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Academic literature on the topic 'Rhaeto-Romanic languages'
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Journal articles on the topic "Rhaeto-Romanic languages"
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Derik, Ilona, and Tetyana Druzhyna. "ON STRATEGIES AND TACTICS OF TRANSLATING AMATEUR PROSE." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2019, no. 29 (November 2019): 78–91. http://dx.doi.org/10.24195/2616-5317-2019-29-7.
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The presented article is aimed at elaborating the problem of the peculiarities of translating amateur prose from typologically different languages, in particular from French, German and English into Ukrainian. The corpus of the research was formed on the basis of the amateur prose writings on the official sites in Belgium, Germany, the USA and Ukraine. The main objective of the paper consists in defining the basic strategies and tactics of rendering amateur writings of different genres with the preservation of the both semantic and pragmatic components. The results of the carried-out research have proved that there exist common strategies and tactics, allowing to perform adequate and faithful translation from the typologically different Rhaeto-Romanic (French) and Germanic (English, German) languages into the Slavic ones (Ukrainian). The urgency of the paper arises from the need for efficient strategies and tactics of translating different types of texts in contemporary translation studies. The object of the work is the translation of amateur prose viewed in the aspect of its faithfulness and adequacy. The subject are strategies and tactics of translating amateur prose. The immediate tasks of the article have been predetermined by the above-mentioned objective and include respectively: the disclosure of the specifics of amateur prose; the outline of the typologically common strategies and tactics of translating amateur writings. The methodology of this research involved the inductive, the deductive method and the method of contrastive analysis. In the course of the research it has been concluded and experimentally and statistically proved that there exist common strategies and tactics of translating amateur prose into different languages. It has also been postulated that the pragmatic and the expressive potential of amateur writings is preserved and rendered in translation. The perspective is seen in reviewing this issue in different Rhaeto-Romanic, Germanic and Slavic languages.
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Kużelewska, Elżbieta. "Language Policy in Switzerland." Studies in Logic, Grammar and Rhetoric 45, no. 1 (June 1, 2016): 125–40. http://dx.doi.org/10.1515/slgr-2016-0020.
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Abstract Switzerland is often referred to as a success story for handling its linguistic and cultural diversity. Traditionally four languages have been spoken in relatively homogeneous territories: German, French, Italian and Rhaeto- Romanic (Romansh). The first three have been national languages since the foundation of the Confederation in 1848; the fourth became a national language in 1938. In effect, The Law on Languages, in effect since 2010, has regulated the use and promotion of languages and enhanced the status of Romansh as one of the official languages since 2010. While Swiss language policy is determined at the federal level, it is in the actual practice a matter for cantonal implementation. Article 70 of the Swiss Federal Constitution, titled “Languages”, enshrines the principle of multilingualism. A recent project to create legislation to implement multilingualism across the cantons, however, has failed. Thus Switzerland remains de jure quadrilingual, but de facto bilingual at best, with only a handful of cantons recognizing more than one official language (Newman, 2006: 2). Cantonal borders are not based on language: the French-German language border runs across cantons during most of its course from north to south, and such is also the case for Italian.
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Mulyk, Kateryna, and Mykola Gumenny. "ON PECULIARITIES OF TRANSLATING ENGLISH ADVERTISING SLOGANS INTO UKRAINIAN." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2019, no. 29 (November 2019): 169–83. http://dx.doi.org/10.24195/2616-5317-2019-29-13.
