Mancar si sente in tal dolor la vita e la faccia ha tutta di pianto aspersa. Constant I know you; know, too, that a love constant for you does Biancoiore have! To live and die with you do I aspire! Let not that crude steel blade to you lay claim and cover you with an eternal shame!
Go follow any dubious path you will: So pained, she felt that life itself receded, her face wholly awash in tearful sprays. Her pages folded, she expertly brought together and entwined the wax and knot. Those crimson lips now parched from such distress, with her plentiful tears did she, the damsel, moisten the gem in order to impress her image, lovely, proud, upon the seal.
Then, perturbed by an anger amorous, to carry back her answer does she call the messenger. Devoted, bowing low, off like an arrow shot straight does he go. Ha pubblicato diversi romanzi, narrative di viaggi e racconti sia in italiano che in inglese, tra i quali Tiro al piccione , ristampa , Peccato originale , Biglietto di terza , ristampa , Una posizione sociale , ristampa col titolo La stanza grande, , Grafiti , Molise Molise , Il tempo nascosto tra le righe , Detroit Blues , e i romanzi in inglese Benedetta in Guysterland , premio American Book Award, , Accademia , Il paese di Nonsisadove - romanzo telematico, websito arscomica.
Non ne capii molto, ma tre parole strane, belle, incomprensibili mi affascinarono: Leo Spitzer, Martin de Riquer, T. Bergin, Salvatore Battaglia e, ultimamente, Robert Lafont. Il Lafont, che basa il suo studio sul testo manoscritto C della Biblioteca Nazionale di Parigi, che io seguo, ne fa una panoramica: Die Melodien der Troubadours. Fernandez de la Cuesta, Ismael.
New Haven and London, Studi in onore di Angelo Monteverdi. La lingua dei trovatori. In Praise of Love. Van der Werf, Hendrik. Et ella lo fetz a gran honor sepeillir en la maison del Temple; e poi en aqel dia ella se rendet monga, per la dolor qe ella ac de la soa mort. A cura di Robert Lafont. Casa Editrice Le Let- tere, Firenze , p. Io mi avvalgo per convalida e guida del Vo- cabolario ragionato del dialetto di Casacalenda, di Antonio Vincelli, Edizioni Enne, Campobasso, Her compendium, On Prejudice: Also a novelist and literary critic, she founded and directs the only poetry prize for bilingual book publication for Italian American poets with Italian poet, Alfredo dePalchi.
Ned Condini is a native-born Italian who has lived in the United States for many years, a fact that makes him thoroughly bi-lingual. After all, it is a plant and I do love greenery. Other plants wait for death to give lesh to roots. I resolve to become a vegetarian. But this Venus Fly Trap is too much for me. It will have to die tossed into the waste can with the bright red lipstick, the blood red nail polish. I no longer wear. She nods at us knowing we are lovers returning from paradise. Ho cercato di ricordare di darle acqua. Altre piante aspettano che la morte dia polpa alle radici.
Propendo a farmi vegetariana. Questa dionea non fotosintetizza in pace. Sta cercando di diventare un animale e io che cerco tanto di essere un albero non lo sopporto. Ci accenna sapendo che siamo amanti che tornano dal paradiso. Each falls asleep and wakes alone in a dream on a cold shore far from home, without shelter from wind, sun dark, cold, heat.
I feel as a tiny breathing thing alone in a vast night no hand anywhere to hold mine. We wake into life sure of dying under the frozen sky and mute stars, glistening with winter light. We hold hands into new [years, knowing all new years turn old, and listen to the night, snow creaking in mounds, and the air iced from the [Northwind For the sake of the other, we do not say how each together is alone returning from paradise.
Ciascuno si addormenta e si sveglia solo in sogno su una spiaggia fredda lontano da casa, senza riparo da vento, sole, buio, freddo, calore. Mi sento un minuscolo oggetto che respira solo in una notte [immensa da nessuna parte una mano a tenere la mia. Ci destiamo alla vita sicuri di morire sotto il gelido cielo e stelle mute, che brillano di luce invernale. A few bleeding leaves fall amidst wilting greenery. Poison ivy turns red with warning. My ninety-year-old mother still argues with my father, twenty years dead.
Their hatred reverberates in a back room of my head, rattling recollections of a lonely childhood. Their loathing for each other colors all my days. I loved him, because he loved me best, but I look like her. My face and spirit tear at each other. I am the child of hate.
A weed sprouts from watery depths, uncultivated, lowers, white and purple, bloom, even in these days of dying leaves. Beyond winter, no one grieves. Italy, — d. America, ] written in Edna St. You died in spring, father, and now the autumn dies. Bright with ripe youth, dulled by time, plums of feeling leaked red juices from your eyes, blood hemorrhaged in pools to still your quivering mind. Alcune foglie sanguinanti cadono sul verde che langue.
Il loro reciproco disgusto colora tutti i miei giorni. Il mio volto e il mio spirito fanno a pugni. Sonetti americani per mio padre —per Donato Giosefi: Vincent Millay Steepletop, N. Vivido di compiuta giovinezza, opacato dal tempo, prugne di affetto gocciavano dai tuoi occhi rosse essenze, sangue emorragiato in polle a calmare la tua trepida mente. In this russet November woods of Millay, I wear your old hat, Dear Italian patriarch, to see if I can think you out of your American grave to sing your unwritten song with me.
I carry your silenced poetry with your spirit. I take off your old black hat and sniff at it to smell the still living vapor of your sweat. You wore your heart and soles sore. At forty, not climbing autumn hills like me, you lay with lung [disease strapped down with morphine, hearing your breath rattle in your throat like keys at the gates of hell. Your body was always a iend perplexing your mascu [line will. You illed me with pride, and immigrant tenacity. You are done, unfulilled by song [except in me. If your dreams are mine, live again, breathe in me and [be.
In questi boschi di Millay, novembrini, rugginosi, sfoggio il tuo vecchio cappello, caro patriarca Italiano, per vedere se posso pensarti fuori della tua tomba americana a cantare con me la tua mai scritta canzone. Col tuo spirito reco la tua poesia fatta muta. Mi tolgo il tuo vecchio cappello e lo annuso per odorare il sudore che esala, ancora vivo. Lavoravi come un mulo, il maggiore di troppi igli, un [magrolino in zuava frusta che negli Anni Ruggenti zoppicava su per i gradini della city, di porta in porta con carichi di giornali del mattino e serali, ciascuno contato un misero soldo sudato per mantenere la famiglia.
