The Online Survey Questionnaire I ............................................... 137 6.1 Introduction .................................................................................................
Load more

Recommended publications
  • Kelly Carlin to Host New Show on Siriusxm
    Kelly Carlin to Host New Show on SiriusXM "The Kelly Carlin Show," the new monthly show on Raw Dog Comedy and Carlin's Corner channels to launch with special guest Robin Williams NEW YORK, Feb. 9, 2012 /PRNewswire/ -- Sirius XM Radio (NASDAQ: SIRI) announced today that Kelly Carlin, daughter of George Carlin, one of the most influential comedians of all time, will host a new monthly show on Raw Dog Comedy, channel 99, and on Carlin's Corner, the new 24/7 channel devoted to George Carlin, channel 400. (Logo: http://photos.prnewswire.com/prnh/20101014/NY82093LOGO ) Each month, The Kelly Carlin Show will feature Kelly interviewing a different comedian, stand-up comedy, personal stories and memories about her legendary and beloved father. The monthly show will kick off with a revealing conversation with special guest Robin Williams, during which the two will discuss Williams' experience on The Richard Pryor Show and Mork & Mindy, what it takes to be an actor versus a stand-up comedian and Williams' thoughts on the end of the world. The Kelly Carlin Show will premiere on Sunday, February 12 at 7:00 pm ET and will air the first Sunday of every month on Raw Dog Comedy, channel 99. The Kelly Carlin Show will also air the first Monday of every month at 8:00 pm ET on Carlin's Corner, channel 400. Upcoming episodes are scheduled to feature conversations with special guests Eddie Izzard, Lewis Black and Chris Hardwick. SiriusXM Raw Dog Comedy features uncensored comedy from the edge: classic comedy, the hottest new stand-ups and original shows.
    [Show full text]
  • LA COMPILATION SOUNDTRACK NEL CINEMA SONORO ITALIANO a Cura Di Maurizio Corbella
    E DEI MEDIA IN ITALIA IN MEDIA DEI E CINEMA DEL CULTURE E STORIE SCHERMI LA COMPILATION SOUNDTRACK NEL CINEMA SONORO ITALIANO a cura di Maurizio Corbella ANNATA IV NUMERO 7 gennaio giugno 2020 SCHERMI 7 - 2020 Schermi è pubblicata sotto Licenza Creative Commons 72 «NOSTALGIA, ROMANTICISMO E CAFONATE TERIBBBILI» - Tomatis «NOSTALGIA, ROMANTICISMO E CAFONATE TERIBBBILI»: LA MUSICA DA CINEPANETTONE Jacopo Tomatis(Università degli Studi di Torino) The so-called “cinepanettone” has been one of the most typical genres of Italian popular cinema since 1983. Compiled soundtracks made up of the latest pop hits and commercial house music are unquestionably among the most prominent conventions defining such movies. The goal of the article is to examine how such music became typically associated with the “cinepanettone”, in relation with the wider context of popular music and media in 1980s and 1990s Italy; and (following O’Leary’s suggestions) to discuss the “phenomenology” of such repertoire, in order to criticize the notion of “cinepanettoni” music as the quintessential “bad music”. Keywords Italian cinema; cinepanettone; film music DOI 10.13130/2532-2486/12708 I. Introduzione Il video si apre su un paesaggio montano innevato, con l’indicazione dei produt- tori in un font stampatello maiuscolo bianco. «Anche quest’anno, a Natale, ci si ammazza dalle risate» pronuncia una voce over, maschile, molto impostata. Si alternano quindi rapidamente, in dissolvenza incrociata, le immagini di un hotel alpino, di alcuni abeti ripresi in movimento e infine dell’arrivo di un’auto decap- pottabile (forse una Porsche) guidata da un uomo con capelli lunghi, cappellino e look coatto, lo stesso che pochi secondi dopo rutterà rumorosamente in faccia a un cameriere vestito di bianco.