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The presented article is aimed at elaborating the problem of the peculiarities of translating English advertising slogans into Ukrainian. The corpus of the research was formed on the basis of the advertising slogans widely circulating in the USA. The main objective of the paper consists in defining the basic strategies and tactics of rendering slogans as subtype of commercials with the preservation of the both semantic and pragmatic components. The results of the carried-out research have proved that there exist common strategies and tactics, allowing to perform adequate and faithful translation from the typologically different English language into Ukrainian. The practical value of the research lies in the fact that the conclusions may be applied in the translation activity. The urgency of this paper arises from the need for efficient strategies and tactics of translating different types of texts in contemporary translation studies. The object of the work is the translation of advertising slogans viewed in the aspect of its faithfulness and adequacy. The subject are strategies, tactics and operations of translating English advertising slogans into Ukrainian. The immediate tasks of the article have been predetermined by the above-mentioned objective and include respectively: the disclosure of the specifics of slogans in the contrasted languages (English and Ukrainian); the outline of the typologically common strategies, tactics and operations of translating slogans. The methodology of this research involved the inductive, the deductive method and the method of contrastive analysis. In the course of the research it has been concluded and experimentally and statistically proved that there exist common strategies, tactics and operations of translating slogans into different languages. It has also been postulated that the pragmatic and the expressive potential of slogans is preserved and rendered in translation. The perspective is seen in reviewing this issue in different Rhaeto-Romanic, Germanic and Slavic languages.
Dissertations / Theses on the topic "Rhaeto-Romanic languages"
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Hack, Franziska Maria. "The syntax and prosody of interrogatives : evidence from varieties spoken in northern Italy." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:fae95d56-9fa0-48d5-af0d-7c629eed9c3e.
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The vast majority of work on question formation examines interrogatives from the perspective of just one single component of grammar, usually the syntax or the prosody. The present dissertation offers a comprehensive account of question formation addressing both the syntax and the prosody of interrogatives and the interaction between these two components of grammar in signalling the question meaning of an utterance. The present work examines question formation on the basis of four genealogically related and geographically closely located Romance varieties spoken in northern Italy: Gherdëina, Badiot, Fascian and Nònes. Given that these varieties differ only with respect to certain microparametric values whereas others remain constant, they constitute an ideal research area to study the interaction between the syntax and the prosody in question formation. The syntactic and prosodic analyses proposed are based on new empirical data. The syntactic analysis is couched within the cartographic approach and the prosodic analysis is based on Autosegmental-Metrical Phonology. This dissertation is motivated by five main research goals: - to provide a detailed description of the syntactic variation found in interrogatives in the four varieties Gherdëina, Badiot, Fascian and Nònes based on data collected by the author;
- to propose a unified syntactic analysis of the interrogatives;
- to offer a prosodic analysis of statements and questions providing new data from varieties not studied up to now in the literature;
- to establish the relation between the syntax and the prosody in question formation;
- to determine how the syntax and the prosody interact in providing clues to interrogative force for the listener as well as the speaker.
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Goodman, Jessica Mary. "La gloire et le malentendu : Goldoni and the Comédie-Italienne, 1760-93." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:ec5ab3e3-812e-49f7-92e6-b1eea488cad5.
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Eighteenth-century Paris was the cultural capital of Europe and home to a vibrant network of theatres, not all of which are equally present in modern scholarship. The Comédie-Italienne in particular has frequently been downplayed in historical accounts, and there is no existing work outlining its relationship with its authors. This thesis aims to address this gap through a case study of the Italian author Carlo Goldoni, who began work for the Comédie-Italienne in 1762. His thirty years in Paris hold an ambiguous place in his career: the preface to his autobiography draws attention to France as the site of his authorial glory, but his work for the Comédie-Italienne is dismissed as a failure; a view echoed by many modern critics. This study therefore also sets out to explore this apparent contradiction. Substantial original work on the Comédie-Italienne archives sheds new light on the administration of this theatre, building up the most comprehensive existing account of its finances, audiences and author relations in the 1760s, and situating it in the contemporary cultural field. Dramatic authors are revealed to be at the heart of tensions between symbolic and financial concerns across eighteenth-century theatrical Paris. This re-evaluation also provides a new context for understanding Goldoni’s equivocal account of his Parisian career. He desired a glorious image in posterity, yet the Comédie-Italienne’s collaborative production and lack of publication thwarted the reputation-shaping tactics he had developed in Italy. The only weapon that remained was his French Mémoires (1787), in which he consciously constructed his image and the claim of Parisian glory. Goldoni’s case also raises broader questions about the creation of literary gloire, and the fate of the cosmopolitan artist in a strange land. In modern France, Goldoni is remembered as a famous foreigner, not the Frenchman he believed he had become. The thesis concludes that this failure in posterity stems from his misunderstanding of how to achieve gloire in his French context: to rely on artificially created image alone is not enough, and yet Goldoni had no choice.