Ti logorasti il cuore e le suole. Il tuo corpo fu sempre un briccone impastoiante il tuo [volere di maschio. Mi riempisti di orgoglio e tenacia di immigrante. Hai concluso, adempiuto nel canto [solo in me. Se i tuoi sogni sono miei, vivi di nuovo, respira e esisti in [me. Tu non capisti mai la trama americana.
Good night, go gently, tired immigrant father full of pride and propriety. We, your three daughters, all grew to be healthier, stronger, more American than you. The wound that will not heal in me is the ache of dead sensibility. Once full of history, philosophy, poetry, physics, astronomy, your bright, high-lying psyche is now dispersed, set free from your tormented body, but the theme you offered, often forlorn, sheer luminescent soul, glistened with enough light to carry us all full-grown.
The sky was falling. When they laughed, I learned I had a pen for a tongue that could please. Buona notte, viaggia remissivo, stanco padre immigrante pieno di correttezza e orgoglio. Autobiograia incompiuta per mia iglia scritta nel , durante la prima Guerra del Golfo Nacqui nel Il cielo stava precipitando. Dio benedica la pasta! Quando risero seppi che per lingua avevo una penna che dava piacere. Are you wearing one? Twenty and virginal when raped one midnight in a jail cell by an angry Klansman, Deputy Sheriff of Montgomery County, Alabama—only law for miles around Selma. Ebreo, Polacco, Romania, omosessuale Ventenne e vergine fui stuprata una mezzanotte in una cella di prigione da un rabido Klansman, il vice sceriffo della Contea Montgomery, Alabama—unica legge per miglia nei dintorni di Selma.
My greatest moment of joy came in a near death—not when jailed by the Klans- man, but when giving birth to you who came by emergency Cesarean, bright with hope, lovely daughter; do you hear the ambulance of guilt, grieving in your near death birth, the re- birth of your mother, your moment of almost not being new life greeting me in your eyes, my eyes peering back at me, questioning, after the fever [subsided. Are they yours, Daughter? I edit a book, On Prejudice: A Global Perspective, of xenophobia, ethnocentrism, sexism, racism, and hate the nuclear and oil barons who are your enemy.
We cannot love without enemies who bond us together in love—Freud said— unless we see that avarice pours our own garbage and debris back upon us— Smothering us with mutual enemy. Our oil, nuclear, chemical, and germ warfare proiteers hold us all hostage, you, me, and them, to the screams of skulls with their forever gold teeth, lampshades of skin, their ears are ours illed with a siren of guilt from the history book of corpses. It talks to autumn, Daughter. Its splendor makes us sing. Un sottile ilo di vita goccia sulla pagina mentre i miei occhi diventano gli occhi di un altro: Sono i tuoi, Figlia?
Metto insieme un libro, Sul Pregiudizio: Una Prospettiva [Globale, di xenofobia, etnocentrismo, sexismo, razzismo, e odio i baroni nucleari e del petrolio che sono i tuoi nemici. Il suo splendore ci fa cantare. Only middle age girth makes me look maternal. Menopause has left not one kernel of hope in my old ovaries. Oggi, non vengo o spero di divenire incinta, nessun bimbetto scalpicciante in arrivo. La menopausa non ha lasciato un briciolo di speranza nelle mie vecchie ovaie. It, too, possesses a navel for seeing the world through the skin, has rounded buttocks, good to place against the hand the way earth reminds lesh of its being.
Through the eye of the needle, death is a country where people wonder and worry what it is like to live. The sullen wish to live and live soon, to be done with death and the happy want to stay dead forever wondering: Near Bari and Brindisi where the ferry has travelled the Adriatico, to and from Greece for centuries. Il cupo desiderio di vivere e vivere presto, di farla inita con la morte e la voglia appagata di stare morti per sempre chiedendoci: How strange to view you, piccolo villaggio, with ladybugs, my talisman, landed on my shirt.
Ladybugs rest on me at the dig of stone sculptures the Belgian professor shows me. You never returned to your ancient land where now the [natives, simpatici pisani, wine and dine me in their best ristorante. I insist on paying the bill. They give me jars of funghi and pimento preserved in olive oil—their prize produce to take back home with me. They nod knowingly, when in talking of you, I must leave the table to weep— alone in the restroom, looking into the mirror at the eyes you gave me, the hands so like yours that turn the brass faucet and splash cold water over my face.
For an instant, in this foreign place, I have met you again, Father, and have understood better, your labors, your struggle, your pride, your humility, the peasantry from which you came to cross the wide sea, to make me a poet of New York City. Which is truly my home? Mi mostrano il tuo certiicato di nascita— Donato Giosefi, nato nel — scarabocchiato a penna, su carta che ingiallisce.
Quando gli dico che sono una scrittrice, prima della [famiglia americana a ritornare alla casa paterna, di colpo sono nobile! Coccinelle riposano su di me allo scavo di sculture in pietra che il professore belga mi mostra. Non ritornasti mai alla tua terra vetusta dove i nativi, simpatici paesani, mi dan da mangiare e bere nel loro ristorante migliore.
Insisto a pagare il conto. This home where you would have [been happier and better understood than in torturous Newark tenements [of your youth. This land of sunlight, blue sky, pink and white lowers, [white stucco houses, and poverty, mezzogiorno, this warmth you left to make me a poet from New York City, indifferent place, mixed of every race, so that I am more cosmopolitan than these, your villagers, or you could ever dream of being.
This paradoxical journey back to a lost generation gone forever paving the way into a New World from the Old. Maria Lisella has been an editor and journalist for most of her life and has covered the travel industry, a profession that has taken her to dozens of countries.
Her work appears online at FOXNews. Bound; Bible and silk thread. To bring poetry to people is her mission: In , when the blood of the U. She opened the microphone to the city inviting poets, non-poets, ordinary citizens to share their voices on the airwaves. Best known for The Poet and the Poem, which is celebrating its 36th year on the air as an hour-long radio program, Cavalieri con- tinues to produce and host the show on public radio. Her programs include every Poet Laureate since and a signiicant collection of African-American poets.
Cavalieri has written 16 books of poems and 26 produced plays. She lives in Annapolis, Maryland, and was married to metal sculptor, Kenneth C. Flynn who recently passed away. She has four children and four grandchildren. I suoi programmi hanno proposto tutti i Poeti Laureati a partire dal e una notevole raccolta di poeti Afro-Americani. La Cavalieri ha scritto 16 libri di poesie e ha prodotto 26 opere teatrali. Vive ad Annapolis, nel Maryland, ed era sposata con lo scultore Kenneth C.
