Considering the overwhelming amount of media products that we are subjected to in the 21stcentury and the way in which those inevitably influence our perception of reality, this research pays specific attention to the role of the media in the construction and enhancement of stereotypes in everyday life, via the language or, more specifically, specialized languages. In particular, this paper aims to investigate an American legal TV series in order to analyze the way in which legal English is used in (...) dialogues. The major research questions are: to what extent such a kind of specialized discourse may be really understood by the greater audience? How does legal drama participate in the shaping of stereotypes relating to the legal environment in the country where it is produced, and cross-culturally, bearing in mind the prominence of “made in the USA” products in the television programming across the world? Ultimately, in the light of the previous questions, should the growing field of research in audiovisual translation extend its investigation into the area of legal English? Taking into consideration the seminal work of Pedersen and Diaz Cintas in the field of Audiovisual Translation, the study will examine the subtitling techniques employed for this atypical genre. Through the analysis of a corpus comprising several dialogues from a collection of episodes of the legal show Reckless, the paper will mostly focus on gender representations and their most common linguistically enhanced stereotypes. (shrink)

The article discusses teaching the analysis of documentary films from the standpoint of a discursive approach. The importance of teaching the analysis of documentary films is due to the specifics of audiovisual production. A documentary film is a polyosemiotic construct combined with verbal, pictorial and sound signs, which are important for the translator to take into account in the translation process. The discursive approach allows to teach future translators to analyze not only the work as a whole, but (...) also to analyze the historical and socio-cultural context in which it was created. (shrink)

This article explores how certain feminine voices are adapted or ‘naturalized’ in audiovisual translation in order to conform to the intended audience’s assumed gender beliefs and values. Using purposefully selected examples from the American series Sex and the City, the author analyses elements pertaining to American feminism and how they are rendered in the French dubbing and subtitles. While the subtitles retain most references, the dubbing reveals a marked tendency to delete, weaken and transform allusions to American feminist (...) culture as well as female achievements in the public sphere and feminist ideology. These findings are discussed in relation to the history, place and representation of women and feminism in France. The case study suggests that integrating a feminist approach in audiovisual translation research could help women’s studies detect the unspoken gender values of the cultures for which audiovisual translation is produced. (shrink)

Dubbing Dark Humour: A Case Study in Audiovisual Translation In an attempt to analyze the ways in which dark humour travels cross-culturally in audiovisual translation, the present study takes into consideration the processes involved in dubbing humour from English into Italian as observed in the English- and Italian-language versions of ten British and American dark comedies from the 1940s to the 2000s. In order to identify some of the main mechanisms of the dark humour genre, the (...) humorous content of the films was analyzed in terms of the elements on which specific scenes are based, mainly the non-verbal and verbal components. In the cases in which verbal elements were involved, i.e. the examples of verbally expressed humour, the analysis was concerned with the translation strategies adopted and with possible effects of alteration of the dark humour content as a result of translation. (shrink)

Assessing the quality of translation is never straightforward and rarely objective. Context, audience, text type, function and lexis are only some of the criteria that need to be taken into account. In the case of constrained intersemiotic translation, subtitling being a prime example thereof, determining universal criteria for assessment is particularly testing. Often referred to as “necessary evil”, audiovisual translation needs to avoid distracting the audience, while aiding their comprehension of the audiovisual message. This is (...) particularly the case for additive AVT, for instance subtitling, where the translation does not replace the original, but coexists with it. Relevance Theory, a controversial but flexible approach to communication, may provide a viable framework for gauging subtitling quality. The interplay between relevance, communicative intention and processing effort can help explain the rationale behind the process of decision-making in the practice of AVT. This paper provides a theoretical foundation for the application of Sperber and Wilson’s Relevance Theory to interlingual subtitling, followed by an analysis of selected examples from a large corpus of mostly English-language movies, series and documentaries streamed on Netflix with Polish subtitles. Though the corpus is Polish-centred, the research conclusions are intended to be universal enough to apply regardless of the language pair. (shrink)

En el presente trabajo ofrecemos una metodología docente para mejorar la competencia comunicativa y las habilidades digitales de los estudiantes de lenguas extranjeras por medio de la traducción audiovisual de canciones con la ayuda de herramientas de traducción automática seguida de la posedición de los textos. Esta metodología se ha implementado de manera satisfactoria en la asignatura de inglés 3 de los grados de Estudios Ingleses y Traducción y Mediación Interlingüística de la Universitat de València.

