Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Galina Rymbu, Žizn’ v prostranstve (Vita nello spazio) (Moskva, Novoe literaturnoe obozrenie, 2018, 128 pp. ISBN 978-5-4448-0909-9) di Erika Parotti

Tlotlo Tsamaase, Silenziosa sfiorisce la pelle (Modena, Zona 42, 2022, 144 pp. ISBN 978-88-98950-96-6) di Carolina Pisapia  

Thomas Bernhard, Sulla terra e all’inferno (Milano, Crocetti Editore, 2020, 240 pp. ISBN 978-888-306-346-6) di Ilaria Manenti

Myriam Moscona, Tela di cipolla (trad. di Alessia Cassani e Ana María González Luna, Napoli, Guida editori, 2021, 300 pp. ISBN 886-866-739-8) di Davide Aliberti

The voice of the President of the Government, Pedro Sánchez, and the voices of senior officials and experts (Salvador Illa and Fernando Simón), chosen by the Government, were the protagonists in the press and they had an enormous media impact during pandemic COVID-19. In the framework of the appraisal theory of Martin and White and of the communication of press, we consider that the use of reported speech is one of the keys to observe the presence of the actors in the written press. Moreover, for Charaudeau it is a tool to orient a particular interpretation of the facts, and to convey a certain image of a public character. In this paper, we analyse with a quantitative and qualitative approach the way in which journalists construct the image of government representatives through the use reporting verbs to introduce reported speech (Reyes 16-22) and the attitudes and emotions these verbs denote (Escribano, Voces 11). The corpus is constituted by news from the national newspapers El País, ABC, El Mundo published from March to June 2020, that is, during the proclamation of the first State of Alarm and the first phases of the de-escalation.

Cabe notar cómo las obras contemporáneas que podríamos colocar en el incómodo contenedor de ‘lo fantástico’ tienen la característica común de construir imágenes y metáforas aprovisionándose en aquel inextinguible pozo semántico que parece haber llegado a ser ‘la globalización’ y compartir, además, cierta tendencia iconoclasta en romper algunas de las leyes canónicas del género. En particular en este artículo me concentraré en la idea de identidad individual que se ilumina en el diálogo intertextual entre las obras Los cuerpos del verano de Martín Felipe Castagnet y Kentukis de Samanta Schweblin atestiguando la difuminación de las fronteras entre los opuestos de dos parejas de conceptos hoy en día fundamentales en el universo narrativo de esta producción: cuerpo/mente y real/virtual.

If, by definition, the performing event could not do without the co-presence in space and time of spectators and actors (Brook 21), history has shown us how profound reflections on the possibility of shifting the fundamental axes of theater have nevertheless come about. The increasingly substantial presence of video within performances, even if filmed in real-time, is one example that has called into question the fundamental concept of hic et nunc. The creation of performances for a single spectator has altered the anthropological binomial community/ritual in addition to the "non-human" entity of the performer, from metal theater to cyborg performance (Schrum). The Royal Shakespeare Company's new production (2021) Dream will be analyzed to discuss the particular artistic experimentation that has become widespread in the Covid era. This production, which is a technological performance watched by more than 20,000 people worldwide in just three days, brings performance and gaming technology together to explore new ways for the audience, a remote spectator, to experience live theater (Aebischer 21). As live play performances and readings continually crowd virtual platforms, theater is undergoing a radical shift from stage to screen and cyberspace. However, will these new formats survive in the post-pandemic times?

The difficulty of translating dialects has been extensively studied over the years, firstly by scholars who focused on the (un)translatability of dialects in literature, and more recently by an increasing number of academics who have been investigating the issue within the field of audiovisual translation, both in dubbing and in subtitling. This study aims to analyse the strategies used in subtitling to translate into English the Sicilian dialect spoken in the Italian film La mafia uccide solo d’estate, directed by Pif in 2013. In this film, the use of dialect is not simply a tool to indicate the geographical origins of the characters, but it is exploited to construe their identity. Indeed, language variation is a device used purposefully to distinguish the ‘good’ characters from the ‘bad’ ones, and, as such, it is a means of identification. The results of the analysis will also be compared to those of previous studies conducted in this research area. Finally, the paper will attempt to provide some potential solutions that might be adopted in the subtitling of similar products, based on previous studies performed by the author on the original dialogues of some Hollywood films.

Slam is a practice of writing and public speaking combining poetry and live performance. It was born in the United States at the end of the 1980s and arrived a decade later in France. In the last two decades, it has been one of the most emerging forms of oral literature, a neo-orature (Bobillot, Quand 114) presenting its aesthetic forms, rules, and a specific communication contract. After a brief historical review, our analysis proposes to explore its performative modalities, focusing on the dynamics of poetic co-creation that emerges from the influence between slammers and the public.

Alessandra Di Maio, La letteratura nigeriana in lingua inglese, Firenze, le Lettere, 2020, 144 pp. ISBN 978-889-366-1317 John K. Cooley, Una guerra empia, elèuthera edizioni, 2000, 400 pp. ISBN 888-506-042-0 Stefano Boni, Orizzontale e verticale. Le figure del potere, elèuthera edizioni, 2021, 280 pp.  ISBN 883-302-120-3