Ha quattro igli e quattro nipoti. But the African-American link came through poetry rather than cultural or political afiliations. When I heard a new radio station was being planned to go on-air in Washington, D. I had the love and history on my side I worked three years fundraising and sweeping loors to get a radio station on the air, to establish a platform for poetry. Although I was making poetry available in a way that had not been done before, I still had to prove myself.
Gwendolyn Brooks was wary of me, but became a friend; Allen Ginsberg insulted me but eventually respected my work. My most profound memories were of truck drivers, prize-ighters, drunks, grandmothers, who called in to read their own poems. Nel periodo tra il e il aiutavo ad avviare ed insegnare la scrittura presso i campus universitari della costa orientale del College di Antioch, a Washington D. Quando venni a sapere che una nuova stazione radio sarebbe stata fondata, con trasmissioni a Washington D. Lavorai tre anni raccogliendo fondi e pulendo pavimenti pur di far partire le trasmissioni radiofoniche, per fondare un programma per la poesia.
Ricorda dei momenti signiicativi di The Poet and the Poem? My heritage is an ongoing theme I have only begun to explore, there is so much richness wait- ing, the past has so many stories, but I cannot be objective about its effect on me yet. I have yet to make enough use of it. But the past is all still in my future. Poetry is the way we rinse off language. If it were not for po- etry, we would all talk in slogans and TV commercials.
We would use the language of politicians — words with no meaning. Poetry is, as Allan Grossman once said, the way we preserve the beloved. I see it as the great equalizer, the democratic ideal, the way every person can speak with an inimitable voice, the miracle that each one of us has our own breath and cadence that cannot be sto- len. Poets document what it is to be alive at this moment in history.
What would you like readers to come away with from po- etry? I wish and hope they think: I feel less alone now. E devo ancora utilizzarlo appieno. Useremmo il linguaggio dei politici — parole senza signiicato. Cosa vorrebbe che la poesia lasciasse ai suoi lettori? Desidero e spero che pensino: Ora mi sento meno sola. Thompson is a full time writer and translator and lives outside Oxford, UK. His latest book of poetry is Letter to Auden Smokestack, a verse epistle in rime royal. Pier Paolo Pasolini Although he achieved inter- national fame as a ilm director, Pasolini was irst and foremost a poet and played an important part in Italian literary life as editor, critic and novelist.
While pursuing these many different paths, he continued to write and publish verse throughout his life, including poetry in the Friulan dialect. But it was his novels and screenplays of Roman low life that led to his success in the cinema as director: His collected poetry came out as Bestemmia: Non puoi, lo vedi? You were young then in that May when error Was still alive2… in that Italian May That gave at least the beneit of ardour, That careless, less immorally healthy Time of our fathers, when you — humble brother, Not a father — were ready with a stealthy Hand, ready to sketch out an ideal other But not for us now, as dead here as you In this dank garden bringing light to bear On silence.
II Tra i due mondi, la tregua, in cui non siamo. Nei cerchi dei sarcofaghi non fanno che mostrare la superstite sorte di gente laica le laiche iscrizioni in queste grigie pietre, corte e imponenti. Now the wind blows bringing in intermittent drops of rain. II Between two worlds, this is the respite where We have no life.
Choices and sacriices… Make no sound in this garden now so bare, If noble. But all the obstinate lies That deaden life are here for death to know. And in these circles of sarcophagi, Banal inscriptions of these banal folk Show nothing but a lasting transition Set in the graveness of this greyish stone, Brief and imposing. With unbridled passion But no longer any scandal, the burnt Remains of millionaires who came from nations Much grander; as if they were here, the hum Of irony from prince and pederast Whose ashes lie in scattered burial urns And, although turned to cinders, still not chaste.
The silence of the dead here is witness To cultivated silence of these last Remains of men still men, of weariness The weary garden tactfully disguises, The city that surrounds it making less Its splendour in between the pieties Of makeshift shacks and churches. Le ceneri di Gramsci Although it has to face Harsh weather, the history of this soil is sweet Between these walls and oozes with a trace Of different soil and in its dampness meets Another dampness; these echoes bring back — Familiar from the latitudes replete With English woods that coronet the lakes Misted by sky beside the meadows green As phosphorescent billiard tables Or emeralds: Severe, non-Catholic, elegant as song.
And so I come across you quite by chance With hope and old mistrust still on my tongue And ind you in this makeshift lean-to placed Around your grave, your spirit resting here Along with these free spirits. Ed ecco qui me stesso I feel here — in this quietness where your tomb is Laid, in this country where your tension had No place in this unstable fate of ours, — How right and wrong you were, before the sad Day of your murder, writing the supreme notes3 You did.
And bearing witness to the seed Of power with its old traditions not Displaced, these dead attached to ownership That founders in the centuries with its pot Of evil and its grandeur. But the taps Heard from that hammered anvil, heartrending, Obsessive, if faint, coming from the traps Of poverty, bear witness to its ending. And here I ind myself, poor, in the kind Of clothes the poor admire in window dressing Of garish splendour, but have lost the grime Picked up in long forgotten streets and seats Of trams that give my day a dizzying time.
Vivo nel non volere del tramontato dopoguerra: Come i poveri povero, mi attacco come loro a umilianti speranze, come loro per vivere mi batto ogni giorno. Ma nella desolante mia condizione di diseredato, io possiedo: Poor as the poor, like them I pit myself Against humiliating hopes, like them I struggle every day to keep one step Ahead in my life. Ma come io possiedo la storia, essa mi possiede; ne sono illuminato: Ma in esso impastati quali comuni, prenatali vizi, e quale oggettivo peccato! But how can I own history When it owns me, has me illuminated: And what use is its light? And so his deeds, Internal and external — all that go To give some body to his life — must needs Be subject to religions, there is no Escape, they take a mortgage out on death To trick the light and light this trick they do.
Ciecamente fragranti nelle asciutte curve della Versilia, che sul mare aggrovigliato, cieco, i tersi stucchi, le tarsie lievi della sua pasquale campagna interamente umana, espone, incupita sul Cinquale, dipanata sotto le torride Apuane, i blu vitrei sul rosa E intorno ronza di lietezza lo sterminato strumento a percussione del sesso e della luce: VI I have to go… and leave you in the sad Time evening brings as it falls softly on The living in the sunlight that turns pallid As it thickens above this part of Rome Turning dark and stirring it, making it Look large and empty.