    [Show full text]
  • Die Grenzen Der Satire: Vergleich Zweier Italienischer Talk-Show-Formate
    DIPLOMARBEIT Titel der Diplomarbeit Die Grenzen der Satire: Vergleich zweier italienischer Talk-Show-Formate Verfasserin Martina Brenner angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof. Dr. Hilde Haider-Pregler 2 Erklärung Ich erkläre, dass ich die vorliegende Arbeit selbstständig und ohne fremde Hilfe verfasst habe, andere als die angegebenen Quellen nicht verwendet habe und die den benutzten Quellen wörtlich oder inhaltlich entnommenen Stellen als solche kenntlich gemacht habe. Anmerkungen: In dieser Diplomarbeit wurde aus Gründen der Lesbarkeit auf die gendergerechte Form verzichtet. Männliche Schreibweisen umfassen auch die weiblichen. Das geschah völlig wert- und vorurteilsfrei. Die direkten Zitate in italienischer Sprache wurden von der Autorin ins Deutsche übersetzt. 3 4 Inhaltsverzeichnis 1. Einleitung ....................................................................................... 9 2. Die Satire ........................................................................................ 12 2.1. Etymologie ..................................................................................................... 13 2.2. Indignatio als Antrieb, Satire zu schreiben ............................................. 17 2.3. Satire als gattungsübergreifende Form ................................................... 18 2.4. Der satirische Weltentwurf ...................................................................
    [Show full text]
  • This Is a Contribution from Cultus: the Intercultural Journal of Mediation and Communication 2014: 7 © Iconesoft Edizioni Gruppo Radivo Holding
    ________________________________________________ This is a contribution from Cultus: the Intercultural Journal of Mediation and Communication 2014: 7 © Iconesoft Edizioni Gruppo Radivo Holding This electronic file may not be altered in any way. The author(s) of this article is /are permitted to use this PDF file to generate printed copies to be used by way of offprints, for their personal use only. __________________________________________________ Cultus THE JOURNAL OF INTERCULTURAL MEDIATION AND COMMUNICATION TRANSCREATION AND THE PROFESSIONS 2014, Volume 7 ICONESOFT EDIZIONI - GRUPPO RADIVO HOLDING BOLOGNA - ITALY CULTUS __________________________________________________ Registrazione al Tribunale di Terni n. 11 del 24.09.2007 Direttore Responsabile Agostino Quero Editore Iconesoft Edizioni – Radivo Holding Anno 2014 ISSN 2035-3111 Policy: double-blind peer review © Iconesoft Edizioni – Radivo Holding srl via Ferrarese 3 – 40128 Bologna 2 ________________________________________________________ CULTUS the Journal of Intercultural Mediation and Communication TRANSCREATION AND THE PROFESSIONS 2014, Volume 7 Editors David Katan University of Salento Cinzia Spinzi University of Palermo ICONESOFT EDIZIONI – RADIVO HOLDING BOLOGNA 3 CULTUS __________________________________________________ CULTUS the Journal of Intercultural Mediation and Communication Editorial Board Michael Agar Ethknoworks LLC and University of Maryland, College Park, USA Patrick Boylan Emeritus Professor University Roma 3 Milton Bennet Intercultural Development Research
    [Show full text]
  • 35 Anni Di Risate
    Luigi e Aurelio De Laurentiis presentano ! 35 ANNI DI RISATE regia di PAOLO RUFFINI prodotto da AURELIO DE LAURENTIIS & LUIGI DE LAURENTIIS DAL 14 DICEMBRE AL CINEMA Distribuzione www.filmauro.it Seguici su CON (in ordine di apparizione): CHRISTIAN DE SICA, MASSIMO BOLDI, NADIA RINALDI, MAURIZIO MATTIOLI, ANGELO BERNABUCCI, STEFANIA SANDRELLI, GUIDO NICHELI, PAOLO ROSSI, EZIO GREGGIO, JERRY CALÀ, ENZO SALVI, MONICA SCATTINI, MARIO BREGA, CLAUDIO AMENDOLA, ANNA FOGLIETTA, LILLO & GREG, DIEGO ABATANTUONO, MASSIMO GHINI, NINO FRASSICA, MAURIZIO FERRINI, ANTONELLO FASSARI, MICHELLE HUNZIKER, FABIO DE LUIGI, TOSCA D’AQUINO, ALBERTO SORDI, BIAGIO IZZO, PAOLO RUFFINI, ALESSANDRO SIANI, ANNA FALCHI, NANCY BRILLI, ALENA SEREDOVA, CRISTIANA