In this paper, I explore a new type of semiotic translation in the context of Audiovisual Translation Studies (AVTS). To that end, a set of formulaic sequencesbestowed of pragmalinguistic value (hedging strings) is analysed. It is argued that the semiotic analysis of conversational features in English may contribute to facilitate their pedagogical exploitation in English as a Foreign Language (EFL) classrooms. This analysis builds theoretically on a semiotic translational framework termed Semiosic Translation (and its subset, Semiosic (...) Subtitling) predicated upon three types of translation: (i) Metaleptic translation; (ii) indexical translation; and (iii) translation as dynamic discontinuity. Th e translational rationale thus arrived at is deemed to account for what it is that binds together linguistic signs with other sign systems. (shrink)

La mondialisation a pour effet de rendre indispensable non seulement le recours à la traduction, mais souvent aussi à l’adaptation. C’est en particulier le cas pour les ressources audiovisuelles numériques et leur republication, dont l’importance ne fait que croître. Le texte audio-visuel est en réalité à considérer comme un objet sémiotique pouvant avoir une extrême complexité, en raison des différentes strates dont il se compose. En particulier, chacun des plans que l’on peut y distinguer peut être l’objet d’une traduction culturelle (...) spécifique, car autrement les informations véhiculées risqueraient d’être mal interprétées par les récepteurs. Pour aborder cette problématique, l’article s’appuie notamment sur les travaux effectués dans le cadre du projet de recherche « Atelier sémiotique audiovisuel » financé par l’Agence nationale de la recherche .One effect of globalisation has been to make not only translation essential, but also adaptation. This is particularly true in the case of digital audiovisual resources and their re-publication, which are greatly increasing in importance. Audiovisual text should in fact be considered as a many-layered semiotic object whose complexity can be extreme. Each of these layers may require a specific cultural translation, failing which the information conveyed can be wrongly interpreted by those receiving it. In addressing this problem, this paper draws in particular on the work carried out under the “Audiovisual Semiotics Workshop” research project financed by the French National Research Agency. (shrink)

El presente estudio analiza cuándo y cómo audiodescribe la ONCE el lenguaje de la cámara en The Favourite (Yorgos Lanthimos, 2018) para identificar excesos y defectos por redundancia sonora que puedan comprometer la comprensión del mensaje y la experiencia artística en ciegos. Con este fin se han analizado los códigos visuales, el contexto de la producción, el sonido y las estrategias semánticas y lingüísticas utilizadas en su descripción. Los resultados demuestran que el texto ignora aspectos formales relacionados con la transcripción (...) de la realidad, la composición y el movimiento que afectan a la interpretación y percepción estética del filme. (shrink)

Le Burkina Faso comporte, en plus du français, « langue officielle », environ une soixantaine de langues locales dites « langues nationales ». Malgré des lois favorables à l’égalité des langues, on constate dans la pratique une hiérarchisation linguistique qui consacre la domination du français sur les autres langues. Dans ce contexte plurilingue, on pouvait s’attendre à ce que la traduction puisse contribuer à la préservation de la diversité linguistique et culturelle du pays, voire à l’enrichissement des langues nationales. Mais (...) l’analyse de la traduction littéraire et audio-visuelle révèle une direction qui reflète cette hiérarchisation des langues. En effet, la traduction entre langues européennes est de loin la plus importante, en particulier entre le français et l’anglais. La traduction entre les langues nationales n’existe pas. Dans le domaine audio-visuel, en particulier le cinéma, le sous-titrage se fait toujours des langues nationales vers les langues européennes. En l’absence d’une politique linguistique et d’une politique de traduction, la traduction ne peut pas jouer son rôle de promotion des langues et de préservation de la diversité culturelle.As well as French, its “official language”, Burkina Faso has about 60 local languages that are referred to as “national languages”. Despite legislation in favour of language equality, there is, in practice, a distinct hierarchy that has enshrined the domination of French over other languages. In this multilingual context, it might have been expected that translation would help to preserve the country’s linguistic and cultural diversity, and even to enrich its national languages. However, our analysis of literary and audio-visual translations shows that the translating directions reflect the existing hierarchy between languages. Translations between European languages are by far the most common, especially between French and English. There is no translation at all between the national languages. In the audiovisual field, especially in films, sub-titles are always translated from national languages into European languages. Without language or translation policies, translation cannot play its part in promoting languages and preserving cultural diversity. (shrink)