And the eager longing For life lights up in the distance, split With the harsh rasp of the trams, the raucous And distant shouts in dialect that knit To form a concerto. In those far-off souls That laugh and shout as they drive off, you feel The life in those impoverished houses Where they fritter away the fruitless, real But expansive gift of life: Diademi di lumi che si perdono, smaglianti, e freddi di tristezza quasi marina You feel that any true faith is missing, Life is not life, only survival makes sense — which is happier than life perhaps — in being Akin to the animal world, they mumble Arcane orgasms, the only passion Is for daily existence, whose humble Fervour gives a sense of festival To humble corruption.
In the rumble Of this empty space in history, all Pulsating pause in which life is silent — You feel the pointlessness of all ideals. Sul cippo si leggono solo le parole: Nearby, about the mound and piles of rubble, Illegal shanty housing and the blocks Of lats that almost look clean, young kids play out And in the tepid breeze dance light as socks Pinned out. Elsewhere, dark adolescents pout As well: But life is bustling here, Its folk lost in it like a bright kermes, A fair that leaves hearts full; and here they are Poor, but out for fun this evening; defenceless But empowered, the myth for them reborn… But having in my heart the consciousness Of those who know how history is the mover Will pure passion ever move me again When I know that our history is over?
It is now a protected archaeological site. She lived many years in Rome and now resides in Manhattan. As one critic, Luigi Picchi, succinctly put it, describing his poetry: Today, there are two main anthologies of his work, as well as many individual volumes to peruse, most of them issued by the Milanese publishing house Mondadori. The principal anthologies are: Poesie scelte with introduction by Giovanni Raboni and Di certe cose: Poems — which contains an Afterword by the author.
Risi is also well known for his extensive translation work, especially the many volumes of Pierre Jean Jouve, also selections from Supervielle, Jules Laforgue, Kavafy, and Radnoti. The titles alone indicate his engagement with social themes. Both as a poet and a ilm-maker, Risi is clearly heir to the traditions of Parini and Leopardi, predecessors whom he often evokes within the poems, along with other quite different inlu- ences such as Rimbaud.
A progressive, neorealistic ilm-maker and author, his is a constant critique of hypocrisy, corruption, injus- tice, indeed every abuse of power in contemporary life. Often he mimics the speech of the enemy—governmental meta-language, publicity slogans, etc. A unique, original civic stance is veined with sardonic bursts. If he reduces phenomena to the bones, however, he also expands our sense of a higher destiny for humankind with his noble reminders.
I include one of the best of his early poems about the atomic threat that became our nuclear threat: Never tiring of telling us the harm we all have done, Risi seems to me right in step with the ecological-minded poets of today in America and in the world. I include one poem, a fantasy about freeing birds, that, simple as it is structurally, relates to this theme.
Both keep an eye out for the absurd, often domesticating the exotic. I give you a sampling of some poems about North Africa. A Flaubert piece is precious, a long poem about Leopardi a challenge. Lewis Carroll is in there. Often these poems are monologues faintly in the Browning tradition. I like them for their concreteness and the slight tilting of our perception of persons we thought we knew. Alas, some of these are epitaphs as these persons gradually faded from view. One needs to read widely in his work to perceive the full range of his powers and the variety of subjects treated.
I include in this selection some of my favorites from his early Counter-Memorial series, in itself a signiicant title. In preparing a volume of of Selected Poems, I would certainly look to some of his later work. There is consequently the question of how often where, and when to use punctuation at the end of lines.
I have taken a moderate approach, adding punctuation when absolutely necessary. That soldier who asked me the shortcut past Sempione— how much anxiety in those eyes! The Wolves A black wind invades my deserted city, city that suffers in the dawn of houses. My deserted city has eyes of ruins, already someone is gathering the roses in its blood. Pubblicamente io ti ringrazio. Tribes III And so in the regimented chaos of a circus exotic excrement and amber acts, mallets on metal rings resounding, tents come crashing down with their poles in a colorless morning.
Methodical, stubborn, deaf to others, they hold their ground. If only they knew how disarmed the heart can be where breastplates are highest, all bolts and screws, and how tender the hedgehog is underneath. The good guys take a nap in a cavern or write to mamma, crushing active isotopes under their nails ready for the assault: A Christmas light within a pine-tree of heat that my father, the general, already viewed at the celebration of Hiroshima bleaches the guinea pig city, and the ruined town fries and melts as a spurt of coca-cola.
A center so urban with so many federal buildings and a little of the American ideal— a real center with a good view, Anabaptist, aseptic, endowed with a horizon but one that the shifting has decentralized. You ought to see the town from high up, in one sweep of the eye— black palate veiled in mallow— all the way to the houses and formerly plaid Tartan, hard veins of streets twisting silently n an ashy Vesuvius where a lone remaining blackbird smoothes out its feathers now white in the nearly sweet, poisonous autumn.
Ecco la piena, non si contano gli anni urgono e rompono con tanta allegria musi di latte! One happiness is all happiness; if there were two, it would be as if none actually existed. I Sto imparando a disamare macchina indietro a tutto pudore. IX Lasciati guardare senza amore: Like the cuttleish in defense, squeezing, using itself up, I know the costly art of the fugue in darkness. IX Go on, get stared at without love: XI Near the river, I watch lovely black-veiled sentences glide by— opium and poison in the whirlpools of our days. How much glue gelatine friable clay and saliva is needed to cement the incommunicable!
Blanketing the horizon in one mass, rattling tent-posts, they came forth; everyone huddled beneath linens and curtains, only prayers broke the paralysis. I spotted one all jaws, all beak ready to snap and spring, its armored vest the perfect war machine. Coming out into an eclipsed sun I held a pillow under my head and, like Pliny the Elder or a Ghetto chronicler, lost myself completely in the fascinating phenomenon.
Ho imparato a disporre le parole Senza lasciarmi andare, soprattutto Senza idarmi troppo. Thus, each night, the violence of history is a theoretical issue. One Happy Family The worker greases the machine, the machine fattens up the owner. Together in the evening they emerge onto a balcony overlooking a factory. Non uno che non abbia assaggiato la canna del padrone—noi siamo sangue inferiore inquadrato a consumo.
The Deceased Held tightly in perfumed linen bands, beneath the fabric of my mask I experience ininite joys; inside me are only sand and barley, ballast for one who navigates through shadows. III The Farmer The Nile God opens furrows in my ield, rakes and fertilizes, then with majestic macho, stealthy as a panther, withdraws. Not even a God can do everything. Harvesting down in the mud exhausts me while the agronomist in his white tunic stretched out in shade noshes his picnic.
