Suchergebnisse

This study focuses on the relationship between translation, accessibility and the cultural creative industries, as well as on the different varieties of genres included in these industries as cultures of accessibility. The accessibility of CCI has grown exponentially in different parts of the globe and has increasingly become part of projects of significant importance in contemporary societies that rely on informational, global, and networked systems of communication, i.e., developed countries. CCI exist within public-domain areas and are stimulated by the critical rethinking of the means which can be used to support cultural development. CCI are in fact driven by structures of the knowledge-based economy, where information, originality, and creativity contribute to providing stimuli to their rise. Their emergence is the result of advances in cultural spheres and movements, as well as of the growing importance of cultures that permeate every level of social life, thus, also involving a wider range of domains, such as urban spaces, clothing, design, and not simply the arts or the media industries. In setting the twenty-first century scenario of what has been described as "cultures of accessibility" (Neves 2018,415), we are witnessing the climb of "a collective awareness towards inclusion and the provision of equal access to all people in a vast array of contexts, from health to education; from work to entertainment; and from travel to the media, among others"(ibidem). As testified in the literature (Romero Fresco2013, 2019; Jankowska and Szarkowska 2015; Jankowska 2019; Greco 2016b), "the ubiquitous effects of accessibility have [.] led some scholars to argue for the emergence of a new research field, namely accessibility studies(AS)" (italics in the original, Greco 2018,206) with the purpose of including the theoretical, socio-cultural, and political revolutions pertaining to accessibility –a wide ambit that embraces human rights principles, information and communication technologies, and political and economic decisions.

Accessibility has faced several challenges within audiovisual translation Studies and gained great opportunities for its establishment as a methodologically and theoretically well-founded discipline. Initially conceived as a set of services and practices that provides access to audiovisual media content for persons with sensory impairment, today accessibility can be viewed as a concept involving more and more universality thanks to its contribution to the dissemination of audiovisual products on the topic of marginalisation. Against this theoretical backdrop, accessibility is scrutinised from the perspective of aesthetics of migration and minorities within the field of the visual arts in museum settings. These aesthetic narrative forms act as modalities that encourage the diffusion of 'niche' knowledge, where processes of translation and interpretation provide access to all knowledge as counter discourse. Within this framework, the ways in which language is used can be considered the beginning of a type of local grammar in English as lingua franca for interlingual translation and subtitling, both of which ensure access to knowledge for all citizens as a human rights principle and regardless of cultural and social differences. Accessibility is thus gaining momentum as an agent for the democratisation and transparency of information against media discourse distortions and oversimplifications.

This study focuses on the evolution of multilingualism from a linguistics of communitiy to a linguistics of contact till a linguistics of global societies.The growing international interest in multilingualism, which has been marked by the changing political and economic landscape of different nations in the world, is significantly represented in the media and in public discourse. Globalization, transnational population flows and the spread of new technological platforms have given rise to remarkable linguistic, cultural and demographic transformations, still occurring in the globe. The burgeoning research in bilingualism and multilingualism, which covers a broad range of specific domains from linguistics, sociolinguistics and psycholinguistics to neurolinguistics and clinical linguistics, from education and societal behaviourism to migration studies and computer- mediated communication, has seen the emergence of new strands of investigation which "have incorporated critical and post-structuralist perspectives from social theory and embraced new epistemologies and research methods" (Martin-Jones, Blackledge and Creese, 2012: 1). Besides, a clear shift of focus to empirical work, which has become more interpretative, ethnographic and multimodal in nature, has reinforced, on the one hand, the understanding of the particularities of multilingual settings and practices and, on the other, has begun to provide insights into the nature of the cultural and societal changes taking place in recent times. Multilingual competences and practices–involving bilingual and multilingual speakers who, while crossing existing social and linguistic boundaries, adapt themselves to unfamiliar and overlapping linguistic spaces–are highly relevant to many areas of linguistic and sociolinguistic investigation. New research on multilingualism and multilingual behaviour is shedding light on the dynamics of multilingual realities, such as multiple language acquisition and learning (L3, L4, Lx), psycho- and neurolinguistic components deriving from conditions of forced multilingual spaces subsequent to forced exiles, patterns of translanguaging, early bilingualism, and heritage language development.

Drawing on research on narrative theory (Baker, 2006, 2014) in translation and interpretation studies, on the interdisciplinary relationship between translation studies and the visual and performing arts, and on the principal diversities between media discourse representations and aesthetic constructions on the topic of the migration crisis, this study addresses the issue of transferring cultural difference and language diversity within public and digital spaces through the telling and visualization of authentic stories belonging to migrant people, which contribute to the reversal of anti-refugee media discourses. Against the lens of a political reframing of migrant communities in the arts, translation, in collaboration with the aesthetics of migration, is scrutinised from a non-mainstream perspective that involves acts of interventionism and resistance, collaboration and solidarity, adaptation and performance. Evidence is given by the scrutiny of a corpus composed of visual and performing arts, which includes Queens of Syria, Odisseo Arriving Alone, Project#RefugeeCameras and Porto M.