CAPOTONDI, VANESSA HESSLER, ANDREA RONCATO, CORINNE CLERY, CLAUDIO BISIO, SABRINA FERILLI, ENZO IACCHETTI, VINCENT RIOTTA, MOIRA ORFEI, NINO D’ANGELO, NINETTO DAVOLI, GIULIA BEVILACQUA, BELEN RODRIGUEZ, KARINA HUFF, VICTORIA SILVERSTEDT, ATHINA CENCI, MICAELA RAMAZZOTTI, MEGAN GALE, PAOLA MINACCIONI, PAOLO CALABRESI, ROSSANA DI LORENZO, EMANUELA FOLLIERO, FEDERICA MORO, MARIA GRAZIA CUCINOTTA, CAROL ALT, ORNELLA MUTI, VALERIA MAZZA, GIULIA MONTANARINI, NATALIA ESTRADA, GIORGIO PANARIELLO, PAOLO CONTICINI, AIDA YESPICA, MANUELA ARCURI, CARMEN ELECTRA, FRANCESCO MANDELLI, MARCO MESSERI, I FICHI D’INDIA, AMBRA ANGIOLINI, EMANUELE PROPIZIO, DANNY DE VITO E TANTI ALTRI. CAST TECNICO Regia PAOLO RUFFINI Montaggio PIETRO MORANA Musiche MICHELE BRAGA Durata 86 minuti Prodotto da Aurelio De Laurentiis & Luigi De Laurentiis
    [Show full text]
  • Borat in an Age of Postironic Deconstruction Antonio López
    Taboo: The Journal of Culture and Education Volume 11 | Issue 1 Article 10 December 2007 Borat in an Age of Postironic Deconstruction Antonio López Follow this and additional works at: https://digitalcommons.lsu.edu/taboo Recommended Citation López, A. (2017). Borat in an Age of Postironic Deconstruction. Taboo: The Journal of Culture and Education, 11 (1). https://doi.org/ 10.31390/taboo.11.1.10 Taboo, Spring-Summer-Fall-WinterAntonio López 2007 73 Borat in an Age of Postironic Deconstruction Antonio López The power of holding two contradictory beliefs in one’s mind simultaneously, and accepting both of them. ... To tell deliberate lies while genuinely believing in them, to forget any fact that has become inconvenient, and then, when it becomes necessary again, to draw it back from oblivion for just so long as it is needed, to deny the existence of objective reality and all the while to take account of the reality which one denies—all this is indispensably necessary. Even in using the word doublethink it is necessary to exercise doublethink. For by using the word one admits that one is tampering with reality; by a fresh act of doublethink one erases this knowledge; and so on indefinitely, with the lie always one leap ahead of the truth. —George Orwell, 19841 I will speak to you in plain, simple English. And that brings us to tonight’s word: ‘truthiness.’ Now I’m sure some of the ‘word police,’ the ‘wordinistas’ over at Webster’s are gonna say, ‘hey, that’s not really a word.’ Well, anyone who knows me knows I’m no fan of dictionaries or reference books.
    [Show full text]
  • 'Where We Would Extend the Moral
    ‘WHERE WE WOULD EXTEND THE MORAL POWER OF OUR CIVILIZATION’: AMERICAN CULTURAL AND POLITICAL FOREIGN RELATIONS WITH CHINA, 1843-1856 A dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Mathew T. Brundage December 2015 © Copyright All rights reserved Except for previously published materials Dissertation written by Mathew T. Brundage B.A., Capital University, 2005 M.A., Kent State University, 2007 Ph.D., Kent State University, 2015 Approved by ________________________________ Chair, Doctoral Dissertation Committee Mary Ann Heiss, Ph.D. ________________________________ Kevin Adams, Ph.D. ________________________________ Gang Zhao, Ph.D. ________________________________ James Tyner, Ph.D. Accepted by ________________________________ Chair, Department of History Kenneth Bindas, Ph.D. ________________________________ Dean, College of Arts and Sciences James L. Blank, Ph.D. TABLE OF CONTENTS………………………………………………….. iii LIST OF FIGURES………………………………………………………... iv PREFACE ………………………………………………………………... vi ACKNOWLEDGEMENTS……………………………………………….. vii INTRODUCTION………………………………………………………… 1 CHAPTERS I. Chapter 1: China as Mystery ……………………………… 30 II. Chapter 2: China as Opportunity ..………………………… 84 III. Chapter 3: China as a Flawed Empire………………………146 IV. Chapter 4: China as a Threat ………………………………. 217 V. Chapter 5: Redefining “Success” in the Sino-American Relationship ……………………………………………….. 274 CONCLUSION…………………………………………………………….. 317 APPENDIX………………………………………………………………… 323 BIBLIOGRAPHY………………………………………………………….