A little Middle Eastern joke of my own. XII Il profeta portato dalle acque Sono un uomo dai vasti progetti che trova posto dietro i padri morti. Mi richiamo a un Dio solo impronunciabile. Ma io mi reputo egizio. He never sees his victims, has clean hands.
Where thick grass grows, an Eastern city lashes. These local gods have animal faces and beaks, yet I consider myself Egyptian. Coral barriers, submerged islands, beaches, forests, metropolises, galaxies; the world is not enough, fantasy navigates through muggy air. At dinner we joke about a promise unfulilled: Off with rings, off with shoes! We need to breathe deeply. Let others make plans. Clara la luminosa I Che secolo il nostro di padri severi!
While time is at work, Nature remodels scenery, History takes the stage fragment by fragment across millenniums; new forms, new values. Luminous Clara Excerpt I What a century of harsh fathers this is! How could I ight back? I belonged to him, his masterpiece, a baby cradled in praise, virtuoso whose hands traveled the whole planet, got kissed even by Chopin. I was spontaneous and changeable, for you always a distant entity. We battled, until inally united. Happiness seemed truly uneventful so luxuriously had life rewarded us.
He holds a Ph. His current projects include Microscope Gallery, an art space in Bushwick presenting monthly exhibitions combined with a regular event series www. Antonio Spagnuolo Napoli , poeta e saggista, vive a Napoli. Ha pubblicato numerose opere poetiche: Ha scritto anche un pezzo per il teatro, Il cofanetto Spagnuolo ha ricevuto diversi primi premi in concorsi letterari: Asor Rosa, e nel volume antologico Disordinate convivenze: Poeti di ine secolo, curato da G.
Nota sulle traduzioni In questi nuovi testi di Antonio Spagnuolo emerge un io poetico che spesso interviene come intermedario e osservatore intimo. Languages weave their own networks of meanings and the exact value of each meaning, if it can ever be assessed, is to be determined only symptomatically by the effects generated by its presence or absence in one particular social and cultural context.
To believe in the transferability of the meaning and its capacity to survive as a whole in two distinct linguistic and cultural environments as in a process of ecesis is not to realise something that Derrida pointed out: One of the main problems of translation, therefore, is not just spatiality but also temporality , particularly the historical condition of the texts. And this, I think, poses an obstacle far more difficult to overcome, since it has to do with the impossibility for the translator to render two externalities compatible in one single target text.
Just as Hutchinson was compelled, as an expatriate, to come to terms with the social and cultural reality of his host country [4] which is, for all purposes, a question of spatiality , so the translator, like a migrant travelling through time, is forced to come to grips with an ancient world governed by laws long forsaken and now irretrievable the question of temporality. And since both writer and translator are forever barred from a fully unmediated contact with the unconsciously lived culture of the Other, both seeing it as something external to themselves, though not necessarily negative, their attempts to assimilate cultural elements and national idiosyncrasies can only take place on the terrain of the imaginary, which enables them to crop, select, filter and reshape elements and idiosyncrasies in order to discursively tame the otherness.
Translators of travel writing therefore have to operate on a double disjuncture. On the one hand, they have to deal with the cultural gap that exists between the author and the people he visits Hutchinson and the Portuguese , a gap which over-determines the perceptions, constructs, responses and projections of otherness of the British expat, but which -- since it is barely made explicit in the text -- can only be detected by means of a symptomatic reading. On the other hand, translators have to negotiate the disjunction that will always separate them from the time and the concrete conditions under which the texts saw the light of day -- a disjunction that is further amplified by the impossibility of mapping the exact location of the intersection of cultures which gives the letters their characteristic intercultural tension see Cronin Therefore, the translator is left with no choice but to try to overcome these two disjunctions, both of which constitute distinct moments of resistance to interpretation.
How can we then circumvent the limitations to translation that such a double disjuncture imposes? Of course a careful, detailed investigation into the empirical elements offered by the letters and the issues broached therein must always be conducted, but this is not enough: It is this decentring at the core of translation that ends up being in itself a form of travelling. It is rather the translator and his reader who are invited to venture across a frontier -- the frontier that sets the limits to their identities, values and representations, and that is both spatial and temporal.
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In fact, the main challenges to the translation of these letters were posed by the problem of temporality, that is, by the difficulties of bridging the time gap. The first issue to be tackled was the stylistics of the Portuguese target text. It was not just a matter of finding the best equivalents and transferring contents from the source text into the target language without major semantic losses.
It was also a matter of finding a style and a register that could somehow match the original ones. In order to do that, I compared the letters to similar archival and bibliographical sources in Portuguese. Two manuals of commercial correspondence proved invaluable: The analysis of the examples of letters allowed me to determine the way in which the target text was to be drafted. One of the most complicated aspects I had to deal with was choosing the mode of address: In Portuguese, this is not so linear.
In the early nineteenth century, modes of address would have varied according not only to social class, age or degree of familiarity, but also to written language conventions.
Translating Echoes
The solution to the difficulty in ascertaining whether we were dealing with informality or politeness was partly given by the manual. This was the form I resorted to throughout. Another difficulty had to do with wording. The manuals proved useful in guiding my lexical choices. I wanted to give the translation a distinctive period flavour to represent the historical dimension of the original letters. Many more old-fashioned or outdated Portuguese words that appear in the manual were likewise retrieved: Another challenge was related to the commercial jargon both in English and in Portuguese.
Nowadays commercial terminology in both languages is much more complex, but most of the neologisms that currently exist in Portuguese are English words. Back then, that influence was more tenuous. In any case, the search for the right equivalent would have always been time-consuming. If we multiply this by the wide spectrum of nomenclatures related to those areas of economic activity Hutchinson was directly or indirectly involved in, we have an idea of the complexity of the task.
To start with, there were the inner workings of the wool trade business. I had to unwind the ball of yarn of the English wool and worsted industry, including all the details concerning the different stages of the manufacturing process: It took me a while before I learnt from a magazine published in London in Tilloch They referred to the way Spanish wool which also included Portuguese wool was classified: Primera or Refina R.
Moreover, since conducting business ventures overseas back then was not without its risks, I had to acquaint myself with the idiom used in cargo and shipping insurance, learn about risk-assessment, shipping deadlines, storage conditions, bills of lading, types of merchant ships crossing the Atlantic, and so on. But then there are also taxes and duties, customs procedures and the requirements of port authorities, the valuation of the bales in the Cocket, [5] goods lodged at the Custom House not yet dispatched -- all of this wrapped up in a language of its own, which has to be patiently disassembled, explored, digested, and then reassembled and fine-tuned in the translation process.
