The sequence is silent, shot in a pale black and white. The use of verbal codes in the audiovisual medium therefore has a contradictory rela- tionship with regard to what is presumed to be the greater indeterminacy of literature. Recensione di Francesco Galofaro:. However, the objection only works if it is accepted that different levels of signification are at work in translation, as in transposition. The text within the text. Although their final positions differ, Calabrese When the expressive substance and material of the source and target texts are different, it is inevitable that textual transformations will occur.

Skip to main content. This is a spatial-temporal elsewhere, in which the narrator sets the actors of his story, gets them to act and brings about cognitive and affective change. A cento anni dalla morte di Saussure e a cinquanta da quella di Hjelmslev la loro voce si fa ancora sentire nella semiotica strutturale, caratterizzata dal rigore della sua epistemologia e dalla vocazione alla ricerca empirica nel descrivere i fenomeni di significazione. A cura di Manuela Celi ed Elena Formia. In terms of the source text and its implicit features, the chief priority of a comparative semiotic analysis should arguably be to pinpoint the strategy of coherence, or at least of adequacy, adopted by the target text, and then to try to understand the purpose of the translation operation and how it takes account of the target culture. It intrudes into the space of the closing credits, that is, the conventional external threshold that marks the closure of the enunciation contract between film and spectator see Metz Considering what happens in Smoke, it seems in any case reasonable to view transposition as a process of figurativization that can remain coherent with themes and values of the source text. Descriptive translation studies and beyond.

These strategies run through the plastic codes of the target text in search of an intersubstantial, expressive equivalence with the source text Calabrese Cinema Tv e Linguaggio de corpo. Sulla Costa Smeralda, o di un’u-topia se,iotica VOl.

The use of verbal codes, and in general of sound codes, therefore enables the film to reopen the meaning denoted by the images, and give them new indeterminacy. Lavoisier, Paris,pp.

Saggi di semiotica delle semiktica e della rappresentazione.

Ala the email address you signed up with and we’ll email you a reset link. Once it has been cut loose from the diegetic dialogue and con- structed as an autonomous figurativization see Greimas of the oral tale, the audiovisual story becomes a film within a film, re-presenting the construction en ltoman of the narrative levels of a first story, on which a second one is grafted.


Despite the multiplicity of languages present in a syncretic text like a film, and the change of purport, substance and form of the plane of expression with respect to those of the literary text see Metza film should always be considered an aesthetic text, in which both the plane of expression and the plane of content are necessary for the overall construction of meaning.

Recensione di Stefano Traini: Di Francesco Marsciani Esculapio, Bologna,pp. Similarity in language, introudzione, and perception.

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If a transposition strategy ends up transforming certain properties of the source text, it may resemanticize the textual situation, thereby discovering new forms Authenticated nicolamaria. A transposition may always propose a new possible world that maintains virtually intact the narrative structures and the core of essential properties of the aola text. Aracne, Roma,pp.

In this proposed scheme, the process of translation may be only partial, or may shift to a particular textual level when areas of untranslatability are encountered, that is to say, levels of texts which represent a challenge for the target language and may therefore also be a potential source of renewal.

This takes place in a tension between the sur- face discourse level and the deep narrative level of languages. So when it comes to analyzing an adaptation, or rather a transposition, it is necessary above all to make it quite clear which level of pertinence has been chosen Dusi Scritti in memoria di Alessandro Zijno.

However, the objection only works if it is accepted that different levels of signification are at work in translation, as in transposition. A partire dall’interpretazione, il volume indaga il tema dell’inventiva e della sua forma logica e semiotica: Il senso introduzzione divino: For this reason the written text can be considered more ambiguous than the visual one.

On the semiotic mechanism of culture.

Il cinema come traduzione. Berlin, Peter Lang,pp. It should be remembered that the positioning of the sequence effectively lies outside the conventional diegetic space-time.

It is the task of comparative semiotic analysis to identify the forms and processes.

Introduzione alla semiotica del cinema

Lo spazio del reale nel cinema italiano contemporaneo. In discussions of literary translation, Meschonnichas pointed out on a number of occasions that translation is never cineema about translating the enounced, but also concerns the enunciation and its strategies see Bettetini Fenomenologie del linguaggio – omaggio a Benveniste.

Formalist and structuralist views, 82— Springer, Berlin,pp.


Therefore translating is not only connected with linguistic competence, but with intertex- tual, psychological, and narrative competence. I linguaggi del consumo: La trottola di Prometeo. Hence, they prompt reflection on the arbitrariness of form, or 5 Original text: Information and Knowledge Management in Complex Systems.

Returning to the issue of indeterminacy and of discourse implicature, it should be recalled that Eco b: If one looks more broadly at the issue of translatability between semiotic systems and the processes of interpretation and translation intersemiotic and intrasemioticit is necessary to examine individual texts, viewed in terms of their transformative shifts and not just with pre-established systems. Il volume ruota intorno a quattro nuclei tematici: In many discussions about the relationship between cinema and literature that are confined to these arguments, the sound track of the filmic image, which is of course audio-visual, is not usually taken into account.

But this does not make it impossible to preserve some level of equivalence, to consider the translation in terms of the forms of expression and content, to maintain textual coherence in the interpretation of the intentio operis of the source text, and to respect its enunciation strategies.

An important point in the current discussion is therefore the need to choose which translation-transposition criteria are to be considered pertinent, not only in the process that is under way but also in the comparative analysis.

When looking more closely at the expressive plane of visual and audiovisual texts, there is the possibility that a target text may resemanticize see Lotman the source text, creating not just new interpretations but also making it impossible to return to the first text without taking account of the new reading.

A cura di Manuela Celi ed Elena Formia. The sequence is silent, shot in a pale black and white. Bologna, Esculapio,pp. Atieditore, Brescia,pp. After all, Authenticated nicolamaria. Come mutare il significato della malattia per cambiare il suo rapporto con il paziente. Studying intersemiotic translation, then, does not mean just investigating the differences between the languages and the strategies between two texts, but also analyzing the similarity between them in semiotic systems with different expressive purport and substance.