In early 2020, in-person data collection dramatically slowed or was completely halted across the world as many labs were forced to close due to the COVID-19 pandemic. Developmental researchers who assess looking time were forced to re-think their methods of data collection. While a variety of remote or online platforms are available for gathering behavioral data outside of the typical lab setting, few are specifically designed for collecting and processing looking time data in infants and young children. To address these (...) challenges, our lab developed several novel approaches for continuing data collection and coding for a remotely administered audiovisual looking time protocol. First, we detail a comprehensive approach for successfully administering the Multisensory Attention Assessment Protocol, developed by our lab to assess multisensory attention skills. The MAAP is administered from a distance by using Zoom, Gorilla Experiment Builder, an internet connection, and a home computer. This new data collection approach has the advantage that participants can be tested in their homes. We discuss challenges and successes in implementing our approach for remote testing and data collection during an ongoing longitudinal project. Second, we detail an approach for estimating gaze direction and duration collected remotely from webcam recordings using a post processing toolkit and demonstrate its effectiveness and precision. However, because OpenFace derives gaze estimates without translating them to an external frame of reference, we developed a machine learning approach to overcome this limitation. Thus, third, we trained a ML algorithm [] to classify gaze estimates from OpenFace with respect to areas of interest on the participant's screen. We then demonstrate reliability between this approach and traditional coding approaches. The combination of OpenFace and ML will provide a method to automate the coding of looking time for data collected remotely. Finally, we outline a series of best practices for developmental researchers conducting remote data collection for looking time studies. (shrink)

RESUMOA audiodescrição consiste em fornecer a pessoas com cegueira e baixa visão a tradução sonora de processos comunicativos visuais e audiovisuais, como programas de TV, obras de artes plásticas ou ópera. Esta atividade se formalizou na década de 1980, nos Estados Unidos, a partir do modelo "descreva o que você vê". Tal proposição, o audiodescritor, empunhando a controversa bandeira da "objetividade", oferece leitura supostamente isenta - e em certa medida protocolar - sobre aquilo que observa. A escola americana prosperou e (...) se disseminou pelo mundo, tornando-se o padrão da AD realizada, inclusive, no Brasil. Recuperando, contudo, a melhor tradição tupiniquim da "transcriação" ou "recriação", defendida pelos poetas concretos, lançaremos, ao menos para as artes visuais, outra proposta metodológica/experimental: o uso de diagramas poéticos sonoros para a realização da AD, compreendida como tradução intersemiótica. Acredita-se que a camada sensível, tão cara às artes, é muitas vezes perdida no tecnicismo da AD normatizada, e que construções diagramáticas talvez possam recuperar esta dimensão através de signos sonoros inteligíveis mas, sobretudo, sensuais. Há, conforme explicamos, certa articulação estética, ética e semiótica que referenda a proposta aqui apresentada.ABSTRACTAudio description is the act of providing blind and low vision people with a sound translation of visual and audiovisual communication programs, such as TV shows, artworks, or operas. This activity was formalized in the 1980s in the United States, using the model: "describe what you see." In this model, the audio describer, wielding the controversial banner of "objectivity," offers a supposedly impartial - and to some extent protocolized - reading of what he/she observes. The American school prospered and spread around the world, becoming the standard for AD, even in Brazil. However, by recovering the best Tupinikin tradition of "trans-creation" or "re-creation," defended by the concrete poets, we raise, at least for the visual arts, another methodological/experimental proposal: using sound poetry diagrams to perform AD, a process known as intersemiotic translation. It is widely believed that the sensitive layer, which is significant in the arts, is often lost in the technicality of standardized AD, and that diagrammatic constructions, can perhaps recover this dimension through sound signs that are intelligible but, above all, sensual. There is, as we explain, a certain aesthetic, ethical, and semiotic articulation that reinforces the proposal presented here. (shrink)