In order to penetrate that language I had to resort to historical research once more. However, since the Revista de Estudos Anglo-Portugueses is aimed at a scholarly readership, it proved unnecessary to insist on the explanation of cultural or linguistic aspects that they are supposed to be already acquainted with. Differences in style between early nineteenth-century and early twenty-first-century Portuguese are noticeable, but they do not make the text less intelligible.
In any case, stylistic conventions should not pose a problem for all the scholars who are used to working with documents of that period. So I kept the footnotes to a minimum. The future publication of a book containing the complete correspondence of the Farrer family, this time aiming at a more general readership, will entail a different explanatory methodology, but not a different stylistic treatment. Writing narratives of displacement and travel is in itself a translational act, where the author is always seeking to translate into his mother tongue the manifestations of the culture of the other.
In the process, the translator is forced to question his identity, values and the representations of his own nation and people, especially if the original text is non-fictional and therefore stakes a claim to the immediacy and truthfulness of the experience. The translator thus has to achieve a tour-de-force in bridging all three gaps and rendering the text accessible to the contemporary reader.
However, the meanings in the target text will always have but a spectral relation with the ones in the source text: This distance between the source and target texts becomes more difficult to span when historical time — fissured as it has been, in this particular case, over these past two centuries by sudden ruptures and discontinuities — keeps eroding the paths that could render the source text recognisable to the reader: Brewster, London, New Left Books. Cronin, Michael Across the Lines: Maxwell, Kenneth Conflicts and Conspiracies: Brazil and Portugal, , London, Routledge.
Tilloch, Alexander The Philosophical Magazine: Records of the Exchequer: Farrer and another v Hutchinson and others. Paris, ; Joaquim Ferreira de Freitas. London, Richard and Arthur Taylor, He is also the director of studies of postgraduate programmes in ELT and translation. He has also participated in several European-funded projects related to teacher training and computer-assisted language learning. Articles on aspects of translation studies have appeared in academic journals and edited volumes. Undoubtedly, individuals contribute to the construction of social identities and society in turn is influential in forming personal identities.
Translation sociology has already become one of the in-vogue research interests and areas in both Translation and Interpreting Studies TS and Sociology, giving way to understanding and interpreting both old issues in innovative ways and new ones arising from the nature of the diverse sociopolitical and cultural world today. The interdisciplinary nature of research in this area has the potential to encourage scholars to carry out investigations into, inter alia, the interface between self, groups, and society with respect to translational issues, concerns and practices.
As the roles translators play vary based on contextual factors, translators can and do have multiple identities including personal, social, and professional identities. It goes without saying that sociology, and specifically identity, which has been mostly neglected in translator training, can provide important insights if we reflect on the myriad interfaces between training, trainers, trainees, translators and society from diverse standpoints.
Clearly, the recent sociological turn in TS has encouraged both scholars and practitioners to explore the relationship between the agents involved in the translation process, product and function and to acknowledge the complexities and subtleties of these relationships, which in turn, has the potential to influence the production and reception of translations.
The same applies to translator training as it includes process, product, and function and can be looked at from the viewpoint of one or more of these elements. The sociology of translators and the sociology of translating appear to be tightly interrelated since, translators, as hands-on agents with their own beliefs, interests, and individualities, play a fundamental part in the translation process, which, together with the feedback they receive from translation users, affect and shape their concept of themselves. It follows, then, that sociological and psychological aspects of translation are closely associated: Furthermore, from a Bourdiusian perspective, translators are always in a sway between their own habitus, comprising dispositions and mental structures resulting from their past experiences, and the norms and structures present in the field of translation and other fields encompassing it.
This said, translators are agents and subjects within different social spheres, one of which is that of translation. Bourdieu presents a full definition of habitus as a:. System of lasting, transposable dispositions which, integrating past experiences, functions at every moment as a matrix of perceptions, appreciations, and actions and makes possible the achievement of infinitely diversified tasks, thanks to analogical transfers of schemes permitting the solution of similarly shape problems, and thanks to the unceasing corrections of the results obtained dialectically produced by those results.
Finally, we will present and analyze the results of a survey conducted on Iranian and Italian undergraduate trainee translators to see how different aspects of their identities are correlated.
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We are hopeful that the findings of this study will have implications, inter alia, for training translators because identity is a key concept in teaching and learning and in enhancing their quality. This general distinction, arising from socialization practices, between Western individualistic societies and Eastern collectivist societies has also been documented by other scholars such as Singelis , Johnson , Bengston et al. And how do Iranian and Italian trainee translators differ in terms of their identity?
Iranian undergraduate trainee translators tend to have well-developed interdependent identities whereas Italian undergraduates tend to have well-developed self-dependent identities. Iranian and Italian trainee translators differ in terms of their sense of their own identity.
We shall begin by defining different types of identity. Personal, individual, group, collective, gender, national, linguistic, cultural, and professional are probably the most established terms with which we refer to identity. Interestingly, this way of defining identity closely resembles the definition of culture, foregrounding the proximity of the two concepts.
Both culture and identity find realization in what they are not referring to ; in excluding and in contrast with others. Identity has both individual and collective manifestations. In other words, individuals have their own identity, which distinguishes them from other individuals while individuals are members of social groups which are different from other groups. The distinction becomes more significant when we note that societies vary in the degree to which they are more individualist or collectivist.
It follows that educational practices should take these differences into consideration. Camilleri and Malewska-Peyre Self carries various identities depending on the given situation where certain social roles are performed. This implies that in social interactions, only parts of an individual's identity are involved in any given situation Stets and Burke An immediate implication of this view of translator training as a series of social situations is that trainee translators construct their identities in the educational situations they experience.
As mentioned previously, a feature that makes research into identity fascinating yet demanding is the fact that this concept lies at the interface of sociology and psychology, two huge and influential sciences. It is also a reason why teaching is such a complex endeavor. Similarly, translation is both a social and a psychological endeavor.
The three types of identities explored in this study need to be defined here. Personal identity can be explained simply as how we define ourselves. Social identity, according to Tajfel cited in Ashmore, Jussim and Wilder Although Bourdieu himself does not seem to have explicitly defined identity, scholars have investigated this concept based on his theories. The dispositional, collective, and reflexive components represent personal, social, and professional identities. Similarly, as Cressman points out, the interactions between actors in networks define their identity and because actors can at the same time belong to different networks and depending on the way these interact, their identities can vary.