In the last decades advances in digital communication and audiovisual translation studies have significantly transformed the ways by which texts and people travel across linguistic, spatial and temporal boundaries. This is particularly evident in the everchanging landscape of audiovisual translation as a consequence of the digital revolution that has contributed to the creation of new forms of adaptation and proliferation of mediated and non-mediated products. The case of multilingual discourse applied to contemporary diasporic and migrant films, in which sociolinguistics intervenes as a methodological approach to the translation of marginal voices, has gained scholarly attention as a result of the unprecedented number of migratory influxes within European countries, as well as of the effects of globalisation that have stimulated the growth of new perspectives on multilingual societies. These phenomena have had an impact on the interpretation and valorization of multilingualism as a resource for the understanding of crucial contemporary issues in the areas of intercultural communication, migration, multiculturalism and bilingualism within and outside European borders. One aspect that makes multilingualism in films particularly interesting is that it is based on language diversity and difference, which make translation visible. Translation therefore becomes part of the migrant stories and serves as a communication device among characters. Drawing on studies on multilingualism in films and audiovisual translation studies within the field of language variation and difference, this study depicts the multilingual setting of British filmmaker Shane Meadows's Somers Town (2008) and aims to reflect, on the one hand, upon the development of European cinema in motion within a contemporary political framework of migrations and crossings and, on the other hand, upon the difficulties, challenges and constraints posed by the translation of language variation in multilingual films within procedures of audiovisual translation strategies and techniques. The investigation presents the different levels of language variation that intermingle in the film taken as a case in point, and also scrutinises alternative tools for the translation of multilingual speech (such as creative subtitling) in the attempt not to sacrifice the socio-cultural dimension of multilingual films, as well as the concept of difference and realism which are the basis of multilingualism in cinema. Once the importance of multilingualism is determined, the subtitler will be able to decide which translation strategy can be used in order to disseminate the various multilingual levels that form the multilingual film in question.

In an increasingly globalized and digitalized world, where the advancement of technologies and media constructions oversimplify and manipulate public beliefs and shared knowledge, the artistic sector seems to provide new networks of solidarity, collaboration and interaction that challenge a world dominated by conflicts and cultural shocks. Against this backdrop, acts of translation within the arts bear witness to humanity and become the ultimate ground for subjective expression and fundamental reflections upon individualist attitudes against migration issues. By putting emphasis on the role of translation in its political transfer of migration into the arts, this investigation draws attention to a recent corpus of works of art that testifies to the modalities by means of which the creative cultural industries are contributing to giving voice to migration not just as transruption and memory, but as an inclusive form of movement and communication. In Notes on the Exodus by Richard Flanagan, with illustrations by Ben Quilty (2016), and in the arts installations Call Me By My Name and All I Left Behind. All I Will Discover (London, 2017), translation intervenes as an instrument of cross-cultural collaboration and solidarity, resistance and dissent, and also demonstrates to what extent stories of migration can interact within art forms and be performed as acts of translation involving processes of (re)narration and (re)framing of identities.

"If at its most elemental, the theater is an art form of human bodies in space, what becomes of the theater as suicide capitalism pushes our world into a posthuman age?

Waste: Capitalism and the Dissolution of the Human in Twentieth-Century Theater traces the twentieth-century theater's movement from dramaturgies of efficiency to dramaturgies of waste, beginning with the observation that the most salient feature of the human is her ability to be ashamed of herself, to experience herself as excess, the waster and the waste of the world. By examining theatrical representations of capitalism, war, climate change, and the permanent refugee crisis, Waste traces the ways in which these human-driven events signal a tendency toward prodigality that terminates with self-destruction. Defying its promise of abundance for all, capitalism poisons all relationships with competition and fear. The desire to dominate in war is revealed to be the desire to obliterate the self in collective conflagration. The refugee crisis raises the urgent question of our responsibility to the other, but the climate crisis renders the question of anthropocentric obligations moot.

Waste proposes that the theater is the form best suited to confronting the human's perverse relationship to its finitude. Everything about the theater is suffused with existential shame, with an acute awareness of its provisionality. Unlike the dominant narrative of the human, which is bound up with a fantasy of infinite growth, the theater is not deluded about its nature, origins, and destiny. At its best, the theater gathers artist and audience in one space to die together for a little while, to consciously waste, and not spend, their time."