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Weavil, Victoria. "Community, women and selfhood in the writings of Michel Leiris and Carlo Emilio Gadda." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:bd528880-e440-47c7-bc14-ec07c77948a0.
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This study sets out to uncover the thus far unexplored affinities between the works of Carlo Emilio Gadda and Michel Leiris, two key figures of twentieth-century literature whose place within the broader European literary panorama has been largely overlooked. Through an inquiry into three interconnected areas – the question of 'community'; the relationship between male self and female other; and writing as a space in which a fractured experience of subjectivity is both played out and exposed – I argue that their works are underpinned by a parallel tension, between a nostalgia for a lost experience of unity and a recognition of its impossibility within a fractured modernity. Chapter One examines the relationship between the individual and the communal. With a focus on Gadda's Giornale di guerra e di prigionia, and Leiris's involvement in a series of key intellectual, literary and political societies of the 1930s and 1940s, it argues that while both authors were drawn to a form of communal integration, both were ultimately thwarted in their attempts to reinstate it. Chapter Two continues this inquiry into the relationship between self and other through an examination of the dysfunctional relationship between individual (male) self and (female) other. With a focus on Leiris's L'Age d'homme and Gadda's Quer pasticciaccio brutto de via Merulana, it questions the extent to which any authentic relationship between male self and female other is ruled out, and examines the association between sexuality and fear that underpins their approach to the sphere of the female at large. The final chapter examines the implications of the authors' shared loss of faith in the notion of a unified, authentic experience of selfhood for their approach to the literary act itself. Through a study of these three key areas, this study thus sets out to respond to the need for further contextualisation of these two key figures of the twentieth-century European literary panorama, in the conviction that a comparative examination will shed new light both on their individual works and on their shared affinity with a number of key tenets of twentieth-century European thought.
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Lalor, Doireann P. "Italian postwar experimentalism in the wake of English-language modernism." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:238508c2-eb42-460a-b8c1-a01d58f15630.
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After World War II in Italy the cultural scene was in need of resuscitation. Artists searched for tools with which to revifify their works. Central to this, for many key figures in the fifties and sixties, was an engagement with English-language Modernism. This phenomenon has been widely recognised, but this thesis is its first sustained analysis. I draw together the receptions of three English-language Modernist authors – T. S. Eliot, Ezra Pound and James Joyce – who, as a triad, were instrumental in the radicalisation of the arts in Italy in the fifties and sixties. I show that their works were elevated as models of an experimental approach to language that was revisited by Italian artists – most notably by poets associated with the Neoavantgarde. The specific Modernist linguistic techniques which were adopted by the Italians that we will consider here are the mingling of languages and styles, the use of citations, and the perversion and manipulation of single words and idioms. The poets considered in most depth to exemplify this phenomenon are Edoardo Sanguineti, who was a major exponent of the Neoavantgarde, and Amelia Rosselli, who was more peripherally and problematically associated with the movement. Both poets desecrated the traditional language of poetry and energised their own poetry with recourse to Modernist techniques which they consciously and deliberately adopted from Eliot, Pound and Joyce. An unpicking of the mechanics of these techniques in Sanguineti's and Rosselli's poetry reveals that their texts necessitate an active mode of reading. This aligns with the intellectual ideas propounded by Walter Benjamin, Roland Barthes and Umberto Eco, all of whom grounded their theories on readership in analyses of the linguistic experiments of Modernism. Sanguineti's and Rosselli's poetry fulfil the characteristics of Eco's “open” work, Barthes' “polysemous” work, and bring about Benjamin's “shock-effect” in the reader. These radical linguistic techniques, appropriated from the Modernists, contribute to each poets' overall poetic projects – they enact Edoardo Sanguineti's anarchic and revolutionary impulses, and stage Amelia Rosselli's thematic conflicts.