Therefore, in both theories we can consider multiple identities for translators and trainee translators. A similar study was carried out by Dionysios Kapsaskis As an example of how the professional identity of translators is influenced by industrial changes, Kapaskis On the other hand, there are studies that have gone the other way round, namely, they have probed the influence of translation on communities, norms, and identities of different types. However, such studies are beyond the scope and the primary aims of the present article. She merges ANT with ethnography in order to trace each stage in the translation process of a number of case-studies of literary works.
- Tumble And Fall.
- !
- Stephanies Cupcakes Baking Book.
- ;
For Bourdieu, realism takes the real to be relational. This relationality is, for instance, visible in the relations between the different types of capital that Bourdieu speaks of, as well as in the interconnectedness of his concepts of habitus, capital, doxa, and illusio. A major argument of her research is that. They emphasize the role of socialization in the construction of habitus, which together with the capital trainee translators can gain, are both part of, and influential in, their specialization in the field of translator training.
His structuralist orientation, reflected in his practice theory and related concepts of agency, field, habitus , capital , doxa and illusio , leaves little doubt of the relevance of his ideas to the sociological analysis of identity, given that, as social agents, individuals work to create social structures which construct their identity in return. Based on this structure, habitus creates beliefs, practices, and feelings and it is structured by existing conditions Grenfell Habitus, as mentioned above, operates along with other factors.
For what we know as practice, Bourdieu presents an equation as follows: Habitus helps us shape our perspective towards the social world in a rather revolutionary way. By the same token, Stets and Burke We must go back and forth and understand how social structure is the accomplishment of actors, but also how actors always act within the social structure they create.
In this game, individuals, groups and institutions compete for better positions. Social agents learn the rules of the game gradually. They are only equipped with their own points of view. They take time to develop and they are never perfect. ANT has undergone some modifications: The main tenet of the social constructivism paradigm is the construction of knowledge through social interactions, including those in classrooms, hence the significance of collaboration and group work. Thus, it can be argued that social constructivism, and by extension ANT, favors a collective approach to identity and its construction due to its concepts of network and translation.
The central notion of an actor or agent or actant is understood to include both human and nonhuman agents: The network has no centre, all the elements are interdependent. Important roles are played by knowledge systems and by economic factors, as well as by people and by technical aids. Causality is not unidirectional: The theory distinguishes various kinds of relation between the nodes of a network […]. The interaction between agents or actants is called translation , a concept which ANT borrows from Michel Serres, as Barry Intermediaries do not affect the forces and meanings they are to transfer but mediators can modify them Latour, Thus, the identity of actants is dependent on their roles as mediator or intermediary, which can also change into each other.
Most theories are developed by theorists through the evaluation of previous theories and approaches. Bourdieusian approaches tend to reduce the agent to the translator, and only consider agency from the individualistic perspective Buzelin Starting from a general assumption of the existence of distinctions between Western and Eastern identities, we conducted an identity survey of Iranian and Italian undergraduate trainee translators, to test our hypotheses and to see to what extent the findings would fall within Bourdieu and ANT theories.
Additionally, the correlation between personal, social and professional identities among students was briefly examined. A total of trainee translators participated in our survey: The students were from four Iranian and four Italian universities: The age and gender distribution of the two groups of students are given in Tables 1 and 2 below. AIQ-IV is a questionnaire that measures identity orientation in the four aspects of personal, relational, social and collective identities. In the original AIQ-IV questionnaire, there are 10 special items that are not scored on scales, two of which were included in our modified questionnaire.
The research population was provided with the online questionnaire with an extended time period within which to respond and the responses were recorded both separately for each respondent and in a summary of all responses. To help our analysis, the responses of Iranian and Italian students were recorded separately.
Then, the total mean scores were compared and interpreted. Additionally, based on the total scores of the responses to each item, items that showed marked distinctions among the two groups of students were singled out as potential indicators of a number of meaningful and enlightening contrasts.
Comparing the mean values for all items, the items whose mean scores showed a certain variation were identified and marked for this purpose. The procedure was as follows: The resultant criterion values were. Finally, a microanalysis of identity scores based on three age groups of 19 or younger, male , and years old was carried out in order to find out more about the correlation of the identity aspects. Figure 1 compares Iranian and Italian undergraduate translator trainees in three aspects of their identities.
A Comparison of trainee translators' three identity aspects based on mean Likert scale values.
As Figure 1 shows, the Iranian and Italian students surveyed in this study, show a contrast in terms of their personal and social identities where the former tend to have a stronger social identity and the latter a more marked sense of personal identity. This implies that Italian students are more inclined towards individualism and self-dependence while Iranian students prefer interdependence; a difference that may reflect overall differences between Iranian and Italian, or Eastern and Western, societies.
As for the correlation between personal and social identities with professional identity, no meaningful correlation was observed, indicating that either there are more factors that have to be taken into account or some complementary data is required. We stated above that a special analysis was carried out of those items which produced significantly different based on the overall scores between Iranians and Italians. The following items were selected for further interpretation in each aspect of identity. My personal values and moral standards Item 7: Places where I live or where I was raised.
A comparison of personal identity marked items using mean Liker scale values. The Iranian students' score was significantly higher than their Italian counterparts in Item 1 but lower in Item 7, which might indicate that although Iranian students display a somewhat more social and less personal identity orientation, they might care more their values and morality issues. On the other hand Italian students felt more intensely and emotionally about their living environments.
A comparison of social identity marked items using mean Likert scale values. The results shown in Figure 3 imply that Italians are less concerned about their social popularity. Popularity, as social capital, is a way to earn symbolic capital, which in turn can be arguably converted into other types of capital, particularly cultural capital. There were two items identified as marked with respect to professional identity, which are listed below:.
Being considered a reliable and organized co-worker Item My future job despite its difficulties and low income. A comparison of professional identity marked items using mean Likert scale values. Although Italian students showed a higher propensity for individual work, they seem to value professional qualities when working with other people to a higher extent, which is indicated in Item 23; they consider it more important to be valuable co-workers through being reliable and organized. Being reliable is a highly interpersonal attribute while being organized tends to be a personal characteristic yet with palpable outcomes for the people around us.
Furthermore, in reference to Item 24, Italian students seemed to consider their future job much more important than Iranian students, a result which could imply two things: Overall, in the majority of the professional identity items, the Italian students demonstrated a stronger orientation, which may indicate that they generally have a better image of their field-related abilities and prospects for developing their careers in translation. As a final step in this survey, we explored the correlation between personal and social identity aspects on the one hand with professional identity on the other.