continent. 1.1 (2011): 22-25. The Author gratefully acknowledges the financial support of CAPES (Coordenação de Aperfeiçoamento do Ensino Superior), Brazil. From the multifarious subdivisions of semiotics, be they naturalistic or culturalistic, the realm of semiotics of value is a ?eld that is getting more and more attention these days. Our entire political and economic systems are based upon structures of symbolic representation that many times seem not only to embody monetary value but also to determine it. The connection between monetary (...) and linguistic exchanges is self-evident: the former requires the latter and develops in direct relation to it. Creative experimentation and design of digital systems of value exchange are blossoming on the web. Dr. Gilson Schwartz, an economist turned media theorist and professor at the University of São Paulo, adopted the concept of Iconomics, originally created by Michael Kaplan, an author concerned with the linguistics of economic value. Empowering local communities and unlocking new levels of value creation and representation via digital technologies are the main goals of Dr. Schwartz’s projects, aiming at the re-designing of our relationship to the economic value of imagination and the social control of property. Schwartz is Assistant Professor at the School of Communication and Arts of the University of São Paulo, a former Chief Economist at BankBoston, Brazil and Advisor to the President of the National Social and Economic Development Bank (BNDES). FURTHER READING: Kaplan, Michael. “Iconomics: The Rhetoric of Speculation.” Public Culture . 15.3 (2003): 477-493. Renata Lemos-Morais: You have recently produced and directed a short documentary about Creative Currencies in Latin America. Could you tell us a bit about its process and its findings? Gilson Schwartz: The “Creative Currencies” project is a work-in-progress platform which unfolds as an action research agenda connected both to the production of audiovisual content and the development of social currency software. The initiative dates back to 2003 when I led an experimental project supported by the Presidency of Brazil. At that time, we issued paper currency in a small, touristic village in the Northeast Region which stimulated local cultural projects. But it was only in 2009 that the Central Bank of Brazil acknowledged “social currencies” as a legitimate economic agenda, calling for more debate at the I Financial Inclusion Forum. This year, the monetary authorities organized a second forum that also opened the room to discussions on mobile payment systems and new perspectives on poverty alleviation via State subsidies. The Ministry of Culture funded the “Creative Currencies” project in 2009-2010 and our next stage in this discovery process is to be supported by the National Social and Economic Development Bank (BNDES). In short, there is genuine interest among public officials in different areas and public funding for social currencies is on the rise in Brazil. However, after all these years we are still at a very early stage of research and practice. Some of the most successful initiatives (such as Banco Palmas) actually evolved out of local monetary creation to become correspondent banking operations for commercial banks and other financial groups. After eight years of price stability and social inclusion, Brazil stands out as a major opportunity for social experimentation, even the Grameen Bank is now entering the Brazilian market and many NGOs are geared towards different forms of entrepreneurialism in the base of the pyramid, riding solidarity economic models, microfinance and microcredit for local development. It is yet to be seen, however, whether these developments are just one more stage of “bankarization”, that is to say, an extension of regular banking services or actually a new form of social and symbolic self-determination at the local level. So far, the Central Bank of Brazil is open to new forms of credit and local finance as long as they are strictly territorial and very close to barter among the poor. In other words, whether the process of monetary creation could be made to fit an open source paradigm is yet to be seen. Community banking and social currencies might as well end up as just another channel for access to and use of banking services. The “Creative Currencies” project aims at promoting the discussion of more fundamental issues, such as the limits of central banking, the prospects for local financial development and the possibility of creating and managing financial icons as cultural assets. The purpose of this project is to produce short documentaries that will bear testimony to this evolving regulatory framework while inducing more discussion about the fundamental iconomic issues concealed in the process of money and wealth creation. RLM: What new potential is there in applying digital technologies to currency creation? GS: Globalization is a result of the virtualization of money, that is, the overcoming of illusions such as the “gold standard”. Money is an icon created by institutions, not on supposedly natural or material foundations but out of political and financial interests. The “dollar standard” is an outstanding evidence of this phenomenon and Kaplan´s paper, the first to use the expression “iconomics”, insists on the rhetoric and semiotic effects associated to a supposedly scientific model of money creation and management. This is a fundamental change that was perceived and discussed much before the digitalization of the world by unorthodox economists such as John Maynard Keynes since the early 20th century. The digitalization of global financial flows accelerated this immateriality and the creation of the Euro was yet another evidence of the political foundations of currencies. The banking establishment, however, is keen on the idea that scientific formulae hold the key to sound money creation. Keynesianism has been repeatedly associated to “inflationism” while the supposedly sound monetary policies of the Orthodoxy serve well the political and financial interests of a technocratic elite. Corporate media also serve this fictitious depiction of the monetary process despite the cyclical bust of monetary rules and financial regulations. The internet, however, has created numerous opportunities for the disintermediation in industries such as film, music and commodities. There is no reason to doubt that the financial industry can also be transformed by Peer-to-Peer (P2P) infrastructures. Money is media as well. Credit is but confidence. Once people realize that the distributed computing power of networks can also be the platform to weave new monetary and credit operations, there is room for grassroots emancipation out of the established owners of monetary institutions. So far, however, there has been a privatization of monetary management and there is not a clear path or model for the emergent (P2P) property democratization that is inherent to the internet. Digital assets, however, clearly have an inherent potential to escape central control and proprietary regulatory frameworks. RLM: How are social networks transforming the ways in which we exchange value? Do you believe that online influence and reputation might be translated into a new kind of currency? GS: The foundation for social currencies as envisaged by solidarity economics is the territory. Authorities are willing to concede local monetary creation as long as it is restricted to poor neighborhoods, as a proxy to barter. In this relevant but limited context, reputation, personal knowledge and informal ties form the matrix of local or “proximity” finance which are expected to keep credit and leverage to a sustainable level. Anything beyond that should and would lead to an integration of local finance into the established banking system. However, inasmuch as the internet promotes virtual territories and reputation is now