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Pavlova, Maria. "'Il fior de Pagania' : Saracens and their world in Boiardo and Ariosto." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:ef19b552-3215-436c-8744-e91f6fe5f2cf.
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This study investigates the representation of Saracens in Boiardo's Inamoramento de Orlando and Ariosto's Orlando furioso, a subject that has attracted growing scholarly interest in recent years. Chapter I assesses the degree of realism in Boiardo's and Ariosto's portrayal of Islam and Islamic culture and locates the two poems in their historical context. Bringing to light unpublished archival material and other little-known historical sources, I argue that Boiardo and Ariosto drew inspiration from contemporary courtly culture which was characterised by openness towards the figure of the foreign prince. Chapter II explores Boiardo's engagement with earlier chivalric literature. It examines Boiardo's use of names and characters from earlier texts and evaluates the Saracens' contribution to the ideology that underpins the poem. It is shown that Saracens play an important role in promoting the ‘Arthurian’ chivalric ideals. Chapters III and IV analyse Ariosto's indebtedness to and departures from his predecessor, suggesting that there is a much greater continuity between the two Orlandos than is allowed by Cavallo and other scholars who are anxious to stress Ariosto's 'conservatism'. While chapter III is devoted to a wide-ranging analysis of the Saracen world in Ariosto, chapter IV deals with a topic that has recently generated much heated debate, namely the climactic confrontation between Rodomonte and Ruggiero and the ending of the Orlando furioso and how it should be understood, and I propose a new interpretation of the final canto by highlighting the concept of honour, a fundamental value for both Boiardo and Ariosto as well as for their early readers and for many chivalric authors alike. In my view, Rodomonte is the true winner of the duel. The significance of his 'moral' victory is examined in the study's final conclusion, where it is argued that it undermines Ariosto’s encomiastic project.
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Jewell, Rhianedd Mair. "Constructing the self in language and narrative in the work of Grazia Deledda." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:75b1dcc0-efac-48c7-baca-e6f45d60e725.
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This thesis examines the presence of modernist ideas regarding identity, language and narrative in the work of the neglected Sardinian author, Grazia Deledda (1871-1936). It has the overall aim of redefining Deledda’s later work as modernist for she has been disregarded by most critics and is generally classed as a minor, veristic writer. Drawing Deledda out of these restricted interpretations, this thesis demonstrates that Deledda straddles two literary modes, for she matures beyond veristic influences and looks forward to modernist ideas, particularly regarding the complex nature of the self. The thesis approaches Deledda from an entirely new perspective in that it focuses upon the crisis of identity in Deledda’s work, and its construction in the narrative of her novels, and its integral relationship with the theme of language. The theoretical framework of Julia Kristeva, Paul Ricoeur and Adriana Cavarero enables an innovative study of identity as a linguistic and narrative construct in Deledda’s work. I maintain that Deledda’s characters construct, control and understand their identities through their application of language or their command of narrative perspective, voicing their inner selves through linguistic self-expression. This study engages in a close textual analysis of three of Deledda’s key texts. La madre (1920) and Il segreto dell'uomo solitario (1921) illustrate Deledda’s movement away from verismo. Their protagonists suffer a crisis of identity which is bound up in linguistic expression and/or narrative control. Cosima (1937), which is Deledda’s most autobiographical text, displays the author’s close affinity with her writing. Creating a fiction of her own life, Deledda becomes both narrator and protagonist, self and other in the exploration of her own identity, which is integrally connected to the act of writing. The very composition of this text demonstrates the construction of identity in language and narrative which is illustrated within Deledda’s other works.
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Piantanida, Cecilia. "Classical lyricism in Italian and North American 20th-century poetry." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4422c01a-ba88-4fe0-a21f-4804e4c610ce.