    [Show full text]
  • Download Full Text
    www.ssoar.info The 5 star people and the unconventional parliament Bordignon, Fabio; Ceccarini, Luigi Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Bordignon, F., & Ceccarini, L. (2013). The 5 star people and the unconventional parliament. Studia Politica: Romanian Political Science Review, 13(4), 675-692. https://nbn-resolving.org/urn:nbn:de:0168-ssoar-447780 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de The 5 Star People and the Unconventional Parliament 675 The 5 Star People and the Unconventional Parliament FABIO BORDIGNON, LUIGI CECCARINI INTRODUCTION With the triumphal entrance of the Movimento 5 Stelle (Five Star Movement)1 into the Italian Parliament following the General Election of 2013, the level of ”anti- politics” in Italian institutions has grown. With its 163 elected MPs, an ”anti-system” party has entered the political system – not merely the electoral arena, but also the very heart of representative democracy. This political entity, led by former comedian Beppe Grillo, has responded to a social demand for renewal and revitalization of democracy. The rise of the M5S participates to a scene of strong de-legitimization of the political class, and of widespread sentiments of intolerance towards the political parties. At the same time, the Movement has reached the point of calling into question the representative character of Italian democracy, albeit by using the very mechanisms that typify such a regime: elections and Parliament.
    [Show full text]
  • Un'estate Al Mare” È Stato Pensato E Scritto Come Grande Omaggio Alla Commedia Italiana Che Tanto Amiamo E Che Ha Forgiato Sia Me Che Mio Fratello
    Medusa Film presenta una produzione Medusa Film realizzata da International Video 80 Un’estate al mare con Lino Banfi Enrico Brignano Nancy Brilli Massimo Ceccherini Anna Falchi Ezio Greggio Biagio Izzo Marisa Jara Enzo Salvi Alena Seredova Victoria Silvstedt con la partecipazione straordinaria di Gigi Proietti e con Maurizio Micheli soggetto e sceneggiatura Enrico e Carlo Vanzina musiche originali di Manuel De Sica e Luigi Mas regia Carlo Vanzina distribuzione www.medusa.it Un’estate al mare CAST TECNICO Regia CARLO VANZINA Soggetto e sceneggiatura ENRICO e CARLO VANZINA Scenografia SERENA ALBERI Direttore della fotografia CLAUDIO ZAMARION Supervisione ai costumi NICOLETTA ERCOLE Costumista ROSSELLA PALMA Musiche originali di MANUEL DE SICA e LUIGI MAS Suono in presa diretta CANDIDO RAINI Montaggio RAIMONDO CROCIANI Organizzatore Generale TOTO’ GALLO Una produzione MEDUSA FILM Direttore di Produzione LEONARDO RECALCATI Ispettori di Produzione VERONICA COPPOLA MARCO SANGUINETTI Durata: 1h e 55’ Un’estate al mare IL CAST Nicola LINO BANFI Italo ENRICO BRIGNANO Luciana NANCY BRILLI Cecco MASSIMO CECCHERINI Cosima ANNA FALCHI Ugo Persichetti EZIO GREGGIO Dudù BIAGIO IZZO Mercedes MARISA JARA Giulio/narratore GIGI PROIETTI Enzo ENZO SALVI Debbie ALENA SEREDOVA Eva VICTORIA SILVSTEDT Giorgio Adonazzi MAURIZIO MICHELI Manfredi ALESSANDRO PACI Giovanni Morabito RICCARDO ROSSI Patrizia PAOLA MINACCIONI Un’estate al mare Questo film vuole essere la fotografia di uno dei momenti topici della vita degli italiani: l’estate al mare. Per fotografare questo momento allegro e spensierato, buffo e talvolta ridicolo, raccontiamo sette storie ambientate in luoghi celebri del divertimento estivo della nostra penisola. “IL CONTE DI MONTECRISTO” (PESCHICI – GARGANO) Con: Lino Banfi, Victoria Silvstedt, Elena Cantarone, Charlotte Crona, Nicomede Maretti.