subject to all sorts of digital manipulation and stardom becomes an everyday cultural process among teenagers and elders alike, the territorial “foundation” is substituted for more complex patterns of solidarity, cooperation and exchange that reach beyond the physical territory and even the “human.” Digital assets embody knowledge, technology, cultural and educational values that are exchanged at a global scale beyond the control of democratic States (Chinese-like intervention is the exception, not the rule). Hacktivism is unstoppable and so is monetary hacktivism. Especially in the Third World, mobile communications fast became conveyors of money transfers and other appropriation strategies. Banking and telecom sectors already battle for the control of these emerging markets and, as a matter of fact, have so far contributed to the containment of these processes. Governments serve these moguls and have usually adopted a wait-and-see attitude. If open source hardware and grassroots social movements combine to challenge these proprietary battles, then social networks may evolve into new forms of social capital and thus form the ground on which to design and implement social currencies. The global financial crisis, as well as the dollar demise, are an event of such a proportion that social networks may open the path for emancipator subjects to seize the opportunity. RLM: What are some of the social experiments that you think are revolutionizing the way in which value is exchanged? GS: There is a broad evolution of economic systems towards the valuation of intangible assets such as knowledge, reputation and sustainability. There are many examples of local as well as global events that call the traditional systems of exchange into question, from carbon credits to educational bonuses, digital barter frameworks and locally based solidarity and fair trade networks. These emerging examples, no matter how different in nature or scale, represent a challenge to the traditional value creation schemes and theories which are based on use and exchange value, supply and demand. This is not to say that utility and labour or scarcity are to be totally dismissed, but there is now an emerging perception that value is also a function of behavioral codes, symbolic patterns and the energy of institutional frameworks. The plasticity of digital platforms is relevant insofar as intellectual property becomes the central source of value creation. But when you discuss the property rights of public goods such as the environment or basic social rights (of minorities or localities), then a new paradigm seems to emerge. RLM: Are gaming and online storytelling digital practices that might have an impact on the way new currencies are created and developed? GS: “Play money” has been one of the early and most intriguing phenomena associated to the diffusion of virtual worlds. These virtual currencies have also been prone to “boom and bust” dynamics, speculation and pure theft (Second Life scams were common and led to “intervention” by the owners of the game). Storytelling is a major source of value, that is, the value of attention and the markets for audience. There are plenty of private monies created and managed by corporate entertainment groups, telecom operators (via mobile virtual network operators) and marketing frameworks. The casino economy, as already depicted by Keynes and other unorthodox economists, is always storytelling about future states of the world, confidence building and leverage of animal spirits. The novelty of current events is not the fictitious nature of any form of capital, but the potential for digital democratization of controls over the imaginary nature of value creation. But this is just a potential, a possibility, a figment that more often than not is appropriated by centralized and opaque private powers. The game industry is a testbed for new connections between storytelling and money creation. RLM: Monetary value was originally connected to the scarcity of precious metals, such as gold. Our entire monetary system seems therefore to function according to a logic of scarcity. Do you believe it is possible to reverse this logic into a logic of abundance? GS: The gold standard was a fiction itself, the “scarcity” is always produced by institutions that regulate confidence and access to credit. The key issue is not to fabricate abundance, but to question the institutions which produce scarcity out of any standard, gold or whatever. Central banks are at the service of private banks in the creation and management of scarcity. RLM: The promise that nanotechnology holds for our future is one of radical abundance (or so say transhumanists). The possibility of creating any kind of material substance through nanoengineering seems each day more feasible. What would this possibility entail in terms of systems of value exchange? GS: Nanotechnology, environmental concerns and grassroots appropriation of distributed knowledge are the frontiers of a new horizon of energy creation and management. Social groups in charge of managing scarcity for the sake of wealth and power concentration must be held accountable for the destruction of our future. Once this key political conundrum is accounted for, new systems of value exchange and even a non-mercantile society will come into existence. Revolutionary theorists such as Marx envisaged transformation via the extreme clash of contradictions between capital and labour. This approach has never led to a change in the systemic logic of scarcity for the sake of social control. We are once again facing the threshold of large scale societal change, but the outcome of the current crisis should come from our imagination, not from yet another paradox of abundance and scarcity. As long as we remain attached to the materiality of value, the illusion of freedom will but reinforce the massive manipulation of necessity. RLM: What do you think is the role of crowdfunding in this context? GS: Crowdsourcing as well as crowdfunding are examples of the peer to peer opportunities that come along with distributed computer power. However, the power structure behind wealth and scarcity creation may or may not be changed by crowd management. But it should not be taken at face value, so to speak. The stock market of course is an early form of crowdfunding without calling into question the proprietary framework of the companies offering their investment projects to the market. Any market is a form of crowdsourcing, that is to say, of distributed forms of supply and demand matchmaking. The wealth of networks, however, depends on the contractual ecosystem, the institutional framework, the channeling of social imagination, not on the purely quantitative distribution of bids and offers. I see economics as supply, demand and code. Once you have access to the code, once openness becomes part of the game, then there is a chance of crowd behavior becoming collective intelligence and sustainable imagination. RLM: Is the development of digital currencies headed towards a pluralistic ecology in which many micro currency systems co-exist, or is it penetrating the mainstream monetary system? If it is affecting the mainstream financial system, what would be its effect in the long-term? GS: The same issue is at stake both at local and global levels. The global system is, as a matter of fact, an unstable ecosystem of “micro currencies” whereas the dollar has so far exerted an overwhelming influence. Local currencies and private monies coexist with national currencies only to the extent that the Central Bank admits, for instance, that grassroots monetary emissions remain territorial and strictly connected to poverty. However, the question of how new developments in digital technologies and nanotechnologies might alter not only our current monetary systems but also our understanding of value in itself, is still an open question. (shrink)