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This thesis defines ‘classical lyricism’ as any mode of appropriation of Greek and Latin monodic lyric whereby a poet may develop a wider discourse on poetry. Assuming classical lyricism as an internal category of enquiry, my thesis investigates the presence of Sappho and Catullus as lyric archetypes in Italian and North American poetry of the 20th century. The analysis concentrates on translations and appropriations of Sappho and Catullus in four case studies: Giovanni Pascoli (1855-1912) and Salvatore Quasimodo (1901-1968) in Italy; Ezra Pound (1885-1972) and Anne Carson (b. 1950) in North America. I first trace the poetic reception of Sappho and Catullus in the oeuvres of the four authors separately. I define and evaluate the role of the respective appropriations within each author’s work and poetics. I then contextualise the four case studies within the Italian and North American literary histories. Finally, through the new outlook afforded by the comparative angle of this thesis, I uncover some of the hidden threads connecting the different types of classical lyricism transnationally. The thesis shows that the course of classical lyricism takes two opposite aesthetic directions in Italy and in North America. Moreover, despite the two aesthetic trajectories diverging, I demonstrate that the four poets’ appropriations of Sappho and Catullus share certain topical characteristics. Three out of four types of classical lyricism are defined by a preference for Sappho’s and Catullus’ lyrics which deal with marriage rituals and defloration, patterns of death and rebirth, and solar myths. They stand out as the epiphenomena of the poets’ interest in the anthropological foundations of the lyric, which is grounded in a philosophical function associated with poetry as a quest for knowledge. I therefore ultimately propose that ‘classical lyricism’ may be considered as an independent historical and interpretative category of the classical legacy.
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Smith-Laing, Tim. "Variorum vitae : Theseus and the arts of mythography in Medieval and early modern Europe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0f4305c6-3c62-4f89-a3b2-d8204893fdfb.
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This thesis offers an approach to the history of mythographical discourse through the figure of Theseus and his appearances in texts from England, Italy and France. Analysing a range of poetic, historical, and allegorical works that feature Theseus alongside their classical and contemporary intertexts, it is a study of the conceptions of Greco-Roman mythology prevalent in European literature from 1300-1600. Focusing on mythology’s pervasive presence as a background to medieval and early modern literary and intellectual culture, it draws attention to the fragmentary, fluid and polymorphous nature of mythology in relation to its use for different purposes in a wide range of texts. The first impact of this study is to draw attention to the distinction between mythology and mythography, as a means of focusing on the full range of interpretative processes associated with the ancient myths in their textual forms. Returning attention to the processes by which writers and readers came to know the Greco-Roman myths, it widens the commonly accepted critical definition of ‘mythography’ to include any writing of or on mythology, while restricting ‘mythology’ to its abstract sense, meaning a traditional collection of tales that exceeds any one text. This distinction allows the analyses of the study’s primary texts to display the full range of interpretative processes and possibilities involved in rewriting mythology, and to outline a spectrum of linked but distinctive mythographical genres that define those possibilities. Breaking down into two parts of three chapters each, the thesis examines Theseus’ appearances across these mythographical genres, first in the period from 1300 to the birth of print, and then from the birth of print up to 1600. Taking as its primary texts works by Giovanni Boccaccio, Geoffrey Chaucer, John Lydgate and William Shakespeare along with their classical intertexts, it situates each of them in regard to their multiple defining contexts. Paying close attention to the European traditions of commentary, translation and response to classical sources, it shows mythographical discourse as a vibrant aspect of medieval and early modern literary culture, equally embedded in classical traditions and contemporary traditions that transcended national and linguistic boundaries.
Books on the topic "Rhaeto-Romanic languages"
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Hartwig, Susanne. Inclusión, integración, diferenciación: La diversidad funcional en la literatura, el cine y las artes escénicas. Bern: Peter Lang International Academic Publishers, 2020.
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Cangemi, Francesco. Prosodic detail in Neapolitan Italian. Language Science Press, 2014.
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Walker, Brenda, Petru Cardu, and Dusica Marinkov. The Trapped Strawberry: Poems. Forest Books, 1991.
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Arthur. Jaufre: An Occitan Arthurian Romance (Garland Library of Medieval Literature). Routledge, 1992.
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