    [Show full text]
  • Qseseries Editor: Duncan Prowse
    Maurice Forget BROOKEMEAD ENGLISH LANGUAGE TEACHING Series editor: Duncan Prowse Consultant: Rosemary Harris Editor: Picot Cassidy Artist: Belinda Evans Design: John Anastasio, Wendi Watson, Lapiz Digital QSE Advanced Common European Framework Level B2-C1 QSE Series Common Cambridge Michigan TOEFL Trinity College, Edexcel Title European ESOL (New TOEFL) London, ESOL London Test Framework of English Quick Start A1-A2 KET ISE 0 Level (A1) 1 English GESE Grade 1, 2, 3 (in preparation) Quick Smart A2-B1 PET BCCE ISE I, Level 1- 2 English GESE Grade 4, 5, 6 Pre-Intermediate Quick Smart B1-B2 FCE ECCE 450-525 ISE II, Level 2-3 English Target 485 GESE Grade 7,8,9 Intermediate (NT 163) Quick Smart B2-C1 CAE ALCE Target 525 ISE III, Level 3-4 English (NT 197) GESE Grade 10,11 Advanced ISBN: 1-905248-01-6 978-1-905248-01-8 Also available: Other books in the QSE Series: QSE Advanced Teacher’s DVD-ROM QSE Pre-Intermediate (CEF A2-B1) Video, Audio and Text ISBN 1-905248-02-04 Student’s Book, Workbook, Audio CDs, Teacher’s 978-1-905248-02-05 Guide with Photocopiable Resources QSE Advanced Student’s Book ISBN 1-905248-00-8 978-1-905248-00-1 QSE Intermediate (CEF B1-B2) QSE Advanced Student’s DVD-ROM ISBN 1-905248-03-2 Student’s Book, Workbook, Audio CDs, Teacher’s 978-1-905248-03-2 Guide with Photocopiable Resources QSEPublished by: Brookemead English Language Teaching, London © Brookemead Associates Ltd. 2007 All rights reserved. No part of this publication may be reproduced, recorded, transmitted, or stored in any form whatsoever, without the prior written permission of the copyright holders.
    [Show full text]
  • Q27portada EN.Qxp
    Political satire in Italy: a successful television genre Rossend Domènech . Political satire is present in every Italian media, There's a lot of political satire on Italian television: two daily specially on television. The author examine in this programmes on national channels and four weekly article the most outstanding satirical scheduled programmes, not to mention the doses of satire dotted programmes and analyses its evolution. He ends throughout many programmes that are not specifically claiming that politics has been transferred to the satirical. During the last season (2006), there were five television stage, instead of any Parliament, and it has exclusive daily programmes and, in previous seasons, from also assumed the television laguage, even satire. 1994 to 2006, half a dozen appeared and disappeared. Since spring 2007, and in addition to these programmes, broadcasters have started to show new comedy and satire programmes in general that sometimes include political sketches. Keywords At the same time there has also been a proliferation in the Political satire, television, Italy, Berlusconi, Le Iene, country of satirical cartoons in the press, and every year Blob, Striscia la notizia, Parla con me, RaiOt, Che one or two books appear on this area. But, where the genre tempo che fa, Crozza Italia. is most abundant is on the Internet, principally since Silvio Berlusconi entered politics (1994), when satire on the ruling classes was more difficult to carry out by means of traditio- nal public and private instruments. This was due to relent- less censorship of this category. We can therefore say that satire has become fashionable.
    [Show full text]
  • Repertoire & Standards
    RRepertoireepertoire & STandardsSTandards BBoychoiroychoirs Craig Denison National R&S Chair <[email protected]> The Inspiration of Music and Film— Boychoir Brings Singing to the Big Screen By Nancy Plum in the fi lm as the students and choristers boys attending the school, all of who of the fi ctional boychoir school is the have personalities those in the choral The impact of fi lm and television on American Boychoir, based in Princeton, fi eld have seen many times before. the interests and activities of youth is New Jersey. Boychoirs have been scored Stet, played by Garrett Wareing, has undeniable. The Harry Potter fi lms cre- into a number of fi lms in the past, in- the capability to succeed in the choir ated a sub-society of young magicians; cluding The Lord of the Rings, Empire of but cannot get past acting out, both in The Hunger Games revived interest in the Sun, and, dating from 1962, Almost rehearsal and in residential life. Another the ancient sport of archery; and the Angels with a storyline centered on the student, played by Joe West (a recent television program Glee, with its plot Vienna Choir Boys. However, not in re- star of NBC’s Sound of Music telecast), lines centered on show choirs, has done cent decades has a boychoir fi gured so had a brother who attended the school more for music in the schools in its fi ve signifi cantly in an American fi lm. and is under great pressure to live up seasons than decades of begging legis- Boychoir tells the story of Stet, a to his past reputation as a choir star.
    [Show full text]