Word learning is basic to foreign language acquisition, however time consuming and not always successful. Empirical studies have shown that traditional (visual) word learning can be enhanced by gestures. The gesture benefit has been attributed to depth of encoding. Gestures can lead to depth of encoding because they trigger semantic processing and sensorimotor enrichment of the novel word. However, the neural underpinning of depth of encoding is still unclear. Here, we combined an fMRI and a behavioral study to investigate word (...) encoding online. In the scanner, participants encoded 30 novel words of an artificial language created for experimental purposes and their translation into the subjects’ native language. Participants encoded the words three times visually, audiovisually, and by additionally observing semantically related gestures performed by an actress. Hemodynamic activity during word encoding revealed the recruitment of cortical areas involved in stimulus processing. In this study, depth of encoding can be spelt out in terms of sensorimotor brain networks that grow larger the more sensory modalities are linked to the novel word. Word retention outside the scanner documented a positive effect of gestures in a free recall test in the short-term. (shrink)

One of the psychological responses to audiovisual fictions that has been receiving more attention recently is appreciation, defined as a reflexive eudaimonic gratification obtained from a meaningful entertainment mode. Appreciation is the perception that the media experience has a profound meaning, has taught or revealed something. This study seeks to advance on the understanding of appreciation by youngsters. It translates and adapts the Oliver and Bartsch’s questionnaire for teenagers of three European countries. A total of 213 Italians, 55 Spaniards (...) and 42 Germans watched a drama film and immediately afterwards answered the questionnaire. The results of confirmatory factor analysis suggest the existence of four first-order factors for each country. The multi-group analysis shows the questionnaire is not invariant across groups. Thus, the concept of appreciation in its current formulation is not universal. Instead, it seems to be dependent on the cultural aspects of the audience. This article discusses the implications of such results for the understanding of appreciation and of teenagers’ media responses. It also reports mean comparisons for the invariant parameters. (shrink)

A radically empirical exploration of movement and technology and the transformations of choreography in a digital realm. Digital technologies offer the possibility of capturing, storing, and manipulating movement, abstracting it from the body and transforming it into numerical information. In Moving without a Body, Stamatia Portanova considers what really happens when the physicality of movement is translated into a numerical code by a technological system. Drawing on the radical empiricism of Gilles Deleuze and Alfred North Whitehead, she argues that this (...) does not amount to a technical assessment of software's capacity to record motion but requires a philosophical rethinking of what movement itself is, or can become. Discussing the development of different audiovisual tools and the shift from analog to digital, she focuses on some choreographic realizations of this evolution, including works by Loie Fuller and Merce Cunningham. Throughout, Portanova considers these technologies and dances as ways to think—rather than just perform or perceive—movement. She distinguishes the choreographic thought from the performance: a body performs a movement, and a mind thinks or choreographs a dance. Similarly, she sees the move from analog to digital as a shift in conception rather than simply in technical realization. Analyzing choreographic technologies for their capacity to redesign the way movement is thought, Moving without a Body offers an ambitiously conceived reflection on the ontological implications of the encounter between movement and technological systems. (shrink)