To this end, three age groups of trainee translators were compared in terms of their mean identity scores. Figure 5 and Figure 6 display the findings, indicating a chiefly positive correlation between the three identity aspects in the age groups analyzed — except for Italian students of 19 years or younger. Another finding was that because the comparison of the mean scores of personal and social identities in these three age groups did not differ significantly across the two national groups, we can conclude that the excluded age group, female students aged , had a significant influence on the overall identity variation between Iranian and Italian students.
The different items of the questionnaire, as well as the identity aspects it addressed, were related to the concepts discussed in the sociological theories. The results of our empirical analysis point to a stronger social identity and habitus for Iranian students and a stronger personal and professional identity orientation and habitus on the part of the Italian students; a result which suggests that social activities in translator training may be particularly suitable in an Iranian context, while personal activities maybe more suitable when training translators in an Italian context.
In addition, we found a predominantly positive correlation between personal and social identities with professional identity among the age groups we decided to study for the purpose of correlation analysis. With reference to our research questions, we are now in a position to draw some conclusions: An implication of this study in translator training might be that once we understand that different societies have different conceptions of identity as well as various identities and identity construction patterns — for example, the general distinction between individualistic Western and the social Eastern identity — then our training priorities will differ, with implications for our translation curricula, pedagogies and teaching methods.
Additionally, the types of power distribution observed in the two theories have clear implications for the description of educational practices, including translator training. Introducing the two sociologies into the classroom allows learners to experience different identity constructions, which is recommended today. We would like to extend our deep gratitude to Prof. Marcello Soffritti and Prof. Christopher Rundle for their invaluable help with the project this study was part of.
We would also like to thank Prof. Silvia Bernardini for her constructive comments on a draft of this manuscript. Our heartfelt thanks also go to all the Italian and Iranian colleagues who helped with the distribution of our survey as well as the survey participants. These items describe different aspects of identity. Please read each item carefully and consider how it applies to you. The full scale is:.
Not important to my sense of who I am 1 2 3 4 5 Extremely important to my sense of who I am. Journal of International Studies Bourdieu, Pierre Outline of a theory of practice , trans. Nice, Cambridge, Cambridge University Press. Bourdieu, Pierre In other words: Essays towards a reflexive sociology , trans. Measurement Instrument Database for the Social Science, www. Grenfell, Michael ed Pierre Bourdieu: Empowerment from Theory to Practice , Manchester, St. Latour, Bruno Reassembling the social: Bartrina eds , Oxon, Routledge: Heine, Toshio Yamagishi, and Tatsuya Kameda eds.
Snel Trampus, Rita D. After completing his MA in Translation Studies at Shahid Beheshti University, he started his translator training career in and has ever since taught undergraduate translation courses mainly at Arak University, where he got his BA in English Translation in He attended the University of Bologna once as a PhD student in , and another time as a doctoral visiting student in Starting from the definitions of culture, law, technology as well as legal and technical culture respectively, the aim of this paper is to point out the different degrees of cultural specificity in law and technology and in legal and technical language and texts.
The paper will also show to what extend the differences within the various dimensions of cultural specificity lead to differences in methods and procedures of translation. Ausgehend von den Definitionen von Kultur, Recht und Technik einerseits sowie von Rechts- und Technikkultur andererseits wird in diesem Beitrag der unterschiedliche Grad von Kulturspezifik in Recht und Technik und in ihren sprachlich-textuellen Manifestationen herausgearbeitet. Kulturspezifik, Rechtssprache, technische Sprache, cultural specificity, legal language, technical language. Ziel des Beitrags ist es zum einen, den unterschiedlichen Grad der Kulturspezifik in Recht und Technik und ihren sprachlich-textuellen Manifestationen herauszuarbeiten.
Rechtliche Regeln werden, wie von Marschelke Nutzung einerseits bestimmte Voraussetzungen mitbringen muss, dessen Erfordernissen aber andererseits auch bei der Gestaltung der Technik Rechnung zu tragen ist. Recht und die damit verbundene Kultur sind m.
Bei qualitativer Betrachtung stellt sich dann heraus, dass Technikkultur im Korpus nur mit den Termini Stiftung und Verein verbunden ist. Welche kulturspezifischen Unterschiede bestehen zwischen Recht und Technik auf der sprachlichen und der textuellen Ebene? Welche Unterschiede zwischen Recht und Technik wirken sich in besonderer Weise auf die kulturspezifischen Unterschiede aus?
Rechtssprache ist in erster Linie eine Institutionensprache Busse Diese erfordert eine doppelte rechtlich-sprachliche Abstraktion. Civil Law - vs. Nur in mehrsprachigen nationalen Rechtsordnungen Beisp.: Schweizer Recht und in supranationalen Rechtsordnungen Beisp.: In der Technik dagegen sind es tendenziell ein und dieselben Begriffe, die durch unterschiedliche Benennungen zum Ausdruck gebracht werden. Bei der Entwicklung der technischen Terminologien gibt es jedoch, wie von Arntz Dennoch gibt es auch in der Technik Bereiche, in denen die Terminologie nicht systematisch genormt ist, so die Kfz-Technik Arntz Definitionen sind dabei nicht nur ein Recht-, sondern auch ein Technik-Thema, was anhand der nationalen und internationalen Normung sichtbar wird z.
Auch gibt es zahlreiche Terminologieportale mit genormter Technik-Terminologie z. Im Recht ist es, v. So gibt es beispielsweise von den das Ermittlungs- und das Zwischenverfahren des italienischen Strafprozesses kennzeichnenden neun Textsorten nur drei, die eine Entsprechung in den vergleichbaren Abschnitten des deutschen Strafprozesses haben:. Gliederungskonventionen in deutschen und italienischen Gesetzestexten.
Schweizer Recht oder supranationalen Rechtsordnung Beisp.: Eine wichtige Rolle spielen in diesem Zusammenhang Definitionen vgl. Diese sind allerdings einerseits nicht zu jedem Terminus oder Begriff vorhanden. Dies ist, wie von Reinart Diese kann in der Technik auch die Inhaltsbestandteile bzw. Apply the parking brake firmly.
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Shift the automatic transaxle to Park or manual transaxle to Neutral. Da Ausgangs- und Zielkultur hier allerdings zusammenfallen, kann allenfalls von einer Anpassung an Sprachtraditionen die Rede sein. Die sich hier manifestierenden Besonderheiten der Rechtssprache als Fachsprache vgl. Der Beitrag basiert auf einem Vortrag, den ich dort am Ein internationales Handbuch zur Fachsprachenforschung und Terminologiewissenschaft , 2. Hoffmann, Lothar Kommunikationsmittel Fachsprache. This article is indeed interesting. I reread this book every year or so and still have created my own, personal cliff note that we review regularly.
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