The study of film adaptations, particularly those coming from literature, has been growing at a rapid rate during the last years due to the amount of adaptations coming from both mainstream and independent film industries. The focus of these studies though is generally addressed to best sellers where the literary style is clearly adaptable to the screen; however, there are cases where the adaptive process has resulted in an entirely different outcome. Naked Lunch, written by William Burroughs and adapted to (...) screen by David Cronenberg, represents a bold change if compared with other novels turned into films. The purpose of this article is to descriptively analyse the literary style in order to understand how it has been represented and adapted into Cronenberg’s film. The analysis will be performed helped with computer-based tools to support statements, using the novel itself as corpus and adding theoretical ideas from Leech and Short’s perspectives. The results suggest that the author’s corrosive, sexually-fuelled claustrophobic style has been translated following three patterns in terms of adaptation theory, although Burroughs, in the hands of Cronenberg, becomes an almost new classification of adaptation, not only adding literary features to the film, but also distinguishable core moments of the writer’s life to the final product. The analysis conducted encourages the study of other uncommon adaptations from literary authors in order to understand the adaptive process followed by filmmakers. (shrink)

In European culture the sacred and the secular have existed in a dialectical relationship. Prodi sees the fifteenth-century crisis of Christianity as opening up three paths that eroded this dualism and tended towards modernity: civic-republican religion, sacred monarchy, and the territorial churches. Important counter-forces, which sought to maintain dualism, included the Roman-Tridentine Compromise, and those forms of Radical Christianity which rejected confessionalisation outright. During the Eighteenth Century, all these phenomena tended to contribute to one of two tendencies: towards civic religion, (...) or towards political religion. The former preserved a distinction between conscience and law; the latter comprised a state religion which sought to perfect all of human nature. It was civic religion which become embodied in the early USA, alienating God from worldly power, but leaving him as the guarantor of agreements between humans. Back in Europe, Prodi tracks the relationship between the Catholic Church and the new national states. He then turns to the political religions of the Twentieth Century. Prodi concludes by emphasising that this dualism of sacred and secular power lay at the centre of Western modernity, and expresses his fears about the collapse of civic religion into political religion, especially in the USA. (shrink)

In 1985, Swiss legal philosopher Walter Ott visited Herbert Hart in Oxford and made this record of their meeting, which casts novel light on some of Hart’s ideas. Ott engaged Hart in a fresh encounter with the legal philosophy of Gustav Radbruch, particularly Hart’s and Radbruch’s reasons for a minimum content of justice in law. They also discussed the grudge informer, state responsibility under laws of an earlier régime, and questions of the definition and falsifiability of legal theories. Hart surprisingly (...) reported Hans Kelsen as stating, when they had met at Berkeley in 1961, that Hume (and not Kant, and certainly not Wittgenstein) was the greatest philosopher who had ever lived. The translation is accompanied with annotations explaining references, assumptions and contexts. (shrink)

This text gives an account of the experience of reading Clarice Lispector’s Água Viva in the form of a brief dialogue with the text. It foregrounds the writing voice’s address of a second person and the attention this address brings to the acts of writing and reading that hold the two pronouns in relation, producing at once an infinite and nonexistent distance from being to being. The dialogue observes Lispector’s insistent return to the formulation “atrás do pensamento,” which has been (...) translated into English as “beyond thought” and can also be translated as “behind-thought” or as the background of thought, in a more spatial sense. Nancy reads the translation into French, where this spatial nuance is preserved, in consultation with Lusophone interlocutors about the specificities of the Portuguese original. The dialogue interrogates the link across this dimension, the recurrence of the pronoun it in the original Portuguese version of Água Viva, and the acts of writing and reading a text that brings awareness to a living, pulsing, ongoing, and escaping instant beyond meaning that is nonetheless the cause of the address in the first place. The dialogue follows the thread of this movement as it slips out behind thought, where Água Viva meets other books attuned to the instant and in which the dialogue’s “I” feels their vitalizing effects. (shrink)

In the eleventh of his Antiquarian Letters, Gotthold Ephraim Lessing discusses a phrase from Lucian's description of the painting by Zeuxis called A Family of Centaurs: ‘at the top of the painting a centaur is leaning down as if from an observation point, smiling’. ‘This as if from an observation point, Lessing notes, obviously implies that Lucian himself was uncertain whether this figure was positioned further back, or was at the same time on higher ground. We need to recognize the (...) logic of ancient bas-reliefs where figures further to the back look over those at the front, not because they are actually positioned above them but because they are meant to appear as if standing behind.'1 · 1. The passage is in George Lessing, Briefe, antiquarischen Inhalts, p. 81. Panofsky's discussion does not note that the original text of Lucian makes clear that what is described is a copy of the original painting. This means that some of the issues of misunderstanding situated by Lessing and Panofsky in Lucian's court may in principle be attributable to the copyist. This makes no difference to the conceptual thrust of Panofsky's case.—Trans. (shrink)

In 1813 Isaak von Sinclair published a poem entitled “The New Acquaintance.” It recounts a meeting between himself, his friend Friedrich Hölderlin, and one other unidentified guest whom Sinclair awaited with keen anticipation. Because of Hölderlin’s well established friendship with Hegel it has been assumed in the past that the unknown acquaintance was in fact Hegel. However, at the time to which the poem refers, Hegel was a relatively obscure and unknown figure with no reputation. If we are therefore to (...) accept that the poem does indeed allude to Hegel then we must assume that Sinclair, as early as 1813, had recognized Hegel’s genius and wanted retrospectively to associate his name with the newly rising star of German philosophy. In that case we must ask why he refrained from mentioning Hegel by name or at least making the character of the unknown unambiguously clear? In translating this poem for the first time into English I offer for consideration another candidate as the “acquaintance,” namely, Wilhelm Heinse. (shrink)

At this historical moment, few terms are as charged and powerful as the omnipresent term environment. It has become a strategic tool for politics and theories alike, crossed the borders of the disciplines of biology and ecology, and left the manifold field of environmentalism. This article explores the first steps on this path of expansion, in which the term becomes an argumentative resource and achieves a plausibility that transforms it into a universal tool. It is not self-evident to describe ubiquitous (...) media, cinematic spaces, or augmented realities as environments. To understand how the term gained this plausibility, it is necessary to distinguish it from two other terms: the French milieu and the German Umwelt. When these three terms substitute one another and are used as translations, they lose their historical specificity and depth, and three different theoretical and philosophical traditions merge into indifference. Consequently, a conceptual history of the term environment and its relation to milieu and Umwelt—as well as terms such as medium, atmosphere, ambiance, and climate—can help us to understand the potentials and dangers of the term’s plausibility. In this sense, the article argues for a new perspective on epistemologies of surrounding that relate that which surrounds to that which is surrounded. (shrink)

The basic problem affecting humanitarian law today remains that of its implementation. As of now, requests made by individuals before national courts to assess the compatibility of certain acts with international humanitarian law failed. The present case study and commentaries focus on the decision of a German civil court sitting Bonn to deny the victims of a NATO air raid the right to sue Germany and claim compensation for alleged violations of international humanitarian law.

This is a translation of "Socialite et argent", a text by Emmanuel Levinas originally published in 1987. Levinas describes the emergence of money out of inter-human relations of exchange and the social relations - sociality - that result. While elsewhere he has presented sociality as "non-indifference to alterity" it appears here as "proximity of the stranger" and points to the tension between an economic system based on money and the basic human disposition to respond to the face of the (...) other person. Money both encodes and effaces sociality, both designates and disguises social relations. It arises from the way that needs and interests are manifested in exchange relations, in what he calls the "interestedness" of economic life. But interests are always already cut through by the fact that being is always "being with others". Being is always "inter-being". Interestedness is always confronted by disinterestedness, that is, by a sociality marked by the "goodness of giving", attachment to and concern for the poverty of the other person. Levinas concludes with a discussion of sociality and justice, posing questions about the tension between the demand to respond to an Other immediately before me and at the same time to respond to the demands of an other Other (the third person) who also invites a response. (shrink)

With special reference to the Tupi-speaking Aweti people, this article reconsiders the nature of Xinguan pacifism in an analysis of sorcery and its relation to war in the Upper Xingu region of Brazil. It is argued that the mechanism that keeps violence there under control is probably less the result of an applied pacifist ideology—that is, rejection of war as the socius’s generative matrix—than the effect of a specific conception of knowledge. It is through the Xinguans’ refusal of the idea (...) of singular truth, rather than through their rejection of war, that their logic is “good to think” through the question of peace. This article divides roughly into two parts, the first concentrating on Xinguan sorcery, and the second on their knowledge politics. (shrink)